Not all the information they had was about dead things: What does the red-winged blackbird say? Compan-ee! What does the Jenny wren say? Pleasa-pleasa-please, can I have a piece of cheese?

"Oh, can it!" said their father.

Soon they knew much more. At least Liza did. She knew birds, trees, mushrooms, fossils, the solar system. She knew where certain rocks came from and that the swelling on a goldenrod stem contains a little white worm that can live nowhere else in the world.

She knew not to talk so much about all she knew.

BEA WAS STANDING on the bank of the pond, in her Japanese kimono. Liza was already swimming. She called to Bea, "Come on in, come in!" Ladner was working on the far side of the pond, cutting reeds and clearing the weeds that clogged the water. Kenny was supposed to be helping him. Liza thought, Like a family.

Bea dropped her kimono and stood in her yellow, silky bathing suit. She was a small woman with dark hair, lightly grayed, falling heavily around her shoulders. Her eyebrows were thick and dark and their arched shape, like the sweet sulky shape of her mouth, entreated kindness and consolation. The sun had covered her with dim freckles, and she was just a bit too soft all over. When she lowered her chin, little pouches collected along her jaw and under her eyes. She was prey to little pouches and sags, dents and ripples in the skin or flesh, sunbursts of tiny purplish veins, faint discolorations in the hollows. And it was in fact this collection of flaws, this shadowy damage, that Liza especially loved. Also she loved the dampness that was often to be seen in Bea's eyes, the tremor and teasing and playful pleading in Bea's voice, its huskiness and artificiality. Bea was not measured or judged by Liza in the way that other people were. But this did not mean that Liza's love for Bea was easy or restful her love was one of expectation, but she did not know what it was that she expected.

Now Bea entered the pond. She did this in stages. A decision, a short run, a pause. Knee-high in the water, she hugged herself and squealed.

"It's not cold," said Liza.

"No, no, I love it!" Bea said. And she continued, with noises of appreciation, to a spot where the water was up to her waist. She turned around to face Liza, who had swum around behind her with the intention of splashing.

"Oh, no, you don't!" Bea cried. And she began to jump in place, to pass her hands through the water, fingers spread, gathering it as if it were flower petals. Ineffectually, she splashed Liza.

Liza turned over and floated on her back and gently kicked a little water toward Bea's face. Bea kept rising and falling and dodging the water Liza kicked, and as she did so she set up some sort of happy silly chant. Oh-woo, oh-woo, oh-woo. Something like that.

Even though she was lying on her back, floating on the water, Liza could see that Ladner had stopped working. He was standing in waist-deep water on the other side of the pond, behind Bea's back. He was watching Bea. Then he too started jumping up and down in the water. His body was stiff but he turned his head sharply from side to side, skimming or patting the water with fluttery hands. Preening, twitching, as if carried away with admiration for himself.

He was imitating Bea. He was doing what she was doing but in a sillier, ugly way. He was most intentionally and insistently making a fool of her. See how vain she is, said Ladner's angular prancing. See what a fake. Pretending not to be afraid of the deep water, pretending to be happy, pretending not to know how we despise her.

This was thrilling and shocking. Liza's face was trembling with her need to laugh. Part of her wanted to make Ladner stop, to stop at once, before the damage was done, and part of her longed for that very damage, the damage Ladner could do, the ripping open, the final delight of it.

Kenny whooped out loud. He had no sense.

Bea had already seen the change in Liza's face, and now she heard Kenny. She turned to see what was behind her. But Ladner had dropped into the water again, he was pulling up weeds.

Liza at once kicked up a distracting storm. When Bea didn't respond to this, she swam out into the deep part of the pond and dived down. Deep, deep, to where it's dark, where the carp live, in the mud. She stayed down there as long as she could. She swam so far that she got tangled in the weeds near the other bank and came up gasping, only a yard or so away from Ladner.

"I got caught in the reeds," she said. "I could have drowned."

"No such luck," said Ladner. He made a pretend grab at her, to get her between the legs. At the same time he made a pious, shocked face, as if the person in his head was having a fit at what his hand might do.

Liza pretended not to notice. "Where's Bea?" she said.

Ladner looked at the opposite bank. "Maybe up to the house," he said. "I didn't see her go." He was quite ordinary again, a serious workman, slightly fed up with all their foolishness. Ladner could do that. He could switch from one person to another and make it your fault if you remembered.

Liza swam in a straight line as hard as she could across the pond. She splashed her way out and heavily climbed the bank. She passed the owls and the eagle staring from behind glass. The "Nature does nothing uselessly" sign.

She didn't see Bea anywhere. Not ahead on the boardwalk over the marsh. Not in the open space under the pine trees. Liza took the path to the back door of the house. In the middle of the path was a beech tree you had to go around, and there were initials carved in the smooth bark. One "L" for Ladner, another for Liza, a "K" for Kenny. A foot or so below were the letters "P.D.P." When Liza had first shown Bea the initials, Kenny had banged his fist against P.D.P. "Pull down pants!" he shouted, hopping up and down. Ladner gave him a serious pretend-rap on the head. "Proceed down path," he said, and pointed out the arrow scratched in the bark, curving around the trunk. "Pay no attention to the dirty-minded juveniles," he said to Bea.

Liza could not bring herself to knock on the door. She was full of guilt and foreboding. It seemed to her that Bea would have to go away. How could she stay after such an insult how could she put up with any of them? Bea did not understand about Ladner. And how could she? Liza herself couldn't have described to anybody what he was like. In the secret life she had with him, what was terrible was always funny, badness was mixed up with silliness, you always had to join in with dopey faces and voices and pretending he was a cartoon monster. You couldn't get out of it, or even want to, any more than you could stop an invasion of pins and needles.

Liza went around the house and out of the shade of the trees. Barefoot, she crossed the hot gravel road. There was her own house sitting in the middle of a cornfield at the end of a short lane. It was a wooden house with the top half painted white and the bottom half a glaring pink, like lipstick. That had been Liza's father's idea. Maybe he thought it would perk the place up. Maybe he thought pink would make it look as if it had a woman inside it.

There is a mess in the kitchen spilled cereal on the floor, puddles of milk souring on the counter. A pile of clothes from the Laundromat overflowing the corner armchair, and the dishcloth Liza knows this without looking all wadded up with the garbage in the sink. It is her job to clean all this up, and she had better do it before her father gets home.

She doesn't worry about it yet. She goes upstairs where it is baking hot under the sloping roof and gets out her little bag of precious things. She keeps this bag stuffed in the toe of an old rubber boot that is too small for her. Nobody knows about it. Certainly not Kenny.

In the bag there is a Barbie-doll evening dress, stolen from a girl Liza used to play with (Liza doesn't much like the dress anymore, but it has an importance because it was stolen), a blue snap-shut case with her mother's glasses inside, a painted wooden egg that was her prize for an Easter picture-drawing contest in Grade 2 (with a smaller egg inside it and a still smaller egg inside that). And the one rhinestone earring that she found on the road. For a long time she believed the rhinestones to be diamonds. The design of the earring is complicated and graceful, with teardrop rhinestones dangling from loops and scallops of smaller stones, and when hung from Liza's ear it almost brushes her shoulders.

She is wearing only her bathing suit, so she has to carry the earring curled up in her palm, a blazing knot. Her head feels swollen with the heat, with leaning over her secret bag, with her resolution. She thinks with longing of the shade under Ladner's trees, as if that were a black pond.

There is not one tree anywhere near this house, and the only bush is a lilac with curly, brown-edged leaves, by the back steps. Around the house nothing but corn, and at a distance the leaning old barn that Liza and Kenny are forbidden to go into, because it might collapse at any time. No divisions over here, no secret places everything is bare and simple.

But when you cross the road as Liza is doing now, trotting on the gravel when you cross into Ladner's territory, it's like coming into a world of different and distinct countries. There is the marsh country, which is deep and jungly, full of botflies and jewelweed and skunk cabbage. A sense there of tropical threats and complications. Then the pine plantation, solemn as a church, with its high boughs and needled carpet, inducing whispering. And the dark rooms under the down-swept branches of the cedars entirely shaded and secret rooms with a bare earth floor. In different places the sun falls differently and in some places not at all. In some places the air is thick and private, and in other places you feel an energetic breeze. Smells are harsh or enticing. Certain walks impose decorum and certain stones are set a jump apart so that they call out for craziness. Here are the scenes of serious instruction where Ladner taught them how to tell a hickory tree from a butternut and a star from a planet, and places also where they have run and hollered and hung from branches and performed all sorts of rash stunts. And places where Liza thinks there is a bruise on the ground, a tickling and shame in the grass.

P.D. P.

Squeegey-boy

Rub-a-dub-dub.

When Ladner grabbed Liza and squashed himself against her, she had a sense of danger deep inside him, a mechanical sputtering, as if he would exhaust himself in one jab of light, and nothing would be left of him but black smoke and burnt smells and frazzled wires. Instead, he collapsed heavily, like the pelt of an animal flung loose from its flesh and bones. He lay so heavy and useless that Liza and even Kenny felt for a moment that it was a transgression to look to him. He had to pull his voice out of his groaning innards, to tell them they were bad.

He clucked his tongue faintly and his eyes shone out of ambush, hard and round as the animals' glass eyes.

Bad-bad-bad.

"The loveliest thing," Bea said. "Liza, tell me was this your mother's?"

Liza said yes. She could see now that this gift of a single earring might be seen as childish and pathetic perhaps intentionally pathetic. Even keeping it as a treasure could seem stupid. But if it was her mother's, that would be understandable, and it would be a gift of some importance. "You could put it on a chain," she said. "If you put it on a chain you could wear it around your neck."

"But I was just thinking that!" Bea said. "I was just thinking it would look lovely on a chain. A silver chain don't you think? Oh, Liza, I am just so proud you gave it to me!"

"You could wear it in your nose," said Ladner. But he said this without any sharpness. He was peaceable now played out, peaceable. He spoke of Bea's nose as if it might be a pleasant thing to contemplate.

Ladner and Bea were sitting under the plum trees right behind the house. They sat in the wicker chairs that Bea had brought out from town. She had not brought much just enough to make islands here and there among Ladner's skins and instruments. These chairs, some cups, a cushion. The wineglasses they were drinking out of now.

Bea had changed into a dark-blue dress of very thin and soft material. It hung long and loose from her shoulders. She trickled the rhinestones through her fingers, she let them fall and twinkle in the folds of her blue dress. She had forgiven Ladner, after all, or made a bargain not to remember.

Bea could spread safety, if she wanted to. Surely she could. All that is needed is for her to turn herself into a different sort of woman, a hard-and-fast, draw-the-line sort, clean-sweeping, energetic, and intolerant. None of that. Not allowed. Be good. The woman who could rescue them who could make them all, keep them all, good.

What Bea has been sent to do, she doesn't see.

Only Liza sees.

IV.

LIZA LOCKED THE door as you had to, from the outside. She put the key in the plastic bag and the bag in the hole in the tree. She moved towards the snowmobile, and when Warren didn't do the same she said, "What's the matter with you?"

Warren said, "What about the window by the back door?"

Liza breathed out noisily. "Ooh, I'm an idiot!" she said. "I'm an idiot ten times over!"

Warren went back to the window and kicked at the bottom pane. Then he got a stick of firewood from the pile by the tin shed and was able to smash the glass out. "Big enough so a kid could get in," he said.

"How could I be so stupid?" Liza said. "You saved my life."

"Our life," Warren said.

The tin shed wasn't locked. Inside it he found some cardboard boxes, bits of lumber, simple tools. He tore off a piece of cardboard of a suitable size. He took great satisfaction in nailing it over the pane that he had just smashed out. "Otherwise animals could get in," he said to Liza.

When he was all finished with this job, he found that Liza had walked down into the snow between the trees. He went after her.

"I was wondering if the bear was still in there," she said.

He was going to say that he didn't think bears came this far south, but she didn't give him the time. "Can you tell what the trees are by their bark?" she said.

Warren said he couldn't even tell from their leaves. "Well, maples," he said. "Maples and pines."

"Cedar," said Liza. "You've got to know cedar. There's a cedar. There's a wild cherry. Down there's birch. The white ones. And that one with the bark like gray skin? That's a beech. See, it had letters carved on it, but they've spread out, they just look like any old blotches now."

Warren wasn't interested. He only wanted to get home. It wasn't much after three o'clock, but you could feel the darkness collecting, rising among the trees, like cold smoke coming off the snow.

HATESHIP, FRIENDSHIP, COURTSHIP, LOVESHIP, MARRIAGE.

YEARS AGO, before the trains stopped running on so many of the branch lines, a woman with a high, freckled forehead and a frizz of reddish hair came into the railway station and inquired about shipping furniture.

The station agent often tried a little teasing with women, especially the plain ones who seemed to appreciate it.

"Furniture?" he said, as if nobody had ever had such an idea before. "Well. Now. What kind of furniture are we talking about?"

A dining-room table and six chairs. A full bedroom suite, a sofa, a coffee table, end tables, a floor lamp. Also a china cabinet and a buffet.

"Whoa there. You mean a houseful."

"It shouldn't count as that much," she said. "There's no kitchen things and only enough for one bedroom."

Her teeth were crowded to the front of her mouth as if they were ready for an argument.

"You'll be needing the truck," he said.

"No. I want to send it on the train. It's going out west, to Saskatchewan."

She spoke to him in a loud voice as if he was deaf or stupid, and there was something wrong with the way she pronounced her words. An accent. He thought of Dutch the Dutch were moving in around here but she didn't have the heft of the Dutch women or the nice pink skin or the fair hair. She might have been under forty, but what did it matter? No beauty queen, ever.

He turned all business.

"First you'll need the truck to get it to here from wherever you got it. And we better see if it's a place in Saskatchewan where the train goes through. Otherways you'd have to arrange to get it picked up, say, in Regina."

"It's Gdynia," she said. "The train goes through."

He took down a greasy-covered directory that was hanging from a nail and asked how she would spell that. She helped herself to the pencil that was also on a string and wrote on a piece of paper from her purse: GDYNIA.

"What kind of nationality would that be?"

She said she didn't know.

He took back the pencil to follow from line to line.

"A lot of places out there it's all Czechs or Hungarians or Ukrainians," he said. It came to him as he said this that she might be one of those. But so what, he was only stating a fact.

"Here it is, all right, it's on the line."

"Yes," she said. "I want to ship it Friday can you do that?"

"We can ship it, but I can't promise what day it'll get there," he said. "It all depends on the priorities. Somebody going to be on the lookout for it when it comes in?"

"Yes."

"It's a mixed train Friday, two-eighteen p.m. Truck picks it up Friday morning. You live here in town?"

She nodded, writing down the address. 106 Exhibition Road.

It was only recently that the houses in town had been numbered, and he couldn't picture the place, though he knew where Exhibition Road was. If she'd said the name McCauley at that time he might have taken more of an interest, and things might have turned out differently. There were new houses out there, built since the war, though they were called "wartime houses." He supposed it must be one of those.