"Thank you. And, Paul D, you don't have to stay 'way, but be careful how you talk to my ma'am, hear?"

"Don't worry," he said and left her then, or rather she left him because a young man was running toward her, saying, "Hey, Miss Denver. Wait up."

She turned to him, her face looking like someone had turned up the gas jet.

He left her unwillingly because he wanted to talk more, make sense out of the stories he had been hearing: whiteman came to take Denver to work and Sethe cut him. Baby ghost came back evil and sent Sethe out to get the man who kept her from hanging. One point of agreement is: first they saw it and then they didn't. When they got Sethe down on the ground and the ice pick out of her hands and looked back to the house, it was gone. Later, a little boy put it out how he had been looking for bait back of 124, down by the stream, and saw, cutting through the woods, a naked woman with fish for hair.

As a matter of fact, Paul D doesn't care how It went or even why. He cares about how he left and why. Then he looks at himself through Garner's eyes, he sees one thing. Through Sixo's, another.

One makes him feel righteous. One makes him feel ashamed. Like the time he worked both sides of the War. Running away from the Northpoint Bank and Railway to join the 44th Colored Regiment in Tennessee, he thought he had made it, only to discover he had arrived at another colored regiment forming under a commander in New Jersey. He stayed there four weeks. The regiment fell apart before it got started on the question of whether the soldiers should have weapons or not. Not, it was decided, and the white commander had to figure out what to command them to do instead of kill other white men. Some of the ten thousand stayed there to clean, haul and build things; others drifted away to another regiment; most were abandoned, left to their own devices with bitterness for pay. He was trying to make up his mind what to do when an agent from Northpoint Bank caught up with him and took him back to Delaware, where he slave-worked a year. Then Northpoint took $300 in exchange for his services in Alabama, where he worked for the Rebellers, first sorting the dead and then smelting iron. When he and his group combed the battlefields, their job was to pull the Confederate wounded away from the Confederate dead. Care, they told them. Take good care. Coloredmen and white, their faces wrapped to their eyes, picked their way through the meadows with lamps, listening in the dark for groans of life in the indifferent silence of the dead. Mostly young men, some children, and it shamed him a little to feel pity for what he imagined were the sons of the guards in Alfred, Georgia.

In five tries he had not had one permanent success. Every one of his escapes (from Sweet Home, from Brandywine, from Alfred, Georgia, from Wilmington, from Northpoint) had been frustrated. Alone, undisguised, with visible skin, memorable hair and no whiteman to protect him, he never stayed uncaught. The longest had been when he ran with the convicts, stayed with the Cherokee, followed their advice and lived in hiding with the weaver woman in Wilmington, Delaware: three years. And in all those escapes he could not help being astonished by the beauty of this land that was not his. He hid in its breast, fingered its earth for food, clung to its banks to lap water and tried not to love it. On nights when the sky was personal, weak with the weight of its own stars, he made himself not love it. Its graveyards and low-lying rivers. Or just a house---solitary under a chinaberry tree; maybe a mule tethered and the light hitting its hide just so. Anything could stir him and he tried hard not to love it.

After a few months on the battlefields of Alabama, he was impressed to a foundry in Selma along with three hundred captured, lent or taken coloredmen. That's where the War's end found him, and leaving Alabama when he had been declared free should have been a snap. He should have been able to walk from the foundry in Selma straight to Philadelphia, taking the main roads, a train if he wanted to, or passage on a boat. But it wasn't like that. When he and two colored soldiers (who had been captured from the 44th he had looked for) walked from Selma to Mobile, they saw twelve dead blacks in the first eighteen miles. Two were women, four were little boys. He thought this, for sure, would be the walk of his life.

The Yankees in control left the Rebels out of control. They got to the outskirts of Mobile, where blacks were putting down tracks for the Union that, earlier, they had torn up for the Rebels. One of the men with him, a private called Keane, had been with the Massachusetts 54th. He told Paul D they had been paid less than white soldiers. It was a sore point with him that, as a group, they had refused the offer Massachusetts made to make up the difference in pay. Paul D was so impressed by the idea of being paid money to fight he looked at the private with wonder and envy.

Keane and his friend, a Sergeant Rossiter, confiscated a skiff and the three of them floated in Mobile Bay. There the private hailed a Union gunboat, which took all three aboard. Keane and Rossiter disembarked at Memphis to look for their commanders. The captain of the gunboat let Paul D stay aboard all the way to Wheeling, West Virginia. He made his own way to New Jersey.

By the time he got to Mobile, he had seen more dead people than living ones, but when he got to Trenton the crowds of alive people, neither hunting nor hunted, gave him a measure of free life so tasty he never forgot it. Moving down a busy street full of whitepeople who needed no explanation for his presence, the glances he got had to do with his disgusting clothes and unforgivable hair. Still, nobody raised an alarm. Then came the miracle. Standing in a street in front of a row of brick houses, he heard a whiteman call him ("Say there!

Yo!") to help unload two trunks from a coach cab. Afterward the whiteman gave him a coin. Paul D walked around with it for hours-- not sure what it could buy (a suit? a meal? a horse?) and if anybody would sell him anything. Finally he saw a greengrocer selling vegetables from a wagon. Paul D pointed to a bunch of turnips. The grocer handed them to him, took his one coin and gave him several more. Stunned, he backed away. Looking around, he saw that nobody seemed interested in the "mistake" or him, so he walked along, happily chewing turnips. Only a few women looked vaguely repelled as they passed. His first earned purchase made him glow, never mind the turnips were withered dry. That was when he decided that to eat, walk and sleep anywhere was life as good as it got. And he did it for seven years till he found himself in southern Ohio, where an old woman and a girl he used to know had gone.

Now his coming is the reverse of his going. First he stands in the back, near the cold house, amazed by the riot of late-summer flowers where vegetables should be growing. Sweet william, morning glory, chrysanthemums. The odd placement of cans jammed with the rotting stems of things, the blossoms shriveled like sores. Dead ivy twines around bean poles and door handles. Faded newspaper pictures are nailed to the outhouse and on trees. A rope too short for anything but skip-jumping lies discarded near the washtub; and jars and jars of dead lightning bugs. Like a child's house; the house of a very tall child.

He walks to the front door and opens it. It is stone quiet. In the place where once a shaft of sad red light had bathed him, locking him where he stood, is nothing. A bleak and minus nothing. More like absence, but an absence he had to get through with the same determination he had when he trusted Sethe and stepped through the pulsing light. He glances quickly at the lightning-white stairs. The entire railing is wound with ribbons, bows, bouquets. Paul D steps inside. The outdoor breeze he brings with him stirs the ribbons.

Carefully, not quite in a hurry but losing no time, he climbs the luminous stairs. He enters Sethe's room. She isn't there and the bed looks so small he wonders how the two of them had lain there. It has no sheets, and because the roof windows do not open the room is stifling. Brightly colored clothes lie on the floor. Hanging from a wall peg is the dress Beloved wore when he first saw her. A pair of ice skates nestles in a basket in the corner. He turns his eyes back to the bed and keeps looking at it. It seems to him a place he is not.

With an effort that makes him sweat he forces a picture of himself lying there, and when he sees it, it lifts his spirit. He goes to the other bedroom. Denver's is as neat as the other is messy. But still no Sethe.

Maybe she has gone back to work, gotten better in the days since he talked to Denver. He goes back down the stairs, leaving the image of himself firmly in place on the narrow bed. At the kitchen table he sits down. Something is missing from 124. Something larger than the people who lived there. Something more than Beloved or the red light. He can't put his finger on it, but it seems, for a moment, that just beyond his knowing is the glare of an outside thing that embraces while it accuses.

To the right of him, where the door to the keeping room is ajar, he hears humming. Someone is humming a tune. Something soft and sweet, like a lullaby. Then a few words. Sounds like "high Johnny, wide Johnny. Sweet William bend down low." Of course, he thinks.

That's where she is--and she is. Lying under a quilt of merry colors.

Her hair, like the dark delicate roots of good plants, spreads and curves on the pillow. Her eyes, fixed on the window, are so expressionless he is not sure she will know who he is. There is too much light here in this room. Things look sold.

"Jackweed raise up high," she sings. "Lambswool over my shoulder, buttercup and clover fly." She is fingering a long clump of her hair.

Paul D clears his throat to interrupt her. "Sethe?"

She turns her head. "Paul D."

"Aw, Sethe."

"I made the ink, Paul D. He couldn't have done it if I hadn't made the ink."

"What ink? Who?"

"You shaved."

"Yeah. Look bad?"

"No. You looking good."

"Devil's confusion. What's this I hear about you not getting out of bed?"

She smiles, lets it fade and turns her eyes back to the window.

"I need to talk to you," he tells her.

She doesn't answer.

"I saw Denver. She tell you?"

"She comes in the daytime. Denver. She's still with me, my Denver."

"You got to get up from here, girl." He is nervous. This reminds him of something.

"I'm tired, Paul D. So tired. I have to rest a while."

Now he knows what he is reminded of and he shouts at her, "Don't you die on me! This is Baby Suggs' bed! Is that what you planning?" He is so angry he could kill her. He checks himself, remembering Denver's warning, and whispers, "What you planning, Sethe?"

"Oh, I don't have no plans. No plans at all."

"Look," he says, "Denver be here in the day. I be here in the night. I'm a take care of you, you hear? Starting now. First off, you don't smell right. Stay there. Don't move. Let me heat up some water." He stops. "Is it all right, Sethe, if I heat up some water?"

"And count my feet?" she asks him.

He steps closer. "Rub your feet."

Sethe closes her eyes and presses her lips together. She is thinking: No. This little place by a window is what I want. And rest. There's nothing to rub now and no reason to. Nothing left to bathe, assuming he even knows how. Will he do it in sections? First her face, then her hands, her thighs, her feet, her back? Ending with her exhausted breasts? And if he bathes her in sections, will the parts hold? She opens her eyes, knowing the danger of looking at him. She looks at him. The peachstone skin, the crease between his ready, waiting eyes and sees it--the thing in him, the blessedness, that has made him the kind of man who can walk in a house and make the women cry.

Because with him, in his presence, they could. Cry and tell him things they only told each other: that time didn't stay put; that she called, but Howard and Buglar walked on down the railroad track and couldn't hear her; that Amy was scared to stay with her because her feet were ugly and her back looked so bad; that her ma'am had hurt her feelings and she couldn't find her hat anywhere and "Paul D?"

"What, baby?"

"She left me."

"Aw, girl. Don't cry."

"She was my best thing."

Paul D sits down in the rocking chair and examines the quilt patched in carnival colors. His hands are limp between his knees.

There are too many things to feel about this woman. His head hurts.

Suddenly he remembers Sixo trying to describe what he felt about the Thirty-Mile Woman. "She is a friend of my mind. She gather me, man. The pieces I am, she gather them and give them back to me in all the right order. It's good, you know, when you got a woman who is a friend of your mind."

He is staring at the quilt but he is thinking about her wrought iron back; the delicious mouth still puffy at the corner from Ella's fist. The mean black eyes. The wet dress steaming before the fire.

Her tenderness about his neck jewelry--its three wands, like attentive baby rattlers, curving two feet into the air. How she never mentioned or looked at it, so he did not have to feel the shame of being collared like a beast. Only this woman Sethe could have left him his manhood like that. He wants to put his story next to hers.

"Sethe," he says, "me and you, we got more yesterday than anybody.

We need some kind of tomorrow."

He leans over and takes her hand. With the other he touches her face. "You your best thing, Sethe. You are." His holding fingers are holding hers.

"Me? Me?"

THERE IS a loneliness that can be rocked. Arms crossed, knees drawn up; holding, holding on, this motion, unlike a ship's, smooths and contains the rocker. It's an inside kind--wrapped tight like skin.

Then there is a loneliness that roams. No rocking can hold it down.

It is alive, on its own. A dry and spreading thing that makes the sound of one's own feet going seem to come from a far-off place.

Everybody knew what she was called, but nobody anywhere knew her name. Disremembered and unaccounted for, she cannot be lost because no one is looking for her, and even if they were, how can they call her if they don't know her name? Although she has claim, she is not claimed. In the place where long grass opens, the girl who waited to be loved and cry shame erupts into her separate parts, to make it easy for the chewing laughter to swallow her all away.

It was not a story to pass on.

They forgot her like a bad dream. After they made up their tales, shaped and decorated them, those that saw her that day on the porch quickly and deliberately forgot her. It took longer for those who had spoken to her, lived with her, fallen in love with her, to forget, until they realized they couldn't remember or repeat a single thing she said, and began to believe that, other than what they themselves were thinking, she hadn't said anything at all. So, in the end, they forgot her too. Remembering seemed unwise. They never knew where or why she crouched, or whose was the underwater face she needed like that. Where the memory of the smile under her chin might have been and was not, a latch latched and lichen attached its apple-green bloom to the metal. What made her think her fingernails could open locks the rain rained on?

It was not a story to pass on.

So they forgot her. Like an unpleasant dream during a troubling sleep. Occasionally, however, the rustle of a skirt hushes when they wake, and the knuckles brushing a cheek in sleep seem to belong to the sleeper. Sometimes the photograph of a close friend or relative--looked at too long--shifts, and something more familiar than the dear face itself moves there. They can touch it if they like, but don't, because they know things will never be the same if they do.

This is not a story to pass on.

Down by the stream in back of 124 her footprints come and go, come and go. They are so familiar. Should a child, an adult place his feet in them, they will fit. Take them out and they disappear again as though nobody ever walked there.

By and by all trace is gone, and what is forgotten is not only the footprints but the water too and what it is down there. The rest is weather. Not the breath of the disremembered and unaccounted for, but wind in the eaves, or spring ice thawing too quickly. Just weather.

Certainly no clamor for a kiss.

Beloved.

The End

TONI MORRISON was born in Lorain, Ohio. The recipient of the 1993 Nobel Prize in Literature, and of the Pulitzer Prize for fiction for Beloved, she is the author of six other novels. The Bluest Eye, Sula, Song of Solomon, which won the 1978 National Book Critics Circle Award for fiction, Tar Baby, Jazz, and Paradise, which are available or forthcoming in Plume editions. She is Robert F.Goheen Professor, Council of the Humanities, at Princeton University.