LITMIR.BIZ

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sat beside his mother and barked angrily out across the increasing stretch of water as he would have barked at any danger that crept and rustled in the jungle. This, too, sank to Jerry’s heart, adding weight to his sure intuition that dire fate, he knew not what, was upon him[13].

      For his six months of life, Jerry knew a great deal and knew very little. He knew, without thinking about it, without knowing that he knew, why Biddy, the wise as well as the brave, did not act upon all the message that her heart voiced to him, and spring into the water and swim after him. She had protected him like a lioness when the big puarka (which, in Jerry’s vocabulary, along with grunts and squeals, was the combination of sound, or word, for “pig”) had tried to devour him where he was cornered under the high-piled plantation house. Like a lioness, when the cook-boy had struck him with a stick to drive him out of the kitchen, had Biddy sprung upon the black, receiving without wince or whimper[14] one straight blow from the stick, and then downing him and mauling him among his pots and pans until dragged (for the first time snarling) away by the unchiding Mister Haggin, who; however, administered sharp words to the cook-boy for daring to lift hand against a four-legged dog belonging to a god.

      Jerry knew why his mother did not plunge into the water after him. The salt sea, as well as the lagoons that led out of the salt sea, were taboo. “Taboo,” as word or sound, had no place in Jerry’s vocabulary. But its definition, or significance, was there in the quickest part of his consciousness. He possessed a dim, vague, imperative knowingness that it was not merely not good, but supremely disastrous, leading to the mistily glimpsed sense of utter endingness for a dog, for any dog, to go into the water where slipped and slid and noiselessly paddled, sometimes on top, sometimes emerging from the depths, great scaly monsters, huge-jawed and horribly-toothed, that snapped down and engulfed a dog in an instant just as the fowls of Mister Haggin snapped and engulfed grains of corn.

      Often he had heard his father and mother, on the safety of the sand, bark and rage their hatred of those terrible sea-dwellers, when, close to the beach, they appeared on the surface like logs awash. “Crocodile” was no word in Jerry’s vocabulary. It was an image, an image of a log awash that was different from any log in that it was alive. Jerry, who heard, registered, and recognized many words that were as truly tools of thought to him as they were to humans, but who, by inarticulateness of birth and breed, could not utter these many words, nevertheless in his mental processes, used images just as articulate men use words in their own mental processes. And after all, articulate men, in the act of thinking, willy-nilly[15] use images that correspond to words and that amplify words.

      Perhaps, in Jerry’s brain, the rising into the foreground of consciousness of an image of a log awash connoted more intimate and fuller comprehension of the thing being thought about, than did the word “crocodile,” and its accompanying image, in the foreground of a human’s consciousness. For Jerry really did know more about crocodiles than the average human. He could smell a crocodile farther off and more differentiatingly than could any man, than could even a salt-water black or a bushman smell one. He could tell when a crocodile, hauled up from the lagoon, lay without sound or movement, and perhaps asleep, a hundred feet away on the floor mat of jungle.

      He knew more of the language of crocodiles than did any man. He had better means and opportunities of knowing. He knew their many noises that were as grunts and slubbers. He knew their anger noises, their fear noises, their food noises, their love noises. And these noises were as definitely words in his vocabulary as are words in a human’s vocabulary. And these crocodile noises were tools of thought. By them he weighed and judged and determined his own consequent courses of action, just like any human; or, just like any human, lazily resolved upon no course of action[16], but merely noted and registered a clear comprehension of something that was going on about him that did not require a correspondence of action on his part.

      And yet, what Jerry did not know was very much. He did not know the size of the world. He did not know that this Meringe Lagoon, backed by high, forested mountains and fronted and sheltered by the off-shore coral islets, was anything else than the entire world. He did not know that it was a mere fractional part of the great island of Ysabel, that was again one island of a thousand, many of them greater, that composed the Solomon Islands that men marked on charts as a group of specks in the vastitude of the far-western South Pacific.

      It was true, there was a somewhere else or a something beyond of which he was dimly aware. But whatever it was, it was mystery. Out of it, things that had not been, suddenly were. Chickens and puarkas and cats, that he had never seen before, had a way of abruptly appearing on Meringe Plantation. Once, even, had there been an eruption of strange four-legged, horned and hairy creatures, the images of which, registered in his brain, would have been identifiable in the brains of humans with what humans worded “goats.”

      It was the same way with the blacks. Out of the unknown[17], from the somewhere and something else, too unconditional for him to know any of the conditions, instantly they appeared, full-statured, walking about Meringe Plantation with loin-cloths about their middles and bone bodkins through their noses, and being put to work by Mister Haggin, Derby, and Bob. That their appearance was coincidental with the arrival of the Arangi was an association that occurred as a matter of course[18] in Jerry’s brain. Further, he did not bother, save that there was a companion association, namely, that their occasional disappearances into the beyond was likewise coincidental with the Arangi’s departure.

      Jerry did not query these appearances and disappearances. It never entered his golden-sorrel head to be curious about the affair or to attempt to solve it. He accepted it in much the way he accepted the wetness of water and the heat of the sun. It was the way of life and of the world he knew. His hazy awareness was no more than an awareness of something – which, by the way, corresponds very fairly with the hazy awareness of the average human of the mysteries of birth and death and of the beyondness about which they have no definiteness of comprehension.

      For all that any man may gainsay, the ketch Arangi, trader and blackbirder in the Solomon Islands, may have signified in Jerry’s mind as much the mysterious boat that traffics between the two worlds, as, at one time, the boat that Charon[19] sculled across the Styx[20] signified to the human mind. Out of the nothingness men came. Into the nothingness they went. And they came and went always on the Arangi.

      And to the Arangi, this hot-white tropic morning, Jerry went on the whaleboat under the arm of his Mister Haggin, while on the beach Biddy moaned her woe, and Michael, not sophisticated, barked the eternal challenge of youth to the Unknown.

      Chapter II

      From the whaleboat, up the low side of the Arangi, and over her six-inch rail of teak to her teak deck, was but a step, and Tom Haggin made it easily with Jerry still under his arm. The deck was cluttered with an exciting crowd. Exciting the crowd would have been to untravelled humans of civilization, and exciting it was to Jerry; although to Tom Haggin and Captain Van Horn it was a mere commonplace of everyday life.

      The deck was small because the Arangi was small. Originally a teak-built, gentleman’s yacht, brass-fitted, copper-fastened, angle-ironed, sheathed in man-of-war copper and with a fin-keel of bronze[21], she had been sold into the Solomon Islands’ trade for the purpose of blackbirding or nigger-running. Under the law, however, this traffic was dignified by being called “recruiting.”

      The Arangi was a labour-recruit ship that carried the new-caught cannibal blacks from remote islands to labour on the new plantations where white men turned dank and pestilential swamp and jungle into rich and stately cocoanut groves. The Arangi’s two masts were of Oregon cedar, so scraped and hot-paraffined that they shone like tan opals in the glare of sun. Her excessive sail plan enabled her to sail like a witch, and, on occasion, gave Captain Van Horn, his white mate, and his fifteen black boat’s crew as much as they could

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