I arrived at the house, nervous, ludicrously armed with Uda's squash pie. But he was in his darkroom. Not waiting. He called it his workroom, I think to try to legitimize his hobby to himself. Doc Homer made pictures. Specifically, he made photographs of things that didn't look like what they actually were. He had hundreds: clouds that looked like animals, landscapes that looked like clouds. They were pressed between slabs of cardboard, in closets. Only one was framed. The matting and framing were my present to him one Christmas when I was in high school, after I'd started making my own money. It had cost me a lot, and was a mistake. His hobby was a private thing, too frivolous in his opinion to be put on public display. I should have foreseen this, but didn't.
Nevertheless, he'd hung it in the kitchen, God only knows why because the man was far from sentimental, and there it still hung. It was the first thing I noticed when I knocked on the screen door and walked in. The photo was my favorite, a hand on a white table. And of course it wasn't a hand, but a clump of five saguaro cacti, oddly curved and bumpy, shot against a clear sky. All turned sideways. Odd as it seemed, this thing he did, there was a great deal of art to it.
I put the pie in the refrigerator and nosed around a little, telling myself it's what a good daughter would do. I pictured these good daughters-wifely and practical, wearing perms and loafers and Peter Pan collars. I didn't remotely look the part. As I crept around the house it felt to me like a great, sad, recently disclosed secret. The kitchen seemed smaller than when I was a girl, standing on a bucket to reach the sink, but that's natural. It was also crowded with odds and ends you wouldn't expect in a kitchen: a pair of Piper forceps, for example, washed with the day's dishes and sitting amongst them on the drainboard. This didn't signify any new eccentricity on his part. He'd always had a bizarre sense of utility. I could picture him using the forceps to deliver a head of cabbage from a pot of boiling water. Holding it up. Not in a show-off way, but proud he'd thought of it, as if he were part of a very small club of people who had the brains to put obstetrical instruments to use in the kitchen.
The rooms were cool and stale although it was hot outside. I stepped through the living room, over the old Turkish carpet, which looked malnourished, its bare white threads exposed like ribs. Doc Homer could afford better, I heard somebody say in my mind, a voice I couldn't identify. "All the money he's got up there." Which of course wasn't true, we never had much, that was just what people thought because we were standoffish. Beyond the living room was the parlor where he used to see patients who'd come to the house, embarrassed, it seems to me now, at night when the office was closed. At present the parlor was shockingly cramped. The door to the outside porch was blocked by furniture I didn't remember: two sofas and something that looked like a cobbler's bench. Folded on a sofa was one thing I remembered well, a black crocheted afghan with red flowers. Hallie and I used to drag that thing around everywhere, our totem against disaster. It looked cleaner now than I'd ever seen it.
Magazines and journals were everywhere. His American Journal of Genetics was still organized chronologically on the shelf. That was his pet interest; they'd once published his article on the greatly inbred gene pool of Grace, with its marble-eyed babies. (He'd even rigged up a system for photographing the newborns' eyes, for documentation.) The trait first began showing up in the fifties, when third-cousin descendants of the Gracela sisters started marrying each other. Emelina would have been one of his subjects. You needed to get the gene from both sides; it was recessive. That's about what I knew. For me it was enough to understand that everyone in Grace was somehow related except us Nolines, the fish out of water. Our gene pool was back in Illinois.
Other magazines, many in number, were piled on the floor. I picked up a Lancet: 1977, my first year of med school. There was an important article on diabetes I remembered. Underneath, a recent National Geographic. There was no order at all. Though if I mentioned it he'd come up with some elaborate rationale before he'd admit to disorganization. South Sea Islands and Islets of Langerhans, I could see him saying, and not meaning it as a joke. The smell of mold was making my eyes water. I was inclined toward the stairs, to go up and see what kind of shape the bedrooms were in, but I didn't have the heart. It wasn't my house. I forced my hand to knock on the darkroom door.
"Open. I'm about to start printing."
I closed the door behind me. There was only a dim red light bulb. "Hi, Pop," I said.
He looked at me, unsurprised and not very much changed, I could see as my eyes adjusted. I was prepared for frailty and incoherence but he was lucid and familiar. The same substantial hands and wrist bones, the straight nose and low, broad mouth-things I also have, without noticing much. He motioned for me to sit.