Mexican Gothic(13)
“Good morning,” she said. “We weren’t introduced properly yesterday. I’m Noemí.”
Both of them stared at her mutely. A door opened and a woman, also gray-haired, walked into the kitchen carrying a bucket. She recognized her as the maid who had served them during dinner, and she was of an age with the man. The maid did not speak to Noemí either, nodding instead, and then the couple who were seated on the bench nodded too before placing their attention back on their work.
Did everyone follow this policy of silence in High Place?
“I’m—”
“We’re working,” the man said.
The three servants then looked down, their wan faces indifferent to the presence of the colorful socialite. Perhaps Virgil or Florence had informed them Noemí was someone of no importance and that they should not trouble themselves with her.
Noemí bit her lip and stepped outside the house using the back door the maid had opened. There was mist, like the previous day, and a chill to the air. Now she regretted not wearing a more comfortable outfit, a dress with pockets where she could carry her cigarettes and her lighter. Noemí adjusted the red rebozo around her shoulders.
“Did you have a good breakfast?” Francis asked, and she turned around to look at him. He’d also come out through the kitchen door, wrapped in a snug sweater.
“Yes, it was fine. How’s your day going?”
“It’s all right.”
“What is that?” she asked, pointing at a nearby wooden structure, made hazy by the mist.
“That’s the shed where we keep the generator and the fuel.
Behind it is the coach house. Do you want to take a look at it? Maybe also go to the cemetery?”
“Sure.”
The coach house seemed like a place that might have a hearse and two black horses inside, but instead there were two cars. One was the luxurious older vehicle that Francis had driven; the other was a newer but much more modest-looking car. A path snaked around the coach house, and they followed it through the trees and the mist until they reached a pair of iron gates decorated with the motif of a serpent eating its tail like the one she’d seen in the library.
They walked down a shady path, the trees so close together only a smattering of light made it through the branches. She could picture this same graveyard once upon a time in a tidier state, with carefully tended shrubs and flower beds, but now it was a realm of weeds and tall grasses, the vegetation threatening to swallow the place whole.
The tombstones were blanketed with moss, and mushrooms sprouted by the graves. It was a picture of melancholy. Even the trees seemed lugubrious, though Noemí could not say why. Trees were trees.
It was the sum of it, she thought, and not the individual parts that made the English cemetery so sad. Neglect was one thing, but neglect and the shadows cast by the trees and the weeds clustered by the tombstones, the chill in the air, served to turn what would have been an ordinary collection of vegetation and tombstones into a fiercely displeasing picture.
She felt sorry for every single person buried there, just as she felt sorry for everyone living at High Place. Noemí bent down to look at a headstone, then another, and frowned.
“Why are all these from 1888?” she asked.
“The nearby mine was managed by Spaniards until Mexico’s independence and left alone for many decades because nobody believed much silver could be extracted. But my great uncle Howard thought differently,” Francis explained. “He brought modern English machines and a large English crew to do the work. He was successful, but a couple of years after reopening the mine there was an epidemic. It killed most of the English workers, and they were buried here.”
“And then? What did he do after? Did he send for more workers from England?”
“Ah…no, no need…he always had Mexican workers too, a large contingent of them…but they’re not all buried here. I believe they’re in El Triunfo. Uncle Howard would know better.”
A rather exclusive spot, then, though Noemí supposed it was for the best. The families of local crew members probably wanted to visit their loved ones, to leave flowers on their graves, which would have been impossible in this place, isolated from the town.
They walked onward until Noemí paused before a marble statue of a woman standing on a pedestal, flower wreaths in her hair. She flanked the doorway to a mausoleum with a pedimented doorway, her right hand pointing at its entrance. The name Doyle was carved in capital letters above this doorway along with a phrase in Latin: Et Verbum caro factum est.
“Who’s this?”
“The statue is supposed to be the likeness of my great aunt Agnes, who died during the epidemic. And here, the Doyles are all buried here: my great aunt, my grandfather and grandmother, my cousins,”
he said, trailing off, dipping into an uncomfortable silence.
The silence, not only of the cemetery but of the whole house, unnerved Noemí. She was used to the rumble of the tram and the automobiles, the sound of canaries chirping in the inner courtyard by the gleeful fountain, the barking of the dogs and the melodies pouring from the radio as the cook hummed by the stove.
“It’s so quiet here,” she said and shook her head. “I don’t like it.”
“What do you like?” he asked, curious.
“Mesoamerican artifacts, zapote ice cream, Pedro Infante’s movies, music, dancing, and driving,” she said, counting a finger as she listed each item. She also liked to banter, but she was certain he could figure that out on his own.