The Island of Sea Women(26)
Young-sook squeezes her skull through her cap, positioning the small opening above her eyebrows and just below her lips. As she looks around the bulteok, she sees the weathered faces of friends she’s known her entire life squishing through their own small openings. The characters of the women—and their histories of goodness, generosity, stinginess, and callousness—are centered in those few centimeters. Each line tells a story of underwater journeys, births and deaths, survival and triumph. The deep grooves around Kang Gu-ja’s mouth bloom outward like a child’s drawing of the sun. Creases streak from the corners of her eyes down her cheeks. Kang Gu-sun will forever be the younger sister. Despite her losses, kindness radiates from her eyes. Some women are toothless, cheeks pressed forward, amplifying furrows of sorrow and joy. Now, almost as one, they pull their face masks onto their heads, but each woman wears hers in a unique manner—over her brow, on top of her head, or on the side at an angle. A few women add homemade floral vests over their neoprene tops, wanting to show off their individuality.
The grannies leave the bulteok—with their tewaks, nets, fins, and other tools—walk down some steps, and set out across the jetty to the boat. They’re taken to a cove off a nearby island known for its abundance of top shell. Once the boat reaches its destination, Young-sook and the other women take a few moments to make offerings of rice and rice wine to the Dragon Sea God and pray for an abundant harvest, a safe return, and peace of mind. Young-sook’s life by now can be summed up in three words—pray, pray, pray—for all the good those prayers have done her.
Then, whoosh . . . Into the water. It’s been about thirty years since she and other haenyeo started wearing rubber clothes. “You’ll be covered head to toe,” an official from the government had told them. “This will finally put an end to the criticism that haenyeo are immodest and show too much skin. And you’ll be helping with our tourism industry!” (He’d been talking about tourists from the mainland, and he’d been right about that. But no one back then could have predicted the foreign tourists, that they’d love to come to the shore to watch ancients like her enter the sea, or that they’d enjoy seeing “re-creations” at the new Haenyeo Museum, where hired girls wore traditional water clothes and sang rowing songs in daily shows.) When Young-sook first started using a wet suit, she’d been able to stay in the water longer, because she was protected from the cold. It had also protected her from jellyfish stings and water snake bites. (It did not protect her from other dangers: fishing lines or speedboats bearing tourists.) Weights and fins had helped her reach a greater depth too. The result: she was safer, her catches were larger, and she’d earned more money. But when people suggested the haenyeo start using oxygen tanks, she, along with other divers around the island, refused. “Everything we do must be natural,” she’d told the collective, “otherwise we’ll harvest too much, deplete our wet fields, and earn nothing.” There, again, balance.
As she settles into the feeling of weightlessness, her aches and pains melt away. And, on a day like today, when her mind is in turmoil, the vastness of the ocean offers solace. She kicks down, going headfirst, shooting her body deeper and deeper. She hopes the pressure on her ears will squash the thoughts of the past. Instead, it feels as though they’re being pushed out—like toothpaste from a tube. The image troubles her. She needs to concentrate—always be aware—but her mother and grandmother, and, lurking in the shadows of her mind, Mi-ja, keep pushing against the backs of her eyes.
Young-sook’s mother used to say that the sea was like a mother, while Young-sook’s grandmother said that the sea was better than a mother. After all these years, Young-sook knows her grandmother to be the most right. The sea is better than a mother. You can love your mother, and she still might leave you. You can love or hate the sea, but it will always be there. Forever. The sea has been the center of her life. It has nurtured her and stolen from her, but it has never left.
On her third dive, her mind begins to relax. She tunes in to the thrum that connects her to the earth, to those she’s lost, to love. The way the blood pounds in her head makes her feel alive. When she’s in the sea, she’s in the womb of the world.
And she forgets to be cautious.
Young-sook dives deeper than she’s gone in years. The water pressure is harder on her now. She remembers when she could go down twenty meters . . . Deep enough to crush a plastic bottle. But that was before plastic bottles . . .
Returning to the surface . . . Aaah. Her sumbisori sighs out across the swells. She takes in several panted breaths. She’s making many short dives in a narrow time span, releasing her sumbisori, then gulping in air for her next dive. She knows better, but the water feels so good. On her next dive, she’ll try for her old twenty meters, just to see if she can. One last intake of breath, then head straight down, kicking hard. Down, down, down she goes. She’s aware of other haenyeo watching her, which makes her bolder. Finally, for a few precious seconds, she’s able to forget the family she met on the beach, their photos, and their daughter, who looked so much like Mi-ja. But in those moments of forgetting, she loses track of the most important thing—air. Now she must return swiftly to the surface. She can see it . . . Then things start to go black . . .
Her friends are waiting for Young-sook by her tewak when, unconscious, she breaks the surface. Together, they pull her to the boat. The boatman grabs Young-sook by the back of her wet suit, while the women lift her up from below. Once everyone is on board, the boatman pushes the throttle. One of the women calls for help on her cellphone. Young-sook is aware of none of this—her eyes closed, her body limp.