Up the Mountain Coming Down Slowly Read online

  Up the Mountain

  Coming Down Slowly

  By DAVE EGGERS

  How much were they willing to sacrifice to prove an uncertain

  point, to no one in particular, about a mountain that none of

  them could begin to understand?

  She lies, she lies, Rita lies on the bed, looking up, in the room that is so loud so early in Tanzania. She is in Moshi. She arrived the night before, in a jeep driven by a man named Godwill. It is so bright this morning but was so madly, impossibly dark last night.

  Her flight had arrived late, and customs was slow. There was a young American couple trying to clear a large box of soccer balls. For an orphanage, they said. The customs agent, in khaki head to toe, removed and bounced each ball on the clean reflective floor, as if inspecting their viability. Finally the American man was taken to a side room, and in a few minutes returned, rolling his eyes to his wife, rubbing his forefinger and thumb together in a way meaning money. The soccer balls were cleared, and the couple went on their way. Outside it was not humid; it was open and clear, the air cool and light, and Rita was greeted soundlessly by an old man, black and white-haired and thin and neat in shirtsleeves and a brown tie. He was Godwill, and he had been sent by the hotel to pick her up. It was midnight and she was very awake as they drove and they had driven, on the British side of the road, in silence through rural Tanzania, just their headlights and the occasional jacaranda, and the constant long grass lining the way.

  At the hotel she wanted a drink. She went to the hotel bar alone, something she'd never done, and sat at the bar with a stenographer from Brussels. The stenographer, whose name she did not catch and couldn't ask for again, wore a short inky bob of black coarse hair, and was wringing her napkin into tortured shapes, tiny twisted mummies. The stenographer: face curvy and shapeless like a child's, voice melodious, accent soothing. They talked about capital punishment, comparing the stonings common to some Muslim regions with America's lethal injections and electric chairs; somehow the conversation was cheerful and relaxed. They had both seen the same documentary about people who had witnessed executions, and had been amazed at how little it had seemed to affect any of them, the watchers; they were sullen and unmoved. To witness a death! Rita could never do it. Even if they made her sit there, behind the partition, she would close her eyes.

  Rita was tipsy and warm when she said good night to the Brussels stenographer, who held her hand too long with her cold slender fingers. Through the French doors and Rita was outside, and walked past the pool toward her hut, one of twelve behind the hotel. She passed a man in a plain and green uniform with a gun strapped to his back, an automatic rifle of some kind, the barrel poking over his shoulder and in the dim light seeming aimed at the base of his skull. She didn't know why the man was there, and didn't know if he would shoot her in the back when she walked past him, but she did, she walked past him, because she trusted him, trusted this country and the hotel—that together they would know why it was necessary to have a heavily armed guard standing alone by the pool, still and clean, the surface dotted with leaves. She smiled at him and he did not smile back and she only felt safe again when she had closed the hut's door and closed the door to the bathroom and was sitting on the cool toilet with her palms caressing her toes.

  Morning comes like a scream through a pinhole. Rita is staring at the concentric circles of bamboo that comprise the hut's round conical roof. She is lying still, hands crossed on her chest—she woke up that way—and through the mosquito net, too tight, terrifying, suffocating in a small way when she thinks too much about it, she can see the concentric circles of the roof above and the circles are twenty-two in number, because she has counted and recounted. She counted while lying awake, listening to someone, outside the hut, fill bucket after bucket with water.

  Her name is Rita. Her hair is red like a Romanian's and her hands are large. Eyes large and mouth lipless and she hates, has always hated, her lipless mouth. As a girl she waited for her lips to appear, to fill out, but it did not happen. Every year since her sixteenth birthday her lips have not grown but receded. The circles make up the roof but the circles never touch. Her father had been a pastor.

  Last night she thought, intermittently, she knew why she was in Tanzania, in Moshi, at the base of Kilimanjaro. But this morning she has no clue. She knows she is supposed to begin hiking up the mountain today, in two hours, but now that she has come here, through Amsterdam and through the cool night from the airport, sitting silently alone the whole drive, an hour or so at midnight, next to God-will—really his name was Godwill, an old man who was sent by the hotel to pick her up, and it made her so happy because Godwill was such a ... Tanzanian-sounding name—now that she has come here and is awake she cannot find the reason why she is here. She cannot recall the source of her motivation to spend four days hiking up this mountain, so blindingly white at the top—a hike some had told her was brutalizing and often fatal and others had claimed was, well, just a walk in the park. She was not sure she was fit enough, and was not sure she would not be bored to insanity. She was most concerned about the altitude sickness. The young were more susceptible, she'd heard, and at 38 she was not sure she was that anymore—young—but she felt that for some reason she in particular was always susceptible and she would have to know when to turn back. If the pressure in her head became too great, she would have to turn back. The mountain was almost 20,000 feet high and every month someone died of a cerebral edema and there were ways to prevent this. Breathing deeply would bring more oxygen into the blood, into the brain, and if that didn't work and the pain persisted, there was Diamox, which thinned the blood and accomplished the same objective but more quickly. But she hated to take pills and had vowed not to use them, to simply go down if the pain grew intolerable—but how would she know when to go down? What were the phases before death? And what if she decided too late? She might at some point realize that it was time to turn and walk down the mountain, but what if it was already too late? It was possible that she would decide to leave, be ready to live at a lower level again, but by then the mountain would have had its way and there, on a path or in a tent, she would die.

  She could stay in the hut. She could go to Zanzibar and drink in the sun. She liked nothing better than to drink in the sun. Wirh strangers. To drink in the sun! To feel the numbing of her tongue and limbs while her skin cooked slowly, and her feet dug deeper into the powdery sand!

  Her hands are still crossed on her chest, and the filling of the buckets continues outside her hut, so loud, so constant. Is someone taking the water meant for her shower? At home, in St. Louis, her landlord was always taking her water—so why shouldn't it be the same here, in a hut in Moshi, with a gecko, almost translucent, darting across her conical ceiling, its ever-smaller circles never interlocking?

  She has bought new boots, expensive, and has borrowed a backpack, huge, and a thermarest, and sleeping bag, and cup, and a dozen other things. Everything made of plastic and Gore-Tex. The items were light individually but together very heavy and all of it is packed in a large tall purple pack in the corner of the round hut and she doesn't want to carry the pack and wonders why she's come. She is not a mountain climber, and not an avid hiker, and not someone who needs to prove her fitness by hiking mountains and afterward casually mentioning it to friends and colleagues. She likes racquetball.

  She has come because her younger sister, Gwen, had wanted to come, and they had bought the tickets together, thinking it would be the perfect trip to take before Gwen began making a family with her husband, Brad. But she'd gone ahead and gotten pregnant anyway, early, six months ahead of schedule and she could not make the climb. She could not make the climb b
ut that did not preclude— Gwen used the word liberally and randomly, like some use curry— her, Rita, from going. The trip was not refundable, so why not go?

  Rita slides her hands from her chest to her thighs and holds them, her thin thighs, as if to steady them. Who is filling the bucket? She imagines it's someone from the shanty behind the hotel, stealing the hot water from the heater. She'd seen a bunch of teenage boys back there. Maybe they're stealing Rita's shower water. This country is so poor. Is poorer than any place she's been. Is it poorer than Jamaica? She is not sure. Jamaica she expected to be like Florida, a healthy place benefiting from generations of heavy tourism and the constant and irrational flow of American money. But Jamaica was desperately poor almost everywhere and she understood nothing.

  Maybe Tanzania is less poor. Around her hotel are shanties and also well-built homes with gardens and gates. There is a law here, Godwill had said in strained English, that all the men are required to have jobs. Maybe people chose to live in spartan simplicity. She doesn't know enough to judge one way or the other. The unemployed go to jail! Godwill had said, and seemed to like this law. The idle are like the devil! he said, and then laughed and laughed.

  In the morning the sun is as clear and forthright as a spotlight and Rita wants to avoid walking past the men. She has already walked past the men twice and she has nothing to say to them. Soon the bus will come to take her and the others to the base of the mountain, and since finally leaving her bed she has been doing the necessary things—eating, packing, calling Gwen—and for each task she has had to walk from her hut to the hotel, has had to walk past the men sitting and standing along the steps into the lobby. Eight to ten of them, young men, sitting, waiting without speaking. Godwill had talked about this—that the men list their occupations as guide, porter, salesperson—anything that will satisfy their government and didn't require them to be accounted for in one constant place, because there really wasn't much work at all. She had seen two of the men scuffle briefly over another American's bag, for a $1 tip. When Rita walked past them she tried to smile faintly, without looking too friendly, or rich, or sexy, or happy, or vulnerable, or guilty, or proud, or contented, or healthy, or interested—she did not want them to think she was any of those things. She walked by almost cross-eyed with casual concentration.

  Rita's face is wide and almost square, her jaw just short of masculine. People have said she looks like a Kennedy, one of the female Kennedys. But she is not beautiful like that woman; she is instead almost plain, with or without makeup, plain in any light. This she knows, though her friends and Gwen tell her otherwise. She is unmarried and was for a time a foster parent to siblings, a girl of nine and boy of seven, beaten by their birth mother, and Rita had contemplated adopting them herself—had thought her life through, every year she imagined and planned with those kids, she could definitely do it—but then Rita's mother and father had beaten her to it. Her parents loved those kids, too, and had oceans of time and plenty of room in their home, and there were discussions and it had quickly been settled. There was a long weekend they all spent together in the house where Rita and Gwen were raised, Rita and her parents there with J.J. and Frederick, the kids arranging their trophies in their new rooms, and on Sunday evening, Rita said goodbye, and the kids stayed there. It was easy and painless for everyone, and Rita spent a week of vacation time in bed shaking.

  Now, when she works two Saturdays a month and can't see them as often, Rita misses the two of them in a way that's too visceral. She misses having them both in her bed, the two little people, seven and nine years old, when the crickets were too loud and they were scared of them growing, the crickets, and of them together carrying away the house to devour it and everyone inside. This is a story they had heard, about the giant crickets carrying away the house, from their birth mother.

  * * *

  Rita is asleep on the bus but wakes up when the road inclines. The vehicle, white and square with rounded edges—it reminds her vaguely of something that would descend, backward, from a rocket ship and onto the moon—whinnies and shakes over the potholes of the muddy road and good Christ it's raining!—raining steadily on the way to the gate of Kilimanjaro. Godwill is driving, and this gives her some peace, even though he's driving much too fast, and is not slowing down around tight curves, or for pedestrians carrying possessions on their heads, or for schoolchildren, who seem to be everywhere, in uniforms of white above and blue below. Disaster at every moment seems probable, but Rita is so tired she can't imagine raising an objection if the bus were sailing over a cliff.

  "She's awake!" a man says. She looks to find Frank smiling at her, cheerful in an almost insane way. Maybe he is insane. Frank is the American guide, a sturdy and energetic man, from Oregon, medium-sized in every way, with a short-shorn blond beard that wraps his face as a bandage would a man, decades ago, suffering from a toothache. "We thought we'd have to carry you up. You're one of those people who can sleep through anything, I bet." Then he laughs a shrill, girlish laugh, forced and mirthless.

  They pass a large school, its sign posted along the road. The top half: drive refreshed: coca-cola; below: marangu sec. school. A group of women are walking on the roadside, babies in slings. They pass the Samange Social Club, which looks like a construction company trailer. Farther up the road, a small pink building, the K&J Hot Fashion Shop, bearing an enormous spray-painted rendering of Angela Bassett. A boy of six is leading a donkey. Two tiny girls in school uniforms are carrying a bag of potatoes. A driveway leads to the Tropical Pesticides Research Institute. The rain intensifies as they pass another school—COCA-COLA: DRIVE REFRESHED; ST. MARGARET'S CATHOLIC SEC. SCHOOL.

  That morning, at the hotel, Rita had overheard a conversation between a British woman and the hotel concierge.

  "There are so many Catholic schools!" the tourist had said. She'd just gotten back from a trip to a local waterfall.

  "Are you Catholic?" the concierge had said. She was stout, with a clear nasal voice, a kind of clarinet.

  "I am," the tourist said. "And you?"

  "Yes please. Did you see my town? Marangu?"

  "I did. On the hill?"

  "Yes please."

  "It was very beautiful."

  And the concierge had smiled.

  The van passes a FEMA dispensary, a YMCA, another social club called Millennium, a line of teenage girls in uniforms, plum-purple sweaters and skirts of sports-coat blue. They all wave. The rain is now real rain. The people they pass are soaked.

  "Look at Patrick," Frank says, pointing at a handsome Tanzanian man on the bus, sitting across the aisle from him. "He's just sitting there smiling, wondering why the hell anyone would pay to be subjected to this."

  Patrick smiles and nods and says nothing.

  There are five paying hikers on the trip and they are introducing themselves. There are Mike and Jerry, a son and father in matching jackets. Mike is in his late twenties and his father is maybe sixty. Jerry has an accent that sounds British but possesses the round vowels of an Australian. Jerry owns a chain of restaurants, while the son is an automotive engineer, specializing in ambulances. They are tall men, barrel-chested and thin-legged, though Mike is heavier, with a loose paunch he carries with some effort. They wear matching red jackets, scarred everywhere with zippers, their initials embroidered on the left breast pockets. Mike is quiet and seems to be getting sick from the bus's jerking movements and constant turns. Jerry is smiling broadly, as if to make up for his son's reticence—a grin meant to introduce them both as happy and ready men, as gamers.

  The rain continues, the cold unseasonable. There is a low fog that rises between the trees, giving the green a dead, faded look, like most of the forest's color had leaked into the soil.

  "The rain should clear away in an hour or so," Frank announces, as the bus continues up the hills, bouncing through the mud. The foliage everywhere around is tangled and sloppy. "What do you think, Patrick?" Frank says. "This rain gonna burn off?"

  Patrick hasn't sp
oken yet and now just shrugs and smiles. There is something in his eyes, Rita thinks, that is assessing. Assessing Frank, and the paying hikers, guessing at the possibility that he will make it up and down this mountain, this time, without losing his mind.

  Grant is at the back of the bus, watching the land pass through the windows, sitting in the middle of the bus's backseat, like some kind of human rudder. He is shorter than the other two men but his legs are enormous, like a power lifter's, his calves thick and hairy. He is wearing cutoff jean shorts, though the temperature has everyone else adding layers. His hair is black and short-shorn, his eyes are small and water-cooler blue.

  He is watching the land pass through the window near his right cheek, and the air of outside waters his small blue eyes.

  Shelly is in her late forties and looks precisely her age. She is slim, fit, almost wiry. Her hair, long, ponytailed, once blond, is fading to gray and she is not fighting it. She has the air of a lion, Rita thinks, though she doesn't know why she thinks of this animal, a lion, when she sees this small woman sitting two seats before her, in an anorak of the most lucid and expectant yellow. She watches Shelly tie a bandanna around her neck, quickly and with a certain offhand ferocity. Shelly's features are the features Rita would like for herself: a small thin nose with a flawless upward curve, her lips with the correct and voluptuous lines, lips that must have been effortlessly sexual and life-giving as a younger woman.

  "It's really miserable out there," Shelly says.