WHO KNOCKS? Dave Eggers

When I was a kid in the suburbs of Chicago, during the summer we’d go to Quetico Provincial Park up on the border of Minnesota and Canada. “Provincial” implies that the place was small, but Quetico was, and still is, a million-acre nature preserve—so big you could go days and days without seeing another soul.

We would go on camping trips up there—weeks of canoeing and portaging, spotting bears and moose and deer, sleeping under star-soaked skies. The park was isolated and so pristine that you could actually drink the water straight from the lakes. You’d stick your paddle in, tilt the wide part to the clouds, and let the water run into your mouth.

I miss Quetico, but I won’t be going back anytime soon. Not after what happened to a girl named Frances Brandywine.

This was a few years ago. Frances was seventeen at the time, black-haired and with a reckless nature, determined always to leave the well-trod path, to break new ground and be alone.

Frances was up in Quetico with her family, in a remote part of the park, camped on the shore of one of the deeper lakes—a lonely body of dark water carved millions of years ago by a passing glacier.

One night, after her family went to bed, Frances took the rowboat out, planning to find a quiet spot in the middle of the lake, lie on the bench of the boat, look up at the sky, and maybe write in her journal.

So she left the shore and rowed for about twenty minutes, and when she was satisfied that she was over the lake’s deepest spot, she lay down and looked up at the night sky. The stars were very bright, the aurora borealis shimmering like a neon lasso. She was feeling very peaceful.

Then she heard something strange. It was like a knock. Clop clop.

She sat up, guessing that the boat had drifted to shore and run aground. But she looked around the boat, and she was still a half mile from shore. She leaned over the side, to see if she’d hit anything. But she saw nothing. No log, no rocks.

She lay back down, telling herself that it could have been any number of things—a fish, a turtle, a stick that had drifted under the boat.

She relaxed again, and soon fell into a contented reverie. She had just closed her eyes when she heard another knock. This time it was louder, a crisp clok clok clok. Like the sound of someone knocking hard on a wooden door. Except this knocking was coming from the bottom of the boat.

Now she was scared. She leaned over the side again. It had to be an animal. But what kind of animal would knock like that, three short, loud knocks in rapid succession?

Her mouth went dry. She held on to each side of the boat, and now she could only wait to see if it happened again. The silence stretched out. A few minutes passed, and just as she began to think she’d imagined it all, the knocks came again. But this time louder. Bam bam bam!

She had to leave. She lunged for the oars, got them into place, and began rowing. The water was very calm, so she should have made quick progress. But after rowing feverishly for minutes she looked around and realized, with cold dread, that she wasn’t moving at all. Something was keeping her exactly where she was.

Her mind clawed through options. She thought about leaving the boat, swimming to shore. But she knew the water was so cold that she’d freeze before getting far. And besides, whatever was knocking on the bottom of the boat was in that water.

Again she tried rowing. She rowed and rowed, on the verge of tears, but she went nowhere.

She stopped. She was exhausted. Her heavy breathing filled the air. She cried. She sobbed. But soon she calmed herself, and the boat was silent again. For ten minutes, then twenty. Again she tricked herself into thinking she’d imagined it all.

But just like before, just when she was beginning to get a grip on herself, the knocking came again, this time as loud as a bass drum. Boom boom boom! The floorboards of the boat shook with each strike.

Now she made a bad decision. She decided to lower one of the oars into the black water, trying to feel if there was some landmass, even some creature she could touch. As soon as the oar had broken the water’s surface, though, she felt a strong, silent tug at the other end and the oar was pulled under.

She screamed and jumped back. Now she had no options. All she could do was sit, and hope, and wait. Wait for the morning to come. Wait for whatever was going to happen to happen.

The knocking went on through the night. Sometimes it was sudden and loud: bam bam bam! And sometimes quieter: tap tap tap. Every so often it was almost musical: knock knock kno-ahk.

She passed the time writing in her notebook, recording each sound, each strike. And it’s only because of this notebook that we know what happened that night. Frances can’t tell us. She was never seen again.

The boat was found on shore the next day, empty but for the journal. On those pages were her frantic jottings, all written in her distinctive hand.

All but the last page. When it was found, that page was still wet, and on it were four words, looking as if they’d been written quickly, with a muddy finger, perhaps in justification. They said: “I did knock first.”

About “Who Knocks?”

I was introduced to Ray Bradbury in grade school, when we read “A Sound of Thunder,” and the experience was powerful, knowing that he’d grown up in Waukegan, a few towns away from where I was raised. And every year or so thereafter, we were assigned one or another Bradbury text, and always I was floored by his boundless imagination. I have to admit, though, that I hadn’t read him in many years until a few years ago, when I picked up an old edition of an anthology edited by Alfred Hitchcock called Stories Not for the Nervous. In it was a Bradbury story about time travel, crime, marriage, and film, all set in the 1930s in Mexico—a lot to cover in a ten-page story. But Bradbury pulled it off, brilliantly, and my respect for his body of work—the breadth and scope of which is stunning—was renewed.

—Dave Eggers

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