The old man awakes me. Half lit by a kerosene lamp, his face dived into terror and mystery, his lawn halved by a cold November moon. I stand in my bedroom and watch as he digs the earth with a silver spade; I watch as he opens up a gaping wound in the earth’s skin.
Three weeks ago, he moved boxes into what was the Connors’ house. The Connors’ had a dog named Macy. A six-year-old boy called James. A rope swing and playhouse. The old man has a rusted truck, the grill busted. A dream catcher hanging from the rear-view mirror. He dragged his life into that dead house while Dubussy slowed the world around me to a crawl.
I move the curtain back a little and note a long shadow, warped and twisted, sprawling his garden. Each time he bends to dig, the shadow mutates into a mythological creature: Hydra, Medusa, the Minotaur. When he stands to wipe his brow, out it stretches, reaching out to touch the wooden fence that divides our gardens.
A day after moving in, a dead bolt secured his front door. Around the gate coiled a thick bicycle chain. He erected a sign that said, No Trespassing, and carried into the basement a hammer, a ratchet, a saw, and grinder. For four nights he banged the floors, tightened bolts, sawed wood and grinded doors. I heard him wail and argue, screech and holler. No one returned a word, not one note of reassurance, comfort or annoyance. The room was dead, save for the old man’s footsteps.