Cargo of Orchids - Couverture souple

Musgrave, Susan

Couverture souple

ISBN 10 : 0676973086 ISBN 13 : 9780676973082

Editeur : Vintage Canada, 2001

Synopsis

Susan Musgrave’s bestselling third novel, Cargo of Orchids, examines the life of a woman on death row in the United States. Our narrator recalls what brought her to this place, where she awaits the last of her appeals. We learn that along with her cellmates, Frenchy and Rainy, this Mother Without a Heart, otherwise known as the Cocaine Queen, has been sentenced to death for the crime of killing her child.

Unlike the others, the narrator has not had a life marked by abuse and hardship. When her story begins, she is translating a book about the kidnapping of a woman connected to a drug cartel. At the book launch, she meets her husband-to-be, a lawyer. When their marriage fizzles out, she falls in love with one of his clients, Angel, a Colombian from a drug cartel family, imprisoned in British Columbia on a drug-smuggling charge. Pregnant, the narrator is taken hostage by Angel’s wife to a hot and squalid island off the coast of Colombia; in an atmosphere of extreme violence, she is fed drugs until she becomes addicted to cocaine and useless to her child. When she winds up on death row, it is because the evidence in her trial suggests she sacrificed her baby for drugs.

Her narrative – violent and bizarre, but also riveting and erotic – runs parallel to an account of life in “Death Clinic” at the Heaven Valley State Facility for Women. A moving story emerges of the friendship of three female inmates who share only the fact that they each have a date with the executioner. There is humour and emotion in their lives, however harsh their stories. When Musgrave was asked how humour finds its way into such an unlikely place, she replied, “It’s a survival technique. People make jokes when they survive tragedies – that’s how they deal with the world.”

In this novel about prison and drug culture, filled with brutality and injustices, the compassion we feel for the narrator lends the story a moral message: that nobody is so simply bad as to deserve the death sentence. As the Gazette commented, the book puts “a human face on convicted criminals,” makes us face squarely the issue of capital punishment and assess how we judge guilt, innocence and the ambiguous space in between. The Calgary Straight called the book “a love letter to those who are serving time and the families who serve with them.” It’s also a book about unconditional love and how far we will go for it, according to Musgrave, who spent eight years writing this novel and knows plenty about prison life, having met and married her husband Stephen Reid during his incarceration in the 1980s. She had just finished a draft of the novel when Reid was arrested again following a bank robbery in 1999, just months after the CBC aired a Life and Times documentary about the couple.

A brilliant mix of black humour, stark tragedy and poignant humanity, Cargo of Orchids is Musgrave’s first novel in over ten years. She has three times been nominated for the Governor General’s Award, once for fiction (The Charcoal Burners) and twice for poetry (A Man to Marry, a Man to Bury and Grave-Dirt and Selected Strawberries), and has published over twenty books. She likes novels with intense use of language and good plotting. “I want to give readers a harrowing ride,” she says. “I like to think of Cargo of Orchids as a suspense novel which is also an exploration of the heart.”

A propos du livre

À propos de l?auteur

Born in 1951 in California of Canadian parents, Susan has lived by the sea on Vancouver Island in British Columbia for most of her life, with sojourns in the west of Ireland and South America. She lives with her two daughters and is now surrounded by a community of friends who are writers and parents; earlier, her friends were “gardeners and criminals and all sorts of other things that interested me.” She is easily recognized around Vancouver Island in her car, Toy Karma, covered with hundreds of glued-on plastic toys. She is open, candid and whimsical; happily “on the fringe,” yet rooted in family life.

In Grade 8 she won her first poetry competition, with a poem in rhyming couplets about Jackie Kennedy visiting her husband's grave by moonlight; her prize was a copy of Shakespeare's Much Ado About Nothing. But she left school at fourteen, her life in emotional turmoil; she was regularly experimenting with LSD and was hospitalized for depression. The poet Robin Skelton helped her out of the psychiatric ward, telling her, “You’re not mad, you’re a poet.” Musgrave published her first poems in the Malahat Review at sixteen. Her first book of poems, Songs of the Sea-Witch, drew comparison with Sylvia Plath. Susan describes poetry as “a way of dredging up the confusion and the chaos and trying to articulate it through transforming language.” It has been her solace, and her way of keeping balanced: “Writing saved me always, from probably going to prison or killing myself. This is how I transform experience. It’s a great safety valve.”

Her first novel, The Charcoal Burners, was a finalist for both the Seal First Novel Competition and the Governor General’s Award. Saturday Night magazine put the book in the company of works by Leonard Cohen, Michael Ondaatje, Margaret Laurence and Malcolm Lowry, and the Globe and Mail called it “a riskier novel than Margaret Atwood’s The Edible Woman, more ambitious and visionary.” She continues to be celebrated for her fiction, poetry and non-fiction. She has won the CBC/Saturday Night Literary Contest and a National Magazine Award. Her Toronto Star columns have been collected in two volumes, one of which was nominated for the Stephen Leacock Award for Humour. Dreams Are More Real Than Bathtubs, a children’s book, was selected by the Canadian Children's Book Centre for Our Choice 1999-2000. Her work has been in several anthologies including Desire in Seven Voices; Best American Poetry; Without a Guide: Contemporary Women’s Travel Adventures and the Great Big Book of Canadian Humour.

Susan Musgrave enjoys giving speeches and readings, always putting the audience at ease with humorous anecdotes. She has been labelled everything from sea-witch to stand-up comedian and social/political commentator, from anti-feminist to eco-feminist. She was once even named the “enfant terrible of Canadian letters,” (like Martin Amis, who has been called the enfant terrible of British letters, she worried that they would drop the enfant part when she turned forty). Famously, she posed nude for Saturday Night magazine. Poet Al Purdy used to say she had a genius for publicity – others say it’s simply her personality not to hold anything back. “When you’re a poet you don’t make a lot of money. But one thing you do need to do is keep your name out there, because that will help you get work. Publicity is a necessary function to keep everything rolling. I don’t go out looking for it, but when it comes to me, I try to see it in a practical way.”

Cargo of Orchids draws on Musgrave’s experiences on the periphery of the legal system. Her first marriage was to a criminal lawyer, her second to a man he successfully defended in court for drug smuggling, with whom she lived in Colombia and Panama. She finally met Stephen Reid while she was writer-in-residence at the University of Waterloo and he was serving a sentence for bank robbery in Millhaven Penitentiary. Reid had been a leader of the Stopwatch Gang, once on the FBI’s Most Wanted list for a string of high-profile heists. She edited the manuscript he sent to her (it became the acclaimed Jackrabbit Parole), visiting him in jail over four years and gradually falling in love, initially through the main character in his book, whom she found funny and exciting. Reid was granted parole and became an author and a family man; he and Susan had a daughter together, and he eventually became best friend and role model to the daughter she already had.

Sadly, however, Stephen continued to battle a drug addiction that has haunted him since his teen years (Susan has written about the addiction in her poem collection Things That Keep and Do Not Change). When Stephen overdosed, Susan feared for his life. After a two-year “clean-and-dry period” during which the couple read from their private letters at a PEN Canada benefit and the CBC documentary The Poet and the Bandit aired, Stephen succumbed again to his addiction and was arrested for bank robbery. He is now serving an eighteen-year sentence. Susan wrote in Saturday Night in September 1999: “Stephen and I were married in prison, in 1986, when he was serving a twenty-year sentence . . . . He was paroled a few months after we took our vows, twelve years ago almost to this day. But prison is not an easy place to escape, even if they release you.” She sees addiction as a sickness, and misses Stephen as a father, a husband, and her first reader. “He’s only been the perfect husband that all my friends wanted. Except for his addiction.” She is editing a book of their 1984—87 correspondence.

Life for this writer and mother has become harder, but she continues to apply herself wholeheartedly to all her work, and sometimes the roles overlap. In addition to writing several books for children, she has worked with over a thousand high-school students across Canada through the Writers In Electronic Residence program, and for the NWT Literacy Council, conducting workshops in youth custody and correctional centres. She has written two scripts for the NFB’s Teenagers at Risk series, and recently edited the anthology Nerves Out Loud: Critical Moments in the Lives of Seven Teen Girls.

In 1999, she and Stephen began building a house on the Queen Charlotte Islands, where her first novel was set. It’s her favourite place. “There's no phone, no deadline, no schedule - only a transistor radio, the CBC. When the batteries run out we lie on our backs and listen to the stars burn out. This may be the one kind place on Earth.”

Extrait. © Reproduit sur autorisation. Tous droits réservés.

Editor’s Note
Though this story is true, some names have been changed. Otherwise there have been few alterations.

The writer intended both the Spanish and her translations into English to be included in the text, but in most cases the Spanish has been dropped for the sake of expediency. A few words and phrases and colloquialisms have been retained for flavour, and she would like to thank Paul Oscar Nelson for his input. Also Gustavo Gomez, for his fine-tuning. It is the writer’s wish that her name appear nowhere in the book.


Part One / Valentine’s Day in Jail
Stop and imagine for an instant a world where someone is grateful for something.
–Bret Easton Ellis, American Psycho


Chapter One
Death Clinic, Heaven Valley State Facility for Women

If you are a new inmate only recently sentenced by the courts, this will probably be an entirely new experience for you. –Inmate Information Handbook

When you find yourself listening to their keys and owning none, you will come close to understanding the white terror of the soul that comes with being banished from all commerce with mankind. –Pat Conroy, Prince of Tides


When a reporter asked Rainy to compare being given the death sentence to being hit by a train, she said, “The train was quicker, the train was softer.”

I’ve lived next door to Rainy for ten years, on the Condemned Row. They call it the Death Clinic–as if it’s a place you go to get treatment for a terminal disease. You can’t cure death, but while you wait for it, they make life impossible.

In many cases death-row inmates are not allowed to write anything longer than a one-page letter, double-spaced. That they permit me to write this story is not a right, they remind me every chance they get, it’s a privilege. If I write gossip, to spread rumours that might end up embarrassing the staff, this privilege will be revoked. So I do as I am told, and “confine all writings to inside the lines.” If you ignore the lines, you are considered “out of bounds without authorization and subject to disciplinary action.”

When I write the word lines, I think of cocaine. My care and treatment counsellor, Mrs. Dykstra, would say the word lines is a trigger, a connection to my former “drug-seeking ways.” Not to mention connection.

La Reina de la Cocaína is what they called me in the papers after my arrest: the Cocaine Queen. They gave me other names, too. La Madre Sin Corazón. The Mother without a Heart. When I told one reporter I wished I’d been called Oriana Fallachi, a name that sounds like you’re having sex without doing it, he said he could understand why a woman like me would want to change her identity.

Rainy says I shouldn’t take it personally, what they say about me in the press. They always end up bad-mouthing mothers who kill their kids.

***

Frenchy, my only other neighbour at the moment, is suing the railway. When the train passes the prison at 2:16 every afternoon, it whistles and wakes her up.

Rainy says, what does she expect? She sleeps all day.

Every day is a gift, I say. Who can blame her for not wanting to get out of bed?

***

Each Christmas Eve we are issued a new calendar so we can start X-ing off the days – until next Christmas or our date certain, whichever comes first. But aside from the barbed-wire sculpture meant to symbolize a Christmas tree in one corner of the chow hall, and the matron who has a “negativity scene”–what Rainy calls it–on her desk, Christmas is like any other day on the Condemned Row. The Salvation Army used to donate a poinsettia for our common room, until one year a girl made a salad out of the leaves.

This morning in the shower, Rainy started singing, “Deck the halls with marijuana, fa-la-la-la-la-la la la la.” She would have gone on, but Frenchy, who doesn’t have the Christmas spirit, told her to shut up. The rule here is that if someone asks you to shut up, you shut up. Because they’re not asking for a debate, and they’re not asking again.

Rainy says she and Frenchy are the two best friends I could “hope to never have.” She also insists that if anyone reads this book, they will want to know what my best friends look like; she doesn’t understand when I tell her I don’t care about appearances. Rainy’s expressions, actions and thoughts count for more in this story than the fact that she is so thin her elbows and knees look like they’re going to slice through her clothing, or that her eyes are empty because she’s cried all the colour away, or that she has no chest at all and a mouth that turns down from the way things have gone.

Despite the freight of anger she carries, Rainy seems so frail it is hard to imagine her giving birth to anything heavier than tears. Rainy gave birth to twins, and six months later left them on the railway tracks. She claims it prejudiced the jury. If she’d smothered them or driven them off a pier, it would have been more socially acceptable. She might have been able to cut a deal, had her sentence commuted to life. She could have gone on “Oprah” and become a celebrity, maybe even a role model for women who are child-free by choice.

The train was quicker, the train was softer. But abandoning your kids on the tracks wasn’t in fashion. She wishes now she’d gone out drinking for the evening instead, but she didn’t have enough money to hire a babysitter and pay for the beer.

I can hear Rainy singing, under her breath as she leaves the shower room, “’Tis the season to be jolly.” In prison, time does not progress, it goes round and round in a spiral of endless pain. I want to say, Rainy, there are no seasons in prison–only time.

***

Frenchy has a little peacock-like crest of hair shooting from the white bandanna she says she wears “to keep my brains wrapped up in.” There’s a male heaviness about her face: her broad nose, brown eyes, a mouth made for smiling and for grief. Her most distinguishing feature, though, is the white, heart-shaped mark, shining like a beauty spot in reverse, on her cheek. Frenchy calls it her “ugly spot.”

Frenchy’s here because she killed her sixteen-year-old son. “The two of us was just fooling around, you know. Robbing a bank. I’ve made a few mistakes in life I probably shouldn’t have made. And we was doing more drinking than we probably should have, considering we was both on probation. And I was high at the time. So I think I might have overpanicked when those alarms went off, but I don’t recall shooting anyone on purpose.

“We got away from the bank, even though he couldn’t run fast and had to drop most of the money and got blood all over the rest. I was pretty hot about that. I left him by the river, thinking I could go back and find a doctor when things cooled off. The whole town was looking for us, so I stayed at Laverne’s getting high for a week. When Laverne and me went back for him, some animals had eaten on him and there was bugs everywhere, and Laverne shot his teeth out. She told me she done it so that his dental records couldn’t be used against me. That’s what I loved best about Laverne–you could count on her to take care of the details.

“The shooting his mouth part, that made it look bad, but I kept my own mouth shut and never gave up Laverne to the cops, even though I could have got a deal if I did.” Frenchy’s got a few good qualities like that–loyalty. And hindsight. She sees now she made some bad choices, but Frenchy didn’t have a lot of positive influences when she was growing up. She still likes to shock people by telling them, “I was so young when I started sucking cocks, I had to be burped afterwards.”

Her father was “good part Cajun, mostly bad part black”; her mother, who gave birth to her in a mental institution, Crow–you can see it in Frenchy’s bones. She’s got one finger missing–she gave the finger to her father when he boxed her one time; sliced it off right in front of him. Frenchy has no regrets. Nine fingers, she says, gets you a discount at the manicurist’s.

After Laverne shot her boy’s teeth out, Frenchy told me they went on a road trip, stealing a Grand Prix, refuelling with hot credit cards. Laverne made one more mistake, Frenchy said, when she paid for a Diet Coke with a gold American Express card at a Holiday Inn. Then when the card came up invalid, she pretended she didn’t speak English and left Frenchy holding the bag. When she went to trial, Frenchy asked Laverne for a character reference, “because Laverne, whatever else she might screw up, wouldn’t screw up my character.”

****

I found one book in the library that says there are five ways to die, all of them painful. Even when you die in your sleep, it hurts. Those five painful ways don’t include the choices I’ve been presented with under the state’s new pro-choice with a twist policy. Pro-choice means the freedom to choose which form of capital punishment is best suited to your personality–lethal injection, gas chamber, electric chair, hanging or the firing-squad. If you can’t make up your own mind, they choose for you. “Dead if you do, dead if you don’t,” says Rainy.

Unlike those whom society invests with authority, most people who live on the Row have learned that killing people is wrong. When I write that the death penalty is an unambiguous disgrace to civilized humanity, I suppose there are people who say that’s because I have an axe to grind. I do, and it’s blunt from being ground down over the ten years I’ve lived waiting to die in prison.

Another book I read says the key to understanding capital punishment is to be found in its ritual element. Many cultures have made ritual sacrifices–the Aztecs, for instance, spread their victim on a stone altar, cut open his chest with an obsidian blade, then ripped his heart out. State-sanctioned murder should be, in theory, no more curious than that.

Rainy has come with me to the library to see what I do with myself all day. When I describe how poor Aztec children were sold to priests by their parents, who couldn’t afford to keep them, she wants to know if those children got their hearts torn out, too. Not unless the priests wanted it to rain, I say; they believed the rain god favoured little children’s tears. Rainy says those kids were lucky if getting sacrificed was the worst thing that ever happened to them in their lives.

Rainy never learned to read or write; she thinks a sentence is something you have to serve. She’s never been in a library before, and didn’t know God had created that many books. The one book she recognizes is the Bible. I tell her parts of it were written in prison, and that capital punishment, like feeling guilty about having sex, has all its roots in religion.

Rainy thinks about this, then says she hasn’t had sex for so long she is afraid her parts have healed shut, like a pierced ear you don’t wear a post in.

I sign out The Rituals of Human Sacrifice to save Frenchy the trouble of stealing it for me. Frenchy prides herself on her ability to steal, but where books are concerned, I’ve had to tone her down.

When we were back in the general population, I caught her tearing the last page out of a mystery I’d been on the waiting list to read. She claimed to have “edited” hundreds of books this way; if she was going to die, she said, she wanted to make sure those left behind would remember her. I said I’d pay her a bale of tobacco for every book she could steal for me that came with an ending. Before long I had to put a limit on the number. It was easier for Frenchy to pinch books than it was for me to find places to hide them, and soon I was paying her to steal books back to the library.

***

When I told my mother I was writing a book, she begged me to write it under a pseudonym. I’ve never heard of a person writing her memoirs under an alias; if anyone reading this wonders why I’ve left my name out of this story, one reason is to make my mother proud of me. When I asked her not to visit me here, I think she was relieved. She toured a dungeon once, in the Azores, and found it “stuffy.”

I write to her once a week, but I’m careful about what I say. She’d only worry if she knew I lay awake at night thinking up ways to short-circuit the electric chair, or calculating how long I’d be able to hold my breath in the gas chamber.

In her most recent letter, she told me she was going to the Caribbean, “to some island where they speak English, I hope.” She will be wearing the watch passed down from her great-great-grandmother, with its diamonds and sapphires “worth more than my house.” She wears it because she’s afraid she’ll lose it otherwise. There’s logic.

If anything happens to her, and she doesn’t make it back in one piece, she says, I should be sure to file a claim. I don’t remind her where I live, or that I won’t be able to spend her insurance money where I’m going, but I do warn her that if she flaunts the watch, some cracked-out desperado might hack off her whole arm with a rusty machete. That might not be such a bad thing. A lost arm would provide her with a permanent conversation piece now that my father is gone, or, at the very least, give her something new to talk about besides the unreliable lamp in her life.

Last night I dreamed I buried my face in my father’s nut-brown jacket, reaching for the smell of him in the old corduroy. I could smell his pipe tobacco, the kind I used to catch a whiff of on the street, like sugared leather dipped in wildflower honey mixed with dust. My mother still keeps his jacket over the back of his chair, as if she expects him to walk in from the garden with a handful of the Chinese tea roses he bred. In my dream, the roses smelled like tea leaves when you bruise them.

***

When I first came to the Row, they made me sign forms saying that in the event of death or injury sustained during my incarceration, I would not hold the institution responsible. I can’t say they haven’t been taking care of me.

When they escort me to the chow hall, they attach a trip chain to my leg shackles so the guard behind me, holding the chain, can pull my feet out from under me if I make a break for it and try to vault the seventeen-foot-high fence of electrified wire–assuming I make it through all six electronically controlled doors and across six hundred feet of open yard first. My wrists are handcuffed too, although they undo the cuffs to let me eat. Then they just watch me extra hard.

I have been classified as an escape risk, among other things. It doesn’t take them long to classify you. They read your file, look you over, ask your age, race and religion, and then write down whatever Representation of Female Evil they figure you most closely represent.

a) Cold Calculators: Women who ruthlessly kill their husband(s) or loved one(s) for financial gain.

b) Black Widows: Serial murderers of husbands, male lovers and next of kin. Some killings seemingly have no motive. Most common modus operandi is poisoning.

c) Depraved Partners: Highly charged, (hetero)- sexual, violence-loving young women who link up with an evil, murderous male partner to commit serial murders, often involving the kidnapping and torture of young white women.

d) Explosive Avengers: Manlike or lesbian women. Premeditation is far from clear.

e) Robber Predators: Women who murder while committing or covering up financial-gain felonies.

My classification officer got excited when I asked her to read again the definition of an Explosive Avenger. When she reread it, watching my face this time, I asked for clarification on “Premeditation is far from clear.” She said “premeditation” meant you had planned your crime in advance; it wasn’t just something you did because you lost control of your reason in a moment of passion. I said I understood what the word meant, but I didn’t understand the meaning of “Premeditation is far from clear.” Did that mean it was unclear whether the crime was premeditated, or that the premeditation itself was not very well thought out? My CO looked at the words, frowned, then admitted it must be a mistake, that the line ought to read “Motivation is far from clear.”

I went back to my house, feeling I had made one small step for Female Evil. However, nothing changed. My CO wrote that I probably had a “lesbian-type affiliation” with Consuelo de Corazón, which is why I maintained the illusion I was being held hostage. In her opinion, I had clearly murdered my child, “though premeditation is far from clear.”

Rainy says that if it is any consolation, she too has been classified as an Explosive Avenger/Cold Calculator, even though she never made one dime from killing her twins.

Everyone here gets classified as a Something-American.

Rainy. Age: 32; Mexican-American; Explosive Avenger/ Cold Calculator.

Frenchy. Age: 35; African-American; Robber-Predator.

Yours Truly. Age: 47; Canadian-American; Explosive Avenger/Cold Calculator.

I appealed my classification, saying I did not have U.S. citizenship, but the classification officers who reviewed my case could not conceive of a nationality that wasn’t at least half American. “Everybody’s got to have some good in them,” they said.

Once you have been classified, that’s what you have become. And you go to your grave here with your classification papers stuffed in your hand like a diploma.

***

My husband (more about him later) hired a lawyer to represent me–Ferdinand Pile, Jr.–the self-acclaimed “Cadillac of lawyers.” As soon as I heard his name, I figured Vernal must have a million-dollar insurance policy on my life.

Even though I don’t think Pile, Jr.–who promised he’d get me out of prison if it took him the rest of his life–had ever defended a murder case, I’m not blaming him for the fact I got the death sentence. I want it to go on record that I take full responsibility for what I did. That’s one reason I’m writing this book.

It’s so easy to get sidetracked in here. To lose my train. Alone in my house I open The Rituals of Human Sacrifice, and turn to a section of photographs. A child’s shoe in the grass–this one makes me saddest. I think how much of a story that shoe, with the mindless persistence of objects, has to tell. I imagine slipping my baby’s narrow foot into it, tickling his sole when he curls up his toes, the way he always did.

I fed my child; I did what I could. But even in my dreams he is always hungry, and no matter how much I feed him, it’s never enough. He sucks his thumb and pulls out his eyelashes with his fingers. Sometimes he dips the eyelashes into honey, or something else sweet, like treacle or molasses, then plays with them between his teeth. I honestly think he swallows them, though by that point the dream is usually over.

I can only guess what he might have become. Sorrow is nourishment forever.

Détails de l'édition

• Éditeur: Vintage Canada
• Date d'édition: 2001
• Langue: anglais
• ISBN 10: 0676973086
• ISBN 13: 9780676973082
• Reliure: Broché
• Nombre de pages: 392
• Coordonnées du fabricant: non disponible
• Personne responsable: non disponible