The Snow Goose

  THIS IS A BORZOI BOOK

  PUBLISHED BY ALFRED A. KNOPF, INC.

  Text copyright 1940 by the Curtis Publishing Co.

  Copyright renewed 1968 by Paul Gallico

  Illustrations copyright © 1992 by Beth Peck

  All rights reserved under International and Pan-American

  Copyright Conventions. Published in the United States by

  Alfred A. Knopf, Inc., New York, and simultaneously

  in Canada by Random House of Canada Limited, Toronto.

  Distributed by Random House, Inc., New York.

  Manufactured in the United States of America

  0987654321

  Designed by Eileen Rosenthal

  Library of Congress Cataloging-in-Publication Data

  Gallico, Paul, 1897-1976 The Snow Goose /

  by Paul Gallico; illustrated by Beth Peck.

  Summary: Against the backdrop of World War II, friendship develops between a lonely crippled painter and a village girl, when together they minister to an injured snow goose.

  ISBN 0-679-80683-0 (trade)-ISBN 0-679-90683-5 (lib. bdg.)

  I. Dunkerque (France), Battle of, 1940—Juvenile fiction.

  II. Dunkerque (France), Battle of, 1940—

  Fiction. 2. Geese—Fiction. 3. World War, 1939-1945—Fiction] I. Peck, Beth, ill.

  II. Title. PZ7.G137sn 1992 [Fie] -dc20 90-46880

  For my parents,

  Esther and Irwin Peck

  BR

  The great marsh lies on the Essex coast between the village of Chelmbury and the ancient Saxon oyster-fishing hamlet of Wickaeldroth. It is one of the last of the wild places of England, a low, far-reaching expanse of grass and reeds and half-submerged meadowlands ending in the great saltings and mud flats and tidal pools near the restless sea.

  Tidal creeks and estuaries and the crooked, meandering arms of many little rivers whose mouths lap at the edge of the ocean cut through the sodden land that seems to rise and fall and breathe with the recurrence of the daily tides. It is desolate, utterly lonely, and made lonelier by the calls and cries of the wildfowl that make their homes in the marshlands and saltings—the wildgeese and the gulls, the teal and widgeon, the redshanks and curlews that pick their way through the tidal pools. Of human habitants there are none, and none are seen, with the occasional exception of a wild-fowler or native oyster-fishermen, who still ply a trade already ancient when the Normans came to Hastings.

  Grays and blues and soft greens are the colors, for when the skies are dark in the long winters, the many waters of the beaches and marshes reflect the cold and somber color. But sometimes, with sunrise and sunset, sky and land are aflame with red and golden fire.

  Hard by one of the winding arms of the little River Aelder runs the embankment of an old sea wall, smooth and solid, without a break, a bulwark to the land against the encroaching sea. Deep into a salting some three miles from the North Sea it runs, and there turns north. At that corner its face is gouged, broken, and shattered. It has been breached, and at the breach the hungry sea has already entered and taken for its own the land, the wall, and all that stood there.

  At low water the blackened and ruptured stones of the ruins of an abandoned lighthouse show above the surface, with here and there, like buoy markers, the top of a sagging fence-post. Once this lighthouse abutted on the sea and was a beacon on the Essex coast. Time shifted land and water, and its usefulness came to an end.

  Lately it served again as a human habitation. In it there lived a lonely man. His body was warped, but his heart was filled with love for wild and hunted things. He was ugly to look upon, but he created great beauty. It is about him, and a child who came to know him and see beyond the grotesque form that housed him to what lay within, that this story is told.

  It is not a story that falls easily and smoothly into sequence. It has been garnered from many sources and from many people. Some of it comes in the form of fragments from men who looked upon strange and violent scenes. For the sea has claimed its own and spreads its rippled blanket over the site, and the great white bird with the black-tipped pinions that saw it all from the beginning to the end has returned to the dark, frozen silences of the northlands whence it came.

  In the late spring of 1930 Philip Rhayader came to the abandoned lighthouse at the mouth of the Aelder. He bought the light and many acres of marshland and salting surrounding it.

  He lived and worked there alone the year round. He was a painter of birds and of nature, who, for reasons, had withdrawn from all human society. Some of the reasons were apparent on his fortnightly visits to the little village of Chelmbury for supplies, where the natives looked askance at his misshapen body and dark visage. For he was a hunchback and his left arm was crippled, thin and bent at the wrist, like the claw of a bird.

  They soon became used to his queer figure, small but powerful, the massive, dark, bearded head set just slightly below the mysterious mound on his back, the glowing eyes and the clawed hand, and marked him off as "that queer painter chap that lives down to lighthouse."

  Physical deformity often breeds hatred of humanity in men. Rhayader did not hate; he loved very greatly, man, the animal kingdom, and all nature. His heart was filled with pity and understanding. He had mastered his handicap, but he could not master the rebuffs he suffered, due to his appearance. The thing that drove him into seclusion was his failure to find anywhere a return of the warmth that flowed from him. He repelled women. Men would have warmed to him had they got to know him. But the mere fact that an effort was being made hurt Rhayader and drove him to avoid the person making it.

  He was twenty-seven when he came to the Great Marsh. He had traveled much and fought valiantly before he made the decision to withdraw from a world in which he could not take part as other men. For all of the artist's sensitivity and woman's tenderness locked in his barrel breast, he was very much a man.

  In his retreat he had his birds, his painting, and his boat. He owned a sixteen-footer, which he sailed with wonderful skill. Alone, with no eyes to watch him, he managed well with his deformed hand, and he often used his strong teeth to handle the sheets of his billowing sails in a tricky blow.

  He would sail the tidal creeks and estuaries and out to sea, and would be gone for days at a time, looking for new species of birds to photograph or sketch, and he became an adept at netting them to add to his collection of tamed wildfowl in the pen near his studio that formed the nucleus of a sanctuary.

  He never shot over a bird, and wild-fowlers were not welcome near his premises. He was a friend to all things wild, and the wild things repaid him with their friendship.

  Tamed in his enclosures were the geese that came winging down the coast from Iceland and Spitsbergen each October, in great skeins that darkened the sky and filled the air with the rushing noise of their passage —the brown-bodied pink-feet, white-breasted barnacles with their dark necks and clowns' masks, the wild white fronts with black-barred breasts, and many species of wild ducks—widgeon, mallard, pintails, teal, and shovelers.

  Some were pinioned, so that they would remain there as a sign and signal to the wild ones that came down at each winter's beginning that here were food and sanctuary.

  Many hundreds came and remained with him all through the cold weather from October to the early spring, when they migrated north again to their breeding-grounds below the ice rim.

  Rhayader was content in the knowledge that when storms blew, or it was bitter cold and food was scarce, or the big punt guns of the distant bag hunters roared, his birds were safe; that he had gathered to the sanctuary and security of his own arms and heart these many wild and beautiful creatures who knew and trusted him.

  They would answer the call of the north in the spring, but in the fall they would c
ome back, barking and whooping and honking in the autumn sky, to circle the landmark of the old light and drop to earth near by to be his guests again—birds that he well remembered and recognized from the previous year.

  And this made Rhayader happy, because he knew that implanted somewhere in their beings was the germ knowledge of his existence and his safe haven, that this knowledge had become a part of them and, with the coming of the gray skies and the winds from the north, would send them unerringly back to him.

  For the rest, his heart and soul went into the painting of the country in which he lived and its creatures. There are not many Rhayaders extant. He hoarded them jealously, piling them up in his lighthouse and the storerooms above by the hundreds. He was not satisfied with them, because as an artist he was uncompromising.

  But the few that have reached the market are masterpieces, filled with the glow and colors of marsh-reflected light, the feel of flight, the push of birds breasting a morning wind bending the tall flag reeds. He painted the loneliness and the smell of the salt-laden cold, the eternity and agelessness of marshes, the wild, living creatures, dawn flights, and frightened things taking to the air, and winged shadows at night hiding from the moon.

  One November afternoon, three years after Rhayader had come to the Great Marsh, a child approached the lighthouse studio by means of the sea wall. In her arms she carried a burden.

  She was no more than twelve, slender, dirty, nervous and timid as a bird, but beneath the grime as eerily beautiful as a marsh faery. She was pure Saxon, large-boned, fair, with a head to which her body was yet to grow, and deep-set, violet-colored eyes.

  She was desperately frightened of the ugly man she had come to see, for legend had already begun to gather about Rhayader, and the native wild-fowlers hated him for interfering with their sport.

  But greater than her fear was the need of that which she bore. For locked in her child's heart was the knowledge, picked up somewhere in the swampland, that this ogre who lived in the lighthouse had magic that could heal injured things.

  She had never seen Rhayader before and was close to fleeing in panic at the dark apparition that appeared at the studio door, drawn by her footsteps —the black head and beard, the sinister hump, and the crooked claw.

  She stood there staring, poised like a disturbed marsh bird for instant flight.

  But his voice was deep and kind when he spoke to her.

  "What is it, child?"

  She stood her ground, and then edged timidly forward. The thing she carried in her arms was a large white bird, and it was quite still. There were stains of blood on its whiteness and on her kirtle where she had held it to her.

  The girl placed it in his arms. "I found it, sir. It's hurted. Is it still alive?"

  "Yes. Yes, I think so. Come in, child, come in."

  Rhayader went inside, bearing the bird, which he placed upon a table, where it moved feebly. Curiosity overcame fear. The girl followed and found herself in a room warmed by a coal fire, shining with many colored pictures that covered the walls, and full of a strange but pleasant smell.

  The bird fluttered. With his good hand Rhayader spread one of its immense white pinions. The end was beautifully tipped with black.

  Rhayader looked and marveled, and said: "Child, where did you find it?" "In t' marsh, sir, where fowlers had been. What—what is it, sir?" "It's a snow goose from Canada. But how in all heaven came it here?" The name seemed to mean nothing to the little girl. Her deep violet eyes, shining out of the dirt on her thin face, were fixed with concern on the injured bird. She said: "Can 'ee heal it, sir?"

  "Yes, yes," said Rhayader. "We will try. Come, you shall help me." There were scissors and bandages and splints on a shelf, and he was marvelously deft, even with the crooked claw that managed to hold things.

  He said: "Ah, she has been shot, poor thing. Her leg is broken, and the wing tip, but not badly. See, we will clip her primaries, so we can bandage it, but in the spring the feathers will grow and she will be able to fly again. We'll bandage it close to her body, so that she cannot move it until it has set, and then make a splint for the poor leg."

  Her fears forgotten, the child watched, fascinated, as he worked, and all the more so because while he fixed a fine splint to the shattered leg he told her the most wonderful story.

  The bird was a young one, no more than a year old. She was born in a northern land far, far across the seas, a land belonging to England. Flying to the south to escape the snow and ice and bitter cold, a great storm had seized her and whirled and buffeted her about. It was a truly terrible storm, stronger than her great wings, stronger than anything. For days and nights it held her in its grip and there was nothing she could do but fly before it. When finally it had blown itself out and her sure instincts took her south again, she was over a different land and surrounded by strange birds that she had never seen before. At last, exhausted by her ordeal, she had sunk to rest in a friendly green marsh, only to be met by the blast from the hunter's gun.

  "A bitter reception for a visiting princess," concluded Rhayader. "We will call her 'La Princesse Perdue,' the Lost Princess. And in a few days she will be feeling much better. See?" He reached into his pocket and produced a handful of grain. The snow goose opened its round yellow eyes and nibbled at it.

  The child laughed with delight, and then suddenly caught her breath with alarm as the full import of where she was pressed in upon her, and without a word she turned and fled out of the door.

  "Wait, wait!" cried Rhayader, and went to the entrance, where he stopped so that it framed his dark bulk. The girl was already fleeing down the sea wall, but she paused at his voice and looked back.

  "What is your name, child?"

  "Frith."

  "Eh?" said Rhayader. "Fritha, I suppose. Where do you live?"

  "Wi' t' fisherfolk at Wickaeldroth." She gave the name the old Saxon pronunciation.

  "Will you come back tomorrow, or the next day, to see how the Princess is getting along?"

  She paused, and again Rhayader must have thought of the wild water birds caught motionless in that split second of alarm before they took to flight.

  But her thin voice came back to him: "Ay!"

  And then she was gone, with her fair hair streaming out behind her.

  The snow goose mended rapidly and by midwinter was already limping about the enclosure with the wild pink-footed geese with which it associated, rather than the barnacles, and had learned to come to be fed at Rhayader's call. And the child, Fritha, or Frith, was a frequent visitor. She had overcome her fear of Rhayader. Her imagination was captured by the presence of this strange white princess from a land far over the sea, a land that was all pink, as she knew from the map that Rhayader showed her, and on which they traced the stormy path of the lost bird from its home in Canada to the Great Marsh of Essex.

  Then one June morning a group of late pink-feet, fat and well fed from the winter at the lighthouse, answered the stronger call of the breeding-grounds and rose lazily, climbing into the sky in ever widening circles. With them, her white body and black-tipped pinions shining in the spring sun, was the snow goose. It so happened that Frith was at the lighthouse. Her cry brought Rhayader running from the studio.

  "Look! Look! The Princess! Be she going away?"

  Rhayader stared into the sky at the climbing specks. "Ay," he said, unconsciously dropping into her manner of speech. "The Princess is going home. Listen! She is bidding us farewell."

  Out of the clear sky came the mournful barking of the pink-feet, and above it the higher, clearer note of the snow goose. The specks drifted northward, formed into a tiny v, diminished, and vanished.

  With the departure of the snow goose ended the visits of Frith to the lighthouse. Rhayader learned all over again the meaning of the word "loneliness." That summer, out of his memory, he painted a picture of a slender, grime-covered child, her fair hair blown by a November storm, who bore in her arms a wounded white bird.

  In mid-October the mira
cle occurred. Rhayader was in his enclosure, feeding his birds. A gray northeast wind was blowing and the land was sighing beneath the incoming tide. Above the sea and the wind noises he heard a clear, high note. He turned his eyes upward to the evening sky in time to see first an infinite speck, then a black-and-white-pinioned dream that circled the lighthouse once, and finally a reality that dropped to earth in the pen and came waddling forward importantly to be fed, as though she had never been away. It was the snow goose. There was no mistaking her. Tears of joy came to Rhayader's eyes. Where had she been? Surely not home to Canada. No, she must have summered in Greenland or Spitsbergen with the pink-feet. She had remembered and had returned.

  When next Rhayader went in to Chelmbury for supplies, he left a message with the postmistress —one that must have caused her much bewilderment. He said: "Tell Frith, who lives with the fisherfolk at Wickaeldroth, that the Lost Princess has returned."

  Three days later, Frith, taller, still tousled and unkempt, came shyly to the lighthouse to visit La Princesse Perdue.

  Time passed. On the Great Marsh it was marked by the height of the tides, the slow march of the seasons, the passage of the birds, and, for Rhayader, by the arrival and departure of the snow goose.

  The world outside boiled and seethed and rumbled with the eruption that was soon to break forth and come close to marking its destruction. But not yet did it touch upon Rhayader, or, for that matter, Frith. They had fallen into a curious, natural rhythm, even as the child grew older. When the snow goose was at the lighthouse, then she came, too, to visit and learn many things from Rhayader. They sailed together in his speedy boat, that he handled so skillfully. They caught wildfowl for the ever increasing colony, and built new pens and enclosures for them. From him she learned the lore of every wild bird, from gull to gyrfalcon, that flew the marshes. She cooked for him sometimes, and even learned to mix his paints.