“May has her own way of paying her respects,” Anya feels the need to explain. “This morning she scattered peony petals to the four winds.”
I don’t comment. Anything I could say would sound sarcastic.
When we get to the church, people are lined up outside waiting to get in.
Rafferty’s there, standing in the back of the church, under the organ, which extends two stories to the roofline. He looks awkward in his dark suit, more awkward in his knowledge that everyone is staring at him. Actually, it’s only the women who are staring. Rafferty is a good-looking man, a fact that just makes him more self-conscious in this mostly female crowd.
This is an old church, the First Church in Salem, but Puritan in its origins. Two of the accused witches were in its congregation. This is also the church that excommunicated Roger Williams after he went on strike and refused to act as pastor or even attend services unless it cut off all dialogue with the Church of England. He fled not only the church but Massachusetts Bay Colony, escaping banishment and going on to found Rhode Island, the test state for religious tolerance.
Today Salem’s First Church is Unitarian and about as far from its Puritan roots as a church can get. Still, those roots go deep. The last in a succession of meeting places, the Essex Street structure has changed considerably over the years. In the mid-1800s, when substantial shipping money came to Salem, the church was rebuilt in stone and mahogany, with hard wooden pews down the middle and soft, velvet-covered boxes (private seating for the shipping families) lining the walls. The light comes mainly through the huge, almost floor-to-ceiling Tiffany windows, which cast a film of ashy rose over the interior, making everything look beautiful, if slightly surreal.
The church has the kind of stark elegance found only in this part of the New World.
We sit off to the side in the Whitney box, with its horsehair cushions and dusty velvet covers, once a deep wine color, now a crushed, fraying pink. The seats in the center of the church have been restored, and that is where the congregation sits. Even today, when it is so crowded that people are forced to stand in the back, the only box open is ours. This is probably due to liability issues rather than segregation, but it seems somehow to be a way of setting us apart from the crowd. Because we face the people and not the pulpit, it feels as if we’re sitting in a display case. I see people stealing glances at us when they think we’re not looking. Maybe that always happens at funerals, those looks, maybe it happens all the time, but the families never notice because they’re facing forward, looking at the coffin and not the congregation.
Already it’s almost ninety degrees outside. “Too early for this,” I hear one woman say as she comes in. Her tone is mildly accusing, and I turn around to see who she’s talking to, but it’s a general comment meant for no one in particular, or maybe for God, whose house this is supposed to be. It’s as if she’s documenting something, going on record. People do that in this part of the country—they register weather extremes the same way they balance their checkbooks, making sure they get credit for everything and don’t incur any charges that don’t belong to them, as if the weather itself were controlled and obliged to produce a finite and determinable number of hot, snowy, or rainy days that must not be exceeded.
The church is filled with women, all wearing hats and linen sundresses, almost southern-looking, out of place here against the cold stone architecture. My eye is drawn to the center of the church and a group of women, each one dressed in a different shade of purple and wearing a red hat. These are Eva’s regulars at the tea shop, a group she considered friends.
People fan themselves when they first come in, using whatever they can find: a sun hat, a program from last Sunday that has fallen to the floor. Their sighs are audible. The stone church is not air-conditioned but holds the dank feeling of a New England fieldstone cellar, damp and cool, with a memory scent of apples from last fall’s Harvest Days and spruce left over from Christmas. The people get calmer as they finally begin to cool down; they stop fanning and fidgeting. There are even some momentary smiles of recognition tossed back and forth and then covered with the more appropriate somber demeanor. “Try to act as if you’re wearing black,” I once heard a Hollywood director say to one of his actors. That’s what these people are doing.
The only people who actually are wearing black are the witches, but they wear black all year. They are also the only ones who are not treating this as a solemn occasion. They talk quietly among themselves, greeting others as they come in. Death isn’t the same for the witches, Eva told me once; she said it was because they don’t attach the prospect of eternal damnation to it.
Dr. Ward gives the eulogy. He talks about Eva’s good works, about all the people she helped. “People are defined, finally, by the good works they do.” He runs through a list of Eva’s works, things I never knew about my aunt, things she might have boasted about if she’d been another type of person. I realize the selfishness of children. We love them, and we revolve around their universes, but they don’t revolve around ours. I left here when I was a child, and in some ways I haven’t grown up yet. That I didn’t know these things about my aunt speaks to that fact. I feel sorry about that as I sit here. I feel sorry about a lot of things today.
Dr. Ward clears his throat. “Eva Whitney swam every day, beginning in the late spring. Before many of the boats were in the water, she would be there. People started putting their boats in when Eva started her daily swims, because they knew that the weather would stay warm, that the season was upon us. Eva’s first swim of the season was this town’s version of Groundhog Day. When she went into the water that first time, we held our collective breaths. If she went back again the next day, we’d put away our snow shovels for good—spring had sprung.” He looks around the room, making eye contact. “And now the season has changed. Summer is here again, but Eva is no longer among us.” He looks at Auntie Emma, then at Beezer and me. Beezer shifts uncomfortably in his seat. “‘To every thing,’” Dr. Ward says, “‘there is a season, and a time to every purpose under the heaven.’”
He doesn’t finish the verse but steps down, gesturing to Ann Chase, who moves toward the pulpit, her speaker’s notes in hand, black robes brushing against the corner of our box as she passes. Dr. Ward remembers his manners, extends an arm to her, helping her up the steps, a polite gesture from an old gentleman. As she takes his arm, I can see that her hand is the supporting one. She’s helping him down more than he’s helping her up. Dr. Ward walks slowly to the front row and takes a seat facing the coffin. He looks straight ahead.
I haven’t seen Ann Chase since the summer that Lyndley died. She is a little bit older than I am, maybe four or five years. She looks slightly muted but otherwise unchanged these last fifteen years. Her features are less clearly defined, like a copy of an old master done by an art student, one off, more suggestion than reality.
She doesn’t introduce herself. She doesn’t have to. With the exception of Laurie Cabot, Ann Chase is the most famous witch in Salem and a direct descendant of Giles and Martha Corey, who were once prominent members of the First Church (until they were executed as witches during the hysteria). They were not witches, of course. Their pardons hang now in the back of this church for everyone to see, pardons issued by Queen Elizabeth II at the end of this century, way too late for Giles and Martha and (some people would say) too late for Ann as well. “The sins of the fathers,” someone whispers, loud enough for everyone to hear. But if Ann hears it, she doesn’t flinch.
Most people in this town think that Ann became a witch as some kind of family protest taken to the extreme, a “can’t beat ’em, so join ’em” kind of justice, an “I have the name, so I might as well have the game” type of thing. I’m not sure about that. Ann Chase was already practicing witchcraft by the time I left town, living in a hippie house down by the Gables, growing herbs, and brewing magic-mushroom tea for all her friends. She didn’t wear black then; she wore long, flowing Indian-print skirts made out of the same kind of material as the bedspreads Lyndley and I bought in Harvard Square. She usually went barefoot and had henna tattoos across her knuckles and a toe