the Black Cat, and I picked him up and carried him down there, with a cat basket, and a litter box, and some food and water. I closed the door behind me. I had to wash the blood from my hands when I left the basement.
He stayed down there for four days. At first he seemed too weak to feed himself: a cut beneath one eye had rendered him almost one-eyed, and he limped and lolled weakly, thick yellow pus oozing from the cut in his lip.
I went down there every morning and every night, and I fed him and gave him antibiotics, which I mixed with his canned food, and I dabbed at the worst of the cuts, and spoke to him. He had diarrhea, and, although I changed his litter daily, the basement stank evilly.
The four days that the Black Cat lived in the basement were a bad four days in my house: the baby slipped in the bath and banged her head and might have drowned; I learned that a project I had set my heart on—adapting Hope Mirrlees’s novel Lud in the Mist for the BBC—was no longer going to happen, and I realized that I did not have the energy to begin again from scratch, pitching it to other networks or to other media; my daughter left for summer camp and immediately began to send home a plethora of heart-tearing letters and cards, five or six each day, imploring us to bring her home; my son had some kind of fight with his best friend, to the point that they were no longer on speaking terms; and, returning home one night, my wife hit a deer that ran out in front of the car. The deer was killed, the car was left undriveable, and my wife sustained a small cut over one eye.
By the fourth day, the cat was prowling the basement, walking haltingly but impatiently between the stacks of books and comics, the boxes of mail and cassettes, of pictures and of gifts and of stuff. He mewed at me to let him out and, reluctantly, I did so.
He went back onto the porch and slept there for the rest of the day.
The next morning there were deep new gashes in his flanks, and clumps of black cat hair—his—covered the wooden boards of the porch.
Letters arrived that day from my daughter, telling us that camp was going better and she thought she could survive a few days; my son and his friend sorted out their problem, although what the argument was about—trading cards, computer games, Star Wars, or A Girl—I would never learn. The BBC executive who had vetoed Lud in the Mist was discovered to have been taking bribes (well, “questionable loans”) from an independent production company and was sent home on permanent leave: his successor, I was delighted to learn when she faxed me, was the woman who had initially proposed the project to me before leaving the BBC.
I thought about returning the Black Cat to the basement, but decided against it. Instead, I resolved to try and discover what kind of animal was coming to our house each night and from there to formulate a plan of action—to trap it, perhaps.
For birthdays and at Christmas, my family gives me gadgets and gizmos, pricy toys which excite my fancy but, ultimately, rarely leave their boxes. There is a food dehydrator and an electric carving knife, a breadmaking machine, and, last year’s present, a pair of see-in-the-dark binoculars. On Christmas Day I had put the batteries into the binoculars and had walked about the basement in the dark, too impatient even to wait until nightfall, stalking a flock of imaginary Starlings. (You were warned not to turn it on in the light: that would have damaged the binoculars and quite possibly your eyes as well.) Afterward I had put the device back into its box, and it sat there still, in my office, beside the box of computer cables and forgotten bits and pieces.
Perhaps, I thought, if the creature, dog or cat or raccoon or what-have-you, were to see me sitting on the porch, it would not come, so I took a chair into the box-and-coatroom, little larger than a closet, which overlooks the porch, and, when everyone in the house was asleep, I went out
He stayed down there for four days. At first he seemed too weak to feed himself: a cut beneath one eye had rendered him almost one-eyed, and he limped and lolled weakly, thick yellow pus oozing from the cut in his lip.
I went down there every morning and every night, and I fed him and gave him antibiotics, which I mixed with his canned food, and I dabbed at the worst of the cuts, and spoke to him. He had diarrhea, and, although I changed his litter daily, the basement stank evilly.
The four days that the Black Cat lived in the basement were a bad four days in my house: the baby slipped in the bath and banged her head and might have drowned; I learned that a project I had set my heart on—adapting Hope Mirrlees’s novel Lud in the Mist for the BBC—was no longer going to happen, and I realized that I did not have the energy to begin again from scratch, pitching it to other networks or to other media; my daughter left for summer camp and immediately began to send home a plethora of heart-tearing letters and cards, five or six each day, imploring us to bring her home; my son had some kind of fight with his best friend, to the point that they were no longer on speaking terms; and, returning home one night, my wife hit a deer that ran out in front of the car. The deer was killed, the car was left undriveable, and my wife sustained a small cut over one eye.
By the fourth day, the cat was prowling the basement, walking haltingly but impatiently between the stacks of books and comics, the boxes of mail and cassettes, of pictures and of gifts and of stuff. He mewed at me to let him out and, reluctantly, I did so.
He went back onto the porch and slept there for the rest of the day.
The next morning there were deep new gashes in his flanks, and clumps of black cat hair—his—covered the wooden boards of the porch.
Letters arrived that day from my daughter, telling us that camp was going better and she thought she could survive a few days; my son and his friend sorted out their problem, although what the argument was about—trading cards, computer games, Star Wars, or A Girl—I would never learn. The BBC executive who had vetoed Lud in the Mist was discovered to have been taking bribes (well, “questionable loans”) from an independent production company and was sent home on permanent leave: his successor, I was delighted to learn when she faxed me, was the woman who had initially proposed the project to me before leaving the BBC.
I thought about returning the Black Cat to the basement, but decided against it. Instead, I resolved to try and discover what kind of animal was coming to our house each night and from there to formulate a plan of action—to trap it, perhaps.
For birthdays and at Christmas, my family gives me gadgets and gizmos, pricy toys which excite my fancy but, ultimately, rarely leave their boxes. There is a food dehydrator and an electric carving knife, a breadmaking machine, and, last year’s present, a pair of see-in-the-dark binoculars. On Christmas Day I had put the batteries into the binoculars and had walked about the basement in the dark, too impatient even to wait until nightfall, stalking a flock of imaginary Starlings. (You were warned not to turn it on in the light: that would have damaged the binoculars and quite possibly your eyes as well.) Afterward I had put the device back into its box, and it sat there still, in my office, beside the box of computer cables and forgotten bits and pieces.
Perhaps, I thought, if the creature, dog or cat or raccoon or what-have-you, were to see me sitting on the porch, it would not come, so I took a chair into the box-and-coatroom, little larger than a closet, which overlooks the porch, and, when everyone in the house was asleep, I went out
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