Jailwise
by Lucius Shepard
During my adolescence, despite being exposed to television documentaries depicting men with weightlifter chests and arms, wearing ponytails and wife-beater undershirts, their bodies spangled with homemade tattoos, any mention of prison always brought to my mind a less vainglorious type of criminal, an image derived, I believe, from characters in the old black-and-white movies that prior to the advent of the infomercial tended to dominate television's early morning hours: smallish, gray-looking men in work shirts and loose-fitting trousers, miscreants who-although oppressed by screws and wardens, victimized by their fellows-managed to express, however inarticulately, a noble endurance, a working-class vitality and poetry of soul. Without understanding anything else, I seemed to understand their crippled honor, their Boy Scout cunning, their Legionnaire's willingness to suffer. I felt in them the workings of a desolate beatitude, some secret virtue of insularity whose potentials they alone had mastered. 
Nothing in my experience intimated that such men now or ever had existed as other than a fiction, yet they embodied a principle of anonymity that spoke to my sense of style, and so when I entered the carceral system at the age of fifteen, my parents having concluded that a night or two spent in the county lock-up might address my aggressive tendencies, I strived to present a sturdy, unglamorous presence among the mesomorphs, the skin artists and the flamboyantly hirsute. During my first real stretch, a deuce in minimum security for Possession With Intent, I lifted no weights and adopted no yard name. Though I wore a serpent-shaped earring, a gift from a girlfriend, I indulged in no further self-decoration. I neither swaggered nor skulked, but went from cell to dining hall to my prison job with the unhurried deliberation of an ordinary man engaged upon his daily business, and I resisted, thanks to my hostility toward every sort of authority, therapy sessions designed to turn me inward, to coerce an analysis of the family difficulties and street pressures that had nourished my criminality, with the idea of liberating me from my past. At the time I might have told you that my resistance was instinctive. Psychiatrists and therapy: these things were articles of fashion, not implements of truth, and my spirit rejected them as impure. Today, however, years down the line from those immature judgments, I suspect my reaction was partially inspired by a sense that any revelation yielded by therapy would be irrelevant to the question, and that I already knew in my bones what I now know pit to pole: I was born to this order. 
While I was down in Vacaville, two years into a nickel for armed robbery, I committed the offense that got me sent to Diamond Bar. What happened was this. They had me out spraying the bean fields, dressed in protective gear so full of holes that each day when I was done, I would puke and sweat as if I had been granted a reprieve and yanked from the gas chamber with my lungs half full of death. One afternoon I was sitting by the access road, goggles around my neck, tank of poison strapped to my shoulders, waiting for the prison truck, when an old Volkswagen bus rattled up from the main gate and stopped. On the sliding panel was a detail from a still life by Caravaggio, a rotting pear lopsided on a silver tray; on the passenger door, a pair of cherubs by Titian. Other images, all elements of famous Italian paintings, adorned the roof, front, and rear. The driver peered down at me. A dried-up, sixtyish man in a work shirt, balding, with a mottled scalp, a hooked nose, and a gray beard bibbing his chest. A blue-collar Jehovah. "You sick?" he asked, and waggled a cell phone. "Should I call somebody?" 
"Fuck are you?" I asked. "The Art Fairy?" 
"Frank Ristelli," he said without resentment. "I teach a class in painting and sculpture every Wednesday." 
"Those who can't, teach … huh?" 
A patient look. "Why would you say that?" 
"'Cause the perspective on your Titian's totally fucked." 
"It's good enough for you to recognize. How do you know Titian?" 
"I studied painting in college. Two years. People in the department thought I was going to be a hot-shit artist." 
"Guess you fooled them, huh?" 
He was mocking me, but I was too worn out to care. "All that college pussy," I said. "I couldn't stay focused." 
"And you had places to rob, people to shoot. Right?" 
That kindled my anger, but I said nothing. I wondered why he was hanging around, what he wanted of me. 
"Have you kept it up? You been drawing?" 
"I mess around some." 
"If you'd like, I'd be glad to take a look. Why don't you bring me what you've been doing next Wednesday?" 
I shrugged. "Sure, yeah. I can do that." 
"I'll need your name if I'm going to hook you up with a pass." 
"Tommy Penhaligon," I said. 
Ristelli wrote it down on a note pad. "Okay … Tommy. Catch you Wednesday." With that, he put the van in gear and rattled off to the land of the free, his pluming exhaust obscuring my view of the detail from a Piero della Francesca painted on the rear. 
Of course, I had done no drawing for years, but I sensed in Ristelli the potential for a sweet hustle. Nothing solid, but you develop a nose for these things. With this in mind, I spent the following week sketching a roach-likely it was several different roaches, but I preferred to think of it as a brother inmate with a felonious history similar to my own. I drew that roach to death, rendering him in a variety of styles ranging from realism to caricature. I ennobled him, imbued him with charisma, invoked his humble, self-abnegatory nature. I made him into an avatar among roaches, a roach with a mission. I crucified him and portrayed him distributing Oreo crumbs to the faithful. I gave him my face, the face of a guard to whom I had a particular aversion, the faces of several friends, including that of Carl Dimassio, who supplied the crank that kept me working straight through the nights. I taped the drawings on the wall and chuckled with delight, amazed by my cleverness. On the night before Ristelli's class, so wasted that I saw myself as a tragic figure, a savage with the soul of an artist, I set about creating a violent self-portrait, a hunched figure half buried in blackness, illuminated by a spill of lamplight, curled around my sketch pad like a slug about a leaf, with a harrowed face full of weakness and delirium, a construction of crude strokes and charred, glaring eyes, like the face of a murderer who has just understood the consequences of his act. It bore only a slight resemblance to me, but it impressed Ristelli. 
"This is very strong," he said of the self-portrait. "The rest of them"-he gestured at the roach drawings-"they're good cartoons. But this is the truth." 
Rather than affecting the heightened stoicism that convicts tend to assume when they wish to demonstrate that they have not been emotionally encouraged, I reacted as might a prisoner in one of the movies that had shaped my expectations of prison and said with boyish wonderment, "Yeah … you think?," intending by this to ruffle the sensibilities of Ristelli's inmate assistant, a fat, ponytailed biker named Marion Truesdale, aka Pork, whose arms were inked with blue, circusy designs, the most prominent being a voluptuous naked woman with the head of a demon, and whose class work, albeit competent, tended to mirror the derivative fantasy world of his body art. In the look that passed between us then was all I needed to know about the situation: Pork was telling me that he had staked out Ristelli and I should back the fuck off. But rather than heeding the warning, I concentrated on becoming Ristelli's star pupil, the golden apple in a barrel of rotten ones. Over the next months, devoting myself to the refinement of my gift, I succeeded to such a degree that he started keeping me after class to talk, while Pork-his anger fermenting-cleaned palette knives and brushes. 
Much of what I said to Ristelli during that time was designed to persuade him of the deprivation I faced, the lack of stimulation that was neutering my artistic spirit, all with an eye toward convincing him to do a little smuggling for me. Though he sympathized with my complaints, he gave no sign that he was ripe to be conned. He would often maneuver our conversation into theoretical or philosophical directions, and not merely as related to art. It seemed he considered himself my mentor and was attempting to prepare me for a vague future in which I would live if not totally free, then at least unconstrained by spiritual fetters. One day when I described myself in passing as having lived outside the law, he said, "That's simply not so. The criminal stands at the absolute heart of the law." 
He was perched on a corner of an old scarred desk jammed into the rear of the art room, nearly hidden by the folded easels leaning against it, and I was sitting with my legs stretched out in a folding chair against the opposite wall, smoking one of Ristelli's Camels. Pork stood at the sink, rinsing brushes in linseed oil, shoulders hunched, radiating enmity, like a sullen child forbidden the company of his elders. 
"'Cause we're inside?" I asked. "That what you're saying?" 
"I'm talking about criminals, not just prisoners," Ristelli said. "The criminal is the basis for the law. Its inspiration, its justification. And ultimately, of course, its victim. At least in the view of society." 
"How the hell else can you view it?" 
"Some might see incarceration as an opportunity to learn criminal skills. To network. Perhaps they'd rather be elsewhere, but they're inside, so they take advantage. But they only take partial advantage. They don't understand the true nature of the opportunity." 
I was about to ask for an explanation of this last statement, but Pork chose the moment to ask Ristelli if he needed any canvases stretched. 
Ristelli said, "Why don't you call it a day. I'll see you next week." 
Aiming a bleak look in my direction, Pork said, "Yeah … all right," and shambled out into the corridor. 
"The criminal and what he emblematizes …," Ristelli went on. "The beast. Madness. The unpredictable. He's the reason society exists. Thus the prison system is the central element of society. Its defining constituency. Its model." He tapped a cigarette out of his pack and made a twirling gesture with it. "Who runs this place?" 
"Vacaville? Fucking warden." 
"The warden!" Ristelli scoffed at the notion. "He and the guards are there to handle emergencies. To maintain order. They're like the government. Except they have much less control than the President and the Congress. No taxes, no regulations. None that matter, anyway. They don't care what you do, so long as you keep it quiet. Day to day it's cons who run the prisons. There are those who think a man's freer inside than out in the world." 
"You sound like an old lifer." 
Bemused, Ristelli hung the cigarette from his lower lip, lit up and let smoke flow out from his mouth and nostrils. 
"Fuck you know about it, anyway?" I said. "You're a free man." 
"You haven't been listening." 
"I know I should be hanging on your every goddamn word. Just sometimes it gets a little deep, y'know." I pinched the coal off the tip of the Camel and pocketed the butt. "What about the death penalty, man? If we're running things, how come we let 'em do that shit?" 
"Murderers and the innocent," Ristelli said. "The system tolerates neither." 
It seemed I understood these words, but I could not abide the thought that Ristelli's bullshit was getting to me, and instead of pursuing the matter, I told him I had things to do and returned to my cell. 
I had been working on a series of portraits in charcoal and pastel that depicted my fellow students in contemplative poses, their brutish faces transfigured by the consideration of some painterly problem, and the next week after class, when Ristelli reviewed my progress, he made mention of the fact that I had neglected to include their tattoos. Arms and necks inscribed with barbed wire bracelets, lightning bolts, swastikas, dragons, madonnas, skulls; faces etched with Old English script and dripping with black tears-in my drawings they were unadorned, the muscles cleanly rendered so as not to detract from the fraudulent saintliness I was attempting to convey. Ristelli asked what I was trying for, and I said, "It's a joke, man. I'm turning these mutts into philosopher-kings." 
"Royalty have been known to wear tattoos. The kings of Samoa, for instance." 
"Whatever." 
"You don't like tattoos?" 
"I'd sooner put a bone through my nose." 
Ristelli began unbuttoning his shirt. "See what you think of this one." 
"That's okay," I said, suspecting now Ristelli's interest in my talent had been prelude to a homosexual seduction; but he was already laying bare his bony chest. Just above his right nipple, a bit off-center, was a glowing valentine heart, pale rose, with a gold banner entangling its pointy base, and on the banner were words etched in dark blue: The Heart Of The Law. The colors were so soft and pure, the design so simple, it seemed-despite its contrast to Ristelli's pallid skin-a natural thing, as if chance had arranged certain inborn discolorations into a comprehensible pattern; but at the moment, I was less aware of its artistic virtues than of the message it bore, words that brought to mind what Ristelli had told me a few days before. 
"The heart of the law," I said. "This mean you done crime? You're a criminal?" 
"You might say I do nothing else." 
"Oh, yeah! You're one of the evil masters. Where'd you get the tattoo?" 
"A place called Diamond Bar." 
The only Diamond Bar I'd heard of was a section of LA populated mainly by Asians, but Ristelli told me it was also the name of a prison in northern California where he had spent a number of years. He claimed to be among the few ever to leave the place. 
"It's unlikely you've met anyone who's done time there," he said. "Until now, that is. Not many are aware of its existence." 
"So it's a supermax? Like Pelican Bay? The hell you do to get put someplace like that?" 
"I was a fool. Like you, stupidity was my crime. But I was no longer a fool when I left Diamond Bar." 
There was in his voice an evangelical tremor, as if he were hearkening back to the memory of god and not a prison cell. I'd come to realize he was a strange sort, and I wondered if the reason he had been released might be due to some instability developed during his sentence. He started to button his shirt, and I studied the tattoo again. 
"Doesn't look like a jailhouse tat … 'least none I ever saw," I said. "Doesn't even look like ink, the colors are so clean." 
"The colors come from within," Ristelli said with the pious aplomb of a preacher quoting a soothing text. "There are no jails." 

· · · · · 

That conversation stayed with me. If Ristelli was not certifiably a whacko, I assumed he was well along the road; yet while he had given me no concrete information about Diamond Bar, the commingling of passion and firmness in his voice when he spoke of the place seemed evidence not of an unbalanced mind but of profound calm, as if it arose from a pivotal certainty bred in a quieter emotional climate than were most prison-bred fanaticisms. I believed everything he said was intended to produce an effect, but his motives did not concern me. The idea that he was trying to manipulate me for whatever purpose implied that he needed something from me, and this being the case, I thought it might be an opportune time to make my needs known to him. 
I assumed that Pork understood how the relationship between Ristelli and me was developing. To discourage him from lashing out at me, I hired a large and scarily violent felon by the name of Rudy Wismer to watch my back in the yard, at meals, and on the block, paying for his services with a supply of the X-rated Japanese comics that were his sexual candy. I felt confident that Wismer's reputation would give Pork pause-my bodyguard's most recent victim, a bouncer in a Sacramento night club, had testified at trial wearing a mask that disguised the ongoing reconstruction of his facial features; but on the Wednesday following our discussion of tattoos, Ristelli took sick midway through class and was forced to seek medical attention, leaving Pork and me alone in the art room, the one place where Wismer could not accompany me. We went about our cleaning chores in different quarters of the room; we did not speak, but I was aware of his growing anger, and when finally, without overt warning, he assaulted me, I eluded his initial rush and made for the door, only to find it locked and two guards grinning at me through the safety glass. 
Pork caught hold of my collar, but I twisted away, and for a minute or so I darted and ducked and feinted as he lumbered after me, splintering easels, scattering palettes and brushes, tromping tubes of paint, overturning file cabinets. Before long, every obstacle in the room had been flattened and, winded, I allowed myself to be cornered against the sink. Pork advanced on me, his arms outspread, swollen cheeks reddened by exertion, huffing like a hog in heat. I prepared for a last and likely ineffective resistance, certain that I was about to take a significant beating. Then, as Pork lunged, his front foot skidded in the paint oozing from a crushed tube of cadmium orange, sending him pitching forward, coming in too low; at the same time, I brought my knee up, intending to strike his groin but landing squarely on his face. I felt his teeth go and heard the cartilage in his nose snap. Moaning, he rolled onto his back. Blood bubbled from his nostrils and mouth, matted his beard. I ignored the guards, who now were shouting and fumbling for their keys, and, acting out of a cold, pragmatic fury, I stood over Pork and smashed his kneecaps with my heel, ensuring that for the remainder of his prison life he would occupy a substantially diminished rank in the food chain. When the guards burst into the room, feeling charmed, blessed by chance, immune to fate, I said, "You assholes betting on this? Did I cost you money? I fucking hope so!" Then I dropped to the floor and curled into a ball and waited for their sticks to come singing through the air. 

· · · · · 

Six days later, against all regulation, Frank Ristelli visited me in the isolation block. I asked how he had managed this, and dropping into his yardbird Zen mode, he said, "I knew the way." He inquired after my health-the guards had rapped me around more than was usual-and after I assured him nothing was broken, he said, "I have good news. You're being transferred to Diamond Bar." 
This hardly struck me as good news. I understood how to survive in Vacaville, and the prospect of having to learn the ropes of a new and probably harsher prison was not appealing. I said as much to Ristelli. He was standing beneath the ceiling fixture in my cell, isolated from the shadows-thanks to the metal cage in which the bulb was secured-in a cone of pale light, making it appear that he had just beamed in from a higher plane, a gray saint sent to illumine my solitary darkness. 
"You've blown your chance at parole," he said. "You'll have to do the whole stretch. But this is not a setback; it's an opportunity. We need men like you at Diamond Bar. The day I met you, I knew you'd be a candidate. I recommended your transfer myself." 
I could not have told you which of these statements most astonished me, which most aroused my anger. "'We?' 'A candidate?' What're you talking about?" 
"Don't be upset. There's …" 
"You recommended me? Fuck does that mean? Who gives a shit what you recommend?" 
"It's true, my recommendation bears little weight. These judgments are made by the board. Nevertheless, I feel I'm due some credit for bringing you to their attention." 
Baffled by this and by his air of zoned sanctimony, I sat down on my bunk. "You made a recommendation to the Board of Prisons?" 
"No, no! A higher authority. The board of Diamond Bar. Men who have achieved an extraordinary liberty." 
I leaned back against the wall, controlling my agitation. "That's all you wanted to tell me? You could have written a letter." 
Ristelli sat on the opposite end of the bunk, becoming a shadow beside me. "When you reach Diamond Bar, you won't know what to do. There are no rules. No regulations of any sort. None but the rule of brotherhood, which is implicit to the place. At times the board is compelled to impose punishment, but their decisions are based not on written law, but upon a comprehension of specific acts and their effect upon the population. Your instincts have brought you this far along the path, so put your trust in them. They'll be your only guide." 
"Know what my instincts are right now? To bust your goddamn head." Ristelli began to speak, but I cut him off. "No, man! You feed me this let-your-conscience-be-your-guide bullshit, and …" 
"Not your conscience. Your instincts." 
"You feed me this total fucking bullshit, and all I can think is, based on your recommendation, I'm being sent to walls where you say hardly anybody ever gets out of 'em." I prodded Ristelli's chest with a forefinger. "You tell me something'll do me some good up there!!" 
"I can't give you anything of the sort. Diamond Bar's not like Vacaville. There's no correlation between them." 
"Are you psycho? That what this is? You're fucking nuts? Or you're blowing somebody lets your ass wander around in here and act like some kinda smacked-out Mother Teresa? Give me a name. Somebody can watch out for me when I get there." 
"I wish I could help you more, but each man must find his own freedom." Ristelli came to his feet. "I envy you." 
"Yeah? So why not come with me? Guy with your pull should be able to wangle himself a ride-along." 
"That is not my fate, though I return there every day and every night in spirit." His eyes glistened. "Listen to me, Tommy. You're going to a place few will ever experience. A place removed from the world yet bound to it by a subtle connectivity. The decisions made by those in charge for the benefit of the population enter the consciousness of the general culture and come to govern the decisions made by kings and presidents and despots. By influencing the rule of law, they manipulate the shape of history and redefine cultural possibility." 
"They're doing a hell of a job," I said. "World's in great goddamn shape these days." 
"Diamond Bar has only recently come to primacy. The new millennium will prove the wisdom of the board. And you have an opportunity to become part of that wisdom, Tommy. You have an uncommon sensibility, one that can illustrate the process of the place, give it visual form, and this will permit those who follow in your path to have a clearer understanding of their purpose and their truth. Your work will save them from the missteps that you will surely make." Ristelli's voice trembled with emotion. "I realize you can't accept what I'm saying. Perhaps you never will. I see in you a deep skepticism that prevents you from finding peace. But accomplishment … that you can aspire to, and through accomplishment you may gain a coin of greater worth. Devote yourself to whatever you choose to do. Through devotion all avenues become open to the soul. Serve your ambition in the way a priest serves his divinity, and you will break the chains that weigh down your spirit." 

· · · · · 

On my first night in jail, at the age of fifteen, a Mexican kid came over to where I was standing by myself in the day room, trying to hide behind an arrogant pose, and asked if I was jailwise. Not wanting to appear inexperienced, I said that I was, but the Mexican, obviously convinced that I was not, proceeded to enlighten me. Among other things, he advised me to hang with my own kind (i.e., race) or else when trouble occurred no one would have my back, and he explained the diplomatic niceties of the racial divide, saying that whenever another white man offered to give me five, flesh-to-flesh contact was permitted, but should a Latino, an Asian, an Arab, an Afro-American, or any darkly hued member of the human troupe offer a similar encouragement, I was to take out my prison ID card and with it tap the other man's fingertips. In every jail and prison where I had done time, I had received a similar indoctrination lecture from a stranger with whom I would never interact again. It was as if the system itself had urged someone forward, stimulating them by means of some improbable circuitry to volunteer the fundamentals of survival specific to the place. Ristelli's version was by far the most unhelpful I had ever heard, yet I did not doubt that his addled sermonette was an incarnation of that very lecture. And because of this; because I had so little information about the prison apart from Ristelli's prattle; because I believed it must be a new style of supermax whose powers of spiritual deprivation were so ferocious, it ate everything it swallowed except for a handful of indigestible and irretrievably damaged fragments like Ristelli; for these reasons and more I greatly feared what might happen when I was brought to Diamond Bar. 
The gray van that transported me from Vacaville seemed representative of the gray strangeness that I believed awaited me, and I constructed the mental image of a secret labyrinthine vastness, a Kafkaville of brick and steel, a partially subterranean complex like the supermax in Florence, Colorado where Timothy McVeigh, Carlos Escobar, and John Gotti had been held; but as we crested a hill on a blue highway south of Mount Shasta, a road that wound through a forest of old-growth spruce and fir, I caught sight of a sprawling granite structure saddling the ridge ahead, looking ominously medieval with its guard turrets and age-blackened stone and high, rough-hewn walls, and my mental image of the prison morphed into more Gothic lines-I pictured dungeons, archaic torments, a massive warden with a bald head the size of a bucket, filed teeth, and a zero tattooed on his brow. 
The road angled to the left, and I saw an annex jutting from one side of the prison, a windowless construction almost as high as the main walls, also of weathered granite, that followed the slope of the ridge downward, its nether reach hidden by the forest. We passed in among the ranked trees, over a rattling bridge and along the banks of a fast-flowing river whose waters ran a mineral green through the calm stretches, cold and clouded as poison in a trough, then foamed and seethed over thumblike boulders. Soon the entrance to the annex became visible on the opposite shore: iron doors enclosed by a granite arch and guarded by grandfather firs. The van pulled up, the rear door swung open. When it became apparent that the driver did not intend to stir himself, I climbed out and stood on the bank, gazing toward my future. The ancient stones of the annex were such a bleak corruption of the natural, they seemed to presage an imponderable darkness within, like a gate that when opened would prove the threshold of a gloomy Druid enchantment, and this, in conjunction with the solitude and the deafening rush of the river, made me feel daunted and small. The engine of the van kicked over, and the amplified voice of the driver, a mystery behind smoked windows, issued from a speaker atop the roof: "You have ten minutes to cross the river!" Then the van rolled away, gathering speed, and was gone. 
At Vacaville I had been handcuffed but not shackled, not the normal procedure, and left alone now I had the urge to run; but I was certain that invisible weapons were trained on me and thought this must be a test or the initial stage in a psychological harrowing designed to reduce me to a Ristelli-like condition. Cautiously, I stepped onto a flat stone just out from the bank, the first of about forty such stones that together formed a perilous footbridge, and began the crossing. Several times, besieged by a surge of water, a damp gust of wind, I slipped and nearly fell-to this day I do not know if anyone would have come to my rescue. Teetering and wobbling, fighting for balance, to a casual observer I would have presented the image of a convict making a desperate break for freedom. Eventually, my legs trembling from the effort, I reached the shore and walked up the shingle toward the annex. The building terminated, as I've said, in an arch of pitted stone, its curve as simple as that of a sewer tunnel, and chiseled upon it was not, as might have been expected, Abandon Hope All Ye Who Enter Here or some equally dispiriting legend, but a single word that seemed in context even more threatening: WELCOME. The iron doors were dappled with orange patches of corrosion, the separate plates stitched by rows of large rivets whose heads had the shape of nine-pointed stars. There was no sign of a knocker, a bell, or any alarm I might engage in order to announce myself. Once again I gave thought to running, but before I could act on the impulse, the doors swung silently inward, and moved less by will than by the gravity of the dimness beyond, I stepped inside. 
My first impression of Diamond Bar was of a quiet so deep and impacted, I imagined that a shout, such as I was tempted to vent, would have the value of a whisper. The light had a dull golden cast and a grainy quality, as if mixed in with particles of gloom, and the smell, while it plainly was that of a cleaning agent, did not have the astringency of an industrial cleaner. The most curious thing, however, was that there were no administrative personnel, no guards, no term of processing and orientation. Rather than being kept in isolation until it was determined to which block or unit I would be assigned, on passing through the annex door I entered the population of the prison like a pilgrim into a temple hall. The corridor ran straight, broken every fifty yards or so by a short stairway, and was lined with tiers of cells, old-fashioned cribs with sliding gates and steel bars, most of them unoccupied, and in those that were occupied, men sat reading, wall-gazing, watching television. None of them displayed other than a casual interest in me, this a far cry from the gauntlet of stares and taunts I had run when I entered the population at Vacaville. Absent the customary rites of passage, undirected, I kept going forward, thinking that I would sooner or later encounter an official who would inscribe my name or open a computer file or in some other fashion notate my arrival. As I ascended the fourth stairway, I glimpsed a man wearing what looked to be a guard's cap and uniform standing at parade rest on the tier above. I stopped, expecting him to hail me, but his eyes passed over me, and without saying a word, he ambled away. 
By the time I reached the sixth stairway, I estimated that I had walked approximately two-thirds the length of the annex, climbed two-thirds the height of the hill atop which the walls of the prison rested; and though I held out hope that there I might find some semblance of authority, I decided to ask for assistance and approached a lanky, pot-bellied man with a pinkish dome of a scalp that caused his head to resemble a lightly worn pencil eraser, an illusion assisted by his tiny eyes and otherwise negligible features. He was sitting in a cell to the right of the stairs, wearing-as was everyone within view-gray trousers and a shirt to match. He glanced up as I came near, scowled at me, and set down the notebook in which he had been writing. The gate to his cell was halfway open, and I took a stand well back from it, anticipating that his mood might escalate. 
"Hey, brother," I said. "What's up with this place? Nobody signs you in and shit?" 
The man studied me a moment, screwed the cap onto his pen.. On the backs of his fingers were faint inky tracings, the ghosts of old tattoos. The precision of his movements conveyed a degree of snippishness, but when he spoke his voice was calm, free of attitude. "'Fraid I can't help you," he said. 
I would have been on familiar ground if he had responded with a curse, a warning, or the fawning, fraudulent enthusiasm that would signal his perception of me as a mark, but this politely formal response met none of my expectations. "I'm not asking you to get involved, man. I just need to know where to go. I don't want to get my nuts busted for making a wrong turn." 
The man's eyes fitted themselves to the wall of the cell; he seemed to be composing himself, as if I were an irritant whose presence he felt challenged to overcome. "Go wherever you want," he said. "Eventually you'll find something that suits you." 
"Asshole!" I clanged my handcuffs against the bars. "Fuck you think you're talking to? I'm not some fucking fish!" 
His face tightened, but he kept on staring at the wall. The interior of the cell had been painted a yellowish cream, and the wall was marred by discolorations and spots from which the paint had flaked away that altogether bore a slight resemblance to a line of trees rising from a pale ground. After a few seconds he appeared to become lost in contemplation of it. Some of the men in other cells on the ground tier had turned our way, yet none ventured to their doors, and I sensed no general animosity. I was accustomed to prisons filled with men on the lookout for breaks in the routine, any kind of action to color the monotony, and the abnormal silence and passivity of these men both intimidated and infuriated me. I took a circular stroll about the corridor, addressing the occupants of the cells with a sweeping stare, hating their mild, incurious faces, and said in a voice loud enough for all to hear, "What're you, a bunch of pussies? Where the hell I'm supposed to go!" 
Some of the men resumed their quiet occupations, while others continued to watch, but no one answered, and the unanimity of their unresponsiveness, the peculiar density of the atmosphere their silence bred, played along my nerves. I thought I must have come to an asylum and not a prison, one abandoned by its keepers. I wanted to curse them further, but felt I would be slinging stones at a church steeple, so aloof and immune to judgment they seemed. Like old ladies lost in their knitting and their memory books, though not a man within sight looked any older than I. With a disrespectful, all-inclusive wave, I set out walking again, but someone behind me shouted, "Bitch!," and I turned back. The baldheaded man had emerged from his cell and was glaring at me with his dime-sized eyes. He lifted his fist and struck down at the air, a spastic gesture of frustration. "Bitch!" he repeated. "Bitch… you bitch!" He took another babyish swipe at the air and hiccupped. He was, I saw, close to tears, his chin gone quivery. He stumbled forward a step, then performed a rigid half-turn and grasped the bars of his cell, pushing his face between-it appeared that he had forgotten that his gate was open. Many of the inmates had left their cells and were standing along the tiers, intent upon him-he covered his head with his hands, as if defending himself against the pressure of their gaze, and slumped to his knees. A broken keening escaped his lips. Trembling now, he sank onto his haunches. Shame and rage contended in his face, two tides rushing together, and the instant before he collapsed onto his side, he caught the race of one and said feebly and for a last time, "Bitch!" 

· · · · · 

Beyond the ninth stairway lay a deeply shadowed cellblock that had the musty, claustrophobic atmosphere of a catacomb. Walls of undressed stone set close together and mounted by iron stairs; the cells showing like cave mouths; dim white ceiling lights that had the radiant force of distant stars tucked into folds of black cloud. Fatigued and on edge, I was not up to exploring it. A cell stood open and untenanted just below the stairway, and deciding that my safest course would be to allow whoever was in charge to come to me, I entered it and sat down on the bunk. I was struck immediately by the quality of the mattress. Though it appeared to be the usual thin lumpy item, it was softer and more resilient than any prison mattress I had ever rested on. I stretched out on the bunk and found that the pillow was remarkably soft and firm. Closing my eyes, I let the quiet soothe me. 
I must have been drowsing for several minutes when I heard a baritone voice say, "Penhaligon? That you, man?" 
The voice had a familiar ring, and there was something familiar, too, about the lean, broad-shouldered man standing at the entrance to my cell. Framed by a heavy mass of greased-back hair, his face was narrow and long-jawed, with hollow cheeks, a bladed nose, and a full-lipped mouth. He might have been the love child of Elvis and the Wicked Witch of the West. I could not place him, but felt I should be wary. 
He grunted out a laugh. "I can't look that different. Just shaved off the beard's all." 
I recognized him then and sat up, alarmed. 
"Don't get worked up. I'm not gonna fuck with you." He perched on the end of the bunk, angling his eyes about the cell. "You want to put up a picture or two 'fore your wall comes in, they got pretty much any kind you want in the commissary." 
There were questions I might have asked concerning both the essence and the rather housewifely character of this last statement, but during my first month in minimum security, Richard Causey, then doing an eight-spot for manslaughter, had put me in the hospital for the better part of a month with injuries resulting from a beating and attempted rape; thus his comments on interior decoration sailed right past me. 
"I 'spect it's been a while since anybody took the walk you did," Causey said with a trace of admiration. "Straight up from the door all the way to eight? I never saw anyone do it, that's for sure." He clasped his hands on his stomach and settled back against the wall. "Took me a year to move up here from six." 
All my muscles were tensed, but he merely sat there, amiable and at ease. 
"'Most everybody stops somewhere along the first few blocks," Causey went on. "They don't feel comfortable proceeding on 'til they nail down a crib." 
"Is that right?" 
"Yeah, they feel kinda how you felt when you got to nine. Like you best stop and give things a chance to sort themselves out. It's the same with everybody, 'cept you got a lot farther than most." 
Though I may have made a neutral noise in response, I was intent upon Causey's hands, the muscles in his shoulders. 
"Look here," he said. "I understand what you're feeling, but I'm not the man I used to be. You want me to leave, that's cool. I just figured you'd want to talk. I know when I came here, that's all I wanted was somebody to talk to." 
"I'm not the man I was, either," I said, injecting menace into my voice. 
"Well, that's good. Takes a different man than both of us were to do time in Diamond Bar." 
I was beginning to think that, truly, Causey might have changed. No longer did he give off the hostile radiation that once he had, and his speech, formerly characterized by bursts of profanity commingled with butchered elisions, was now measured and considered by contrast. His manner was composed and the tattoo of a red spider that had centered his brow was missing. "Just wore away, I guess," he said when I asked about it. He told me what he could about Diamond Bar but cautioned that the prison was not easily explained. 
"This'll piss you off …' least it did me," he said. "But can't anybody tell you how to work this place. Things come to you as you need 'em. There's a dining hall and a commissary, like everywhere else. But the food's a helluva lot better and you don't need money at the commissary. The board handles everything. Supplies, discipline, recreation. We don't have any guards. I don't …" 
"I saw a guard when I was walking up." 
"Everybody sees that guy, but I never heard about him whupping his stick onto anybody. Could be he does his thing so's to give people something familiar to look at." 
"You saying he's an inmate?" 
"Maybe. I don't know. There's a lot I haven't figured out about, but it's coming." He tapped his temple and grinned. "Best thing about the place is the plumes. You gonna love them." 
"What the hell's that? 
"The queens who get you off down in Vacaville? The plumes put them away. You can't hardly tell the difference between them and a real woman." 
Anxious to steer the conversation away from the sexual, I asked who I needed to watch out for, and he said, "Guys down on the first three or four blocks … some of them been known to go off. They're transferred out or given punishment duty. Mostly you need to watch out for yourself. Make sure you don't screw up." 
"If there's no guards, people must just walk on out of here." 
Causey gave me a penetrating look. "You crossed the river, didn't you? You entered of your own free will?" 
"I thought the guards were watching." 
"Might have been somebody watching. I couldn't tell you. All I know is, you and me and everyone else, we chose to be here, so we're not talking about a prison full of hard-core escape artists. And Diamond Bar's not so bad. Truth is, it's the best I've had it in a while. People say it's going to be even better once they finish the new wing. Escaping crossed my mind a time or two when I was first here. But I had the feeling it wasn't such a good idea." 
What Causey said made me no more certain of my estate, and after he returned to his cell I remained awake, staring at the mysterious reach of the old prison that lay beyond the ninth stair, the dim white lights and anthracitic cell mouths. Everything I knew about Diamond Bar was cornerless and unwieldy, of a shape that refused to fit the logic of prisons, and this gave me cause to wonder how much more unwieldy and ill-fitting were the things I did not know. I was accustomed to prison nights thronged with hoots, cries, whispers, complaints, screams, an uneasy consensus song like the nocturnal music of a rain forest, and the compressed silence of the place, broken intermittently by coughs and snores, inhibited thought. At length I slept fretfully, waking now and again from dreams of being chased, hunted, and accused to find the silence grown deeper, alien and horrid in its thickness. But toward dawn-one I sensed, not witnessed-I woke to an outcry that seemed to issue from beneath the old prison, such a prolonged release of breath it could only have been the product of awful torment or extreme exaltation … or else it was the cry of something not quite human, expressing a primitive emotion whose cause and color is not ours to know, a response to some new shape of fear or a tidal influence or a memory from before birth, and following this I heard a whispering, chittering noise that seemed to arise from every quarter, like the agitated, subdued congress of a crowd gathered for an event of great and solemn gravity. While that chorus lasted I was full of dread, but once it subsided, almost stricken with relief, I fell into a black sleep and did not wake again until the shadows, too, had waked and the first full day of my true incarceration had begun. 

· · · · · 

During those early months at Diamond Bar I came to understand the gist of what Ristelli, Causey, and the baldheaded man had tried to tell me. Eventually one found what was suitable. Things came to you. Trust your instincts. These statements proved to be not the vague, useless pronouncements I had assumed, but cogent practicalities, the central verities of the prison. Initially I behaved as I had during my early days at Vacaville. In the dining hall, an appropriately cavernous room of cream-colored walls, with the image of a great flying bird upon the ceiling, dark and unfigured, yet cleanly rendered like an emblem on a flag … in the dining room, then, I guarded my tray with my free arm and glanced fiercely about as I ate, warning off potential food thieves. When I discovered that the commissary was, indeed, a free store, I took to hoarding cigarettes, candy, and soap. It was several days before I recognized the pointlessness of these behavioral twitches, several weeks before I grew comfortable enough to forego them. Though I was not a heavy drug user, on those occasions that I grew bored, prior to beginning my work, I had no difficulty in obtaining drugs-you only had to mention your requirements to one of several men and later that day the pills or the powder would appear in your cell. I have no idea what might have occurred if I had developed a habit, but I doubt this was a problem at the prison. It was clear that the men on my block were all either above average in intelligence or skilled in some craft or both, and that most had found a means of employing their gifts and skills that left no time for recreational excess. As to the men housed in the cellblocks below the eighth stairway and how they managed things-of them I knew little. The men of different blocks rarely mingled. But I was told that they had a less innate grasp of Diamond Bar's nature than did we. Consequently their day-to-day existence was more of a struggle to adapt. In time, if they were not transferred, they-like us-would move into the old wings of the prison. 
It did not seem likely that anyone could have less firm a grasp on the subject of Diamond Bar than I did, but I adapted quickly, learned my way around, and soon became conversant with a theory espoused by the majority of the men on my block, which held that the prison was the ultimate expression of the carceral system, a mutation, an evolutionary leap forward both in terms of the system and the culture that they believed was modeled upon it. They did not claim to understand the specifics of how this mutation had been produced, but generally believed that a mystical conjunction of event (likely a systemic glitch, an alchemy of botched paperwork and inept bureaucracy), natural law, and cosmic intent had permitted the establishment and maintenance of a prison independent of the carceral system or-so said the true believers-one that acted through subtle manipulation to control both the system and the greater society whose backbone the system formed. Though this smacked of Ristelli's cant, it was not so easy to dismiss now that I saw Diamond Bar for myself. The absence of guards, of any traditional authority; the peculiar demeanor of the inmates; the comfortable beds, decent food and free commissary; the crossing of the river in lieu of ordinary official process; the man dressed as a guard whom everyone had seen and no one knew; the rapid fading of all tattoos; the disturbing dawn cry and the subsequent mutterings, a phenomenon repeated each and every morning-what could be responsible for all this if not some mystical agency? For my part, I thought the theory a fantasy and preferred another, less popular theory-that we were being subjected to an experimental form of mind control and that our keepers were hidden among us. Whenever these theories were discussed, and they were often discussed, Richard Causey, who had studied political science at Duke University prior to turning to a career of violent crime and was writing a history of the prison, would declare that though he had his own ideas, the answer to this apparently unresolvable opposition resided with the board, but that thus far their responses to his inquiries concerning the matter had been inadequate. 
The board consisted of four inmates ranging in age from sixtyish to over seventy. Holmes, Ashford, Czerny, and LeGary. They met each day in the yard to, it was said, decide the important questions relating to our lives and-if you bought into the view that Diamond Bar was the purest expression of a carceral universe, the irreducible distillate of the essential human condition-the lives of everyone on the planet. To reach the yard it was necessary to pass through the old wing of the prison visible beyond the eighth stairway, and though in the beginning I did not enjoy the passage, made anxious by the gloomy nineteenth century atmosphere of the wing's antiquated cells with their key locks and hand-forged bars, and the masses of rotting stone in which they were set, I grew accustomed to the sight and came to view the old sections of the prison as places of unguessable potential-it was there, after all, that I would someday live if I stayed at Diamond Bar. As I've noted, the prison straddled a ridge-the spine of the ridge ran straight down the middle of the yard. Most of the population would gather close to the walls or sit on the slopes, which had been worn barren by countless footsteps, but the members of the board met among the grass and shrubs that flourished atop the ridge, this narrow strip of vegetation giving the enclosed land the look of a giant's scalp pushing up from beneath the earth, one whose green hair had been trimmed into a ragged Mohawk. Rising beyond the west wall, several iron girders were visible, evidence of the new wing that was under construction. The new wing was frequently referenced in conversation as being the panacea for whatever problems existed in our relatively problem-free environment-it seemed an article of faith that prison life would therein be perfected. Again, this struck me as fiction disseminated by whoever was manipulating our fates. 
Late one afternoon some four months after my arrival, myself and Causey-toward whom I had succeeded in developing a neutral attitude-and Terry Berbick, a short, thickset bank robber with a gnomish look, his curly black hair and beard shot through with gray, were sitting against the east wall in the yard, discussing the newcomer on our block, Harry Colangelo: this happened to be the baldheaded man whom I had confronted on the day I came to the prison. His furtive air and incoherent verbal outbursts had made a poor impression, and Berbick was of the opinion that Colangelo's move onto the block had been premature. 
"Something confused the boy. Caught him at a crucial moment during his period of adjustment, and he's never gotten squared away." Berbick glanced at me. "Might be that dust-up with you did the trick." 
"It wasn't that big a deal." 
"I don't know. Way he stares at you, seems like you got under his skin. It might be why he moved up to eight-so he can come back at you easier." 
"I've seen it before," Causey said. "Something happens early on to fuck up a man's instincts, and next you know he goes to acting all haywire. Gets his ass transferred right on outa here." 
I was not certain that being transferred out of Diamond Bar was the bleak prospect that Causey and Berbick thought it, but saw no need to argue the point. 
"There the fucker is." Causey pointed to the slope on our left, where Colangelo was moving crabwise down the ridge, his pink scalp agleam with the westering sun, eyes fixed upon us. "I think Terry nailed it. The man's all messed up behind you." 
"Whatever." I turned my attention to the four old men who purportedly ruled the world. Doddering on their height, the wind flying their sparse hair up into wild frays. Behind them, the tops of the girders burned gold, like iron candles touched with holy fire. Several younger men stood near the four. When I asked who they were, Berbick said they spoke for the board. 
"What?" I said. "The masters of the universe can't talk for themselves?" 
Berbick rolled up to his feet, smartly dusted the seat of his trousers, acting pissed-off. "You want to find out about the board, let's go see them." 
I looked at him with amusement. 
"You act like you know something," he said, "but you don't know as much as we do. And we don't know dip." 
"Ain't no thing," I said. "Forget it." 
"Nothing bad'll happen. We'll go with you." He glanced at Causey. "Right?" 
Causey shrugged. "Sure." 
Berbick arched an eyebrow and said to me in a taunting voice, "It's just four old guys, Tommy. Come on!" 
Colangelo, who had been sitting upslope and to the left of us, scrambled up and hurried out of our path as we climbed the ridge. 
"Fucking freak!" said Berbick as we drew abreast of him. 
The board members were standing in a semicircle just below the highest point of the ridge, which was tufted with two roughly globular, almost identically puny shrubs, so sparsely leaved that from a distance, seen against the backdrop of the stone wall, they looked like the models of two small planets with dark gray oceans and island continents of green. The steadfastness with which the board was contemplating them gave rise to the impression that they were considering emigration to one or the other. Drawing near, I saw that the oldest among them, Czerny, appeared to be speaking, and the others, their eyes wandering, did not appear to be listening. Holmes, a shrunken black man, bald except for puffs of cottony hair above his ears and behind his neck, was shifting his feet restlessly, and the other two, Ashford and LeGary, both grandfather-gray and gaunt, were posed in vacant attitudes. One of the younger men who shadowed them, a stocky Latino in his forties, blocked our path, politely asked what we wanted, and Berbick jerked his thumb toward me and said, "Penhaligon here wants to meet the board." 
"I don't want to meet them," I said, annoyed. "I was just wondering about them." 
"They're busy," the Latino said. "But I'll see." 
"You trying to fuck me over?" I asked Berbick as the Latino man went to consult with the board. 
He looked pleased with himself. "What could happen? It's only four old guys." 
"Nothing to worry about," Causey said. "He's just giving you shit." 
"I don't need you interpreting for me, okay?" I said. "You can quit acting like my fucking big sister." 
"Damn!" said Berbick with surprise. "He's coming over." 
With the Latino holding his elbow, Czerny was heading toward us, shuffling through the ankle-high grasses, wobbly and frail. His caved-in face was freckled with liver spots, and the tip of his tongue flicked out with lizardly insistence. He was small, no more than five feet five, but his hands were those of a much larger man, wide and thick-fingered, with prominent knuckles-they trembled now, but looked as if they had been used violently during his youth. His eyes were a watery grayish blue, the sclera laced with broken vessels, and the right one had a cloudy cast. When he reached us, he extended a hand and gave my forearm a tentative three-fingered pat, like the benediction of a senile pope who had forgotten the proper form. He mumbled something, barely a whisper. The Latino man gave ear, and when Czerny had finished, he said, "There's important work for you here, Penhaligon. You should set about it quickly." 
It did not seem that Czerny had spoken long enough to convey this much information. I suspected that the Latino man and his associates were running a hustle, pretending to interpret the maunderings of four senile old men and in the process guaranteeing a soft life for themselves. 
Czerny muttered something more, and the Latino said, "Come visit me in my house whenever you wish." 
The old man assayed a faltering smile; the Latino steadied him as he turned and, with reverent tenderness, led him back to join the others. I framed a sarcastic comment but was stopped by Causey's astonished expression. "What's going on?" I asked. 
"Man invited you to his house," Causey said with an air of disbelief. 
"Yeah … so?" 
"That doesn't happen too often." 
"I been here almost five years, and I don't remember it ever happening," Berbick said. 
I glanced back and forth between them. "Wasn't him invited me-it was his fucking handler." 
Berbick made a disdainful noise, shook his head as if he couldn't fathom my stupidity, and Causey said, "Maybe when you go see him, you'll …" 
"Why the fuck would I go see him? So I can get groped by some old wheeze?" 
"I guess you got better things to do," Berbick said. He was acting pissed-off again, and I said, "What crawled up your ass, man?" 
He started to step to me, but Causey moved between us, poked me in the chest with two fingers and said, "You little hump! You walk straight up to eight from the door … You don't seem to appreciate what that means. Frank Czerny invites you to his house and you ridicule the man. I been trying to help you …" 
"I don't want your help, faggot!" 
I recognized Causey's humorless smile as the same expression he had worn many years ago prior to ramming my head into a shower wall. I moved back a pace, but the smile faded and he said calmly, "Powers that be got something in mind for you, Penhaligon. That's plain to everyone 'cept you. Seems like you forgot everything you learned about surviving in prison. You don't come to new walls with an attitude. You pay attention to how things are and behave accordingly. Doesn't matter you don't like it. You do what you hafta. I'm telling you-you don't get with the program, they gonna transfer your sorry ass." 
I pretended to shudder. 
"Man thinks he's a hardass," said Berbick, who was gazing up at one of the guard turrets, an untenanted cupola atop a stone tower. "He doesn't know what hard is." 
"Thing you oughta ask yourself," Causey said to me, "is where you gonna get transferred to." 
He and Berbick started downslope, angling toward an unpopulated section of the east wall. Alone on the height, I was possessed by the paranoid suspicion that the groups of men huddled along the wall were all talking about me, but the only evidence that supported this was Colangelo, who was standing halfway down the slope to my right, some forty feet away, almost directly beneath the spot where the board was assembled. He was watching me intently, expectantly, as if anticipating that I might come at him. With his glowing scalp, his eyes pointed with gold, he had the look of a strange pink demon dressed in prison gray, and my usual disdain for him was supplanted by nervousness. As I descended from the ridge top, he took a parallel path, maintaining the distance between us, and though under ordinary circumstances I would have been tempted to challenge him, having alienated Causey and Berbick, knowing myself isolated, I picked up my pace and did not feel secure until I was back in my cell. 

· · · · · 

Over the next several days, I came to recognize that, as Causey had asserted, I had indeed forgotten the basics of survival, and that no matter how I felt about the board, about the nature of Diamond Bar, I would be well served to pay Czerny a visit. I put off doing so, however, for several days more. Though I would not have admitted it, I found the prospect of mounting the iron stair to the tier where Czerny lived intimidating-it appeared that in acknowledging the semblance of the old man's authority, I had to a degree accepted its reality. Sitting in my cell, staring up at the dim white lights beyond the ninth stair, I began to order what I knew of the prison, to seek in that newly ordered knowledge a logical underpinning that would, if not explain everything I had seen, at least provide a middle ground between the poles of faith and sophism. I repaired my relationship with Causey, a matter of simple apology, and from him I learned that the prison had been constructed in the 1850s and originally used to house men whose crimes were related in one way or another to the boomtowns of the Gold Rush. The Board of Prisons had decided to phase out Diamond Bar in the 1900s, and at this time, Causey believed, something had happened to transform a horrific place that few survived into the more genial habitation it had since become. He had unearthed from the library copies of communications between the Board of Prisons and the warden, a man named McCandless Quires, that documented the rescinding of the phase-out order and conferred autonomy upon the prison, with the idea that it should become a penal colony devoted to rehabilitation rather than punishment. During that period, every level of society had been rife with reformers, and prison reform was much discussed-in light of this, such a change as Diamond Bar had undergone did not seem extraordinary; but the fact that it had been given to Quires to oversee the change, that smacked of the bizarre, for he had been frequently reprimanded by the Board for his abuses of prisoners. Indeed, it was the atrocities perpetrated during his stewardship that had induced the Board to consider the question of reform. It was reported that men had been impaled, flayed, torn apart by the prison dogs. Quires' letters demonstrated that he had undergone a transformation. Prior to 1903, his tone in response to the Board's inquiries was defiant and blasphemous, but thereafter his letters displayed a rational, even a repentant character, and he continued to serve as warden until his retirement in 1917. There was no record of a replacement having been appointed, and Causey theorized that the board as we knew it had then come to power, though it was possible, given Quires' advanced age (88), that they had been running things for many years previously. From 1917 on, communications between Diamond Bar and the Board of Prisons steadily diminished, and in 1944, not long before VE Day, they apparently ceased altogether. It was as if the prison, for all intents and purposes, had become non-existent in the eyes of the state. 
Once Causey showed me a yellowed photograph he had unearthed from the prison archives. It had been shot in the yard on a sunny day in May of 1917-the date was inscribed on the back of the photo in a crabbed script-and it depicted a group of a woman and five men, four convicts, one of them black, and the last, an elderly man with white, windblown hair and a craggy, seamed face, clad in a dark suit and tie. Causey identified the elderly man as McCandless Quires, the warden. "And these here," he said, indicating the other four, "that's the board." He tapped each in turn. "Ashford, Czerny, LeGary, Holmes." 
Judging by their faces, the men were all in their twenties. There was a rough similarity of feature between them and the old men who met each day in the yard, but the idea that they were one and the same seemed absurd. 
"That's so, they'd all have to be more than a hundred," I said. "They're old, but not that old." 
"Look at the shape of their heads," Causey said. "Their expressions. They all got that spacey smile. Look at Czerny's hands. See how big they are? It's them, all right." 
"You need to take a breath, man. This isn't the fucking Magic Kingdom, this is prison we're talking about." 
"This is Diamond Bar," he said sullenly. "And we don't know what the hell that is." 
I studied the photograph more closely, concentrating on the woman. She was lovely, delicate of feature, with flowing blonde hair. Noticing my attentiveness, Causey said, "I believe that there's a plume. Quires didn't have no daughter, no wife, and she got the look of a plume." 
"What look is that?" 
"Too perfect. Like she ain't a man or a woman, but something else entirely." 
The photograph aside, what Causey told me lent a plausible historical context to the implausible reality of Diamond Bar, but the key ingredient of the spell that had worked an enchantment upon the prison was missing, and when at last I went to visit Czerny, I had retrenched somewhat and was content to lean upon my assumption that we knew nothing of our circumstance and that everything we thought we knew might well have been put forward to distract us from the truth. Climbing the stairs, passing meter after meter of stone, ash-black and broken like the walls of a mineshaft, I felt on edge. Up on the third tier, the ceiling lights shed a glow that had the quality of strong moonlight; the bars and railings were flaked with rust. Four prisoners were lounging against the railing outside Czerny's cell-the Latino who had spoken for him was not among them-and one, a long-limbed black man with processed hair, his sideburns and thin mustache giving his lean face a piratical look, separated from the rest and came toward me, frowning. 
"You supposed to come a week ago and you just coming now?" he said. "That ain't how it goes, Penhaligon." 
"He told me to come whenever I wanted." 
"I don't care what he said. It's disrespectful." 
"That kind of old school, isn't it?" 
He looked perplexed. 
"It's the kind of attitude you'd expect to find at Vacaville and San Q," I said. "Not at a forward-thinking joint like Diamond Bar." 
The black man was about to speak, but turned back to the cell as Czerny shuffled onto the tier. I had no inclination to mock the old man. Surrounded by young men attentive as tigers, he seemed the source of their strength and not their ward. Though I did not truly credit this notion, when he beckoned, the slightest of gestures, I went to his side without hesitation. His eyes grazed mine, then wandered toward the dim vault beyond the railing. After a second, he shuffled back into the cell, indicating by another almost imperceptible gesture that I should follow. 
A television set mounted on the wall was tuned to a dead channel, its speakers hissing, its screen filled with a patternless sleet of black, silver, and green. Czerny sat on his bunk, its sheets cream-colored and shiny like silk, and-since he did not invite me to sit-I took a position at the rear of the cell, resting a hand upon the wall. The surface of the wall was unusually smooth, and upon examining it I realized it was not granite but black marble worked with white veins that altogether formed a design of surpassing complexity. 
During my first conversation with Causey, he had suggested I purchase some pictures from the commissary to decorate my cell "until your wall comes in." Though struck by this phrase, at the time my attention had been dominated by other concerns; but I had since discovered that once a cell was occupied, discolorations manifested on the wall facing the bunk, and these discolorations gradually produced intricate patterns reminiscent of the rock the Chinese call "picture stone," natural mineral abstractions in which an imaginative viewer could discern all manner of landscapes. The wall in my cell had begun to develop discolorations, its patterns as yet sparse and poorly defined; but Causey's wall, Berbick's, and others were fully realized. It was said these idiosyncratic designs were illustrative of the occupant's inner nature and, when reflected upon, acted to instruct the observer as to his flaws, his potentials, the character of his soul. None of them-at least none I had seen-compared to the elaborate grandeur of the one on Czerny's wall. Gazing at it, I traveled the labyrinthine streets of a fantastic city lined by buildings with spindly, spiny turrets and octagonal doorways; I explored the pathways of a white forest whose creatures were crowned with antlers that themselves formed other, even more intricate landscapes; I coursed along a black river whose banks were sublime constructions of crystal and ice, peopled by nymphs and angels with wings that dwarfed their snowy bodies like the wings of arctic butterflies. I cannot say how long I stared-quite a while, I believe, because my mouth was dry when I looked away-but from the experience I derived an impression of a convoluted, intensely spiritual intellect that warred with Czerny's drab, dysfunctional appearance. He was smiling daftly, eyes fixed on his hands, which were fidgeting in his lap, and I wondered if the audience was over, if I should leave. Then he spoke, muttering as he had out in the yard. This time I understood him perfectly, yet I am certain no intelligible word passed his lips. 
"Do you see?" he asked. "Do you understand where you are now?" 
I was so startled at having understood him, I could muster no reply. 
He raised a hand, trailed his fingers across the bars of the gate, the sort of gesture a salesman might make to display the hang of a fabric. Assuming that he wanted me to inspect the bars, I stepped around him and bent to look at one. A bit less than halfway along its length the color and finish of the metal changed from rough and dark to a rich yellow. The join where the two colors met was seamless, and the yellow metal had an unmistakable soft luster and smoothness: gold. It was as if a luxuriant infection were spreading along the bar, along-I realized-all the bars of Czerny's cell. 
I am not sure why this unsettled me more profoundly than the rest of the bizarre occurrences I'd met with at Diamond Bar. Perhaps it resonated with some gloomy fairy tale that had frightened me as a child or inflamed some even deeper wound to my imagination, for I had a sudden appreciation of Czerny as a wizardly figure, a shabby derelict who had revealed himself of an instant to be a creature of pure principle and power. I backed out of the cell, fetched up against the railing, only peripherally mindful of Czerny's attendants. The old man continued to smile, his gaze drifting here and there, centering briefly on my face, and in that broken muttering whose message I now comprehended as clearly as I might the orotund tones of a preacher ringing from a pulpit, he said, "You cannot retreat from the heart of the law, Penhaligon. You can let it illuminate you or you can fail it, but you cannot retreat. Bear this in mind." 

· · · · · 

That night as I lay in my cell, immersed in the quiet of the cellblock like a live coal at the heart of a diamond, growing ever more anxious at the thought of Czerny in his cell of gold and marble, an old mad king whose madness could kill, for I believed now he was the genius of the place … that night I determined I would escape. Despite the caution implicit in Czerny's final words, I knew I could never thrive there. I needed firm ground beneath my feet, not philosophy and magic or the illusion of magic. If I were to live bounded by walls and laws-as do we all-I wanted walls manned and topped with razor wire, written regulations, enemies I could see. Yet the apparent openness of the prison, its lack of visible security, did not fool me. Power did not exist without enforcement. I would have to ferret out the traps, learn their weaknesses, and in order to do that I needed to become part of the prison and pretend to embrace its ways. 
My first step in this direction was to find an occupation, a meaningful activity that would convince whoever was watching that I had turned my mind onto acceptable avenues; since my only skill was at art, I began drawing once again. But making sketches, I realized, would not generate a bona fide of my submersion in the life of Diamond Bar; thus I undertook the creation of a mural, using for a canvas the walls and ceiling of an empty storeroom in one of the sub-basements. I chose as a theme the journey that had led me to the prison, incorporating images of the river crossing, of Frank Ristelli, the gray van, and so forth. The overall effect was more crazy quilt than a series of unified images, although I was pleased with certain elements of the design; but for all the attention it received, it might have rivaled Piero della Francesca. Men stopped by at every hour to watch me paint, and the members of the board, along with their entourages, were frequent visitors. Czerny took particular interest in my depiction of Ristelli; he would stand in front of the image for periods up to half an hour, addressing it with his customary vacant nods. When I asked one of his attendants the reason for his interest, I was told that Ristelli was revered for a great personal sacrifice made on behalf of us all and reflecting on the origins of our common home-he had been on the verge of being made a member of the board, but had forsworn the security and comfort of the prison and returned to the world in order to seek out men suitable for Diamond Bar. 
Placing Ristelli's zoned piety in context with the psychological climate of the prison, it was not difficult to understand why they perceived him to be their John the Baptist; but in the greater context of the rational, the idea was ludicrous. More than ludicrous. Insane. Recalling how laughable Ristelli's preachments had seemed back in Vacaville reinforced my belief that the population of Diamond Bar was being transformed by person or persons unknown into a brain-dead congregation of delusionaries, and fearful of joining them, I intensified my focus on escape, exploring the sub-basements, the walls, the turrets, searching for potential threats. On one of these explorative journeys, as I passed through Czerny's block, I noticed that the massive oak door leading to the new wing, heretofore always locked, was standing partway open and, curious, I stepped inside. The space in which I found myself was apparently an anteroom, one more appropriate to a modern cathedral than a jail: domed and columned, with scaffolding erected that permitted access to every inch of the roof and walls. The door on the far side of the room was locked, and there was little else to see, the walls and ceiling being white and unadorned. I was on the verge of leaving when I saw a sheet of paper taped to one of the columns. Written in pencil upon it was the following: 
"This place is yours to paint, Penhaligon, if you wish." 
A key lay on the scaffolding beside the note-it fit the oak door. I locked the door, pocketed the key and went about my business, understanding this show of trust to signify the board's recognition that I had accepted my lot and that by taking up their charge I might earn a further degree of trust and so learn something to my benefit. To succeed in this I would have to do something that would enlist their delusion, and I immediately set about working on a design that would illustrate the essence of the delusion, The Heart of the Law. Though I began with cynical intent, as the weeks went by and my cell walls were covered with sketches, I grew obsessed with the project. I wanted the mural to be beautiful and strong to satisfy the artistic portion of my nature, my ego, and not simply to satisfy the board-in truth, I presumed they would approve of anything I did that hewed to their evangel. The dome and walls of the anteroom, the graceful volume of space they described, inspired me to think analytically about painting, something I had not done before, and I challenged myself to transcend the limits of my vision, to conceive a design that was somehow larger than my soul. I came to dwell more and more on the motive theory of Diamond Bar, that the criminal was the fundamental citizen, the archetype in whose service the whole of society had been created, and in the process I came obliquely to embrace the idea, proving, I suppose, the thesis that high art is the creation of truth from the raw materials of a lie, and the artist who wishes to be adjudged "great" must ultimately, through the use of passion and its obsessive tools, believe the lie he is intent upon illuminating. To augment my analytic capacities, I read books that might shed light on the subject-works of philosophy for the most part-and was astonished to discover in the writings of Michel Foucault a theory mirroring the less articulate theory espoused by the prison population. I wondered if it might be true, if delusion were being employed in the interests of truth, and, this being the case, whether the secret masters of Diamond Bar were contemplating a general good and the experiment of which we were a part was one that sought to evolve a generation in harmony with the grand design underlying all human culture. The books were difficult for me, but I schooled myself to understand them and became adept at knotting logic into shapes that revealed new facets of possibility-new to me, at any rate. This caused me to lose myself in abstraction and consequently diminished the urgency of my intention to escape. Like everyone who lived at Diamond Bar, I seemed to have a talent in that regard. 
The design I settled upon owed more to Diego Rivera and Soviet poster art than to the muralists of the Renaissance. The walls would be thronged with figures, all reacting toward the center of the design, which was to occupy the dome and which I had not yet been able to conceptualize-I felt the image would naturally occur as a byproduct of my labors. It took three months of twelve-hour days to lay out the sketch on the walls, and I estimated that, if done properly, the painting would take a year to complete. Chances were I would be gone from Diamond Bar before then, and realizing this, when I began to paint, ensorcelled by my vision; driven by the idea of finishing in a shorter time, I worked fifteen and sixteen hours a day. Dangling in harness from the scaffolding, crouched over, forced into unnatural positions, I gained an appreciation for the physical afflictions that Michelangelo endured while painting the Sistine Chapel. Each night after work I tried to shake off the aches and pains by walking through the sub-basements of the prison, and it was during one of these walks that I encountered the plumes. 
In prison, sex is an all-consuming preoccupation, a topic endlessly discussed, and from my earliest days at Diamond Bar the plumes had been recommended as a palatable alternative to self-gratification. The new wing, it was said, would house both women and men, thus ending the single unnatural constraint of prison life, and many held that the plumes would eventually become those women, evolving-as were we all-into their ideal form. Even now, Causey said, the plumes were superior to the sex available in other prisons. "It's not like fucking a guy," he said. "It feels, y'know, okay." 
"Is it like fucking a woman?" I asked. 
He hesitated and said, "Kinda." 
"'Kinda' doesn't do it for me." 
"Only reason it's different is because you're thinking about it not being a woman." 
"Yeah, well. I'll pass. I don't want to think when I'm fucking." 
Causey continued urging me to give the plumes a try, because-I believed-he felt that if I surrendered to temptation, I would become a complicitor in perversion, and this would somehow lessen the guilt attaching to his sexual assault on me. That he felt guilty about what had transpired between us was not in question. As our relationship progressed, he came to speak openly about the event and sought to engage me in a dialogue concerning it. Therapy, I supposed. Part of his process of self-examination. At the time, I rejected his suggestions that I visit the plumes out of hand, but they may have had some effect on me, for in retrospect I see that my initial encounter with them, though it seemed accidental, was likely an accident I contrived. I was, you see, in a heightened state of sexuality. Immersed in my work, essentially in love with it, while painting I would often become aroused not by any particular stimulus-there were no visual or tactile cues-but by the concentrated effort, itself a form of desire maintained at peak intensity for hours on end. And so on the night I strayed into the section of the prison occupied by the plumes, I was, though tired, mentally and sexually alert. I was tempting myself, testing my limits, my standards, hoping they would fail me. 
Three levels down from the main walls were dozens of rooms-bedchambers, a communal kitchen, common rooms, and so forth-an area accessed by a double door painted white and bearing a carved emblem that appeared to represent a sheaf of plumes, this the source of the name given to those who dwelled within. Much of the space had the sterile decor of a franchise hotel: carpeted corridors with benches set into walls whose patterned discolorations brought to mind art nouveau flourishes. The common rooms were furnished with sofas and easy chairs and filled with soft music whose melodies were as unmemorable as an absent caress. No barred gates, just wooden doors. The lighting was dim, every fixture limned by a faint halation, giving the impression that the air was permeated by a fine mist. I felt giddy on entering the place, as if I had stood up too quickly. Nerves, I assumed, because I felt giddier yet when I caught sight of my first plume, a slim blond attired in a short gray dress with spaghetti straps. She had none of the telltale signs of a transvestite or a transsexual. Her hands and feet were small, her nose and mouth delicately shaped, her figure not at all angular. After she vanished around a corner, I remembered she was a man, and that recognition bred abhorrence and self-loathing in me. I turned, intending to leave, and bumped into another plume who had been about to walk past me from behind. A willowy brunette with enormous dark eyes, dressed in the same fashion as the blond, her mouth thinned in exasperation. Her expression softened as she stared at me. I suppose I gaped at her. The memory of how I behaved is impaired by the ardor with which I was studying her, stunned by the air of sweet intelligence generated when she smiled. Her face was almost unmarked by time-I imagined her to be in her late twenties-and reminded me of the faces of madonnas in Russian ikons: long and pale and solemn, wide at the cheekbones, with an exaggerated arch to the eyebrows and heavy-lidded eyes. Her hair fell straight and shining onto her back. There was nothing sluttish or coarse about her; on the contrary, she might have been a graduate student out for an evening on the town, a young wife preparing to meet her husband's employer, an ordinary beauty in her prime. I tried to picture her as a man but did not succeed in this, claimed instead by the moment. 
"Are you trying to find someone?" she asked. "You look lost." 
"No," I said. "I'm just walking … looking around." 
"Would you like me to give you the tour?" She put out her right hand to be shaken. "I'm Bianca." 
The way she extended her arm straight out, assertive yet graceful, hand angled down and inward a bit: it was so inimitably a female gesture, devoid of the frilliness peculiar to the gestures of men who pretend to be women, it convinced me on some core level of her femininity, and my inhibitions fell away. As we strolled, she pointed out the features of the place. A bar where the ambience of a night club was created by red and purple and spotlights that swept over couples dancing together; a grotto hollowed out from the rock with a pool in which several people were splashing one another; a room where groups of men and plumes were playing cards and shooting pool. During our walk, I told Bianca my life story in brief, but when I asked about hers, she said, "I didn't exist before I came to Diamond Bar." Then, perhaps because she noticed disaffection in my face, she added, "That sounds overly dramatic, I know. But it's more or less true. I'm very different from how I used to be." 
"That's true of everyone here. The thinking you do about the past, it can't help but change you." 
"That's not what I mean," she said. 
At length she ushered me into a living room cozily furnished in the manner of a bachelorette apartment and insisted I take a seat on the sofa, then went through a door into the next room, reappearing seconds later carrying a tray on which were glasses and a bottle of red wine. She sat beside me, and as she poured the wine I watched her breasts straining against the gray bodice, the soft definition of her arms, the precise articulation of the muscles at the corners of her mouth. The wine, though a touch bitter, put me at ease, but my sense of a heated presence so near at hand sparked conflicting feelings, and I was unable to relax completely. I told myself that I did not want intimacy, yet that was patently untrue. I had been without a woman for three years, and even had I been surrounded by women during that time, Bianca would have made a powerful impression. The more we talked, the more she revealed of herself, not the details of her past, but the particularity of her present: her quiet laugh, a symptom-it seemed-of ladylike restraint; the grave consideration she gave to things I said; the serene grace of her movements. There was an aristocratic quality to her personal style, a practiced, almost ritual caution. Only after learning that I was the one painting a mural in the new wing did she betray the least excitement, and even her excitement was colored with restraint. She leaned toward me, hands clasped in her lap, and her smile broadened, as if my achievement, such as it was, made her proud. 
"I wish I could do something creative," she said wistfully at one point. "I don't think I've got it in me." 
"Creativity's like skin color. Everyone's got some." 
She made a sad mouth. "Not me." 
"I'll teach you to draw if you want. Next time I'll bring a sketch pad, some pencils." 
She traced the stem of her wine glass with a forefinger. "That would be nice … if you come back." 
"I will," I told her. 
"I don't know." She said this distantly, then straightened, sitting primly on the edge of the sofa. "I can tell you don't think it would be natural between us." 
I offered a reassurance, but she cut me off, saying, "It's all right. I understand it's strange for you. You can't accept that I'm natural." She let her eyes hold on my face for a second, then lowered her gaze to the wine glass. "Sometimes it's hard for me to accept, but I am, you know." 
I thought she was saying that she was post-operative, yet because she spoke with such offhanded conviction and not the hysteria-tinged defiance of a prison bitch, I also wondered, against logic, if she might be telling the truth and was a woman in every meaning of the word. She came to her feet and stepped around the coffee table and stood facing me. "I want to show you," she said. "Will you let me show you?" 
The mixture of shyness and seductiveness she exhibited in slipping out of her dress was completely natural, redolent of a woman who knew she was beautiful yet was not certain she would be beautiful enough to please a new man, and when she stood naked before me, I could not call to mind a single doubt as to her femininity, all my questions answered by high, small breasts and long legs evolving from the milky curve of her belly. She seemed the white proof of a sensual absolute, and the one thought that separated itself out from the thoughtlessness of desire was that here might be the central figure in my mural. 
During the night that followed, nothing Bianca did in any way engaged my critical faculties. I had no perch upon which a portion of my mind stood and observed. It was like all good nights passed with a new lover, replete with tenderness and awkwardness and intensity. I spent every night for the next five weeks with her, teaching her to draw, talking, making love, and when I was in her company, no skepticism concerning the rightness of the relationship entered in. The skepticism that afflicted me when we were apart was ameliorated by the changes that knowing her brought to my work. I came to understand that the mural should embody a dynamic vertical progression from darkness and solidity to brightness and evanescence. The lower figures would be, as I had envisioned, heavy and stylized, but those above demanded to be rendered impressionistically, gradually growing less and less defined, until at the dome, at the heart of the law, they became creatures of light. I reshaped the design accordingly and set to work with renewed vigor, though I did not put in so many hours as before, eager each night to return to Bianca. I cannot say I neglected the analytic side of my nature-I continued to speculate on how she had become a woman. In exploring her body I had found no surgical scars, nothing to suggest such an invasive procedure as would be necessary to effect the transformation, and in her personality I perceived no masculine defect. She was, for all intents and purposes, exactly what she appeared: a young woman who, albeit experienced with men, had retained a certain innocence that I believed she was yielding up to me. 
When I mentioned Bianca to Causey, he said, "See, I told ya." 
"Yeah, you told me. So what up with them?" 
"The plumes? There's references to them in the archives, but they're vague." 
I asked him to elaborate, and he said all he knew was that the criteria by which the plumes were judged worthy of Diamond Bar was different from that applied to the rest of the population. The process by which they entered the prison, too, was different-they referred to it as the Mystery, and there were suggestions in the archival material that it involved a magical transformation. None of the plumes would discuss the matter other than obliquely. This seemed suggestive of the pathological myths developed by prison queens to justify their femininity, but I refused to let it taint my thoughts concerning Bianca. Our lives had intertwined so effortlessly, I began to look upon her as my companion. I recognized that if my plans for escape matured I would have to leave her, but rather than using this as an excuse to hold back, I sought to know her more deeply. Every day brought to light some new feature of her personality. She had a quiet wit that she employed with such subtlety, I sometimes did not realize until after the fact that she had been teasing me; and she possessed a stubborn streak that, in combination with her gift for logic, made her a formidable opponent in any argument. She was especially fervent in her defense of the proposition that Diamond Bar manifested the principle from which the form of the human world had been struck, emergent now, she liked to claim, for a mysterious yet ultimately beneficent reason. 
In the midst of one such argument, she became frustrated and said, "It's not that you're a non-conformist, it's like you're practicing non-conformity to annoy everyone. You're being childish!" 
"Am not!" I said. 
"I'm serious! It's like with your attitude toward Ernst." A book of Max Ernst prints, one of many art books she had checked out of the library, was resting on the coffee table-she gave it an angry tap. "Of all the books I bring home, this is the one you like best. You leaf through it all the time. But when I tell you I think he's great, you …" 
"He's a fucking poster artist." 
"Then why look at his work every single night?" 
"He's easy on the eyes. That doesn't mean he's worth a shit. It just means his stuff pacifies you." 
She gave her head a rueful shake. 
"We're not talking about Max Ernst, anyway," I said. 
"It doesn't matter what we talk about. Any subject it's the same. I don't understand you. I don't understand why you're here. In prison. You say the reason you started doing crime was due to your problems with authority, but I don't see that in you. It's there, I guess, but it doesn't seem that significant. I can't imagine you did crime simply because you wanted to spit in the face of authority." 
"It wasn't anything deep, okay? It's not like I had an abusive childhood or my father ran off with his secretary. None of that shit. I'm a fuck-up. Crime was my way of fucking up." 
"There must be something else! What appealed to you about it?" 
"The thing I liked best," I said after giving the question a spin, "was sitting around a house I broke into at three in the morning, thinking how stupid the owners were for letting a mutt like me mess with their lives." 
"And here you are, in a truly strange house, thinking we're all stupid." 
The topic was making me uncomfortable. "We're always analyzing my problems. Let's talk about you for a change. Why don't you confide your big secrets so we can run 'em around the track a few times?" 
A wounded expression came to her face. "The reason I haven't told you about my life is because I don't think you're ready to handle it." 
"Don't you trust me?" 
She leaned back against the cushions and folded her arms, stared at the coffee table. "That's not it … altogether." 
"So you don't trust me, and there's more. Great." I made a show of petulance, only partly acting it. 
"I can't tell you some things." 
"What's that mean?" 
"It means I can't!" Her anger didn't seem a show, but it faded quickly. "You crossed the river to come here. We have to cross our own river. It's different from yours." 
"The Mystery." 
She looked surprised, and I told her what I had learned from Causey. 
"He's right," she said. "I won't talk about it. I can't." 
"Why? It's like a vow or something?" 
"Or something." She relaxed her stiff posture. "The rest of it … I'm ashamed. When I look back, I can't believe I was so disreputable. Be patient, all right? Please?" 
"You, too," I said. 
"I am patient. I just enjoy arguing too much." 
I put my hand beneath her chin, trying to jolly her. "If you want, we can argue some more." 
"I want to win," she said, smiling despite herself. 
"Everything's like you say. Diamond Bar's heaven on fucking earth. The board's …" 
"I don't want you to give in!" She pushed me onto my back and lay atop me. "I want to break you down and smash your flimsy defenses!" 
Her face poised above me, bright-eyed and soft, lips parted, seemed oddly predatory, like that of a hungry dove. "What were we arguing about?" I asked. 
"Everything," she said and kissed me. "You, me, life. Max Ernst." 

· · · · · 

One day while drinking a cup of coffee in the cafeteria, taking a break from work, I entered into a casual conversation with a dour red-headed twig of a man named Phillip Stringer, an ex-arsonist who had recently moved from the eighth tier into the old wing. He mentioned that he had seen me with Bianca a few nights previously. "She's a reg'lar wild woman!" he said. "You touch her titties, you better hold on, 'cause the next thing it's like you busting out of chute number three on Mustang Sally!" 
Though giving and enthusiastic in sex, Bianca's disposition toward the act impressed me as being on the demure side of "reg'lar wild woman." Nevertheless, I withheld comment. 
"She was too wild for me," Stringer went on. "It's not like I don't enjoy screwing chicks with dicks. Truth is, I got a thing for 'em. But when they got a bigger dick'n I got … guess I felt a tad intimidated." 
"Hell are you talking about?" I asked. 
He gazed at me in bewilderment. "The plume I saw you with. Bianca." 
"You're fucked up, man! She doesn't have a dick." 
"You think that, you never seen a dick. Thing's damn near wide around as a Coke can!" 
"You got the wrong girl," I told him, growing irritated. 
Stringer glowered at me. "I may not be the sharpest knife in the drawer, but I know who the hell I'm screwing." 
"Then you're a goddamn liar," I said. 
If it had been another time, another prison, we would been rolling around on the floor, thumbing eyes and throwing knees, but the placid offices of Diamond Bar prevailed, and Stringer dialed back his anger, got to his feet. "I been with that bitch must be fifty times, and I'm telling you she gets hard enough to bang nails with that son-of-a-bitch. She goes to bouncing up and down, moaning, "Only for you …" All kindsa sweet shit. You close your eyes, you'd swear you's with a woman. But you grab a peek and see that horse cock waggling around, it's just more'n I can handle." He hitched up his trousers. "You better get yourself an adjustment, pal. You spending way too much time on that painting of yours." 
If it were not for the phrase "only for you," I would have disregarded what Stringer said. Indeed, I did disregard most of it. But that phrase, which Bianca habitually breathed into my ear whenever she drew near her moment, seeded me with paranoia, and that night as we sat on the sofa, going over the charcoal sketches she had done of her friends, I repeated the essence of Stringer's words, posing them as a joke. Bianca displayed no reaction, continuing to study one of the sketches. 
"Hear what I said?" I asked. 
"Uh-huh." 
"Well?" 
"What do you want me to say?" 
"I guess I thought you'd say something, this guy going around telling everybody you got a dick." 
She set down the sketchpad and looked at me glumly. "I haven't been with Phillip for nearly two years." 
It took me a moment to interpret this. "I guess it's been such a long time, he mixed you up with somebody." 
The vitality drained from her face. "No." 
"Then what the fuck are you saying?" 
"When I was with Phillip, I was different from the way I am with you." 
Irritated by the obliqueness with which she was framing her responses, I said, "You telling me you had a dick when you were seeing him?" 
"Yes." 
Hearing this did not thrill me, but I had long since dealt with it emotionally. "So after that you had the operation?" 
"No." 
"No? What? You magically lost your dick?" 
"I don't want to talk about it." 
"Well, I do! Hell are you trying to tell me?" 
"I'm not sure how it happens … it just does! Whatever the man wants, that's how I am. It's like that with all the plumes … until you find the right person. The one you can be who you really are with." 
I struggled to make sense of this. "So you're claiming a guy comes along wanting you to have a dick, you grow one?" 
She gave a nod of such minimal proportions, it could have been a twitch. "I'm sorry." 
"Gee," I said with thick sarcasm. "It's kinda like a fairy tale, isn't it?" 
"It's true!" She put a hand to her forehead, collecting herself. "When I meet someone new, I change. It's confusing. I hardly know it's happening, but I'm different afterward." 
I do not know what upset me more, the implication, however improbable, that she was a shapeshifter, capable of switching her sexual characteristics to please a partner, or the idea that she believed this. Either way, I found the situation intolerable. This is not to say I had lost my feelings for her, but I could no longer ignore the perverse constituency of her personality. I pushed up from the couch and started for the door. 
Bianca cried out, "Don't go!" 
I glanced back to find her gazing mournfully at me. She was beautiful, but I could not relate to her beauty, only to the neurotic falsity I believed had created it. 
"Don't you understand?" she said. "For you, I'm who I want to be. I'm a woman. I can prove it!" 
"That's okay," I said coldly, finally. "I've had more than enough proof." 

· · · · · 

Things did not go well for me after that evening. The mural went well. Though I no longer approached the work with the passion I had formerly brought to it, every brushstroke seemed a contrivance of passion, to be the product of an emotion that continued to act through me despite the fact that I had forgotten how to feel it. Otherwise, my life at Diamond Bar became fraught with unpleasantness. Harry Colangelo, who had more or less vanished during my relationship with Bianca, once again began to haunt me. He would appear in the doorway of the anteroom while I was painting and stare venomously until I shouted at him. Inarticulate shouts like those you might use to drive a dog away from a garbage can. I developed back problems for which I was forced to take pain medication and this slowed the progress of my work. Yet the most painful of my problems was that I missed Bianca, and there was no medication for this ailment. I was tempted to seek her out, to apologize for my idiocy in rejecting her, but was persuaded not to do so by behavioral reflexes that, though I knew them to be outmoded, having no relation to my life at the moment, I could not help obeying. Whenever an image of our time together would flash through my mind, immediately thereafter would follow some grotesquely sexual mockery of the image that left me confused and mortified. 
I retreated into my work. I slept on the scaffolding, roused by the mysterious cry that like the call of some grievous religion announced each dawn. I lived on candy bars, peanut butter, crackers, and soda that I obtained at the commissary, and I rarely left the anteroom, keeping the door locked most of the days, venturing out only for supplies. When I woke I would see the mural surrounding me on every side, men with thick arms and cold white eyes pupiled with black suns, masses of them clad in prison gray, crowded together on iron stairs (the sole architectural component of the design), many-colored faces engraved with desperation, greed, lust, rage, longing, bitterness, fear, muscling each other out of the way so as to achieve a clearer view of the unpainted resolution that overarched their suffering and violence. At times I thought I glimpsed in the mural-or underlying it-a cohesive element I had not foreseen, something created from me and not by me, a truth the work was teaching me, and in my weaker moments I supposed it to be the true purpose of Diamond Bar, still fragmentary and thus inexpressible; but I did not seek to analyze or clarify-if it was there, then its completion was not dependent upon my understanding. Yet having apprehended this unknown value in my work forced me to confront the reality that I was of two minds concerning the prison. I no longer perceived our lives as necessarily being under sinister control, and I had come to accept the possibility that the board was gifted with inscrutable wisdom, the prison itself an evolutionary platform, a crucible devised in order to invest its human ore with a fresh and potent mastery, and I glided between these two poles of thought with the same rapid pendulum swing that governed my contrary attitudes toward Bianca. 
From time to time the board would venture into the anteroom to inspect the mural and offer their mumbling approbation, but apart from them and occasional sightings of Causey and Colangelo, I received no other visitors. Then one afternoon about six weeks after ending the relationship, while painting high on the scaffolding, I sensed someone watching me-Bianca was standing in the doorway thirty feet below, wearing a loose gray prison uniform that hid her figure. Our stares locked for an instant, then she gestured at the walls and said, "This is beautiful." She moved deeper into the room, ducking to avoid a beam, and let her gaze drift across the closely packed images. "Your sketches weren't …" She looked up at me, brushed strands of hair from her eyes. "I didn't realize you were so accomplished." 
"I'm sorry," I said, so overcome by emotion that I was unable to react to what she had said, only to what I was feeling. 
She gave a brittle laugh. "Sorry that you're good? Don't be." 
"You know what I mean." 
"No … not really. I thought by coming here I would, but I don't." She struck a pose against the mural, standing with her back to it, her right knee drawn up, left arm extended above her head. "I suppose I'll be portrayed like this." 
It was so quiet I could hear a faint humming, the engine of our tension. 
"I shouldn't have come," she said. 
"I'm glad you did." 
"If you're so glad, why are you standing up there?" 
"I'll come down." 
"And yet," she said after a beat, "still you stand there." 
"How've you been?" 
"Do you want me to lie? The only reason I can think of for you to ask that is you want me to lie. You know how I've been. I've been heartbroken." She ran a hand along one of the beams and examined her palm as if mindful of dust or a splinter. "I won't ask the same question. I know how you've been. You've been conflicted. And now you look frightened." 
I felt encased in some cold unyielding substance, like a souvenir of life preserved in lucite. 
"Why don't you talk to me?" She let out a chillier laugh. "Explain yourself." 
"Jesus, Bianca. I just didn't understand what was going on." 
"So it was an intellectual decision you made? A reaction to existential confusion?" 
"Not entirely." 
"I was making a joke." She strolled along the wall and stopped to peer at one of the faces. 
"I wasn't," I said. "What you told me … how can you believe it?" 
"You think I'm lying?" 
"I think there's drugs in the food … in the air. Or something. There has to be a mechanism involved. Some sort of reasonable explanation." 
"For what? My insanity?" She backed against the wall in order to see me better. "This is so dishonest of you." 
"How's it dishonest?" 
"You were happier thinking I was a post-operative transsexual? It's my irrational beliefs that drove you away? Please!" She fiddled with the ends of her hair. "Suppose what I told you is true. Suppose who I am with you is who you want me to be. Who I want to be. Would that be more unpalatable than if my sex was the result of surgery?" 
"But it's not true." 
"Suppose it is." She folded her arms, waiting. 
"I don't guess it would matter. But that's not …" 
"Now suppose just when we're starting to establish something strong, you rip it apart?" A quaver crept into her voice. "What would that make you?" 
"Bianca …" 
"It'd make you a fool! But then of course I'm living in a drug-induced fantasy that causes you existential confusion." 
"Whatever the case," I said, "I probably am a fool." 
It was impossible to read her face at that distance, but I knew her expression was shifting between anger and despair. 
"Are you okay?" I asked. 
"God! What's wrong with you?" She stalked to the door, paused in the entrance; she stood without speaking for what seemed a very long time, looking down at the floor, then glanced sideways up at me. "I was going to prove something to you today, but I can see proving it would frighten you even more. You have to learn to accept things, Tommy, or else you won't be able to do your time. You're not deceiving anyone except yourself." 
"I'm deceiving myself? Now that's a joke!" 
She waved at the mural. "You think what you're painting is a lie. Don't deny it. You think it's a con you're running on us. But when I leave it'll be the only thing in the room that's still alive." She stepped halfway through the door, hesitated, and, in a voice that was barely audible, said, "Goodbye, Tommy." 

· · · · · 

I experienced a certain relief after Bianca's visit, an emotion bred by my feeling that now the relationship was irretrievably broken, and I could refocus my attention on escape; but my relief was short-lived. It was not simply that I was unable to get Bianca out of my thoughts, or even that I continued to condemn myself both for abandoning her and for having involved myself with her in the first place—it was as if I were engaged in a deeper struggle, one whose nature was beyond my power to discern, though I assumed my attitudes toward Bianca contributed to its force. Because I was unable, or perhaps unwilling, to face it, this irresolvable conflict began to take a toll. I slept poorly and turned to drink as a remedy. Many days I painted drunk, but drunkenness had no deleterious effect on the mural—if anything, it sharpened my comprehension of what I was about. I redid the faces on the lower portions of the walls, accentuating their beastliness, contrasting them with more human faces above, and I had several small technical breakthroughs that helped me create the luminous intensity I wanted for the upper walls. The nights, however, were not so good. I went to wandering again, armed against self-recrimination and the intermittent appearances of Harry Colangelo with a bottle of something, usually home brew of recent vintage. Frequently I became lost in the sub-basements and wound up passed out on the floor. During one of these wanders, I noticed I was a single corridor removed from the habitat of the plumes, and this time, not deceiving myself as to motive, I headed for the white door. I had no wish to find Bianca. I was so debased in spirit, the idea of staining my flesh to match enticed me, and when I pushed into the entryway and heard loud rock and roll and saw that the halation surrounding the light fixtures had thickened into an actual mist that caused men and plumes to look like fantastical creatures, gray demons and their gaudy, grotesque mistresses, I plunged happily into the life of the place, searching for the most degrading encounter available. 
Her name was Joy, a Los Angeleno by birth, and when I saw her dancing in the club with several men under a spotlight that shined alternately purple and rose, she seemed the parody of a woman. Not that she was unfeminine, not in the least. She was Raphaelesque, like an old-fashioned Hollywood blond teetering on the cusp between beauty and slovenly middle-age, glossy curls falling past her shoulders, the milky loaves of her breasts swaying ponderously in gray silk, her motherly buttocks dimpling beneath a tight skirt, her scarlet lips reminding of those gelatin lips full of cherry syrup you buy at Halloween, her eyes tunnels of mascara pricked by glitters. Drunk, I saw her change as the light changed. Under the purple she whitened, grew soft as ice cream, ultimately malleable; she would melt around you. Under the rose, a she-devilish shape emerged; her touch would make you feverish, infect you with a genital heat. I moved in on her, and because I had achieved an elevated status due to my connection with the board, the men dancing with her moved aside. Her fingers locked in my hair, her swollen belly rolled against me with the sodden insistence of a sea thing pushed by a tide. Her mouth tasted of liqueur and I gagged on her perfume, a scent of candied flowers. She was in every regard overpowering, like a blond rhinoceros. "What's the party for?" I shouted above the music. She laughed and cupped both hands beneath her breasts, offering them to me, and as I squeezed, manipulating their shapes, her eyelids drooped and her hips undulated. She pulled my head close and told me what she wanted me to do, what she would do. 
Whereas sex with Bianca had been nuanced, passion cored with sensitivity, with Joy it was rutting, tumultuous, a jungle act, all sweat and insanity, pounding and meaty, and when I came I felt I was deflating, every pure thing spurting out of me, leaving a sack of bones and organic stink lying between her Amazon thighs. We fucked a second time with her on top. I twisted her nipples hard, like someone spinning radio dials, and throwing back her head she spat up great yells, then braced both hands on the pillow beside my head and hammered down onto me, her mouth slack, lips glistening with saliva poised an inch above mine, grunting and gasping. Then she straightened, arched her back, her entire body quaking, and let out a hideous groan followed by a string of profane syllables. Afterward she sat in a chair at her dressing table wearing a black bra and panties, legs crossed, attaching a stocking to her garter belt, posing an image that was to my eyes grossly sexual, repellently voluptuous, obscenely desirable. As she stretched out her leg, smoothing ripples in the silk, she said. "You used to be Bianca's friend." 
I did not deny it. 
"She's crazy about you, y'know." 
"Is she here? At the party?" 
"You don't need her tonight," Joy said. "You already got everything you needed." 
"Is she here?" 
She shook her head. "You won't be seeing her around for a while." 
I mulled over this inadequate answer and decided not to pursue it. 
Joy put on her other stocking. "You're still crazy about her. I'm a magnet for guys in love with other women." She admired the look of her newly stockinged leg. "It's not so bad. Sad guys fuck like they have something to prove." 
"Is that right?" 
"You were trying to prove something, weren't you?" 
"Probably not what you think." 
She adjusted her breasts, settling them more cozily in the brassiere. "Oh, I know exactly what you were trying to prove." She turned to the mirror, went to touching up her lipstick, her speech becoming halting as she wielded the applicator. "I am … expert in these matters … like all … ladies of the evening." 
"Is that how you see yourself?" 
She made a kissy mouth at her reflection. "There's something else in me, I think, but I haven't found the man who can bring it out." She adopted a thoughtful expression. "I could be very domestic with the right person. Very nurturing. Once the new wing's finished … I'm sure I'll find him then." 
"There'll be real women living in the new wing. Lots of competition." 
"We're the real women," she said with more than a hint of irritation. "We're not there yet, but we're getting there. Some of us are there already. You should know. Bianca's living proof." 
Unwilling to explore this or any facet of this consensus fantasy, I changed the subject. "So, what's your story?" I asked. 
"You mean my life story? Do you care?" 
"I'm just making conversation." 
"We had our conversation, sweetie. We just didn't talk all that much." 
"I wasn't finished." 
She looked at me over her shoulder, arching an eyebrow. "My, my. You must really have something to prove." She rested an elbow on the back of the chair. "Maybe you should go hunt up Bianca." 
It was a thought, but one I had grown accustomed to rejecting. I reached down beside the bed, groping for my bottle. The liquor seemed to have an immediate effect, increasing my level of drunkenness, and with it my capacity for rejection. The colors of the room were smeary, as if made from different shades of lipstick. Joy looked slug-white and bloated, a sickly exuberance of flesh strangled by black lace, the monstrous ikon of a German Expressionist wet dream. 
She gave what I took for a deprecating laugh. "Sure, we can converse some more if you want." She started to unhook her brassiere. 
"Leave that shit on," I said. "I'll work around it." 

· · · · · 

Not long after my night with Joy, a rumor began to circulate that one of the plumes had become pregnant, and when I discovered that the plume in question was Bianca, I tried to find her. I gave the rumor little credit. Yet she had claimed she could prove something to me, and thus I could not completely discredit it. I was unsure how I would react if the rumor reflected the truth, but what chance was there of that? My intention was to debunk the rumor. I would be doing her a favor by forcing her to face reality. That, at any rate, is what I told myself. When I was unable to track her down, informed that she was sequestered, I decided the rumor must be a ploy designed to win me back, abandoned my search, and once again focused my energy upon the mural. Though a third of the walls remained unfinished, I now had a more coherent idea of the figures that would occupy the dome, and I was eager to finalize the conception. Despite this vitality of purpose, I felt bereft, dismally alone, and when Richard Causey came to visit, I greeted him effusively, offering him refreshment from my store of junk food. Unlike my other visitors, he had almost nothing to say about the mural, and as we ate on the lowest platform of the scaffolding, it became obvious that he was preoccupied. His eyes darted about; he cracked his knuckles and gave indifferent responses to everything I said. I asked what was on his mind and he told me he had stumbled upon an old tunnel beneath the lowest of the sub-basements. The door leading to it was wedged shut and would take two people to pry open. He believed there might be something significant at the end of the tunnel. 
"Like what?" I asked. 
"I ran across some papers in the archives. Letters, documents. They suggested the tunnel led to the heart of the law." He appeared to expect me to speak, but I was chewing. "I figured you might want to have a look," he went on. "Seeing that's what you're painting about." 
I worried that Causey might want to get me alone and finish what he had started years before; but my interest was piqued and after listening for several minutes more, I grew convinced that his interest in the tunnel was purely academic. To be on the safe side, I brought along a couple of the chisels I used to scrape the walls—they would prove useful in unwedging the door as well. Though it was nearly three in the morning, we headed down into the sub-basements, joined briefly by Colangelo, who had been sleeping in the corridor outside the anteroom. I brandished a chisel and he retreated out of sight. 
The door was ancient, its darkened boards strapped with iron bands, a barred grille set at eye level. It was not merely stuck, but sealed with concrete. I shined Causey's flashlight through the grille and was able to make out moisture gleaming on brick walls. With both of us wielding chisels, it required the better part of an hour to chip away the concrete and another fifteen minutes to force the door open wide enough to allow us to pass. The tunnel angled sharply downward in a series of switchbacks, and by the time we reached the fifth switchback, with no end in view, I realized that the walk back up was going to be no fun whatsoever. The bricks were slimy to the touch, rats skittered and squeaked, and the air … dank, foul, noisome. None of these words or any combination thereof serve to convey the vileness of the stench it carried. Molecules of corruption seemed to cling to my tongue, to the insides of my nostrils, coating my skin, and I thought that if the tunnel did, indeed, lead to the heart of the law, then that heart must be rotten to the core. I tied my shirt across the lower half of my face and succeeded in filtering the reek, yet was not able to block it completely. 
I lost track of the passage of time and lost track, too, of how many switchbacks we encountered, but we traveled far beneath the hill, of that much I am certain, descending to a level lower than that of the river flowing past the gate of the prison annex before we spotted a glimmer of light. Seeing it, we slowed our pace, wary of attracting the notice of whatever might occupy the depths of Diamond Bar, but the space into which we at length emerged contained nothing that would harm us—a vast egglike chamber that gave out into diffuse golden light a hundred feet above and opened below into a black pit whose bottom was not visible. Though the ovoid shape of the chamber implied artificiality, the walls were of natural greenish-white limestone, configured by rippled convexities and volutes, and filigreed with fungal growths, these arranged in roughly horizontal rows that resembled lines of text in an unknown script; the hundreds of small holes perforating the walls looked to have been placed there to simulate punctuation. A considerable ledge rimmed the pit, populated by colonies of rats, all gone still and silent at the sight of us, and as we moved out onto it, we discovered that the acoustics of the place rivaled that of a concert hall. Our footsteps resounded like the scraping of an enormous rasp, and our breath was amplified into the sighing of beasts. The terror I felt did not derive from anything I have described so much as from the figure at the center of the chamber. Dwarfed by its dimensions, suspended from hooks that pierced his flesh at nine separate points and were themselves affixed to chains that stretched to the walls, was the relic of a man. His begrimed skin had the dark granite color of the prison's outer walls, and his long white hair was matted down along his back like a moldering cape; his limbs and torso were emaciated, his ribs and hipbones protruding and his ligature ridged like cables. Dead, I presumed. Mummified by some peculiar process. 
"Quires!" Causey's whisper reverberated through the chamber. "Jesus Christ! It's Quires." 
The man's head drooped, his features further hidden by clots of hair. I had no evidence with which to argue Causey's claim and, indeed, not much inclination to do so. Who else, according to the history of the prison, merited the torment the man must have experienced? It did not seem possible. Quires had been in his eighties when he stepped down as warden more than eighty years before. But the existence of the chamber undermined my conception of the possible. Its silence was so liquid thick and chilling, it might have been the reservoir from which the quiet of the prison flowed. A brighter fear flickered up in me. 
"Let's go back," I said. "We shouldn't be here." 
At the sound of my voice, the rats offered up an uneasy chittering chorus that swirled around us like the rushing of water in a toilet. Causey was about to respond to my urging when Quires—if it was he—lifted his head and gave forth with a cry, feeble at first, but swelling in volume, a release of breath that went on and on as if issuing not from his lungs but from an opening inside him that admitted to another chamber, another voice more capable of such a prolonged expression, or perhaps to a succession of openings and voices and chambers, the infinitely modulated utterance of a scream proceeding from an unguessable source. The chittering of the rats, too, swelled in volume. Half-deafened, hands pressed to my ears, I sank to my knees, recognizing that the cry and its accompanying chorus was pouring up through the holes that perforated the walls and into every corner of the prison, a shout torn from the heart of the law to announce the advent of a bloody dawn. Quires' body spasmed in his chains, acquiring the shape of a dark thorn against the pale limestone, and his face … Even at a distance I could see how years of torment had compressed his features into a knot of gristle picked out by two staring white eyes. I felt those eyes on me, felt the majestic insistence of his pain and his blissful acknowledgment that this state was his by right. He was the criminal at the heart of the law, the one in whom the arcs of evil and the redemptive met, the lightning rod through which coursed the twin electricities of punishment and sacrifice, the synchronicity of choice and fate, and I understood that as such he was the embodiment of the purpose of Diamond Bar, that only from evil can true redemption spring, only from true redemption can hope be made flesh. Joyful and reluctant, willing servant and fearful slave, he was thaumaturge and penitent, the violent psychotic saint who had been condemned to this harsh durance and simultaneously sought by that service to transfigure us. Thus illuminated, in that instant I could have translated and read to you the fungal inscriptions on the walls. I knew the meaning of every projection and declivity of stone, and knew as well that the heart of the law was empty except for the exaltation of the damned and the luminous peace of the corrupted. Then Quires' cry guttered, his head drooped. The rats fell silent again, returned to their petty scuttling, and all but a residue of my understanding fled. 
I staggered up, but Causey, who had also been borne to his knees by the ferocity of the cry, remained in that posture, his lips moving as though in prayer, and it occurred to me that his experience of what had happened must have been far different from mine to produce such a reverent reaction. I turned again to Quires, realizing I could not help him, that he did not want my help, yet moved to give it nonetheless, and thus I did not see Colangelo break from the tunnel behind us … nor did I see him push Causey into the pit. It was Causey's outcry, shrill and feeble in contrast to Quires', but unalloyed in its terror, that alerted me to danger. When I glanced back I saw that he had vanished into the depths, his scream trailing after him like a snapped rope, and on the spot where he had knelt, Colangelo stood glaring at me, Causey's chisel in his right hand. Had he forced a confrontation in the anteroom, anywhere in the upper levels of the prison, I would not have been so afraid, for though he was taller and heavier, I was accustomed to fighting men bigger than myself; but that dread place eroded my confidence, and I stumbled away from him, groping for my own chisel. He said nothing, made no sound apart from the stentorian gush of his breath, pinning me with his little eyes. The wan light diminished the pinkness of his skin. His lips glistened. 
"The hell is your problem?" I said; then, alarmed by the reverberations of my voice, I added in a hushed tone, "I didn't do shit to you." 
Colangelo let out an enervated sigh, perhaps signaling an unraveling of restraint, and rushed at me, slashing with the chisel. I caught his wrist and he caught mine. We swayed together on the edge of the pit, neither of us able to gain an advantage, equal in strength despite the difference in our sizes. The excited squeaking of the rats created a wall around us, a multiplicity of tiny cheers hardened into a shrill mosaic. At such close quarters, his anger and my fear seemed to mix and ferment a madness fueled by our breath, our spittle. I wanted to kill him. That was all I wanted. Everything else—Quires, Causey, the panic I had previously felt—dwindled to nothing. 
Colangelo tried to butt me. I avoided the blow and, putting my head beneath his chin, pushed him back from the pit. He went off-balance, slipped to one knee. I wrenched my left arm free and brought my elbow hard into his temple. He slumped, still clutching my wrist, preventing me from using my chisel. I threw another elbow that landed on the hinge of his jaw, an uppercut that smacked into the side of his neck and elicited a grunt. He sagged onto his side as I continued to hit him, and when he lost consciousness I straddled his chest and lifted the chisel high, intending to drive it into his throat; but in straightening, I caught sight of Quires hanging at the center of his chains. He did not look at me, but I was certain that in some way he was watching, aware of the moment. How could he not be? He was the substance of the prison, its spirit and its fleshly essence, the male host in whom the spider of female principle had laid its eggs, and as such was witness to our every thought and action. I sensed from him a caution. Not reproval, nothing so pious. In the thin tide of thought that washed between us there was no hint of moral preachment, merely a reminder of the limit I was on the verge of transgressing. What was it Ristelli had said? "Innocents and murderers. The system tolerates neither." Madness receded, and I came to my feet. Prison logic ordained that I should push Colangelo into the pit and spare myself the inevitability of a second attack; but the logic of Diamond Bar, not Vacaville, commanded me. Numbed by the aftershocks of adrenaline and rage, I left him for the rats or whatever else fate might have in store, and with a last glance at Quires, suspended between the light of heaven and the pit, like the filament in a immense bulb, I began my ascent. 
I had in mind to seek out Berbick or someone else whom Causey had befriended, to tell them what had come of him and to determine from their advice whether or not to make the events of the night and morning known to the board. Perhaps, I thought, by opening the sealed door I had violated an inviolate taboo and would suffer as a result. I might be blamed for Causey's death. But as I trudged wearily up along the switchbacks, the emotion generated by my fight with Colangelo ebbed away, and the awful chamber in which we had struggled began to dominate my thoughts. Its stench, its solitary revenant, its nightmarish centrality to the life of the prison. With each step, I grew increasingly horrified by my acceptance of the place and the changes it had worked in me. It had neutered my will, obscured my instincts, blinded me to perversity. The things I had done … Bianca, Joy, my devotion to that ridiculous mural. What had I been thinking? Where the fuck had Tommy Penhaligon gone? I wanted to be who I was at that precise moment: someone alert to every shadow and suspicious presence; open to the influence of emotion and not governed by a pathological serenity that transformed violent men into studious, self-examining drones and, were you to believe the plumes, less violent men into women. If I returned to my cell and confided in Berbick, thereby obeying the rule of the prison, sooner or later I would be sucked back in and lose this hard-won vantage from which I could perceive its depravity and pathetic self-involvements. I had no good prospects in the world, but all I could aspire to in Diamond Bar was that one day I would go shuffling through the yard, an old man dimly persuaded that he had been gifted with the grasp of a holy principle too great for the brains of common men to hold, a principle that was no more than a distorted reflection of the instrumentality responsible for his dementia. Instead of heading to my cell, when I reached the eighth stair I kept walking down through the hill toward the annex gate, past the cells of sedate men who had grown habituated to the prison, past those of agitated new arrivals; and when I reached the gate—it was, of course, unlocked—I threw it open and stood on the threshold, gazing out upon a beautiful spring morning. Cool and bright and fresh. A lacework of sun and shadow under the dark firs. The river running green with snowmelt. I had no fear of the quick-flowing current; I had crossed it once in handcuffs, and unfettered I would cross it all the more easily. Yet I hesitated. I could not, despite my revulsion for what lay behind me, put a foot forward on the path of freedom. I felt something gathering in the woods, a presence defined by the sound of rushing water, the shifting boughs and pouring wind. A wicked imminence, not quite material, needing me to come out from the gate a step or two in order to be real. I berated myself for a coward, tried to inject my spine with iron, but second by second my apprehension grew more detailed. I had a presentiment of jaws, teeth, a ravenous will, and I backed away from the gate, not far, but far enough to slow my pulse, to think. No one walked out of prison. There must be watchers … a single watcher, perhaps. A mindless four-footed punishment for the crime of flight. I told myself this was the same illusion of threat that had driven me inside the walls many months before, but I could not disregard it. The beckoning green and gold of the day, the light rippling everywhere—it had the insubstantiality of a banner fluttered across a window, hiding a dreadful country from my sight. 
Once kindled, fear caught in me and burned. The flickering of sun on water; the stirring of fallen needles; mica glinting on the face of a boulder; these were unmistakable signs of an invisible beast who slumbered by the steps of the prison. I heard a noise. It may have been someone starting a chainsaw downriver, a car engine being revved, but to my ears it was a growl sounded high in a huge throat, a warning and a bloody promise. I sprang to the gate and slammed it shut, then rested against the cold metal, weak with relief. My eyes went to the second level of the tier. Gazing down at me was a man in a guard's uniform, absently tapping the palm of his hand with a nightstick. I could hear the slap of wood on flesh, counting out the time with the regularity of a metronome, each stroke ticking off the ominous fractions of his displeasure. Finally, as if he had become sure of me, he sheathed the nightstick and walked away, the sharp report of his boot heels precisely echoing the now-steady rhythm of my heart. 

· · · · · 

I spent the remainder of the day and half the night staring at the discolorations on the wall opposite my bunk—they had never come in fully, never developed into a complicated abstraction as had the walls of my fellow prisoners, possibly because the walls upon which I expended most of my energy were the ones in the anteroom of the new wing. Yet during those hours I saw in their sparse scatter intimations of the scriptlike fungus inscribed upon the walls of the chamber at the heart of the law, indecipherable to me now as Arabic or Mandarin, tantalizingly inscrutable—I suspected they were the regulations by which we lived and contemplating them soothed me. I could not avoid recalling the chamber and the man suspended therein, but my thoughts concerning these things were speculative, funded by neither fear nor regret. If it had been Quires, one hundred and sixty years old and more, tortured for half that span, this lent credence to Causey's assertion that Czerny, LeGary, Ashford, and Holmes were the original board of Diamond Bar who had been photographed with the warden in 1917 … and what did that say about the potentials of the prison? Time and again I returned to the truths I had sensed as Quires cried out from his chains, the dualities of punishment and sacrifice he seemed to incorporate. It was as if he were a battery through which the animating principle of the place was channeled. This was a simplistic analogy, yet when coupled with the image of a Christlike figure in torment, simplicity took on mythic potency and was difficult to deny. Now that I had proved myself unequal to traditional freedom, I was tempted to believe in the promised freedom of the new wing, in all the tenuous promise of Diamond Bar. The illusion of freedom, I realized, was the harshest of prisons, the most difficult to escape. Ristelli, Causey, Czerny, and Bianca had each in their way attempted to lead me to this knowledge, to demonstrate that only in a place like Diamond Bar, where walls kept that illusion at bay, was the road to freedom discernable. I had been a fool to disregard them. 
Near midnight, a skinny, towheaded man stopped in front of my cell door and blew cigarette smoke through the bars from his shadowed mouth. I did not know him, but his arrogance and deferential attitude made me suspect he was a familiar of the board. "You're wanted at the annex gate, Penhaligon," he said, and blew another stream of smoke toward me. He looked off along the corridor, and in the half-light I saw the slant of a cheekbone, skin pitted with old acne scars. 
In no mood to be disturbed, I asked, "What for?" 
"Man's being transferred. Guess they need a witness." 
I could not imagine why a transfer would require witnesses, and I felt the creep of paranoia; but I did not think the board would resort to trickery in the exercise of their power, and, reluctantly, I let the man escort me down through the annex. 
The gate was open, and gathered by the entranceway, in partial silhouette against the moonstruck river, was a group of men, ten or twelve in all, consisting of the board and their spokesmen. Their silence unsettled me, and once again I grew paranoid, thinking that I was to be transferred; but then I spotted Colangelo off to one side, hemmed in against the wall by several men. His head twitched anxiously this way and that. The air was cool, but he was perspiring. He glanced at me, betraying no reaction—either he did not register me or else he had concluded that I was only a minor functionary of his troubles. 
Czerny, along with LeGary, Ashford, and Holmes, was positioned to the left of the entrance. As I waited for whatever ritual was to occur, still uncertain why I had been invited, he came a tottering step toward me, eyes down, hands fingering his belt, and addressed me in his usual muttering cadence. I did not understand a single word, but the towheaded man, who was sticking to my elbow, said in a snide tone, "You been a bad boy, Penhaligon. That's what the man's telling you. You seen things few men have seen. Maybe you needed to see them, but you weren't prepared." 
The towheaded man paused and Czerny spoke again. I could find nothing in his face to support the sternness of his previous words—he seemed to be babbling brokenly, as if speaking to a memory, giving voice to an imaginary dialog, and thinking this, I wondered if that was what we were to him, memories and creatures of the imagination: if he had gone so far along the path to freedom that even those who lived in Diamond Bar had come to be no more than shadows in his mind. 
"This is the edge of the pit," the towheaded man said when Czerny had finished. "The one you saw below is only its metaphor. Here you were closest to peril. That's why we have summoned you, so you can watch and understand." 
Another spate of muttering and then the towheaded man said, "This is your final instruction, Penhaligon. There are no further lessons to be learned. From now on we will not protect you." 
Czerny turned away, the audience ended, but angered by his claim that the board had protected me—I had no memory of being protected when I fought with Colangelo—and emboldened by the certainty that I was not to be transferred, I said to him, "If the pit I saw below was a metaphor, tell me where Causey is." 
The old man did not turn back, but muttered something the towheaded man did not have to translate, for I heard the words clearly. 
"If you are fortunate," Czerny said, "you will meet him again in the new wing." 
The towheaded man nudged me forward to stand by Czerny and the rest of the board, inches away from the line demarking the limits of the prison and the beginning of the world, a dirt path leading downward among boulders to the river flashing along its course. I have said the river was moonstruck, yet that scarcely describes the brightness of the landscape. The light was so strong even the smallest objects cast a shadow, and though the shadows beneath the boughs quivered in a fitful wind, they looked solid and deep. The dense firs and the overhang of the entrance prevented me from seeing the moon, but it must have been enormous—I pictured a blazing silvery face peering down from directly above the river, pocked by craters that sketched the liver spots and crumpled features of a demented old man. Sprays of water flying from the rocks in midstream glittered like icy sparks; the shingle on the far shore glittered as though salted with silver. Beyond it, the terrain of the opposite bank lay hidden beneath a dark green canopy, but patches of needles carpeting the margins of the forest glowed a reddish-bronze. 
Who it was that shoved Colangelo out onto the path, I cannot say—I was not watching. It must have been a hard shove, for he went staggering down the slope and fell to all fours. He collected himself and glanced back toward us, not singling anyone out, it seemed, but taking us all in, as if claiming the sight for memory. He wiped dirt from his hands, and judging by his defiant posture I expected him to shout, to curse, but he turned and made for the river, going carefully over the uneven ground. When he reached the river's edge, he stopped and glanced back a second time. I could not make out his face, though he stood in the light, but judging by the sudden furtiveness of his body language, I doubted he had believed that he would get this far, and now that he had, the idea that he actually might be able to escape sprang up hot inside him, and he was prey to the anxieties of a man afflicted by hope. 
Oddly enough, I hoped for him. I felt a sympathetic response to his desire for freedom. My heart raced and my brow broke a sweat, as if it were I and not that ungainly pinkish figure who was stepping from rock to rock, arms outspread for balance, groping for purchase on the slick surfaces, wobbling a bit, straining against gravity and fear. I had no apprehension of an inimical presence as I had detected that morning, and this made me think that it had been nerves alone that had stopped me from escaping and increased my enthusiasm for Colangelo's escape. I wanted to cheer, to urge him on, and might have done so if I had not been surrounded by the silent members of the board and their faithful intimates. That Colangelo was doing what I had not dared caused me envy and bitterness but also infected me with hope for myself. The next time I was alone at the gate, perhaps I would be equal to the moment. 
The wind kicked up, outvoicing the chuckling rush of the river, sending sprays higher over the rocks, and along with the wind, the brightness of the river intensified. Every eddy, every momentary splotch of foam, every sinewy swell of water glinted and dazzled, as if it were coming to a boil beneath Colangelo. He kept going past the midpoint, steadier, more confident with each step, unhampered by the buffets of the wind. Close by the gate the boughs bent and swayed, stirring the shadows, sending them sliding forward and back over the dirt like a black film. The whole world seemed in motion, the atoms of the earth and air in a state of perturbation, and as Colangelo skipped over the last few rocks, I realized there was something unnatural about all this brilliant movement. The shapes of things were breaking down … briefly, for the merest fractions of seconds, their edges splintering, decaying into jittering bits of bright and dark, a pointillist dispersion of the real. I assumed I was imagining this, that I was emotionally overwrought, but the effect grew more pronounced. I looked to Czerny and the board. They were as always—distracted, apparently unalarmed—but what their lack of reaction meant, whether they saw what I did and were unsurprised, whether they saw something entirely different, I could not determine. 
Colangelo let out a shout—of triumph, I believed. He had reached the shore and was standing with a fist upraised. The sand beneath his feet was a shoal of agitated glitter, and at his back the bank was a dark particulate dance, the forms of the trees disintegrating into a rhythm of green and black dots, the river into a stream of fiery unreality. How could he not notice? He shouted again and flipped us off. I realized that his outlines were shimmering, his prison garb blurring. Everything around him was yielding up its individuality, blending with the surround, flattening into an undifferentiated backdrop. It was nearly impossible to tell the sprays of water from sparkling currents in the air. The wind came harder, less like a wind in its roaring passage than the flux of some fundamental cosmic force, the sound of time itself withdrawing from the frame of human event, of entropy and electron death, and as Colangelo sprinted up the bank into cover of the forest, he literally merged with the setting, dissipated, the stuff of his body flowing out to be absorbed into a vibratory field in which not one distinguishable form still flourished. I thought I heard him scream. In all that roaring confusion I could not be certain, but he was gone. That much I knew. The world beyond the annex gate was gone as well, its separate forms dissolved into an electric absence of tremulous black, green, and silver motes, depthless and afire with white noise, like a television set tuned to a channel whose signal had been lost. 
The board and their retainers moved away, talking softly among themselves, leaving me on the edge of the prison, of the pit, watching as—piece by piece—the forest and river and rocks reassembled, their inconstant shapes melting up from chaos, stabilizing, generating the imitation of a perfect moonlit night, the air cool and bracing, the freshness of the river sweetly palpable, all things alive with vital movement—boughs shifting, fallen needles drifting, light jumping along the surface of the water with the celerity of a charge along a translucent nerve. Even after what I had seen, I stood there a long while, tempted to run into the night, disbelieving the evidence of my senses, mistrusting the alternatives to belief, and so oppressed in spirit that I might have welcomed dissolution. A step forward, and I would be free one way or another. I stretched out a hand, testing its resistance to the dissolute power of the world beyond, and saw no hint of blurring or distortion. Yet still I stood there. 

· · · · · 

The anteroom is empty of scaffolding, swept clean of plaster dust, and I am sitting in a folding chair beneath the domed ceiling, like—I imagine—a gray-clad figure escaped from the lower portions of my mural. Years down the road I may look back and judge my work harshly, but I know at this moment I have achieved my goal and created something greater than myself. The mural rises up from solidity into the diffuse, from dark specificity into layered washes of light from which less definite figures emerge … less definite, at least, from this vantage. At close quarters they are easily identifiable. Bianca is there, a golden swimmer in the air, and at her side our son, her proof made flesh, born five months after our conversation in this very room. When told of his birth I went to visit her in the newly designated maternity ward of the prison hospital. Sleeping, she looked exhausted, her color weak and cheeks sunken, yet she was beautiful nonetheless. The child slept beneath a blanket in a crib beside her bed, only the back of his head visible. My emotions seemed to be circling one another like opponents in a ring. It was so strange to think of her with a child. Now that she had established the ultimate female credential, the freak detector in my brain emitted a steady beep. It was as if I were determined to paint her with a perverse brush, to view her condition and her Mystery in terms of an aberration. At the same time, I was drawn to her as never before. All my old feelings were reinvigorated. I decided to seek a reconciliation, but when I informed her of this she told me it was not what she wanted. 
"You can't hide what you feel," she said. "You're still conflicted." She gave "conflicted" a distasteful reading and closed her eyes. "I'm too tired to argue. Please go." 
I sat with her a bit longer, thinking she might relent, but when she fell asleep again I left the room. We see each other on occasion. Each time we meet she searches my face but thus far has found no apparent cause for confidence there. I have little hope she will ever find me other than wanting, and the prospect of life without her grows more difficult to bear. It seems I cannot shake the skepticism that Frank Ristelli correctly attributed to me, for despite everything I have experienced at Diamond Bar, I continue to speculate that our lives are under the influence of a powerful coercive force that causes us to believe in unrealities. My chest, for instance. Some weeks ago I noticed a scatter of pale discolorations surfaced from the skin thereon, their hues and partly rendered shapes reminiscent of the tattoo on Ristelli's chest, and yet when that tattoo achieves final form, as I assume it must, I will with part of my mind seek an explanation that satisfies my cynic's soul. If the birth of a child from a woman once a man fails to persuade me of the miraculous, is there anything that will overwhelm my capacity for doubt? Only when I paint does the current of belief flow through me, and then I am uncertain whether the thing believed is intrinsic to the subject of the work or a constant of my ego, a self-aggrandizing principle I deify with my obsessive zeal. 
Ristelli, too, occupies a place in the dome of the anteroom, a mangy gray ghost slipping back into the world, and Causey is there as well, tumbling toward its center where, almost buried in light, Quires hangs in his eternal torment, a promethean Christ yielding to a barbaric sacrifice. I have pored over Causey's notes and rummaged the archives in an attempt to learn more about Quires, to understand what brought him to this pass. A transcendent moment like the one that left Saul stricken on the road to Damascus, an illumination of blinding sight? Or did Quires gradually win his way to a faith strong enough to compel his redemptive act? I have discovered no clue to explain his transformation, only a record of atrocities, but I think now both answers are correct, that all our labors are directed toward the achievement of such a moment, and perhaps therein lies the root cause of my skepticism, for though an illumination of this sort would remove the barriers that keep me from my family, I fear that moment. I fear I will dissolve in light, grow addled and vague, like Czerny, or foolishly evangelical like Ristelli. The abhorrence of authority that pushed me into a criminal life resists even an authority that promises ultimate blessing. I am afflicted with a contrarian's logic and formulate unanswerable questions to validate my stance. I poison my feeble attempts at faith with the irrationalities and improbabilities of Diamond Bar. 
Pleased by my celebration of their myth, the board has offered me another room to paint, and there I intend to celebrate Bianca. I have already sketched out the design. She will be the sole figure, but one repeated in miniature over and over again, emerging from flowers, aloft on floating islands, draped in shadow, dressed in dozens of guises and proximate past forms, a history of color and line flowing toward her twice lifesized image hovering like a Hindu goddess in an exotic heaven populated by her many incarnations. That I have relegated her to the subject of a painting, however contemplative of her nature, suggests that I have given up on the relationship, turned my obsession from the person to the memory of the person. This distresses me, but I cannot change the way things are. My chains still bind me, limiting my choices and contravening the will to change. In recent months, I have come to envision a future in which I am an ancient gray spider creaking across a web of scaffolding that spans a hundred rooms, leaking paintlike blood in his painful, solitary progress, creating of his life an illuminated tomb commemorating folly, mortal confusion, and lost love. Not so terrible a fate, perhaps. To die and love and dream of perfect colors, perfect forms. But like all those who strive and doubt and seek belief, I am moving rapidly in the direction of something that I fear, something whose consolations I mistrust, and am inclined to look past that inevitability, to locate a point toward which to steer. My son, whom Bianca has named Max, after—she says—her favorite painter, Max Ernst, an implied insult, a further dismissal from her life … I sometimes think my son might serve as such a point. My imagination is captivated by the potentials of a man so strangely born, and often I let myself believe he will be the wings of our liberty, the one in whom the genius of our home will fully manifest. Since he is kept apart from me, however, these thoughts have the weight of fantasy, and I am cast back onto the insubstantial ground of my own life, a gray silence in which I have rarely found a glint of promise. Tears come easily. Regrets like hawks swoop down to pluck my hopeful thoughts from midair. And yet, though I am afraid that, as with most promises of fulfillment, it will always hang beyond our grasp, an eidolon, the illusion of perfection, lately I have begun to anticipate the completion of the new wing. 
The End