and you recognized the hands that went with the eyes. They were Mommyâs hands.â
Julia looked puzzled. Her grandmother paused, then whispered in a sympathetic tone: âI know,
mi amor
, itâs difficult for us to imagine. Your mother asked you for help without knowing it, and you saw what was going to happen through her eyes.â
âMommy never asks me to help her,â Julia said sulkily.
âShe did on the boat.â
âBut Mommy didnât call out to me on the boat!â Julia protested.
âYour mother doesnât know she called you because it comes from the heart, not the head. She didnât think,
Iâll ask Julia to help me
, but when she was on the boat . . .â
âShe was screaming and she was scratching Dad,â Julia interrupted, screwing her face up again, her little fingers outstretched.
âYes, because she was very scared, and without thinking about it, her fear called out to you. Like when the telephone rings. And you answered.â
âYou mean my inner eye answered?â
âExactly. We can respond to other peopleâs feelings with our inner eye, you and me. Thatâs how it works. And most of the time, what we see hasnât happened yet. Itâll happen the next day, or the day after, or even later.â
âSo the telephone rings backward?â
âSomething like that. The person who is calling usâour sourceâis experiencing what they see in the future.â
âWhy?â
âThatâs just the way it is. When our inner eye answers, we set off on a journey through time. Our gift lets us go forward or backward while everyone else is caught in the present.â
âIs that why itâs a gift?â
âYes.â
âWhy is it a good thing to travel through time?â
âBecause we can help other people. Like you helped Anna.â
âBut it was the twins who . . .â
âWeâve already talked about this, Julia. Youâre the one who wanted Anna to learn to swim. Youâre the one who took those containers on the boat. If you hadnât done that,
mi amor
, I wouldnât be able to tell you our secret, and your inner eye would wither by itself.â
âI would have lost my gift?â
âYes.â
âI donât want to lose it, Mama Fina.â
4.
DECRYPTION
Boreal Autumn
2006
S he stands at the top of the stairs, dumbfounded.
Come on
,
itâs perfectly natural to want to be alone in the bathroom
. All the same. He has never felt the need to lock himself in before.
She lingers there for a moment, then retraces her steps slowly, needing to clear her thoughts, to put some distance between the two of them. Get too close and love suffocates. The other personâs presence becomes oppressive. So you learn to live without seeing each other, the way you stop noticing the pedestal table in the hallway.
Julia comes back downstairs and sits in the living room. She has already laid the table and tossed a salad. Distracted, sitting on the sofa in the dark, she stares through the window at the corridor of shadows formed by the elms and maples.
It is the same ritual after each journey. She has to be sittingdown, alone. When she was younger, she would wait for the dead of night and the privacy of silence. She needed to go back over her journey while the world was extinguished so she wouldnât have to worry about being caught unawares. She is practiced enough now not to have to wait until midnight. She can blank out the world with her eyes wide open. Only the sequence of images already etched in her mind flashes before her eyes. The images come back to her, not like the blurred recollections of memory but with a clarity and precision that sight alone can produce. Itâs like a store of pictures compressed between her eyes and her brain. Her pupils are contracted even though sheâs in the dark because she is staring at a light