They'd built a fire behind the shelter of the brick kilns, but they kept the fire low. He saw only the yellow touch of it, outlining the square shouldering shapes of piles and pallets, of drays half-loaded, of sheds. The world was a stink of smoke and wet clay. But as he edged his way between those hard damp structures, like cemetery tombs in their closecrowded solidity, the blood stirred hot and unexpectedly behind his breastbone and in his loins at the tripping rattle of the hand drums, the tidal pull of the clapping hands. He smelled blood.

They'd killed a chicken and a young pig and thrown them in the cauldron seething over the fire. Someone had brought tafia, the cheap liquor made from molasses squeezings; someone else had brought rum. Muted firelight mottled the veves scratched on the ground-circled crosses, spirals, and diamonds, like Mambo Jeanne had made on the plantation, and more complicated signs strung together, the secret signs of the gods. The dancing had begun. The music tugged at January's heart.

Nothing here of the minuets and country dances that were the heart of the music lessons he had, at that time, been teaching for over a year. Nothing here of Mozart, or of Bach, of measure and beauty and passion contained. Like raw rum it hit him, and he felt his body move in time, unconscious as the movements of coupling. All around him men and women were moving, too, rocking, swaying, sometimes catching one another and turning under their arms, sometimes only standing, dancing with the body as the slaves did-hully-gully, they called it, the loosening into rhythm that makes work easier-and not tripping here and there like the restless whites. Hands clapping, clapping. Voices wailing and dark, 'Eh, bomba, hen, hen, canga bafie te!" Candles stuck among the bricks, darts of yellow light on naked musolm gleaming with sweat, on breasts bound only with a couple of kerchiefs, on ankle-clappers ringing bare hard feet. On whip scars and old brands and the tattoo-work of Ibo and Ewe and Senegal. January felt the wild desire to do as he'd done as a child, to tear off his clothes the better to dance. Mbuki-mvuki, the old men had called it at Bellefleur, a word for what les blanquittes had no word for.