knows that witches are best approached by water at night without prior warning, right?
Which, in the case of Doctor Mimi Moi, just happens to be possible. I know the address because I once had to spend a few days at a crime scene over in Thonburi, not far from her house. After she collected on the deaths of the two husbands she denies murdering, she broke yet another taboo of her class by buying a piece of land on the unfashionable side of the river right next to a klong, a canal, along which a large shantytown had grown up. Mad Moi’s land abuts the shantytown: rickety wooden huts on stilts, filthy kids, and subsistence car-repair businesses, which spread inland for at least one square mile. Little by little she has built up a position of godmother to the locals. She is known to provide free medicine for the needy, communal feasts on holidays, and even legal advice for those who have fallen foul of the cops. Everyone owes her, everyone worships her, and no one is going to betray her if they intend to go on living in the shantytown. Nobody knows how many packages containing what chemical exoticum are carried to and from her house by little old ladies paddling sampans across the river and up the klong.
I take a cab to Klong Toey, to a point on the river, then walk down a path by the side of a bridge that brings me out on the riverbank where a couple of motorized canoes are waiting. I agree on a price with the ferryboat man—an emaciated alcoholic in his late sixties who has not shaved for three days—and he starts the tinny little motor with a pull on a cord. Now we are turning upstream in order to take account of the current, with the high black bows of cargo ships, mostly Chinese and Korean, looming up at us as we pass the docks.
Although the Doctor’s land abuts the Chao Phraya River, it sits on a loop which forms a kind of bay and protects her from the wash of heavy ships. As we navigate the river, slowing to allow a loud and brightly lit restaurant boat to pass on its way to the Grand Palace, we head for a specific patch of dark emptiness on the other side, then slow the motor to a tick as we slip across what could be a black lagoon.
When we turn toward the bank, I see the house. Although constructed of modern materials, it is strictly in the old style, sitting on high stilts with a riverfront terrace about twenty feet deep which runs the length of the building and gables that look like garudas’ beaks. As we approach it is obvious that Doctor Moi’s fine eye has produced a kind of perfection of form: a soft golden light illuminates a generous window through a gauze curtain; classic Chinese furniture in blackwood can be glimpsed from moment to moment, along with chaise longues with pastel upholstery. There is a vast abundance of hanging plants on the balcony, mostly orchids, which gives a forest atmosphere, and a maid in full livery appears for a second to serve a beverage to the figure in a rocking chair, a bare-shouldered form in white jacquard silk cheongsam (high collar, pearl dragons writhing), smoking a cheroot and reading a magazine. When she hears our motor she looks up languidly. It is not until we have docked at her jetty that she sees it is me, but she shows no sign of surprise. Indeed, she even sends the maid down to the jetty to greet me and bring me to the house. Little Red Riding Hood must have felt the way I do now.
The maid is about ten years older than her mistress, which is to say in her fifties, quite tall and slim like Moi, silent—she does not speak to me—and very Chinese; I doubt there is a single Thai gene in her porcelain flesh. She wears the white cap, white blouse, black skirt, and white apron of domestic service, as if she works for an English duchess.
Doctor Moi gets up to welcome me as I climb the stairs onto the balcony, and I give her a high wai. She does not seem put out by my visit; on the contrary, a faint smile hovers around her thin lips. Nevertheless, she says, “What a surprise, Detective.” She is way too cool to ask why I didn’t