Academy Street

by Mary Costello

  PRAISE FOR MARY COSTELLO

  Academy Street

  ‘With extraordinary devotion, Mary Costello brings to life a woman who would otherwise have faded into oblivion amid the legions of the meek and the unobtrusive.’

  J. M. COETZEE

  ‘I read Academy Street cover to cover in one night, unable to stop. It is a short novel about a long life, stretching from rural Ireland to post-9/11 New York, and brings to mind the elegance of Colm Tóibín and the insight of Alice Munro. Its stealthy, quiet power will exert a hold over any reader.’

  MAGGIE O’FARRELL

  ‘To recount a life story in a novel is a difficult task. To do so with brevity and unsentimental honesty takes greatness. A powerful and emotional novel from one of literature’s finest new voices.’

  JOHN BOYNE

  ‘Intensely moving but never sentimental, Academy Street is a profound meditation on what Faulkner called “the human heart in conflict with itself”. In Tess Lohan, Mary Costello has created one of the most fully realised characters in contemporary fiction. What a marvel of a book.’

  RON RASH

  ‘Academy Street is understated, graceful and, ultimately, devastating. Even as my heart was breaking I couldn’t put the book down.’

  DONAL RYAN

  The China Factory

  ‘It is the accumulation of tiny pleasures…that makes The China Factory such a satisfying and accomplished debut…Her writing has the kind of urgency that the great problems demand—call them themes; they are the kind of problem that make a writer. With a bit of luck, they could keep her at the desk for the rest of her life.’

  ANNE ENRIGHT, Guardian

  ‘A collection of exquisite stories so intricately wrought, so unique and enthralling as to be utterly bewitching.’

  Sunday Independent

  ‘These stories resonate profoundly together, whether through powerful parallels or upsetting contrasts.’

  Australian

  ‘Accomplished and often very moving, plunging straight into those moments in life that can seal a person’s fate. The Sewing Room in particular is a brilliant and terrifying tale of loss.’

  Sydney Morning Herald

  ‘The twelve short stories of The China Factory are each little gems…Creating the perfectly told and balanced short story is a true art, and Costello has mastered it.’

  Weekly Times

  ‘The subtle underpinnings, the intuitive capacities—the eye for detail, the feel for language, the care of it—are much in evidence…One hopes to read more of Mary Costello.’

  MOLLY McCLOSKEY, Irish Times

  ‘A powerful collection from a very fine unshowy writer.’

  Irish Independent

  ‘Fears of the future, haunting memories of the past and day-to-day internal struggles take her characters to unexpected places, often surprising the reader. Each has a compelling story and Costello tells them with such an intensity of human emotions that it’s impossible to feel unmoved by their plight.’

  Weekend Press, Christchurch

  ‘Costello’s…style is honed down to deceptively simple profundity, capturing emotional essence with breathless economy.’

  West Australian

  CONTENTS

  Part One

   Chapter I

   Chapter 2

   Chapter 3

   Chapter 4

  Part Two

   Chapter 5

   Chapter 6

   Chapter 7

   Chapter 8

   Chapter 9

   Chapter IO

   Chapter II

   Chapter I2

   Chapter I3

  Part Three

   Chapter I4

   Chapter I5

  Mary Costello lives in Dublin. Her collection of short stories, The China Factory, was nominated for the Guardian First Book Award. Academy Street is her first novel.

  textpublishing.com.au

  The Text Publishing Company

  Swann House

  22 William Street

  Melbourne Victoria 3000 Australia

  Copyright © Mary Costello 2014

  The moral rights of the author have been asserted.

  All rights reserved. Without limiting the rights under copyright above, no part of this publication shall be reproduced, stored in or introduced into a retrieval system, or transmitted in any form or by any means (electronic, mechanical, photocopying, recording or otherwise), without the prior permission of both the copyright owner and the publisher of this book.

  Published in Great Britain in 2014 by Canongate Books Ltd

  Published in Australia by The Text Publishing Company 2014

  Cover design by Pete Adlington

  Cover image by Anthony Butera (Contemporary Artist), Sunday Afternoon, East 7th Street, Lower East Side, NYC, 2006 (oil on linen) / Private Collection / The Bridgeman Art Library

  Page design by Imogen Stubbs

  National Library of Australia Cataloguing-in-Publication entry

  Author:Costello, Mary, 1963-, author

  Title:   Academy Street / by Mary Costello.

  ISBN:9781922182449 (paperback)

      9781925095395 (ebook)

  Dewey Number:  823.9208

  For my mother, Ann and her sisters, Carmel and Clare

  In the depths of the winter I finally learned that there lay in me an unconquerable summer.

  ALBERT CAMUS

  PART ONE

  I

  IT IS EVENING and the window is open a little. There are voices in the hall, footsteps running up and down the stairs, then along the back corridor towards the kitchen. Now and then Tess hears the crunch of gravel outside, the sound of a bell as a bicycle is laid against the wall. Earlier a car drove up the avenue, into the yard, and horses and traps too, the horses whinnying as they were pulled up. She is sitting on the dining-room floor in her good dress and shoes. The sun is streaming in through the tall windows, the light falling on the floor, the sofa, the marble hearth. She holds her face up to feel its warmth.

  For two days people have been coming and going and now there is something near. She wishes everyone would go home and let the house be quiet again. The summer is gone. Every day the leaves fall off the trees and blow down the avenue. She thinks of them blowing into the courtyard, past the coach house, under the stone arch. In the morning she had gone out to the orchard and stood inside the high wall. It was cold then. The pear tree stood alone. She walked under the apple trees. She picked up a rotten yellow apple and, when she smelled it, it reminded her of the apple room and the apples laid out on newspapers on the floor, turning yellow.

  She lies back on the rug and looks up at the pictures on the wallpaper. Adam and Eve in the Garden of Eden. Her mother told her the story. She picks out the colours—dark green, blue, red—and follows the ivy trailing all over the wallpaper, al
l around Adam and Eve. They are both naked except for a few leaves. Eve has a frightened look on her face. She has just spotted the serpent. A serpent is a snake, her mother said. The apple tree behind Eve is old and bent, like the ones in the orchard.

  She feels something in the room. A whishing sound, and a little breeze rushes past her. She sits up, blinks. A blackbird has flown into the room. It flies around and around and she smiles, amazed, and opens her arms for it to come to her. It perches on the top of the china cabinet and watches her with one eye. Then it takes off again and comes to rest on the wooden pelmet above the curtains. It starts to peck at a spot on the wall. She holds her breath. She listens to the tap-tap of its beak, then a faint tearing sound and a little strip of wallpaper comes away and the bird with the little strip like a twig in its beak rises and circles and flies out the window. She looks after it, astonished.

  The door opens and the head of her sister Claire appears. ‘Is this where you are? Tess! Come on, hurry on!’

  Something is about to happen. Her older sisters Evelyn and Claire are home from boarding school. She loves Claire almost as much as her mother, or Captain the dog. More than she loves Evelyn, or Maeve her other sister, or even the baby. Equal to how she loves Mike Connolly, the workman.

  The door opens again, and Claire holds out her hand urgently for Tess to come. There are people standing around the hall, waiting. The front door is wide open and outside there are more people. She can hear their feet crunching the gravel and the hum of low talk. She looks around at the faces of her aunts and cousins, her neighbours. Her teacher Mrs Snee is smiling at her. Claire pulls her close—they are standing next to Aunt Maud now—and squeezes her hand and bows her head. Suddenly she is frightened.

  A shuffle on the upstairs landing and everyone goes quiet. Men’s voices, half whispering but urgent, drift down from above. She thinks there must be a lot of people up there but when she looks up there are only shadows and shoulders beyond the banisters. She sighs. She will soon need to go to the bathroom. She looks down at her new shoes. She got them in Briggs’ shop in the town during the school holidays, along with the green dress she is wearing. Her mother got new shoes that day too. And a new blue dress. Her mother bent down to tie her laces and Tess left her hand on her mother’s head, on the soft hair.

  The stairs sweep up and turn to the right and it is here on the turn, by the stained-glass window, that her uncle’s back comes into view. Light is streaming in. Her heart starts to beat fast. She sees the back of a neighbour, Tommy Burns, and her other uncle, struggling. And then she understands. At the exact moment she sees the coffin, she understands. It turns the corner and the sun hits it. The sun flows all over the coffin, turning the wood yellow and red and orange like the window, lighting it up, making it beautiful. The gold handles are shining. It is so beautiful, her heart swells and floods with the light. She closes her eyes. She can feel her mother near. Her mother is reaching out a hand, smiling at her. She can feel the touch of her mother’s fingers on her face. Her mother is all hers—her face, her long hair, her mouth, they are all hers. Then someone coughs and she opens her eyes.

  The men are almost at the bottom of the stairs and the coffin is tilted, heavy. She is afraid it will fall. Her father and her older brother Denis get behind it now, lifting, helping. She looks down, presses her toes against the soles of her shoes to keep her feet still. She wants to run up the last few steps and open the coffin and bring her mother out. She looks at the handles again, and at the little crosses on the top. She tries to count them. There is a big gold cross on the lid. Last night, when her cousin Kathleen took her up to bed, they passed her mother’s room. The shutters were closed and candles were lit. There were people standing and sitting and leaning against the walls, neighbours, relations, all saying the Rosary. She dipped her head to see past the crowd. She could not see her mother. Just the dark wood of the wardrobe and the wash stand. And the mirror covered with a black cloth. And leaning up against the wall, against the pink roses of the wallpaper, the wooden lid with the gold cross, and the light of the candles dancing on it. They put the lid on over her mother. She looks up at Claire, about to speak, but Claire says ‘Shh’, and tightens her grip on Tess’s hand. A silence falls on the hall. She turns and sees the big brass gong that she and Maeve play with sometimes by the wall. She wants to reach for the beater and hit the gong hard.

  The coffin is crawling towards the front door. Then the men leave it down on two chairs, and rest for a minute. When they pick it up again everyone walks behind it and it passes through the open door, into the sun. On the gravel there is a black hearse and a thousand faces looking at them. The men bring the coffin to the back of the hearse and shove it in through the open door, like into a mouth. Maeve starts to cry and Claire goes to her.

  Tess turns and sees Mike Connolly at the edge of the yard, with Captain the dog at his feet. He is holding his cap in his hand. She thinks he is crying. Everyone is crying, but she is not. She looks up and sees the blackbird on the laurel tree, eyeing her. You robber, she wants to shout, you tore my mother’s wallpaper, and now she’s dead. She looks past the white railings that run around the lawn, over the sloping fields and the quarry, far off to a clump of trees. Then the hearse door is shut and she gets a jolt. She looks around. She does not know what to do. The evening sun is blinding her. It is shining on everything, too bright, on the laurel tree and the lawn and the white railings, on the hearse and the gravel and the blackbird.

  The hearse pulls away and people start walking behind it. Her uncle’s car follows and then the horses and traps, and the neighbours, wheeling bicycles. Claire is beside her again, leaning into her face. ‘You’ve to go into the house, Tess. You and Maeve, ye’re to stay at home with Kathleen.’

  Her cousin Kathleen takes her hand, leads herself and Maeve around to the side of the house, down the steps into the small yard. Before they reach the back door, Tess breaks away and runs back across the gravel, the lawn, off into the fields. On a small hill she stands and watches the hearse moving up the avenue, turning onto the main road. It moves along the stone wall that circles her father’s land, the crowd and the horses and traps walking after it. Sometimes the trees or the wall block her view. But she watches, and waits, until the black roof of the hearse comes into view again, flashing in the sun. It slows and turns left onto Chapel Road, and the people follow, like dark shapes. Then they begin to disappear.

  She stands still, watching until the last shape fades and she is alone. She is gone. Her mother is gone. She feels a little sick, dizzy from the huge sky above. She feels the ground falling away from under her—the grass and the field and the hill are all sliding away, until she is left high and dry on the top of a bare hill. Like the Blessed Virgin in the picture in the church when she is taken up into Heaven from the top of a mountain. Maybe she, Tess, is being taken up into Heaven this very minute. She can hardly breathe. She turns her face towards the low sun and closes her eyes and waits. Please. She waits for her mother’s face to appear, a hand to reach out. She leans her whole body upwards, desperate for the sun to touch her, the wind to raise her, the sky to open, Heaven to pull her in.

  When she opens her eyes she is still in her father’s field, and there, a few feet away, are cattle, five or six, staring at her with big faces and sad eyes. The ground is under her feet again, the grass is green, nothing has changed. She looks around, frightened, ashamed. She starts runn
ing back towards the house. She runs into the yard, searches the barn, the coach house, the stables. She sticks her head into the dark musty potato house and calls out, ‘Mike, Mike, are you there?’ and waits and listens. Everywhere is silent. Soon it will be dark. She hears the sound of a motor in the distance. A car is coming down the avenue. She stands and waits for it to appear in the yard. Her heart is pounding. It is the hearse, she thinks, returning. With her mother sitting up in the front seat, smiling, and the coffin behind open, empty—a terrible mistake put right. They had come to the wrong house. They had come for the wrong woman—it was old Mrs Geraghty back in the village they should have taken.

  But it is not the hearse that drives into the yard. It is Miss Tannian, the poultry instructress. She steps out of her car in a green tweed costume and patent shoes. And auburn hair, like Tess’s mother’s. The sky is pink and as she comes towards Tess the last of the sun lights her up from behind. She is speaking to Tess, saying, I am sorry, I am so sorry. Tess runs away from her, off along the edge of the yard, under the arch towards the orchard. The big iron gates are open and she runs in and stands in the shadows. The apple trees are dark, their low crooked branches like old women’s skirts. Her eyes dart all over the place, along the four high walls. And then she sees him, Mike Connolly, sitting on an old stump at the far end, his head down, Captain beside him. As soon as she sees him the tears come. She runs and falls at his feet and begins to sob.

  It is dark when the others come home. Her aunt Maud and Maud’s husband, Frank, and the aunts and cousins from Dublin crowd into the kitchen. The Tilley lamps are lit. There are all kinds of nice things on the pantry shelves, cakes and buns and biscuits. Mrs Glynn, who took the baby over to her house, is here. She helps Tess’s sisters serve tea and sandwiches to all the guests, and whiskey to the men. Her father sits quietly in the armchair. Her brother Denis has his head down. Tess wants to climb up on his lap like she used to when she was four. They are talking about the baby, Oliver. Aunt Maud says she will take him.