Certainty

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by Madeleine Thien


  They are sitting on a wooden bench, facing the creek. Ansel tells her to be alert for seagulls. Just the other day, he says, he saw one swoop towards the bus shelter and seize a sandwich straight from the hand of a young woman. A freak occurrence, Gail says, but she clutches her breakfast tighter and scans the skies warily for belligerent birds.

  In the last few weeks, he has been solicitous, grieving; he watches Gail as if she might disappear. At first, she had imagined packing a suitcase, walking away. A thought that, for just an instant, sent a rush of weightlessness through her heart. She has never been one for dramatic entries or exits. People fall in and out of love, relationships change, she accepts this fact as truth. But the intensity, the depth of her feelings for Ansel has always frightened her. Once, long ago, he asked her to marry him, but she had pushed them both away from that possibility. She did not want to get married, she wanted a different kind of relationship. Each day choosing to be with one another. Each day deciding.

  She remembers the first time she met Ansel. His white coat was too big for him, it drooped over his shoulders. She had been working for CBC-Radio, covering the crash of a six-seater Cessna, the pilot killed instantly, his son in critical condition. They had sat on the bench outside the hospital, looking up at the night sky, the hint of starlight. For a long time, they talked about nothing in particular, and then, finally, about the pilot who had been killed and his son who was slowly, but certainly, dying. “Hour by hour,” Ansel had said. “And all we can do is try to make sure that he feels no pain.” They had both been drawn out of their own private thoughts, out of their loneliness. This is what love was to Gail then, a line, a thread that she could follow, eyes closed, leading her out from the solitude of her mind. No secrets or revelation, just one person on Earth who could anchor her.

  “Are you happy, Ans?” she asks him now, surprising even herself by the fearlessness of her question.

  He looks at her searchingly.

  “I just wonder if we ended up where we thought we’d be. I’m almost forty, and I don’t know where the time went.”

  “Yes,” he says, without hesitation. “I’m happy.” He looks as if he wants to say something more. Then, stopping himself, he asks, “Are you?”

  Gail nods, but it takes her aback that it is she who cannot give a straightforward answer. She closes her eyes, feels an ache in her chest, a physical pain that pulses slowly. Day by day, she thinks, the distance between them is growing, carrying them out of reach of each other.

  Instead of speaking, she takes his hand, holding it carefully between her own.

  That night, while she is setting the table for dinner, the phone rings, and a moment later Ansel appears beside her holding the cordless. “For you,” he says. “Harry Jaarsma, calling from Amsterdam.”

  She glances at the clock. It is four in the morning in the Netherlands. She can see him in his apartment, the heavy brocade curtains, high stacks of paper obscuring the carpet. “Jaarsma,” she says, taking the phone from Ansel, watching his back as he disappears from the room. “How are you?”

  He says, without greeting or introduction, “I have good news.”

  “Don’t tell me –”

  “It’s true,” Jaarsma says, unable to contain his joy. “Never underestimate the power of patience.”

  She says the only words that come to her mind. “You broke it.”

  “Indeed.”

  Gail sits down. Behind her, there is a low hum in the living room, the sound of the party, Ansel laughing with her mother, Ed Carney and Glyn playing a duet on the piano. Gail’s father is standing by the window, looking into the room as if he is outside it. She puts a hand against her eyes, trying to concentrate on Jaarsma’s voice as he tells her how he had woken in the night and an idea had come to him. He had leapt out of bed, turned on his computer and typed what he guessed to be the key phrase. “I sat back and waited. Then, right in front of my eyes, the numbers began to fade away. Letters, words, entire sentences. I felt as if William Sullivan’s ghost had arrived in my office and was rudely typing upon my keyboard.” He laughs. “I must enter the remaining the numbers, but I wanted to share the good news.”

  In her mind, Gail can see the first line of the diary: 5 9 24 8 26 9. Numbers fill thirty single-spaced pages, without any visible order or pattern. She has repeated the line to herself for months, 5 9 24 8 26 9, as she falls to sleep at night. She has awoken with it on the tip of her tongue.

  She remembers how Jaarsma had been as excited as she was at the prospect of unlocking the secrets of Sullivan’s journal. They had met in the Netherlands some fifteen years ago, through mutual friends now only vaguely remembered. Gail had been studying in Leiden, and during their first meeting they had found themselves arguing on the same side in a heated discussion about Robert Oppenheimer and the Manhattan Project, about science, ethics and history. Part way through the night, he had turned to her, eyes glassy from the beer, and said, “We think so much alike. Let’s not ruin it by falling in love.” They had raised their glasses to a long and enduring friendship.

  Almost immediately, Jaarsma, whose specialty was chaos theory, had worked out the structure of the code, a version of the Vigenère Square. But rather than using the letters of the alphabet, Sullivan had used the numbers 1 through 26. The Vigenère Square, Jaarsma had explained to her, combines twenty-six different cipher, or code, alphabets. So far, so good: since the mid-nineteenth century, a means had existed to unlock it. But the final level of encryption, the key word that would allow the codebreaker to determine which of the twenty-six cipher alphabets was in use at any given time, had so far eluded him. A key word of blue, for instance, would alert the codebreaker to use the cipher alphabets b, l, u and e. The key used by Sullivan was not a simple word, and the longer the key, the more difficult it was to break the code. Perhaps the key was a list, a song, an entire book. It could be virtually anything.

  Two months ago, Jaarsma had called her, exhausted, saying that the effort was futile. “My computer runs for hours at a time,” he had said, “but it is lacking in that most human of traits: intuition.” He told her that he had ceased to function properly, was unable to eat or sleep. He carried the diary everywhere, studying it on the train, in his laboratory, at the dinner table. His colleagues were unforgiving. The journal was occupying him to distraction. Jaarsma and Gail had mutually decided to put the project on hold. The phone call this evening is the first time Gail has heard from him since then.

  “What was the key phrase?” she asks him now, straining to hear through the noise of the room.

  “It was their names. His son, his wife and himself. Just their full names spelled out. Nothing more.” After a pause, he says, “I haven’t read all the way through to the end, but I think the contents will surprise you. Her father was not the man I expected to find.” He adds, “Is that enough to persuade you to visit me in Amsterdam?”

  “I hardly need to be persuaded.”

  He laughs. “I’ll have the champagne ready. Congratulations on your birthday, by the way.”

  The dinner progresses around her, laughter and conversation, and much clinking of glasses. Her thoughts drift in and out of the present. Over dessert, Ansel looks across the table at her, as if to say, What is it? What’s wrong? She feels, for a brief moment, a wave of claustrophobia, and she stands up and begins clearing away the dishes.

  Glyn rises to help her, and the two go into the kitchen, plates and coffee cups balanced precariously. When the dishes are safely stowed in the sink, Glyn leans against the counter, her expression concerned. “Thinking about work?” she asks.

  Gail does not answer right away. She reaches up to the cupboard, brings down the bottle of port, and then enough glasses for everyone. As she opens the bottle and begins pouring, she tells Glyn about Jaarsma’s phone call. Glyn is editing the documentary, a co-production for CBC-Radio and Radio Netherlands, but so far she has stayed in the background, allowing Gail time to research and gather tape. “When this project is fi
nished,” Gail says, “I think I’ll take some time off. Sit back for a while. I’m a bit run down, is all.”

  They touch glasses, Glyn’s infectious smile warming the room. “For years we’ve been planning to celebrate New Year’s on the Gulf Islands,” she says. “Why not this year? Rent a little house on the Pacific, do the Polar Bear Swim. Ansel must have vacation time coming up?”

  “Yes,” Gail says, sipping her port. “I think he does.”

  “You’re exhausted. The curse of the freelancer.” She reaches her fingers out, brushes a strand of hair from Gail’s forehead. “Remember Prague? We sat under the stars together, knowing we were at the start of something, some grand adventure. Were we right or wrong, back then? You and I, what a pair of romantics.”

  That night, after everyone has gone, Gail leaves Ansel in the living room and goes into her office, shutting the door behind her. The curtains are open, and outside the street lamps glow, laying circles of light on the empty road.

  She is surrounded by equipment worthy of a museum. Reel-to-reels, cassette recorders, record players. Lately, she has been working with Mini Discs and digital editing programs, but she cannot bring herself to dispose of the old tape, the old equipment. “They still work,” she says to amused colleagues. “They still do what we asked of them.”

  She collects tape the way others collect records or rare books, safeguarding them with a feeling of reverence. She has fragments spliced together, dozens of conversations gathered on a single reel. Soundscapes, features, interviews. On days when her mind wanders, she randomly loads a reel onto the player, puts the earphones on, listens. For Gail, the devotion lies in more than the words spoken. It is the words spoken at a specific moment in time, in a particular place. A child singing in the background, a pause in the telling, an old woman wetting her lips, smoothing her dress. A man who forgets the presence of the microphone, who begins a conversation with himself. “And after that, nothing was ever the same. I wanted to go back, I needed to see him, but I couldn’t.”

  Before going to bed, Ansel knocks on the door of her office, pushes it open. “It’s your birthday,” he says, casually. “Surely you can take the night off.”

  She saves the document she is working on, then turns to face him. “Jaarsma broke the code,” she says. “That’s what he called to say.”

  His eyes light up, happy for her.

  “I’ve decided to go to Amsterdam. I set aside part of the funding for this, the plane ticket and travel, hoping everything would turn out.”

  She can see him wanting to say something, to argue against her going. Her response begins to take shape in her mind, I have to do this. I need to be away. But he does not fight her. Instead, from where he stands, he wishes her good night, then closes the door softly behind him.

  Alone again, she opens files, then closes them once more. She thinks of another love affair two decades before, the feel of another man’s hands on her body, the pull of desire. All this, a lifetime ago. At twenty-one, Gail had begun graduate work in the Netherlands. There, not even halfway through her M.A. in history, she took a leave from the University of Leiden, gave up her apartment, and travelled east. She was restless, tired of reading about realpolitik, about her thesis topic, Japanese militarism in the 1930s, anxious to make something concrete of her life. And she was in love. A floundering, impossible affair. The man, a professor of languages, was handsome, brilliant and married. So she cut her ties and applied for a visa to the Eastern Bloc.

  By spring, she was living in Prague, in a tiny two-room flat, working afternoons in a haberdashery. Her roommate, Glyn Madden, was a radio producer. At thirty-six, divorced and at loose ends, Glyn had sold her house in Wales and gone off in search of adventure, which, they both agreed, had proven to be more elusive than it first seemed. They traded books between them, drove across the border to Germany in search of English-language novels, came home with strange, tattered copies of Karl May westerns. They walked at dusk, joyous, alive, up to the Prague Castle. The apartment they shared was in Na Kampa, and at night they sat at the window, staring down at the miniature heads gathered around the café tables. They took turns changing the records on Glyn’s turntable: Abbey Road, Joni Mitchell, REM.

  Each month, her mother sent her a small package of famous B.C. smoked salmon and a long, descriptive letter, filled with stories. Gail’s father, she wrote at one point, had started a community garden in Strathcona. Every Sunday, children clustered around him, each one wearing tiny rubber boots, holding tight to a miniature spade. Business in the restaurant was steady, she said, and her father had decided to come on as a part owner. He is well, though he misses you. We both do. Gail went home only once each year, at Christmas time. It was the most she could afford, and she did not want to rely on her parents for money. “Too stubborn,” her mother would say, holding her at the airport when she left. “Too independent.” But the words, Gail thought, were filled with pride, too, that they had raised her to be so free, so fearless in the world.

  In Prague one morning, Glyn had woken her at 4:00 a.m., holding a cassette recorder and a microphone. “Join me,” she had said, her voice low and robotic, leaning over Gail’s bed, eyes shining in the darkness.

  “What is this? Star Wars? Spaceballs?”

  “Let’s go. We’re late.”

  They loaded their bicycles into Glyn’s van, then drove two hours east. Through the countryside, a Thermos of coffee between them, they watched the sun rise over the fading hills. In Brno, thousands of runners were gathered for a marathon. Glyn wired her to a cassette recorder, placed a microphone in her hand and headphones over her ears. The starting gun went off, and Gail, flustered, immediately dropped the recorder on the ground. On the tape, afterwards, she could hear Glyn laughing. But when she replaced the headphones, Gail heard details that she had never heard in life. Whispered conversations, the rhythm of hundreds of shoes striking cobblestone.

  She hurriedly unlocked her bicycle and began pedalling after the runners. On the tape, later on, she heard the bicycle bell ringing ever so slightly as the wheels rattled over the stones. She heard runners drinking as they went, dropping the plastic cups on the road, and the light jaggedness, like cut glass, of their breathing.

  That was the moment of revelation. Her degree fell by the wayside, and Glyn found her a job at Radio Netherlands, which had a small outpost there in Prague. They worked side by side each afternoon, pulling tape. Switching from grease pencil to razor blade, the reel of tape sliding back and forth, her right foot maneuvering the pedals. A swift diagonal cut, then a thumbprint of splicing tape to bind the pieces together. She laid the outtakes over her right shoulder, and then her left, in a carefully ordered fringe. Afterwards, they would eat dinner in the studio, potato dumplings soaked in gravy, washed down by bitter black coffee. Among her reels of tape, she has a recording Glyn made in 1989, in Wenceslas Square, when hundreds of thousands of people, laughing and crying, jingled their keys in unison to symbolize the fall of the Soviet regime and the opening of the door to democracy.

  Somewhere in that decade, she had fallen in love with a print journalist, a goat herder and an art collector. The print journalist had been the last, while Gail was in the Arctic. That was much later, after Glyn had moved to London and Gail was on assignment for Deutsche Welle’s English radio service, recording a feature about the beluga whales trapped in the ice-jammed waters of the Chukchi Peninsula, near the Bering Strait. The three thousand whales were slowly suffocating. Chukchi fishermen set out each morning, axes on their backs, attempting to open patches of ice. Up above, Russian helicopters circled like clumsy birds. They poured fish down from the sky.

  For three weeks, Gail did not see her own body naked in its entirety; she was a walking bundle of fur and fleece. Swaddled, she carried her portable DAT recorder in an insulated bag. When she held her microphone out over the water, she could hear the whales themselves; they formed an endless line as they took turns breathing, one by one, at the air holes. A whistle of sound
, a breath like water being swallowed. Sometimes, the whales allowed a seal to push into line, rising up, finding oxygen. She could not distinguish the sky from the ice, the snow from horizon.

  The Chukchi gathered at her microphone to tell their stories. Before the waters were divided up, they said, before lines were drawn in the sea by Washington and Moscow, they used to cross the Bering Strait in skin boats. Once upon a time, their people lived nomadic lives; back then, the herds of reindeer had been thirty thousand strong. When she looked up from her recorder, Gail saw a group of young boys pirouetting their bicycles on the snow, their shadows, thin and graceful, reaching into the distance.

  Eventually, a Soviet icebreaker arrived to clear a path for the whales. The icebreaker played Beethoven, and it thundered from the speakers. The whales, entranced, followed the Ninth Symphony back to open water.

  Afterwards, Gail caught a flight to Fairbanks, and then on to Vancouver. Home to the house on Keefer Street, the wild, luxuriant garden that her father kept, the trellises bursting with roses, perfuming the air. She had been living in Europe for almost a decade. When they sat down to dinner, she felt as if she and her parents were travelling across a vast field, coming to meet one another. Her father, who had worked all his life in a restaurant, set down dish after dish, and each one was her favourite. They were so tentative with one another, as if circling in a room where the lights have gone out, trying to find their way by intuition, by memory alone.

  After dinner, washing up in the kitchen, she had seen a letter lying on the countertop. The envelope was addressed to her father, and the stamps, she was surprised to see, were from the Netherlands. “What’s this?” she had asked, picking the letter up.

  He had taken the envelope from her, turning towards her mother. His expression is vivid in her mind, even now, and the way her mother had looked at him, the lightest touch against his arm. “Someone I knew once, in Sandakan,” her father had said, seeming to search for the words. “She died recently. Her husband wrote to tell us.”

 

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