C

by Mccarthy, Tom

  “What dormitory? The one where you sleep in London?” She stays in a boarding house for young ladies in South Kensington, just opposite the Science Museum.

  “No,” she answers. “That’s not where. I’ll have to kill him in me, or there’ll be more bodies: segments, on the battlefield.”

  “You’re crazy,” Serge says. “I’m not listening to this rubbish. Go to bed, or I’ll wake up Maureen and she’ll haul you inside.”

  Sophie looks at him bewilderedly, then around the garden. Dawn is breaking. Birds are singing in the bushes and the trees over the wall. A couple are hopping in the grass’s dew. To his surprise, she releases the iris stems, acquiesces with his order and walks slowly beside him to the house. When they arrive there, she goes to her room, he to his. He sleeps all day. He dreams of Sophie’s innards, her stuffing: of organs sensitised by passion while, on the outside, hinged limbs twitch and fletch and signal, current-galvanised, against creased backdrops, both inner and outer body shaken by transmissions. In his dream, the divan turns into a dissecting board; Sophie becomes a bird, cat or insect whose stomach has been opened; heart, gizzard and other nameless parts are spilling outwards in a long, unbroken tapestry, a silken shawl—and spilling up into the air, sticking to wires. He wakes up sticky himself, and ashamed.

  “What kind of time is this?” Maureen asks him when he finally makes his way down to the kitchen. “And where’s your sister?”

  “Still sleeping,” he tells her. “We were both up late.”

  “The hours in this house have gone haywire,” Maureen tuts. “When Mr. Simeon gets back we’ll have proper dining times, with everybody present.”

  Serge shrugs. He eats some bread and honey, then wanders up to Sophie’s room to see if she’s still sleeping. She’s not there. He heads back down the stairs and out across the maze towards the Mosaic Garden. The day’s calm; spring flowers are lolling open in the late-afternoon sunlight; others, budding, secrete their own sticky juice, attracting bees. As Serge approaches Sophie’s lab the smell of flowers gives over to another, sourer smell that reminds him at first of marzipan. The door’s open; when he steps inside, the smell becomes much stronger—stronger and more sharp, like apple brandy. Sophie’s sitting in a chair holding a glass in her hand, but the glass is lolling at an almost horizontal angle. Sophie’s hand is stiff; its middle finger points in the direction of the chart. Her eyes are open: it seems that she’s trying to show him something among the sprawling web—some new word, or figure, or associative line. It’s only as Serge turns his eyes up to it that he registers, like an after-impression, the flecks of brine that cover Sophie’s lips like bubbles blown by a departed insect.

  iii

  The funeral arrangements take some time. A quick burial was never on the cards: there are the autopsy and coroner’s report to be completed, as in any case of death by poisoning. Serge’s father busies himself with arrangements over the next week: distributing invitations, developing and printing programmes, discussing the contents of the buffet with Maureen and Frieda, consulting weather forecasts in the newspapers each day …

  It’s to be held outdoors, same as the Pageants—but in the Crypt Park, not on the Mulberry Lawn. The vicar of St. Alfege’s is to say a few words, the Day School pupils are to perform a recitation and Sophie’s to be buried in the Crypt, or rather under it; there’s no more room at ground level. Carrefax has devised an elaborate construction whereby Sophie’s coffin will be lowered into the ground beside the Crypt, slid along rails into an enclave burrowed out beneath the edifice itself, then slightly raised so as to slot into its designated space between the bodies of two ancestors, with the communicating tunnel to be filled in once the manoeuvre’s completed. The excavations are installed two days before the funeral itself: supporting pillars with winch-levers on them for the lowering; a second, horizontally operating winch for the sliding, and a pump-lever contraption for the final hoist. By the time the workmen have finished, piles of dug-up earth line the edges of the trench, and the sound of hammering and tapping that’s filled the estate’s air falls silent, leaving only birdsong in its place.

  Dr. Learmont, general practitioner of long standing for the districts of West Masedown and New Eliry, comes in person to tell Serge’s father that the coroner has reached a verdict of accidental death. Carrefax concurs:

  “The cyanide was right next to her lemonade glass. Easy to confuse the two. And then she’d been up all night, working on the compounds. Best female student Imperial has had since they admitted them, according to her tutors …”

  Learmont looks at Serge; Serge looks at Learmont. The doctor’s kind face and brown leather case seem to multiply for him, vaguer and more mythical with each iteration, down a telescoping corridor of memories: of strep throat, measles, chickenpox and other, nameless illnesses that always, whatever their distinctive unattractive qualities, returned him to a pleasant and familiar zone of honey-and-lemon tea, boiled sweets and picture-books—a zone where Maureen plumped his pillow every hour, Sophie brought the Berliner down from the attic and played him records, Mr. Clair waived all table-learning or essay-writing deadlines and, whatever time it actually was, it always seemed to be the calm, drawn-out stretch of mid-afternoon. Repeating the gesture with which he used to reach towards him then, Learmont extends his arm now and taps Serge on the chin.

  “You keeping fit?” he asks.

  Serge nods.

  “Be needing all you able-bodied young men soon,” the doctor says.

  “Apropos of—what? Imperial, yes: I wanted to ask you …” Carrefax says to Learmont. Learmont raises his eyebrows; Carrefax continues: “As you’ll doubtless be aware, it’s not unknown for death to be misdiagnosed, which makes for a certain …”

  “You think it might not have been accidental?” Learmont asks.

  “Not—what? No, no: that’s not what I meant. I was referring to the rare—yet still, I believe, well-documented—instances in which a death is recorded, only for the so-called deceased to awake several days later and recover their full capacities.”

  “I’m sorry to say that in this case we can entertain no hopes, not even the faintest, of—”

  “Bells were used, in times less technologically advanced than ours, with cords running from within the coffin to miniature towers mounted on the tombstone, should the incumbent come around and wish to signal the fact to those in a position to liberate them—a vertical position, as it were …”

  “But your daughter’s been … I mean, after the autopsy, there’s simply no way that—”

  “Yes: splendid! So I was thinking that perhaps we could avail ourselves of more contemporary hardware. I’ve arranged for a tapper-key, donated from Serge’s arsenal of such equipment, to be placed beside her in the coffin, and will attach a small transmitting aerial to the Crypt’s roof, should she—”

  “Which one of my keys?” Serge asks. “You never consulted me!”

  “That way, she won’t need to rely on the circumstance, far from guaranteed, of someone happening to pass by the Crypt at precisely the moment she comes to and rings. The signal emitted will be weak, but strong enough to cover the estate, should, for example, Serge be experimenting with his wireless set, as I believe his wont is these days …”

  Serge’s mother spends her time in the spinning houses, working on a shroud. Bodner plies her with tea: Serge sees him moving between his garden and the Weaving Room or Store Room virtually each time he looks in that direction from the attic window. He’s spending lots of time up in the attic these days. It’s the spot with which he most associates hours spent alone with Sophie. The cylinders and discs are still there. When he plays them now, her voice attaches itself, leech-like, to the ones recorded on them—tacitly, as though laid down in the wax and shellac underneath these voices, on a lower stratum: it flashes invisibly within their crackles, slithers through the hisses of their silence. He looks out over the flat, motionless landscape as he listens. The sheep never seem to move: they just stand st
ill, bubbly flecks on Arcady Field’s face. The curving stream also seems completely still, arrested in a deathly rictus grin. Only the trees in the Crypt Park seem to have any movement in them: they contract and expand slowly, breathing out the sound of the Day School children practising their recitation:

  Soon as the evening shades prevail

  The moon takes up the wondrous tale,

  And nightly to the listening earth

  Repeats the story of her birth …

  The looping, repeating lines mutate and distort so much that, even when the words come out correctly, they seem like a mispronounced version of something else, other sentences that are trying to worm their way up to the surface, make themselves heard. Kneeling on the window-sill three floors above them, Serge strains his ear to pick these buried phrases up, but gets just inarticulate murmurs. The estate’s layout, too, seems to be withholding something—some figure or associative line inscribed beneath its flattened geometry, camouflaged by lawns and walls and gardens …

  The day of the funeral is warm and sunny. The mourners’ tread as they descend the gravel path is muffled, cautious. They gather, all in black, outside the Crypt Park’s gates, beneath the obelisk-topped columns, and make quietened small-talk with each other, glancing nervously around as they try to spot their host, hostess or Serge. After a while, Carrefax strides out of the house and greets them boisterously.

  “Wonderful that you could come! There’ll be refreshments afterwards. For now, we should proceed into the park. What? Splendid! Yes, no seating, I’m afraid. Where’s Miss Hubbard?”

  As though taking her cue, Miss Hubbard emerges from the schoolrooms with seven or eight pupils in tow. She steers the children through the Crypt Park’s gates behind Carrefax and the other mourners. Serge meanders in behind them. By the Crypt, the vicar’s waiting. So are Maureen, Frieda and their girls. Frieda and the girls are crying; Maureen’s got a stoic, grim expression on her face. The vicar has a consoling beam on his. He flashes it around, as though trying to attach it to the face of each arriving person. Beside him, mounted on a small wooden podium, is the coffin. It’s made of dark wood, with brass handles; from a small hole in its lid probably imperceptible to anyone but Serge and his father, a small wire spills and dangles down the side. On each side of the trench Carrefax has designed, a workman’s standing between piles of earth, holding a spade: they look like soldiers standing to attention as they line a dignitary’s route. The mechanical set-up has become even more complicated than it was last time Serge saw it: now, a new rail is supported in the air above the rail-lined furrow, cutting across it perpendicularly—a curtain rail, with black drapes pegged to it on hooks. A little metal switch-box is set into one of this rail’s supporting columns. Carrefax steps over to it and clicks the switch on, then off: the box gives a little moan, the rail’s pegs jerk and the drapes, one hanging on each side of the trench, hems bunched up on the ground, twitch briefly, then lie still again.

  “Splendid!” says Carrefax. “All set to go. We’ll start with—”

  He’s interrupted by a general rustling as all heads turn away from him towards the Crypt Park’s gates. His wife is making a late entry between these, with a train of women. She’s holding something in front of her, cradling it in upturned hands. The train is moving in formation, like a set of rugby forwards: advancing in rows, arms locked together. Their faces are neutral and impassive, like statues’ faces. With long dresses covering their feet, they seem to glide above the lawn, as though mounted on their own rails made of air, invisible in the long grass. The other mourners watch their slow approach in silence; Carrefax, the vicar, Miss Hubbard and the Day School pupils watch them too. They glide towards the main group slowly but ineluctably, as though bearing down on them. Then, just as it seems they’re all going to collide with the posts beside the trench, they stop, as one body, a few yards from the coffin—all of them apart from Mrs. Carrefax, who proceeds onwards to the coffin and, placing on its lid the shroud that she’s been carrying in her arms, unfolds it until it covers the whole thing. It shows, in red and green silk on a white silk background, an insect feeding on a flower.

  Carrefax nods to the vicar, who coughs, then starts to speak:

  “Friends,” he beams, “we come here not in despair but in gratitude: for the gift of these past seventeen years …”

  A sob breaks loose from the main crowd of mourners. The vicar’s beam grows more pronounced and aggressive as he continues:

  “… in gratitude also that the soul of Sophie Annabel Carrefax has been reclaimed—redeemed, as one redeems a ticket or an object given out on loan—and done so, I’m quite certain, with great joy, by he who crafted it in the first place. When we consider—”

  “Him,” says Carrefax.

  “I’m sorry?” asks the vicar.

  “By him who crafted,” Carrefax corrects him.

  “Him who crafted it, indeed,” the vicar says. He foists his beam about again before continuing: “When we consider that we all are here on loan, then we might come to see that those the earlier gathered back are perhaps those most valued. Think of the cherished objects you yourselves might once have lent …”

  Serge stops listening after a few sentences. He can still hear the vicar’s words, of course, but they’re just sounds. His pick-up’s set beneath them, lower. He looks down, and sees among the grass a beetle pushing an earth-clump several times its size. The beetle’s trying to move this forwards, but the clump rolls back onto the beetle every time the latter shoves the former up the little incline in its path. Is it a Balkan beetle, Serge wonders? A bloody-nosed one? He looks at the flower and insect embossed on the coffin’s drape. The drape’s thin, and it fits the coffin loosely; sunlight, after passing through its fabric, bounces back up off the coffin’s copper handles to travel back up through it from the inside, making its white silk luminescent and its insect and flower dark, like silhouettes; they seem almost to move across the fabric’s surface, as though animated. The sunlight’s also spilling across the large earth-piles by the trench, blurring their edges; it looks as though tiny clumps have broken loose and are slightly levitating. The steel rails in the trench glint blue and silver. They seem to hum, like railway lines hum when a train’s approaching in the distance, just before you hear the train itself …

  The sensation of humming, real or imagined, grows: Serge can sense vibrations spreading round the lawn. He feels them moving from the ground into his feet and up his legs, then onwards to his groin. They animate his own flesh, start it levitating. He can’t help it. He crosses his hands in front of his crotch and looks about him: everyone else is looking at the vicar, or the coffin—not at him. The vicar’s still beaming aggressively, talking of heaven. Looking around him, trousers bulging, Serge is filled with a sudden and certain awareness that there is no such place: there’s the coffin and the Crypt, the lawn, these conker trees above them, this fresh-smelling earth. One of the workmen’s scratching his nose. A fly’s buzzing around the vicar’s head. The vicar tries to ignore it, but it brushes his face, tickling his lips and making him half-blow, half-spit his next few words out. If the fly hatched on Arcady Field, it will have come from sheep-dung. Serge pictures minute dung-flecks being deposited on this man’s mouth, the even tinier bacteria inside them turning inwards from his lips, swimming against his phlegm through crashing rocks of teeth, past lashing tongue and gurgling epiglottis down towards his stomach …

  The vicar’s words tail off. Serge’s father marshals the Day School pupils into place and they perform their recitation:

  The spacious firmament on high,

  With all the blue ethereal sky,

  And spangled heavens, a shining frame

  Their great original proclaim …

  Their pronunciation’s more distorted than it usually is in Pageants: they’ve had less time to rehearse, and are more nervous. “Spacious” and “spangled” are drawn out forever; “proclaim” becomes “co-caime.” The sky is blue and shining though: this mu
ch is true. Serge raises his head from the ground towards it. Birds are far away, which means high pressure: he should get good reception tonight. Another sob comes from one of Frieda’s girls; another mourner sniffles. The Day School pupils, voices dull, monotonous and out of synch, intone the second verse, describing evening shades, the moon and all the planets, which

  Confirm the tidings as they roll,

  And spread the truth from pole to pole …

  Serge, mind still wandering, recalls a photo in the latest Wireless World showing the earth’s southernmost Marconi station, in the Chilean archipelago—four giant tethered pylons with row upon row of wires running between their peaks, cutting the air into grid squares which hovered above a tiny operator’s cabin. The operators had to spend up to six months at a time there, waiting for their relief. What truth might they be spreading to the pole? Telegrams, news, weather reports, cricket scores, the day’s closing prices … ? A female mourner’s gazing at him, tearful, pitiful eyes trying to tell him that she understands his grief. He looks away. She can’t: he doesn’t feel any. He knows he’s meant to—but it’s not there, and that’s that. What he feels is discomfort: at his priapic condition and, beyond that, at a sense he has of things being unresolved or, more precisely, undivulged. The charts, the lines, the letter-clusters and the fragments Sophie was pronouncing as she wandered round the Mosaic Garden—and, beyond these, or perhaps behind them, the vague, hovering bodies and muffled signals he’s been half-seeing and -hearing at the dial’s far end, among those crashing and erupting discharges of meteoric events, galactic emanations: these, he’s more and more convinced, mean something and are issuing from somewhere, from a place he hasn’t managed to track down before the one person from whom he might have learnt the what, where, and why of it all elected to go incommunicado …