Time too is a difficulty. For her it has two modes. Either it drags itself painfully along like something dragging itself in its own slime over bits of twigs and dead leaves on a forest floor, or it speeds past, in jumps and flickers, like the scenes on a spool of film clattering madly through a broken projector. She is always either lagging behind or hopelessly far in front of everyone else, calling plaintively after them through cupped hands or gabbling back at them breathlessly over her shoulder. When she confessed this to her father, confessed how she never seemed to be in step with anyone else, he showed no surprise, and said she was quite right, that time is not uniform and only dull people imagine it is so. It was a summer evening, and they were in the wood behind the house, sitting beside the holy well in the little hollow of brambles and holly that has been here, her father says, since the Druids. She recalls the dampish light, the smells of moss and musty water, the sunlight a spiked glare of white gold and a swarm of tiny, translucent flies busily weaving an invisible design above the water of the well. They were sitting one at either end of the old school bench that someone long ago brought up there so that pilgrims to the place would have a seat to rest on—there is a right of way through the fields to here and anyone is free to enter, and some still do, on holy days especially. She had her feet up on the seat and her arms around her legs and her chin resting on her knees. Time, her father was saying, looking upwards and scratching his chin through his beard, time has tiny flaws in it, tiny slippages, that in the very beginning hindered the flow of formlessness and created form. In the same way, he said, that your nails catch on something made of silk, with little hooks you did not know were there until they snagged. “Do you see?” he asked. Flaws in the matrix, temporal discrepancies. So at the start, when there was still nothing, the world was, you could say, hindered into existence. The whole enormous thing—here he gestured towards all outside the dimness of the grotto where they sat—a vast grid of tiny accidents, infinitely tiny mishaps. He looked at her, smiling helplessly. “Do you see?”
What would Roddy Wagstaff not have given to be there, listening to her father talking about time and its origins. She knows very well that Roddy only pretends to care about her so he can come down to Arden and see her father. Everyone, her brother, for instance, thinks she is hurt by this but it is not so—the contrary, in fact. It was Roddy’s absorbed and single-minded sense of himself that so impressed her the first time he came to stay at the house. She had never known anyone like him before, except for her father, of course. Roddy seemed to her an entirely free spirit, weightless and airy and, unlike her father, unencumbered by labours, achievements, lavish renown. Roddy seemed to spend his life diligently and happily doing nothing. How she wished she could be even a little like that. All her life she had lived under the vast crag of her father’s looming presence. When Roddy scrambled in and sat down beside her in the shadow of that rock, dusting off the knees of his slacks and nonchalantly lighting up a cigarette, he invited her to look, whether he meant to or not, at the grand vista that had been there before her all along, beyond the confines where for so long she had been crouching.
The word she thought of for Roddy, that first weekend when he came down to Arden, was debonair. It was not a word she had ever had occasion to use before, about anyone, even her father. She watched Roddy, in the conservatory after lunch, sitting on a straight chair with one slim ankle crossed on a knee and an elbow resting on the back of his chair and a hand tensely holding aloft his cigarette, vigilant, missing nothing, and all the while smiling tirelessly in her father’s direction. She had never encountered anyone so smooth, so poised and yet so concentrated and determined, too. She even found the tiny rapid tremor in his hand a mark of distinction, the result no doubt of being watchful always of everything, himself in particular. He had fitted himself into the household like a knife into a sheath. It is his very lack of substance that she considers his most becoming quality. He is not earnest and dependable like her brother; he is not good, or nice; he is not anything, much, except ambitious, and acquisitive—he has a magpie’s glittering alertness for small bright advantageous things, the useful trifles that others overlook. He has, besides, a fastidious sheen. She finds most people disconcertingly repellent, men especially. One of them will be standing in front of her, suited and belted, tie neatly knotted and a flower in his buttonhole, talking away and grandly gesturing as they all do, and suddenly she will picture him squatting on the lavatory, with his elbows on his knees and his drawers around his ankles, and underneath him all his awful puddingy things dangling over the steaming bowl. She thinks of puckered anuses, oniony armpits, disgusting tufts of curled-up, glistening hair—she cannot stop herself—of stuff under the flaps of their prepuces, up their nostrils, between their toes. Roddy, however, comes to her as bland and unblemished as a shop-window dummy. His skin has the dulled, waxen gleam of the slightly tarnished plaster of paris that manikins are made out of. She imagines him under his clothes all rounded and seamless save for the intricate joints at elbows, knees and ankles, and nothing between his thighs but a smooth, featureless bump. Unsleeping in her bed in these twilit nights she has fantasies of him being there with her, a beautiful plaster man lying motionless beside her, one knee flexed and one hand extended with an index finger raised as if to signal a waiter or flag a taxi, his perfect rosy lips curved in a pleasingly inane half-smile, his wide-eyed empty stare fixed on nothing, and she with her arms around him, feeling against her the soothing coolness of his shins, his flanks, his navel-less belly.
Duffy the cowman is the opposite of Roddy. Only last night she thought of getting up and slipping out of the house just as she was, in Pa’s oversized pyjamas, and running all the way down to Duffy’s house behind the hill and throwing a handful of gravel at his window as people do in books, so that he would let her in and take her upstairs to his room and—and what? The thought of Duffy’s rancid bachelor bed makes her tremble with revulsion, but with something else, too, something to which she cannot, will not, put a name. There is dirt embedded in the seams of the cowman’s hands; the skin of his palms would be hard and rough and burning hot as all men’s hands are hot, except her father’s. She imagines that skin on her skin, the rasp of it, like a cow’s tongue licking her.
Poor Petra, poor mooncalf, she is the one of all the household who is dearest to us. And because we love her so we shall soon take her to us, but not yet, not yet.
Now she trails along the hall behind Roddy Wagstaff and her brother, the one slim and vaguely beige, the other broad-bummed and big-shouldered. The heels of Roddy’s narrow, neat shoes make a crisp tap-tapping on the black flagstones. In fact, when looked at closely the flags are not black, she has noticed it before, but an unpleasant, shiny deep brown, like the colour of burnt toffee or of the thick pelt of some large extinct animal. This hallway, which leads under a shadowy arch into the big square black-and-white central hall of the house, always stirs in Petra a memory, if memory is what it is, of something she cannot quite grasp, something out of a past too far for her to remember, too long ago indeed for her to have known, in the last century, it must have been, or in the one before or even the one before that again. It is to do with a man, heavy-set, scowling, though she does not see his features at all clearly, in old-fashioned clothes and high boots, standing here and not wanting to do something, to accede to some request or command, but knowing he will have to, will be forced to. That is all there is to this ghostly manifestation, the man looming here, bullishly sullen—does he wear something around his broad neck, a knotted scarf, or a stock?—on a summer day like this one, with the grandfather clock ponderously ticking and a splash of molten daylight from the open front doorway reflected in the mirror of the hall-stand. She is sure the man is one of Ivy Blount’s forebears. She does not doubt that this memory of him, or vision, or whatever it is, though impossible, is real, too, in some way.
When she looks back to see what the phantom man would have seen—the front door open, the mirror shining—she
notices Roddy Wagstaff’s case standing on the doorstep, where her brother left it, having decided he had carried it far enough.
They pass under the archway into the chequered hall, the two young men going ahead, Roddy’s heel-taps suddenly making a sharper sound in this taller space, and Petra behind them, she now with Roddy’s pigskin case in her hand. The air in the hall has a faint sweetish fragrance—dry rot, Duffy suggests, with satisfaction—and the light coming down from the tall windows seems somehow bruised. Roddy has not said a word to her yet, not a real word. She will wait for him to look at her, to look at her properly, so that she is sure he is seeing her, and then she will smile, and not turn aside, but hold his gaze for as long as he holds hers. That is what she will do.
Meanwhile, on a blast of divine afflatus, I am wafting Adam the elder across the seas to where together we shall invent Venice. Forty years ago, more. It is wintertime, and the city’s vaunted charms are all crazed over by the cold. There are caps of snow on the bronze horses outside St. Mark’s and a freezing mist is suspended along the canals and under the quaint, toy bridges. He is sitting in a restaurant, upstairs, at a corner table, with a view across the canal to where the wedding-cake façade of a white church, which he knows he should know the name of, gleams phantasmally through the midday murk. In some corner of the low-slung sky a weak sun is shining and each wavelet of the leaden canal waters is tipped with a spur of sullen, silver-yellow light. He eats lamb chops and drinks a melony tokai from Friuli—today he can recall that wine as if he were tasting it again, the tawny flash and oily sway of it in the glass, the sour-sweet tang of the fat, late grape. He is grieving for his wife, newly dead. Grief is the shape of an enormous globe that has been thrust unceremoniously into his arms; he totters under the unmanageable, greasy weight of it. Thus burdened he has fled to the sinking city where he knows no one and there is no one who knows him.
And promptly a stranger approaches his table and introduces himself. He is a long-limbed fair smooth-faced person with a narrow head and high cheekbones and a somehow inappropriate ginger moustache which he keeps fingering as if he knows it is not quite the thing. He wears English tweeds, though he is no Englishman, and an unlikely canary-yellow waistcoat and a matching yellow silk handkerchief that droops negligently from the breast pocket of his houndstooth jacket. His name, presumably his surname, outlandishly to Adam’s ears, is Zeno, and he claims to be a count, though from what line or by favour of which monarch he does not say. He makes polite and easy conversation—the weather, the outrageous prices in this restaurant, the slovenly ways of the Venetians—and presently, after three or four thimblefuls of grappa at the bar downstairs, the two of them are crossing the canal in a gondola. The winter afternoon is all salt and smoke and the harsh cries of seagulls. Adam sits in a huddle on the damp wooden seat with his thin raincoat pulled tight around him. He seems to himself a hollowed-out vessel with something rattling around inside it, the dried pea that his formerly solid self has shrunk to. At his back the gondolier, a gnarled old-timer wearing a short pea-coat over his regulation striped jersey, plies a long, amber-coloured oar and croons snatches of a barcarole. The boat wallows in the wash of a passing launch. Vague rain drifts out of the air.
The house, tall and shabby, is in a narrow lane behind the Salute. The ochre stucco of the front is missing in continent-shaped patches, which show the brick and clay-like mortar underneath. It is apparent from the dankness in the rooms and the silence hanging over everything like dust sheets that no one has lived here for a long time. In the windows of the living room there are views of the Giudecca and, beyond that, out over the lagoon to the great hydrogen-powered breakwater, recently erected to save the city from imminent inundation, that appears a low, dull silver beading strung along the curved horizon. On a squat table in the middle of the room there is set an enormous chipped marble head of Zeus—why, hello, Dad!—neckless, with a tight crown of curls and a pubic beard, seeming sunk to its chin in the wood and wearing an expression of puzzlement and slow-gathering indignation. In an armchair facing this irate godhead Adam sits, hapless and distracted, his hands resting limply in his lap with palms upturned, like one of the commedia dell’arte’s mournful clowns. The Count, who has not taken off his overcoat, produces a bottle of red wine and two goblets of purple Murano glass. He has the blandly unimpedable manner of a circus ringmaster. The wine is as cold as stone and so thick it makes Adam’s gorge rise. Outside, the air has turned to the colour of inky water. In a window opposite him the parchment-brown dome of the Salute looms. He feels spongy and raw all over, he has felt like this for a fortnight, sodden with grief, flayed by guilt. He had always thought bereavement would be an inward process only, a malady of the soul, and is dismayed by its brute physical manifestations. His eyes scald, his lips are cracked, even the follicles of his hair seem to simmer and twitch. He is convinced he has developed a smell, too, a rank hot meaty odour, and there is a brackish taste in his mouth that nothing will shift. And yet, too, he is swept at intervals by a gust of what seems to be, of all things, euphoria, a trembling giddiness the like of which he has not known since he was a boy on the last afternoons at school before the summer holidays. How is this?—as if he had wanted his wife to die, as if he had longed all along to be rid of her. This is surely an appalling thought and yet, at the mercy of grief the inquisitor, he is compelled to think it.
The young woman when she arrives is called Alba. Her skin is of an impossibly delicate paleness—Adam thinks of ice, of breathed-on glass, of the cool hard creamy-silver sheen of a pearl. She perches on the arm of his chair. Her gaze moves here and there, settling with mothlike inconsequence on random objects, his wine glass on the table, the frayed edge of a floor rug, the god’s outsized, glaring head. She has a look, at once dreamy and expectant, as if she were awaiting the imminent arrival of some as yet unguessed-at, marvellous thing. When she shifts her position on the chair-arm and puts a hand briefly on Adam’s shoulder to steady herself he twitches as if a ghost had touched him. The Count beams upon them both and seems mentally to rub his hands.
The bedroom is bare of all furniture save a large low square bed with a not entirely clean white cover and no pillows; above it on the whitewashed wall hangs an iron crucifix, which instead of a crucified Christ has four studs of ruby glass set one into each of its extremities. Adam savours the sudden candour of being with a stranger in a strange room, unclothed, in broad or at least broadish daylight; how cool the air feels against his skin, how poised the stillness, poised and somehow archaic. Alba has stepped out of her dress in one flowing, stylised movement, like a torero, the object of all eyes, trailing his cape in the dust before the baffled bull; underneath, she is naked. She looks to the side, downwards; her eyelids are so shinily pale and fine that Adam can see clearly all the tiny veins in them, blue as lapis. He takes a floating step forward until his chest is barely touching the tips of her nipples, behind which he senses all the gravid tremulousness of her breasts. She puts her hands flat against his chest and leans into him in the simulacrum of a swoon, making a mewling sound. Her hips are goosefleshed and he can feel all the tiny hairs erect on her forearms. When he kisses her hot, soft mouth, which is bruised a little at one corner, he knows at once that she has been with another man, and recently—faint as it is there is no mistaking that tang of fish-slime and sawdust—for he has no doubt that this is the mouth of a busy working girl. He does not mind.
They conduct there, on that white bed, under the rubied iron cross, a fair imitation of a passionate dalliance, a repeated toing and froing on the edge of a precipice beyond which can be glimpsed a dark-green distance in a reeking mist and something shining out at them, a pulsing point of light, peremptory and intense. His heart rattles in its cage, a vein beats at his temple like a slow tom-tom. When they are spent at last, and that beacon in the jungle has been turned low again, they lie together contentedly in a tangle of arms and legs and talk of this and that, in their own languages, each understanding hardly a word of wha
t the other says. Alba, twisting a lock of her hair round and round a finger, pauses now and then to explore with the tip of an agile tongue the mauve bruise at the side of her mouth. She is from somewhere in the north—she waves towards the window behind her, showing him a damp, unkempt armpit—Bergamo, it sounds like, hence perhaps her pale skin and paler hair, for he imagines Bergamasks as blond, laughing types, he does not know why.
He tells her about Dorothy who has died. He marvels at how easy it is, suddenly, telling it all to her, out loud, with not a word of it understood.
In a little while he rises from the white bed and wanders off through the house until he finds himself in what appears to be the kitchen, an odd, elongated room, also white, that makes him think, disconcertedly, of a milking parlour, with a lofty ceiling and a row of frosted-glass windows high up along one wall. Zeno the Count is there, still in his overcoat, seated at a small round table on which stands, aptly enough, a glass of milk, partly drunk. The Count, who is taking his ease and smoking a cigarette, greets him with an open-handed gesture, in the papal manner, smiling. Adam is conscious of being shirtless and barefoot. He sees, in the stark light reflected from the walls, that the Count is older than he had seemed at first. His sideburns are grizzled and there are broken veins in his nose and in the pouches under his eyes. Adam senses a large weariness in him, the weariness of an old actor in the middle of a long run in a poor part. Yet perhaps he really is a count, last of a line as old as the Guelphs and the Ghibellines, reduced to pandering to bereft and needy travellers such as this one that he chanced upon today. He points to the glass of milk and then pats his belly and smiles wincingly and says, “La solita ulcera.” He goes on smiling; his expression is one of calm and not unkindly knowing. Adam sits down opposite him, suddenly exhausted, and folds his arms before him on the table and rests his forehead on them. He is cold. Shivers pass across his back in spasms like gusts of wind on the surface of the sea. Bells are tolling slowly all over Venice. He weeps, making no sound. The Count rises and taking off his overcoat comes and drapes it on his shaking shoulders. “Poverino,” the old man murmurs, “you are cold.” Adam weeps on.
The Infinities Page 10