The Infinities

by John Banville

  On the landing she sees Benny Grace crouched and listening outside her mother’s bedroom doorway, and through the partway open door sees her mother inside, lying down, and Adam sitting by her. None of them notices her.

  In her room she locks the door and kicks off her wet shoes and sits on the bed, hugging her knees, listening to the sound of the rain on the roof. The light is silver-grey and sad, and she would like to cry but cannot; she was never any good at crying. The rain on the window makes everything beyond the glass shimmer and swim, as if she were indeed seeing it all through tears, all those greys and watery greens and undulant browns. She wonders that she can be so calm. Everything is changed, her life is changed. Or, no, it cannot be changed, since what she thinks should be her life has not properly started yet. Roddy was to do that for her; Roddy was the one who was supposed to take her hand and lead her into the sunlit uplands of the future. It surprises her to realise, to admit at last, how high a hope she had of him. Everyone tried to warn her but she would not listen. Now she feels—she feels—She does not know what she feels.

  She leaves the bed and goes to the door and opens it cautiously and peers out. Benny Grace is gone, and the door of her mother’s room is shut and her mother has stopped moaning. She flits across the landing on tiptoe—who does she think will see her, of whom is she afraid?—and opens the door and climbs the seven steps to the Sky Room. Someone has drawn the curtains again and she can hardly see. She gropes her way through the shadows until she finds the bed. She has to listen closely to hear her father breathing. She is getting used to the gloom and can see him now, or his outline, at least. How like a wax figure he seems, a life-sized waxen model of himself. Taking care not to displace any of the tubes or the feeding bottles dangling on their metal stand she crawls on to the bed and lies down by him on her side with her face up close to his. His profile is like a line of mountains, seen from afar, at nightfall. There is an unpleasantly sharp, ammoniac smell; she supposes it is from the jars that she knows are under the bed and that the other, unseen tubes lead down to, but behind that there is his own familiar smell, darkish, warm, a little musty. She puts her arm across his chest. He is so thin, hardly there at all, just a scant arrangement of bones under the blanket.

  She is wondering how long Roddy and Helen have been lovers.

  How strange the way the shadows all around her when she peers into them seem to move, billowing slowly, like smoke, like distant storm clouds. There is a thing dripping in her head, dripping, or ticking; it is often there, or maybe always there and she only notices it sometimes. She hears the cries of gulls, far off, then suddenly near, then far again.

  Kiss me. Kiss me.

  Oh. A sudden start. She opens her eyes—have they been closed? Did she fall asleep for a moment? She must have, for she has that feeling that she always has when she wakes up of stealthy things having been happening that she is not to know of. Not that anything has happened: she is still lying beside her silent father as before, here in the gloom of the sickroom. But something has changed—the rain has stopped, that is it. Such enormous silence, as if the two of them were lying deep at the bottom of a huge empty stone vault, stone, or metal, maybe, a huge rusty iron tank emptied of everything, even air. She lifts her arm from her father’s chest and turns on to her back and gazes upwards at the uncertain ceiling. She thinks of her father facing blindly into another world, breathing other, even darker air. Why are the gulls no longer crying? Where have they gone to? Kiss me.

  In a little while she goes back to her room. Yes, the rain is over and the sky is clearing to a delicate, breakable blue. She stands by the window looking out on a rinsed and sparkling world. She can see rather than feel the chill that the rain has brought, for the air outside seems polished and shines thinly, and there is a new edge to everything, sharp as glass. Rex the dog is crossing the lawn; he stops, sniffs, lifts a leg, then after a moment of motionless gazing ambles on. The Salsol is parked on the gravel in front of the house, slewed at an angle. Duffy is walking along slowly by the box hedge, examining the hedge as if for damage; he has a furtive and a watchful mien. The limes along the drive are darker than everything else, as if night is gathered already among their foliage, waiting to be released into the air. These things seem to her set out just so, the countless pieces of a vast and mysteriously significant design. She looks downwards, inwards; how the light of evening pales her hands. Across the back of one of them there is a stippled scratch, like a chain of tiny rubies, where she caught herself on a briar. She did not really mean to spy on Helen and Roddy Wagstaff—how was she to know they would come to the wood? She had gone there, as she often does, to be alone and sit by the holy well and let her mind slow down and soothe itself. When she heard them approaching she hid among the woodbine and the ivy—why, since she did not even know who they would be?—like a child, she thinks, caught at something naughty. And indeed, like a child, she felt a secret, gloating thrill, crouched in her damp and odorous lair, crawled over by invisible mites, her nails digging into her palms and her face on fire. When the pair sat down on the bench before the well she was directly opposite Helen, who she thought would surely see her. As soon as they began to kiss she wriggled backwards through the undergrowth, not caring now if they heard her, but of course they did not: they were so busy, lost in each other. When the thunder crashed directly above her it almost sent her sprawling on her face, so loud it was, so near. And then she ran, stumbling.

  She turns from the window. A sense of urgent anticipation is starting up inside her, familiar, guilty, hot. Has she locked the door? She makes sure that she has. From the door she goes to the wardrobe, opens it, kneels. There is a drawer, low down, at the back, hard to notice, an ideal hiding place, almost ideal. She draws it open cautiously, making not a sound, and slips her palms under what is inside and lifts it out and bears it to the bed and sets it down. Within its wrapping of thin tissue paper the green silk shines dimly, like a slab of jade half hidden under a dusting of snow. When she opens the paper she shivers as always at the terrible crackling noise it makes, like the noise of some precious, fragile thing being broken into pieces. She unfolds the kimono and lifts it by its wide, square sleeves. The seams release the faint perfume that she loves, soft and dry, like the scent of orange blossom or dried rose petals; she likes to think it is a lingering trace of the great lady for whom it was made, for it is an ancient piece, brought back from Japan by her father long ago. She undresses, and puts on the heavy garment over her nakedness; the silk lining is cold against her skin; it is always cold. She ties the broad belt of matt black silk and pauses a moment and bows her head, her eyes closed. The ritual has begun. With tiny, hampered steps she hurries to the door and makes sure yet again that it is locked. On her way back to the bed she touches in strict order with her fingertips these three things: the first stripe in the wallpaper to the right of the light switch, a framed photograph of her father on the mantelpiece above the closed-off fireplace, the back of a tortoise-shell hairbrush on the dressing-table.

  From her pocket she brings out a ring made of heavy white metal—platinum, is it?—and set with a flat black stone in which an initial letter is carved. She slips it on to her wedding finger and admires it at arm’s length.

  Where do they see each other, where do they meet? Have they a room somewhere, a love nest? She pictures it, off a mean, cobbled street, up a dirty stairway at the end of a corridor smelling of cats. Lino on the floor, and the sagging bed shoved into a corner, two straight chairs and a stained table with an empty wine bottle and two glasses in the bottoms of which the purple lees of last week’s wine have gone dry and turned to crystal. A meagre window with a yellow net curtain and a view of back yards and crooked dustbins. Two cigarettes smouldering in a tin ashtray, one smeared with lipstick. A cistern drips, a voice in the street calls out something. In the corner, in the shadows, his pale flanks moving, her stifled cries.

  There is the sound of footsteps below the window, harshing on the gravel. She hides behi
nd the curtain, then risks a quick glance down. Her brother and Roddy Wagstaff are walking towards the station-wagon. Roddy has his linen jacket draped over his shoulders. His hair, still damp, is combed flat across his high, narrow skull, and from this angle she can see that it is thinning on the crown—he will be bald before he is forty. He is carrying his suitcase. So he is not going to stay, after all. Why has he changed his mind—has something happened? Perhaps they saw her, he and Helen, when she was wriggling backwards through the brambles, and they are afraid she will tell what she saw. She supposes he hates her now, for Roddy would hate anyone he has reason to fear. Does he at least feel ashamed, embarrassed? It is true, he never promised her anything. Does he talk about her when he is with Helen—do they lie in bed smoking and laugh at her for being childish, stupid? Adam takes Roddy’s suitcase and puts it on the back seat of the Salsol, they get in, they drive away. Behind the passenger window Roddy is bending to light a cigarette; he does not look back at the house.

  She could betray his secret, his and Helen’s. She could tell her brother what she saw at the holy well, before the thunder came. What would he do? Would he break Roddy’s neck, would he strangle Helen? No. He would be decent and stoical as always; he would bear his pain and forgive his wife, probably he would even forgive Roddy, too. She thinks of him as she saw him a moment ago, stumping over the gravel like a bow-legged sailor in those too-tight, ridiculous trousers he has been wearing all day, as if they were a penance, her big awkward blundering brother, and she knows that she will say nothing, will never let him know how he has been cheated.

  She goes and takes the razor in its velvet case from behind the chest of drawers, where she keeps it hidden in the shallow gap there above the wainscot, and carries it to the window and sets it on the sill. The brushed black velvet seems to bend the light to itself from all directions and drink it in. She lifts the little brass catch. It pleases her how snugly the razor fits into its bed of scarlet satin. The ivory handle is cool and smooth, like cold cream made solid, and the round-headed blade is the colour of water. She takes the lovely thing and balances it lightly on her palm. There are raked shadows on the lawn, and birds, restless at the day’s lapsing, whistle plaintively in the trees. She shrugs back the kimono’s great loose sleeve. The underside of her arm is cica-triced all along its length, the crescents of healed skin brittle and shiny, like candle wax. She leans against the window-sill in a sort of anxious trance, all her flesh yearning for the kiss of the chill, steel blade. She draws in a breath, hissingly. When she cuts, the world suddenly has a centre, everything on the instant realigns itself and points to this edge, where the skin draws back its thin white lips and the first beads of blood make their shy début. She unties the belt and lets the kimono fall open and clasps her arm to her breast, and feels the ooze of blood against her skin; it is warm, and her own, and it comforts her. She waits a moment, then bares her other arm.

  Ursula slowly wakes, rising from level to level, from dark to lesser dark, as if through successive shallowings of the sea. She feels herself heavy yet buoyant, a corpse somehow coming back to life. It always does her so much good, a little sleep at evening, disperses so many fogs and fumes in her head. For a minute or two she does not open her eyes, basking in the blanket’s warmth, the pillow’s softness. As soon as she does open them, she knows, the usual headache will start beating its unbearable drum at the back of her skull, but for now her mind drifts contentedly, weightless as a bubble, touching on random things and caroming off them lightly. She has so many matters to worry about but lately, she has noticed, her consciousness on first waking affords her a blank interval of grace before getting down to the grim business at hand.

  Someone was here with her—her son—is he still—? Yes, she can sense him there, beside her.

  She is fond of this room, where she and Adam shared so much of their lives together. He was always at his most manageable here, his most playful and forgiving, of himself as well as of her. She feels his absence, of course, feels it painfully, yet she has to confess to herself that this new solitude of the bedroom to which his illness has abandoned her is a surprising and a welcome luxury. Not that the room is in any way remarkable or particularly well appointed. It is large, indeed much too large, impossible to heat in winter and in summer forbiddingly stark, but all the same it has by day a reassuringly stolid aspect; it is like a room remembered from long ago, from the fixed antiquity of childhood, while at night, or in daytime with the curtains drawn, as now, it might be a great brown tent set down on the steppes of Muscovy or on the Arabian sands, ringed on all sides by a protecting vastness. She mocks herself for this fancy yet she clings to it, like a child clinging to a favourite toy. She does not regret moving the big double bed up to the Sky Room for Adam to lie in—to lie in in state, she almost thought—though its absence adds to the gauntness of the room. She felt he would want to be alone, as he always did when he was ill, hating to be fussed over. Even if the bed were still here she would not sleep in it, where she is sure the absence of her husband from it would pierce her all the more sharply. This old couch, or chaise-longue, really, is good enough for her, though it is hard and lumpy and when she lies down on it exudes a mildewy odour that she suspects is a vestige of all the bottoms that have sat on it over the many years since it was first carried in and set down here, at the behest of who knows what Blount ancestor.

  She hears the late train going past on the up line.

  Her moments of drowsy calm are coming to an end, and the needle of dread and doubt prepares to insert itself again. She remembers talking to young Adam before she fell asleep, remembers saying things, but not what things they were. She should not talk at all when she is in that state, though being in that state is what frees her tongue and lets her speak of all the things that concern and frighten and infuriate her. She must stop drinking, she must give it up altogether, for everyone’s sake including her own. She thinks of the spectacle she might make of herself at the funeral, for instance, the drunken widow keening and caterwauling and trying to fling herself into the grave—She catches herself up. The funeral. The grave. The widow. How seamlessly she has accepted it all, the imminence of it, the inevitability. She opens her eyes at last and turns her head on the pillow to look at her son, to plead with him for something, some large gesture of exoneration, absolution, or perhaps only a word of solace. But with a jolt she sees that it is not her son who is there. It is Benny Grace. He has carried the chintz-covered stool from in front of her dressing-table and set it down beside the couch, and sits on it facing her in the pose of a Chinese sage, with his belly hanging over his belt and his fingers laced together in his lap. His shoes are by the stool, and his bare feet loll on their sides, turned inwards with the ankles almost flat against the floor, and she can see the calluses on his soles. He smiles at her in friendly fashion, and twiddles his toes. How long has he been here? “I didn’t want to wake you,” he says, as if she had asked the question aloud. “You were having such a sleep.”

  She struggles to sit up, the blanket getting into a tangle and sullenly resisting her. She is holding something—what is it?—a cushion? Yes, it is the old red satin cushion that Rex chewed up and Ivy rescued. How did it come to be here, and why is she clutching it to her so fiercely, as if it were a shield to protect her? “My son,” she says, “where did he—?”

  “He had to go. His pal needed a lift to the station.”

  “His pal?”

  “The tall thin one. Wagstaff?”

  “Has he gone? Oh dear. He was meant to stay.” What has happened now, what offence has been given, what umbrage taken? Yet she is glad that Roddy has gone. He did not even ask to visit Adam. She supposes it is the last that they will hear of him. “He’ll think me rude, not to see him off. He wants to write Adam’s biography”—she laughs softly—“imagine!” He does not respond. She sighs, casting about her, fretful suddenly. Lying here like this, with this man watching every move she makes, is like being in one of those shameful social c
ompromises that happen in dreams. She is wearing her dressing-gown, she notices; she does not remember putting it on. So many things these days get lost in the increasing confusion of her mind. She looks at Benny Grace again, his fatness, squatting there. What is she to do with him, what say to him? He has an unavoidable solidity, yet at the same time there is something fantastic about him. Yes, it is like being in a dream, so real it seems not a dream at all, and he is one of the figures looming in it. He gives no account of himself, that is what it is. He simply appeared amongst them, as if he knew them all and they must all know him. But no one knows him, except she, and what she knows of him is next to nothing, really. She throws the satin cushion on the floor and struggles again to sit up straight. She sets one hand on her thigh and folds the other over it, as her mother used to do when she was preparing to deal with something difficult.

  “I’m sorry I spoke to you like that, in the garden, earlier,” she says. “I was—harsh.”

  He shrugs. “Harsh is nothing. Harsh I’m used to.”

  “Especially when”—she takes a deep breath—“especially when there is so much that I—that we—so much we must be grateful to you for.”

  “Not me, Ursula,” he says softly, with a shake of the head, modest and smiling, “you know that.”

  “Well, you, and her.” Ursula, he called her—how dare he? “Where is she, by the way?” He says nothing, only goes on smiling. “Adam said she died but I did not know whether to believe him.” Still he will not answer. She intended to be direct, so as to shock him, but of course he is unshockable. She sighs again, irritably this time. He is just like Adam in that way he has of keeping silent and causing the other person to babble on and on, blurting out all sorts of fatuous and self-incriminating things. “You mustn’t think we weren’t grateful for your—your kindness. And hers, I mean. Both of you.” All that awful money, years and years of it, just appearing in the bank every quarter without explanation, and Adam not saying a word so that she had to be silent too, no mention permitted, no acknowledgement, even though it was what they were living on, since Adam despite all his fame and his great reputation no longer earned anything, since he no longer worked. What did he think she would think? It had to be a woman, naturally.