He holds out his arm, the bruised veins horizontal, facing up, for the raft of morphine. As it floods him he hears Caravaggio drop the needle into the kidney-shaped enamel tin. He sees the grizzled form turn its back to him and then reappear, also caught, a citizen of morphia with him.
There are days when I come home from arid writing when all that can save me is ‘Honeysuckle Rose’ by Django Reinhardt and Stéphane Grappelli performing with the Hot Club of France. 1935. 1936. 1937. Great jazz years. The years when it floated out of the Hôtel Claridge on the Champs-Élysées and into the bars of London, southern France, Morocco, and then slid into Egypt, where the rumour of such rhythms was introduced in a hush by an unnamed Cairo dance band. When I went back into the desert, I took with me the evenings of dancing to the 78 of ‘Souvenirs’ in the bars, the women pacing like greyhounds, leaning against you while you muttered into their shoulders during ‘My Sweet.’ Courtesy of the Société Ultraphone Française record company. 1938. 1939. There was the whispering of love in a booth. There was war around the corner.
During those final nights in Cairo, months after the affair was over, we had finally persuaded Madox into a zinc bar for his farewell. She and her husband were there. One last night. One last dance. Almásy was drunk and attempting an old dance step he had invented called the Bosphorus hug, lifting Katharine Clifton into his wiry arms and traversing the floor until he fell with her across some Nile-grown aspidistras.
Who is he speaking as now? Caravaggio thinks.
Almásy was drunk and his dancing seemed to the others a brutal series of movements. In those days he and she did not seem to be getting on well. He swung her from side to side as if she were some anonymous doll, and smothered with drink his grief at Madox’s leaving. He was loud at the tables with us. When Almásy was like this we usually dispersed, but this was Madox’s last night in Cairo and we stayed. A bad Egyptian violinist mimicking Stéphane Grappelli, and Almásy like a planet out of control. ‘To us – the planetary strangers,’ he lifted his glass. He wanted to dance with everyone, men and women. He clapped his hands and announced, ‘Now for the Bosphorus hug. You, Bernhardt? Hetherton?’ Most pulled back. He turned to Clifton’s young wife, who was watching him in a courteous rage, and she went forward as he beckoned and then slammed into her, his throat already at her left shoulder on that naked plateau above the sequins. A maniac’s tango ensued till one of them lost the step. She would not back down from her anger, refused to let him win by her walking away and returning to the table. Just staring hard at him when he pulled his head back, not solemn but with an attacking face. His mouth muttering at her when he bent his face down, swearing the lyrics of ‘Honeysuckle Rose,’ perhaps.
In Cairo between expeditions no one ever saw much of Almásy. He seemed either distant or restless. He worked in the museum during the day and frequented the South Cairo market bars at night. Lost in another Egypt. It was only for Madox they had all come here. But now Almásy was dancing with Katharine Clifton. The line of plants brushed against her slimness. He pivoted with her, lifting her up, and then fell. Clifton stayed in his seat, half watching them. Almásy lying across her and then slowly trying to get up, smoothing back his blond hair, kneeling over her in the far corner of the room. He had at one time been a man of delicacy.
It was past midnight. The guests there were not amused, except for the easily amused regulars, accustomed to these ceremonies of the desert European. There were women with long tributaries of silver hanging off their ears, women in sequins, little metal droplets warm from the bar’s heat that Almásy in the past had always been partial towards, women who in their dancing swung the jagged earrings of silver against his face. On other nights he danced with them, carrying their whole frame by the fulcrum of rib cage as he got drunker. Yes, they were amused, laughing at Almásy’s stomach as his shirt loosened, not charmed by his weight, which leaned on their shoulders as he paused during the dance, collapsing at some point later during a schottische onto the floor.
It was important during such evenings to proceed into the plot of the evening, while the human constellations whirled and skidded around you. There was no thought or forethought. The evening’s field notes came later, in the desert, in the landforms between Dakhla and Kufra. Then he would remember that doglike yelp at which he looked around for a dog on the dance floor and realized, now regarding the compass disc floating on oil, that it may have been a woman he had stepped on. Within sight of an oasis he would pride himself on his dancing, waving his arms and his wristwatch up to the sky.
Cold nights in the desert. He plucked a thread from the horde of nights and put it into his mouth like food. This was during the first two days of a trek out, when he was in the zone of limbo between city and plateau. After six days had passed he would never think about Cairo or the music or the streets or the women; by then he was moving in ancient time, had adapted into the breathing patterns of deep water. His only connection with the world of cities was Herodotus, his guidebook, ancient and modern, of supposed lies. When he discovered the truth to what had seemed a lie, he brought out his glue pot and pasted in a map or news clipping or used a blank space in the book to sketch men in skirts with faded unknown animals alongside them. The early oasis dwellers had not usually depicted cattle, though Herodotus claimed they had. They worshipped a pregnant goddess and their rock portraits were mostly of pregnant women.
Within two weeks even the idea of a city never entered his mind. It was as if he had walked under the millimetre of haze just above the inked fibres of a map, that pure zone between land and chart between distances and legend between nature and storyteller. Sandford called it geomorphology. The place they had chosen to come to, to be their best selves, to be unconscious of ancestry. Here, apart from the sun compass and the odometer mileage and the book, he was alone, his own invention. He knew during these times how the mirage worked, the fata morgana, for he was within it.
He awakens to discover Hana washing him. There is a bureau at waist level. She leans over, her hands bringing water from the porcelain basin to his chest. When she finishes she runs her wet fingers through her hair a few times, so it turns damp and dark. She looks up and sees his eyes are open, and smiles.
When he opens his eyes again, Madox is there, looking ragged, weary, carrying the morphinic injection, having to use both hands because there are no thumbs. How does he give it to himself? he thinks. He recognizes the eye, the habit of the tongue fluttering at the lip, the clearness of the man’s brain catching all he says. Two old coots.
Caravaggio watches the pink in the man’s mouth as he talks. The gums perhaps the light iodine colour of the rock paintings discovered in Uweinat. There is more to discover, to divine out of this body on the bed, nonexistent except for a mouth, a vein in the arm, wolf-grey eyes. He is still amazed at the clarity of discipline in the man, who speaks sometimes in the first person, sometimes in the third person, who still does not admit that he is Almásy.
‘Who was talking, back then?’
‘“Death means you are in the third person.”’
All day they have shared the ampoules of morphine. To unthread the story out of him, Caravaggio travels within the code of signals. When the burned man slows down, or when Caravaggio feels he is not catching everything – the love affair, the death of Madox – he picks up the syringe from the kidney-shaped enamel tin, breaks the glass tip off an ampoule with the pressure of a knuckle and loads it. He is blunt about all this now with Hana, having ripped the sleeve off his left arm completely. Almásy wears just a grey singlet, so his black arm lies bare under the sheet.
Each swallow of morphine by the body opens a further door, or he leaps back to the cave paintings or to a buried plane or lingers once more with the woman beside him under a fan, her cheek against his stomach.
Caravaggio picks up the Herodotus. He turns a page, comes over a dune to discover the Gilf Kebir, Uweinat, Gebel Kissu. When Almásy speaks he stays alongside him reordering the events. Only desire make
s the story errant, flickering like a compass needle. And this is the world of nomads in any case, an apocryphal story. A mind travelling east and west in the disguise of sandstorm.
On the floor of the Cave of Swimmers, after her husband had crashed their plane, he had cut open and stretched out the parachute she had been carrying. She lowered herself onto it, grimacing with the pain of her injuries. He placed his fingers gently into her hair, searching for other wounds, then touched her shoulders and her feet.
Now in the cave it was her beauty he did not want to lose, the grace of her, these limbs. He knew he already had her nature tight in his fist.
She was a woman who translated her face when she put on makeup. Entering a party, climbing into a bed, she had painted on blood lipstick, a smear of vermilion over each eye.
He looked up to the one cave painting and stole the colours from it. The ochre went into her face, he daubed blue around her eyes. He walked across the cave, his hands thick with red, and combed his fingers through her hair. Then all of her skin, so her knee that had poked out of the plane that first day was saffron. The pubis. Hoops of colour around her legs so she would be immune to the human. There were traditions he had discovered in Herodotus in which old warriors celebrated their loved ones by locating and holding them in whatever world made them eternal – a colourful fluid, a song, a rock drawing.
It was already cold in the cave. He wrapped the parachute around her for warmth. He lit one small fire and burned the acacia twigs and waved smoke into all the corners of the cave. He found he could not speak directly to her, so he spoke formally, his voice against the bounce of the cave walls. I’m going for help now, Katharine. Do you understand? There is another plane nearby, but there is no petrol. I might meet a caravan or a jeep, which means I will be back sooner. I don’t know. He pulled out the copy of Herodotus and placed it beside her. It was September 1939. He walked out of the cave, out of the flare of firelight, down through darkness and into the desert full of moon.
He climbed down the boulders to the base of the plateau and stood there.
No truck. No plane. No compass. Only moon and his shadow. He found the old stone marker from the past that located the direction of El Taj, north-northwest. He memorized the angle of his shadow and started walking. Seventy miles away was the souk with the street of clocks. Water in a skin bag he had filled from the ain hung from his shoulder and sloshed like a placenta.
There were two periods of time when he could not move. At noon, when the shadow was under him, and at twilight, between sunset and the appearance of the stars. Then everything on the disc of the desert was the same. If he moved, he might err as much as ninety degrees off his course. He waited for the live chart of stars, then moved forward reading them every hour. In the past, when they had had desert guides, they would hang a lantern from a long pole and the rest of them would follow the bounce of light above the star reader.
A man walks as fast as a camel. Two and a half miles an hour. If lucky, he would come upon ostrich eggs. If unlucky, a sandstorm would erase everything. He walked for three days without any food. He refused to think about her. If he got to El Taj he would eat abra, which the Goran tribes made out of colocynth, boiling the pips to get rid of bitterness and then crushing it along with dates and locusts. He would walk through the street of clocks and alabaster. May God make safety your companion, Madox had said. Good-bye. A wave. There is God only in the desert, he wanted to acknowledge that now. Outside of this there was just trade and power, money and war. Financial and military despots shaped the world.
He was in broken country, had moved from sand to rock. He refused to think about her. Then hills emerged like mediaeval castles. He walked till he stepped with his shadow into the shadow of a mountain. Mimosa shrubs. Colocynths. He yelled out her name into the rocks. For echo is the soul of the voice exciting itself in hollow places.
Then there was El Taj. He had imagined the street of mirrors for most of his journey. When he got to the outskirts of the settlements, English military jeeps surrounded him and took him away, not listening to his story of the woman injured at Uweinat, just seventy miles away, listening in fact to nothing he said.
‘Are you telling me the English did not believe you? No one listened to you?’
‘No one listened.’
‘Why?’
‘I didn’t give them a right name.’
‘Yours?’
‘I gave them mine.’
‘Then what –’
‘Hers. Her name. The name of her husband.’
‘What did you say?’
He says nothing.
‘Wake up! What did you say?’
‘I said she was my wife. I said Katharine. Her husband was dead. I said she was badly injured, in a cave in the Gilf Kebir, at Uweinat, north of the Ain Dua well. She needed water. She needed food. I would go back with them to guide them. I said all I wanted was a jeep. One of their damn jeeps … Perhaps I seemed like one of those mad desert prophets after the journey, but I don’t think so. The war was beginning already. They were just pulling spies in out of the desert. Everyone with a foreign name who drifted into these small oasis towns was suspect. She was just seventy miles away and they wouldn’t listen. Some stray English outfit in El Taj. I must have gone berserk then. They were using these wicker prisons, size of a shower. I was put into one and moved by truck. I was flailing around in there until I fell off onto the street, still in it. I was yelling Katharine’s name. Yelling the Gilf Kebir. Whereas the only name I should have yelled, dropped like a calling card into their hands, was Clifton’s.
‘They hauled me up into the truck again. I was just another possible second-rate spy. Just another international bastard.’
Caravaggio wants to rise and walk away from this villa, the country, the detritus of a war. He is just a thief. What Caravaggio wants is his arms around the sapper and Hana or, better, people of his own age, in a bar where he knows everyone, where he can dance and talk with a woman, rest his head on her shoulder, lean his head against her brow, whatever, but he knows first he must get out of this desert, its architecture of morphine. He needs to pull away from the invisible road to El Taj. This man he believes to be Almásy has used him and the morphine to return to his own world, for his own sadness. It no longer matters which side he was on during the war.
But Caravaggio leans forward.
‘I need to know something.’
‘What?’
‘I need to know if you murdered Katharine Clifton. That is, if you murdered Clifton, and in so doing killed her.’
‘No. I never even imagined that.’
‘The reason I ask is that Geoffrey Clifton was with British Intelligence. He was not just an innocent Englishman, I’m afraid. Your friendly boy. As far as the English were concerned, he was keeping an eye on your strange group in the Egyptian-Libyan desert. They knew the desert would someday be a theatre of war. He was an aerial photographer. His death perturbed them, still does. They still raise the question. And Intelligence knew about your affair with his wife, from the beginning. Even if Clifton didn’t. They thought his death may have been engineered as protection, hoisting up the drawbridge. They were waiting for you in Cairo, but of course you turned back into the desert. Later, when I was sent to Italy, I lost the last part of your story. I didn’t know what had happened to you.’
‘So you have run me, to earth.’
‘I came because of the girl. I knew her father. The last person I expected to find here in this shelled nunnery was Count Ladislaus de Almásy. Quite honestly, I’ve become more fond of you than most of the people I worked with.’
The rectangle of light that had drifted up Caravaggio’s chair was framing his chest and head so that to the English patient the face seemed a portrait. In muted light his hair appeared dark, but now the wild hair lit up, bright, the bags under his eyes washed out in the pink late daylight.
He had turned the chair around so he could lean forward on its back, facing Almásy. Words di
d not emerge easily from Caravaggio. He would rub his jaw, his face creasing up, the eyes closed, to think in darkness, and only then would he blurt out something, tearing himself away from his own thoughts. It was this darkness that showed in him as he sat in the rhomboid frame of light, hunched over a chair beside Almásy’s bed. One of the two older men in this story.
‘I can talk with you, Caravaggio, because I feel we are both mortal. The girl, the boy, they are not mortal yet. In spite of what they have been through. Hana was greatly distressed when I first met her.’
‘Her father was killed in France.’
‘I see. She would not talk about it. She was distant from everybody. The only way I could get her to communicate was to ask her to read to me … Do you realize neither of us has children?’
Then pausing, as if considering a possibility.
‘Do you have a wife?’ Almásy asked.
Caravaggio sat in the pink light, his hands over his face to erase everything so he could think precisely, as if this was one more gift of youth that did not come so easily to him any longer.
‘You must talk to me, Caravaggio. Or am I just a book? Something to be read, some creature to be tempted out of a loch and shot full of morphine, full of corridors, lies, loose vegetation, pockets of stones.’
‘Thieves like us were used a great deal during this war. We were legitimized. We stole. Then some of us began to advise. We could read through the camouflage of deceit more naturally than official intelligence. We created double bluffs. Whole campaigns were being run by this mixture of crooks and intellectuals. I was all over the Middle East, that’s where I first heard about you. You were a mystery, a vacuum on their charts. Turning your knowledge of the desert into German hands.’
‘Too much happened at El Taj in 1939, when I was rounded up, imagined to be a spy.’
‘So that’s when you went over to the Germans.’ Silence.
The English Patient Page 20
