Ancient Light act-3

by John Banville

  I did not dream about her, after she was gone, or if I did I forgot what I had dreamed. My sleeping mind was more merciful than the waking one, which never tired of tormenting me. Well, yes, it did tire of its sport, eventually. Nothing so intense could last for long. Or might it have, if I had truly loved her, with selfless passion, as they say, as people are said to have loved in olden times? Such a love would have destroyed me, surely, as it used to destroy the heroes and the heroines in the old books. But what a pretty corpse I would have made, marbled on my bier, clutching in my fingers a marble lily for remembrance.

  My my, talk about trouble. Marcy Meriwether says she is going to sue me. She telephones half a dozen times a day, demanding to know what I have done with Dawn Devonport, where I have hidden her, her furious voice on the line swooping from operatic trills and warbles to a gangster’s guttural muttering. I imagine her, a disembodied Medusa-head suspended in the ether, threatening, bullying, cajoling. I insist repeatedly that I do not know the whereabouts of her star. At this she does her harsh and phlegmy laugh, followed by an interval of heavy wheezing as she lights up another cigarette. She knows I am lying. If filming is disrupted for one more day, one more day, she will terminate my contract and set her lawyers on me. This she has been saying every day for a week. I will not be paid another cent, she squawks at me, not another red cent, and furthermore she will move to seize back from me the pay I have received up to now. Behind all the blare and bluster I seem to detect a note of relish, for she enjoys a fight, that much is plain. When she slams down the phone it leaves a whirring sensation for some seconds in my ear.

  Toby Taggart invited me to lunch at Ostentation Towers the day after my return from Italy. I found him in the Corinthian Rooms, in a plush-lined booth, squirming and sighing and sitting on his hands to keep from biting his nails. What an aggrieved and wounded look he gave me. He was drinking a martini with an olive in it, he said it was his third; I have never seen him drink before, it is a mark of his distress. Look, Alex, he said, softly, patiently, this is serious, his shaggy head lowered and his square hands joined before him over his martini as if to consecrate it—this could jeopardise the whole movie, do you understand that, Alex, do you? Toby reminds me of a boy I knew at school, a shambling fellow with an enormous head that was made more massive still by a mop of glistening black hair coiled tight in wiry curls that tumbled over his forehead and his ears. Ambrose, he was called, Ambrose Abbott, nicknamed Bud, of course, or sometimes, ingeniously, Lou—yes, even in the matter of names he had no luck, no luck at all, poor chap. Ambrose could be heard coming from afar, for he was a keen collector of metal objects—blunt penknives, keys without locks, tarnished coins no longer in circulation, bottle-tops, even, in times of scarcity—so that as he walked he clinked and chinked like a Bedouin’s loaded pack-camel. Also he was asthmatic, and carried on constantly a medley of sighs and soft whoops and faint, rasping whistles. He was immensely brainy, though, and took first place in every school test and State examination. I think, looking back, he had a crush on me. I imagine he envied my pose of insolent bravado—I was already rehearsing for those future roles as dashing leading men—and my proclaimed disdain for study and hard work. Perhaps too he sensed the musky aura of Mrs Gray about me, for it was in the time of Mrs Gray that I came to know him well, or wellish. He was a tender soul. He used to press gifts on me, gems from his collection, which I accepted with ill grace and swapped for other things, or lost, or threw away. He was killed, later, knocked off his bike by a lorry on his way home from school. Sixteen, he was, when he died. Poor Ambrose. The dead are my dark matter, filling up impalpably the empty spaces of the world.

  We had a pleasant lunch, Toby and I, and spoke of many things, his family, his friends, his hopes and ambitions. I really do think him a fine fellow. When we had finished and I was leaving I told him he should not worry, that I was sure Dawn Devonport had simply gone underground for a time and would soon return and be among us again. Toby is staying at the Towers, and insisted on seeing me out. The doorman tipped his top-hat to us and drew open the tall glass door—boing-g-g!—and we stepped out together into the late-December day. Remarkable weather we are having, clear and crisp and very still, with delicate Japanese skies and a sense in the air of a continuous far faint ringing, as if the rim of a glass were being rubbed and rubbed. The poet is right, midwinter spring is its own season. Toby, fuddled after those martinis and further glasses of wine, had begun again earnestly to entreat me in the matter of Dawn Devonport and the need for her to return to work. Yes, Toby, I said, patting him on the shoulder, yes, yes. And back inside he shambled, I hope to sleep off all that alcohol.

  I walked across the park. There was ice on the duck pond and on the ice a crazed glare of reflected, warmthless sunlight. All at once, ahead of me, I spied a familiar figure, shuffling along the metalled pathway under the black and glistening trees. I had not had a sighting of him for some while, and had begun to worry; someday surely he will fall off the wagon finally and do for himself at last. I caught up with him and slowed my pace and walked along close behind him. I did not detect the usual fug that he trails in his wake, which was encouraging. In fact, as soon became clear, he has undergone one of his periodic metamorphoses—that girl of his must have taken him in hand again and given him a thorough going over. He does not seem as perky as in previous resurrections, it is true—his feet in particular, despite the plush boots, seem permanently beyond repair—and he has developed a distinct hump above his right shoulder-blade. All the same he is a new man, compared to what the recent old one was like. His pea-coat had been cleaned, his college scarf washed, his beard trimmed, while those desert-boots looked brand-new—I wonder if the daughter works in a shoe shop. By now I had drawn level with him, though I kept myself at a discreet remove on the far side of the path. He was fairly surging along, despite the infirmity of his feet. He had his hands up, as usual, half clenched into fists in their fingerless gloves; now, though, in his resuscitated state, he might have been some champ’s favoured sparring partner rather than the punch-drunk staggerer of previous times. I was trying to think of something I might do for him, or give him, or just say to him, to mark the little miracle of his return yet again from the lower depths. But what could I have done, what said? Had I tried to engage him in even the most bland exchange, about the weather, say, it would surely have resulted in embarrassment for us both, and who knows, he might even have taken a poke at me, sobered and jauntily pugnacious as he seemed. But it cheered me to see him in such fine fettle, and when a little farther on he veered off along the path around the pond I went on my own way with a measurably lightened step.

  I must remember to tell Lydia I have seen him, in all his renewed, Lazarine vigour. She knows of him only by repute, through my reports, nevertheless she takes a lively interest in his successive declines and recoveries. She is that sort of soul, my Lydia, she worries about the lost ones of the world.

  In the long and troubled years of Cass’s childhood there were certain moments, certain intermittences, when a calm descended, not solely on Cass but upon all our little household, though a doubtful calm it was, heartsick and anxious at the core. Late at night sometimes, when I was at her bedside and she had lapsed at last into a sort of sleep after hours of turmoil and mute, inner anguish, it would seem to me that the room, and not just the room but the house itself and all its surroundings, had somehow dipped imperceptibly beneath the common level of things into a place of silence and imposed tranquillity. It reminded me, this languorous and slightly claustral state, of how as a boy at the seaside on certain stilled afternoons, the sky overcast and the air heavy, I would stand up to my neck in the warmish, viscid water and slowly, slowly let myself sink until my mouth, my nose, my ears, until all of me was submerged. How strange a world it was just under the surface there, glaucous, turbid, sluggishly asway, and what a roaring it made in my ears and what a burning in my lungs. A kind of gleeful panic would take hold of me then, and a bubble of something, not
just breath, but a kind of wild, panicky joyfulness, would swell and swell in my throat until at last I had to leap up, like a leaping salmon, twisting and gasping, into the veiled, exploded air. Whenever I come into the house in these recent days I stop in the hall and stand for a moment, listening, antennae twitching, and I might be back, at night, in Cass’s room—sickroom, I was about to write, since that was what it most often was—so poised and hushed is the air, so shaded and dimmed the light, somehow, even where it is brightest—Dawn Devonport by a negative magic has wrought permanent twilight in our home. I do not complain of this, for to tell the truth I am glad of the effect—I find it a calmative. I like to imagine, standing there excitedly on the mat just inside the front door, submerged and breathless, that if I concentrate hard enough I will be able to locate by mental exertion alone the exact whereabouts in the house of both my wife and Dawn Devonport. How I am supposed to have developed this divinatory power I cannot say. In these latter days they reign like twin deities, the two of them, over our domestic afterworld. To my surprise—though why surprise?—they have come to be fond of each other. Or so I believe. They do not discuss this with me, needless to say. Even Lydia, even in the sanctuary of the bedroom, where such matters are meant to be aired, says nothing of our guest, if that is what she is—is she our captive?—or nothing that would suggest what her feelings or opinions are in regard to her. I suppose it is none of my business. When Dawn Devonport and I returned from Italy Lydia took her in without a word, I mean without a word of protest, or complaint, as if the thing had been ordained. Is it that women naturally accommodate each other when trouble comes? Do they, any more than men accommodate men, or women accommodate men, or men accommodate women? I do not know. I never know about these things. Other people’s motives, their desiderata and anathemas, are a mystery to me. My own are, too. I seem to myself to move in bafflement, to move immobile, like the dim and hapless hero in a fairy tale, trammelled in thickets, balked in briar.

  One of Dawn Devonport’s favourite roosting places about the house is the old green armchair in my attic eyrie. She passes hours there, hours, doing nothing, only watching light change on those ever-present hills far off at the edge of our world. She says she likes the feeling there is of sky and space up here. She has borrowed a jumper of mine that Lydia knitted for me long ago. Lydia, knitting, I cannot imagine it, now. The sleeves are too long and she uses them as an improvised muff. She is always cold, she tells me, even when the heating is set to its highest. I think of Mrs Gray: she too used to complain of the cold as our summer waned. Dawn Devonport sits in a huddle in the chair with her legs drawn up, hugging herself. She wears no makeup and binds her hair back with a bit of ribbon. She looks very young with her face bare like that, or no, not young, but unformed, unshaped, an earlier, more primitive version of herself—a prototype, is that the word I want? I treasure her presence, secretly. I sit at my desk in my swivel chair, with my back turned to her, and write in my book. She says it pleases her to hear the scratching of the nib. I recall how Cass as a little girl used to lie on her side on the floor while I paced, reading my lines aloud from a script held up before me, reading them over and over, getting them into my head. Dawn Devonport has never acted in the theatre—‘Straight to screen, that was me’—but she says the mountains look like stage flats. She intends to give up acting altogether, so she insists. She does not say what she will do when she stops. I tell her of Marcy Meriwether’s threats, of Toby Taggart’s heart-struck appeals. She looks out again at the hills, ash-blue in the afternoon’s unseasonal sunlight, and says nothing. I suspect it pleases her to think herself a fugitive, sought by all. We are in a conspiracy together; Lydia is in it too. I try to remember what loving Cass was like. Love, that word, I say it and it makes my poor old heart run fast, tickety-tock, its little flywheel fairly spinning. I see nothing, understand nothing, or little, anyway; little. It seems not to matter. Perhaps comprehension is not the task, any more. Just to be, that seems enough, for now, up here in this high room, with the girl in her chair at my back.

  Today there was a letter waiting for me on my desk, a letter in a long, cream-coloured envelope embossed with the blazon of the University of Arcady. That rang a cracked bell. Of course—Axel Vander’s safe haven off there on the sunny side of America, where Marcy Meriwether hails from. I love expensive stationery, the rich crackle of it, the shiny roughness of its surface, the gluey aroma that is for me the very smell of money. I am invited to attend a seminar the sobering title of which is Anarch: Autarch—Disorder and Control in the Writings of Axel Vander. Yes, I too was compelled to consult the dictionary; the result was not enlightening. All expenses paid, though, first-class flights, and a fee, or honorarium, as the letter’s signatory, one H. Cyrus Blank, delicately has it. This Blank is the Paul de Man—him again!—Professor of Applied Deconstruction in the English Department at Arcady. He seems a friendly type, from his tone. Yet he is vague, and does not say in what capacity I am being invited to join in these arcadian revels. I might be required to come as the old fraud himself, with limp and ebony walking stick, eye-patch and all—I would not put it past them, Professor Blank and his fellow deconstructionists, to have thought of hiring me as an impersonator, a sort of moving wax-work representation of their hero. Shall I go? JB is also invited. It might be a pleasant jaunt—think of all those oranges fresh off the trees—but I am wary. People, real people, expect actors to be the characters they play. I am not Axel Vander, nor anything like him. Am I?

  Blank. I have come across that name in JB’s life of Vander, I am sure I have. Was there not a Blank involved somehow when Vander’s wife died, in suspicious circumstances, as they say? I must look up the index. Could my Professor Blank be this other Blank’s father, or his son? These spidery strands of connection, stretching across the world, their clinging touch gives me the shivers. Blank.

  I think it is time Dawn Devonport was returned to the world. I am not sure how to put this to her. Lydia will help, I know. They spend a great deal of time together down in the kitchen, smoking and drinking tea and talking. Lydia has become an inveterate tea drinker, like my mother. I approach the kitchen door but when I hear their voices from the other side, an undulant blended buzz, I stop, and turn, and tiptoe away. I cannot think what things they talk about. Voices behind a door always seem to me to be coming from another world, where other laws obtain.

  Yes, I shall ask Lydia to aid me in persuading our auroral guest, our star of the morning, to reassume her role, to step back into her part, to be in the world again. The world? As if it were the world.

  I met JB for a drink, not sure why, and now wish I had not. We went at the cocktail hour to a place of his choosing, a sort of gentlemen’s club up a side street, a curious establishment, unremarkable on the outside but gloomily palatial within, pillared and porticoed and sunk in a somnolent hush. The pillars were white, the walls Athenian blue, and there were many oil portraits of indistinct staring figures with high collars and mutton-chop whiskers. We sat on either side of a vast fireplace, in buttoned leather armchairs that squeaked and groaned in weary protest under us. The fireplace was deep, and disturbingly black in its depths, with an ornate brass fender and a brass coal scuttle and gleaming firedogs, but no fire. An ancient attendant in bow-tie and tails brought us our brandies on a silver tray and set them down wheezingly on a low table between us and went away without a word. I thought we were the only ones in the place until I heard someone unseen in the far depths of the room clearing his throat with a long, hawking rasp.

  JB is distinctly odd, and grows odder each time I encounter him. He maintains a furtive, anxious air, and gives the impression always of being in the process of edging nervously away, even when he is sitting still, as now, in his high, winged armchair with his legs crossed and a brandy glass in his hand. Toby Taggart tells me it was JB who recommended me for the part of Vander. It seems he was there in the audience that disastrous night years ago when I dried on stage, a tongue-tied, goggling Amphitryon, and w
as impressed. I wonder what impressed him. What would he not be prepared to do for me had I dragged my way through to the final curtain? Now he sat there, at once glazed and alert, watching my lips intently as I spoke, as if he thought to read from them a different and darkly revealing version of the altogether too innocent-sounding matters that my words were meant to convey. No, he said hastily, interrupting me, no, he was sure there had been no one with Axel Vander in Liguria. This gave me pause. If I wished he would look up his notes, he went on, with a vehement gesture of the hand that was not holding the brandy snifter, but he believed he could say with certainty that Vander had been alone in Portovenere, quite alone. Then he looked away, frowning, and making a faint distressed humming noise at the back of his throat. There was a pause. So Vander, then, I said, had been in Portovenere, in fact. I felt like one who has been discharged from hospital with a clean bill of health but who arrives home only to find the ambulance waiting outside the house, its back doors wide open and two bored attendants standing in the street holding ready the stretcher, with its blood-red blanket. At my question JB turned back, I could almost hear the cogs in his neck grinding, and stared at me pop-eyed, opening and closing his mouth as if to test the mechanism before trusting himself to speak. He did recall, he said, the Nebraskan savant Fargo DeWinter, when he spoke to him in Antwerp all those years ago, mentioning something about an assistant who had worked with him on the Vander papers. I waited. JB blinked, gazing at me now in what seemed a fixed, faint torment. He had the impression, he said, with the wincing look of one trying in desperation to hold on to some fragile thing he knows he is about to let drop, and it was only an impression, mind, the merest hint of a suspicion, that it was this assistant and not DeWinter himself who had unearthed the goods, the real, that is the bad, goods on Vander and his questionable, to say the least, past. I waited again. JB went on staring and twitching. It was I now who felt I was about to let fall that breakable thing. When Cass was a little girl she used to say that as soon as she was grown-up she would marry me and we would have a child just like her so that if she died I would not miss her and be lonely. Ten years; she has been dead ten years. Must I set off in search of her again, in sorrow and in pain? She will come no more to my world, but I go towards hers.