The little station when Adam arrives there is deserted, no station master, no porter, no waiting passengers. He is early, the train is not due for another fifteen minutes, and besides it is sure to be late, as it usually is. The station is by the river, miles from anywhere, not even attached to a village—why was it built here, at the desolate edge of a marsh? It must have been for the convenience of some grand house nearby that is now long gone. Adam thinks of the past piled up behind him, its countless overlapping layers, and of what will have been his own brief moment on this so tender, frail and suffering earth. He parks outside the ticket office and walks through to the platform unchallenged. The pair of tweed trousers he is wearing, which he found in the wardrobe in the Sky Room, have begun to chafe the inner sides of his thighs. What was he thinking, to put them on? It seemed the necessary thing, at the time. This is another mark of his inherent and humble piety, this sense he has of the sacramental in even the smallest, even the most absurd, of actions. Well, holy these trousers may be, but he suspects they are not clean: they have an unpleasant smell, at once stale and sharp. They are the wrong fit, being tight at the waist and short in the leg, like the pyjamas he wore last night. Still, small as they are on him they are too roomy to have been Pa’s, so whose, again, can they have been? He experiences a flash of anger. Is the house itself set on making a fool of him, getting him up in these laughable outfits and sending him stumbling into the world like a village idiot? But he knows it is not the house’s fault that he looks foolish: it is his own.
He stands on the platform in the shade. Why is it, he wonders, that railway tracks always give off a smell of kitchen gas? He looks about. Nothing has changed here since he was a child, so far as he can see. The metal canopy overhead is painted yellow and edged with a wrought-iron filigree and must have been put up a century ago or more. The station is lovingly kept. There are pots of geraniums on the window-sills of the waiting room, the benches set at intervals along the platform are freshly varnished, and on the wall a stylised hand pointing the way to the lavatories is painted in bright-red lacquer with a shiny, thick black outline. But where is the station master, where is the cross-eyed porter with the black hoop thing that porters carry on their shoulders, who used to be a fixture of the place? The emptiness is eerie. He paces for a while, then sits down on one of the benches; the new varnish with the sun on it is hot and gummy to the touch. Beyond the tracks the grass is sere and ticks faintly in the heat.
Beyond that again the broad reach of the river is a whitish-blue drift throwing off fish-scales of platinum light. The silence buzzes. Down on the track a ragged grey crow hops jerkily from sleeper to sleeper, looking for something, does not find it, gives a disgruntled croak and flaps away. The surge of heedless happiness that rose in him as he drove along the lanes has all subsided now. He has shattered the sunlit surface of the day, like a clumsy gardener putting his foot through a vegetable frame to the humid tangle of things beneath. He gets up from the bench and paces anew, more agitatedly this time.
He is prey again to the fear that his marriage is failing. There is nothing definite he can point to, as that big red hand points towards the jakes, only over the past year he has been aware of an increasing vagueness, an increasing insubstantiality, in his life with Helen. Something is fading, becoming bleached and dry. Does she blame him for the miscarriage? He does not see how it could have been his fault but maybe in some way it was. He cannot be sure; he cannot be sure of anything. The fact of the lost baby, the non-fact of it, is a tiny, desolate presence always between them, getting in the way. Sometimes when Helen looks at him it is as if she does not know who he is. He feels he is retreating in her sight, like a man standing on a railway platform, being looked back at from a window as the train pulls out, slowly at first, then gradually gaining speed. He imagines her turning from the window and settling herself on the plush seat, smiling at the other passengers in that unfocused way that she does, and taking up a magazine, and him already growing distant in her mind—
Suddenly, as if the thought had conjured the thing, the real train comes shuffling into view down the line, one of the newfangled models that run on steam, the big imperial-blue engine with the black cow-catcher and the carriages after it, scarlet with gold piping around the doors and windows, all shimmering in a silky veil of heat-haze rising from the track. On time, for once!
—And yet, an hour ago, when she came stumping comically on her knees over the bed to him and seized his face and pressed it against her breasts and laughed her tigerish laugh, surely he was wholly there, wholly himself, flesh and blood and solidly present in her arms?
What casuistries they are capable of, even the simplest-minded among them, what fine distinctions and discriminations they devise! This is what we never cease to marvel at, the mountains they make out of the molehills of their passions, while all the time their real, their savage, selves are crouched in hiding behind those outcrops, scanning the surrounds for danger or opportunity, for predators or prey.
When the train draws to a stop Roddy Wagstaff is the only passenger to get down. Tall and slender and slightly stooped, Roddy has the aspect of a film heart-throb of a former time. He wears narrow fawn slacks sharply pressed, and pale-tan, slip-on shoes, and a white shirt that fairly shines in the sunlight, the collar open over a loosely knotted yellow cravat. His caramel-coloured hair is parted at the side and carefully arranged in a casual sweep across his brow. He has green eyes and a phthisic pallor. A white linen jacket is folded over one arm, and he carries a slim pigskin suitcase, old but good, which for some reason adds a touch of the sinister to his appearance. When he sees who is there to meet him a delicate frown concentrates itself between his rather close-set eyes. He casts a dubious glance at Adam’s rust-coloured trousers and the three inches of ankle showing below the turn-ups. “Oh, hello,” he says without warmth. Like Adam’s father, Roddy does not bother with proper names.
The two young men walk side by side along the platform. Adam spots on the wall outside the waiting room a faded tin advertisement for Player’s Navy Cut—lifebuoy with rope, stout Jack Tar, and distantly behind him on the rolling main a pair of three-masters under full sail—that he has never noticed until now although it must have been there since before he was born. Time once again brushes him glancingly with its cold wing. As if prompted by the advertisement Roddy pauses to take out of the pocket of his linen jacket a flat silver cigarette case, flips it open and chooses a cigarette and lights it with a petrol lighter of the same antique vintage as the silver case. A waft of rich, exotic smoke reaches Adam’s nostrils. They walk on.
“Your father,” Roddy says between puffs, “how is he?” He does not look at Adam. Roddy affects always a distracted mien, distracted and faintly gloomy, as if he were in constant anticipation of something that he is certain will displease him. His hands betray a slight tremor.
“Much the same,” Adam says.
“The same as what?” Roddy almost snaps. “You forget, I haven’t seen him since he suffered the stroke.”
They come out on the station steps. Roddy’s sour expression softens when he sees the familiar old Salsol with its lacquered, brown wooden trim waiting for them on the gravel in the sun. Moving forward they pass under a nondescript tree that stands in the heat with its head hanging, and for a second it seems to Adam that Roddy as he enters its shadow fades somehow, becoming a blur, almost transparent, almost vanishing. He blinks, and then Roddy has stepped through into the sunlight again, and is turning back to him, saying something. “Yes,” Adam replies, “yes,” not knowing what he is agreeing to, not listening. He is carrying Roddy’s suitcase, which Roddy set down on the platform when he stopped to light his cigarette and did not bother to pick up again, and now he goes to stow it in the back seat of the station-wagon, and leaning in at the door he pauses and closes his eyes and breathes deep the car’s familiar smells of crusted salt and mildewed leather and human sweat, and at once he catches again faintly a snatch of the melody of that happi
ness he felt only a little while ago, driving along, and he recalls again too his wife kneeling before him on the bed, her hot hands on his face, her glittering, avid eyes. When he clambers in behind the steering-wheel—even the big station-wagon is too confining for his bulk—he finds Roddy already settled in the passenger seat with his jacket on his lap. He has not finished smoking his cigarette and waves it now airily and says, “You don’t mind, do you?”
The heat of the latening morning has intensified and as they drive back along the narrow roads the scent of dry grass and baking earth is stronger than ever and stings their nostrils. Roddy has shut his window but the shuddering rush of air from Adam’s side scatters burning specks of ash from the tip of his cigarette and forces him to stub out the last quarter of it in the ashtray under the dashboard.
“Pete is looking forward to seeing you,” Adam says. “She has been up since dawn, talking about you.”
“Oh, God,” Roddy murmurs, and looks out at the high hedgerow streaming past. Roddy knows what Petra’s day-long monologues are like. “Is she still collecting diseases?”
“Still at it,” Adam answers with spiteful cheer. Roddy finds Petra’s projects exasperating. Her latest is an almanac of ailments in which she aims to list, complete with clinical definitions, all the illnesses known to afflict mankind. “How far has she got?”
“Astasia-abasia is the most recent one I heard her mention.” Roddy turns to look at him. “Losing the will to stand up and walk. Rare, but recorded, so she claims.”
“God,” Roddy moans again.
I, by the way, in case you have forgotten me, am perched in the middle of the back seat, leaning forward eagerly with my hands pressed between my knees—I have knees, I can perch—taking in everything, words, gestures, looks, noting it all, for this that is happening, or not happening, between these two is what they call life.
“You should take her out somewhere,” Adam says.
Roddy snickers. “A hike, you mean, something like that? A tramp in the hills?”
“Why not? Or take her into town.”
“Into town?”
“Yes, take her out to lunch.”
Roddy is looking at him again. “Take Petra, to town, for lunch?”
“Well, just for a walk, then—anything. She’s lonely, Roddy. She’s too much on her own. It is not good for her.”
To this Roddy makes no reply, only turns to the windscreen again with a deep, irritated sigh. Roddy’s ways are older than his years would warrant. In his middle twenties, he has the manner, by turns prickly and jaded, of a much more elderly man. He leads a mysterious life, being of shadowy provenance and uncertain intent. It is hard to know exactly how he makes his living. Pieces by him appear occasionally in the pages of broadsheet newspapers and in the glossier magazines, on abstruse subjects—Byzantine ceramics, American vernacular furniture of the nineteenth century, contemporary monastic life on Mount Athos—but these can hardly provide an income sufficient to keep him in the Turkish cigarettes and silk foulards to which he is so partial. His people are said to have money, but his relatives, those numerous rich great-aunts and venerable landed cousins whom he makes frequent mention of, all seem to be distressingly long-lived. One night when he was staying for the weekend at Arden he drank a glass of wine too many and confessed to young Adam his plan to persuade young Adam’s father to appoint him his official biographer. Adam laughed at this, to Roddy’s hurt surprise. The following morning, crapulent and shaky, Roddy took Adam off into a corner and swore him to secrecy on the night’s blurted indiscretion, and even yet Adam is aware of a certain restraint towards him, however grudging, on the part of an otherwise sharp-tongued Roddy.
They hurtle down the green lane and then come out on the Hunger Road, a long, straight stretch of smooth tarmac running beside the river. It dates from the famine times, a make-work project for the unemployed poor and starving of the county. Adam feels uneasy on this road. A sense of its desperate purposelessness weighs on him. All this area of marsh and slobland is uncanny. Everything seems to face away, looking stolidly elsewhere, and even when it is sunny the sunshine appears watered and weak. The river drifts into the estuary here, and the widening expanse of water, flatter somehow than even water should be, is featureless and forlorn. There are wide stands of sedge, dry and grey—why is it, Adam wonders, that one never sees green sedge?—and herons and an occasional egret, the latter seeming the smaller, pure-white ghosts of the former, and a black cormorant perched on a log with wings spread wide to dry, as though posing for its portrait as an imperial emblem. Forgotten jetties, their silvered planking smashed or crumbling, extend a yard or two into the water and abruptly halt. There are broad sheets of shiny, indigo-tinted mud arrowed all over with the prints of wading birds, and here and there a rowing boat or a duck-shooter’s white-painted punt is stuck at a drunken angle in the sludge. At a point where the river narrows, a mysterious wooden footbridge with a rusted hand-rail crosses from one sodden bank to the other, going from nowhere to nowhere.
Adam is wondering idly where exactly it is that the river ends and the estuary begins. Beside him Roddy is trying to light another cigarette but the draught keeps snatching the flame of his lighter. Adam pretends not to notice, and will not roll up his window despite the sulphurous reek of mud and rotting seaweed being borne in from outside. “How was the journey down?” he asks. Roddy, annoyedly fitting the unlit cigarette back into its case, looks askance with an exaggerated frown, pretending to find the question too baffling in its simple-mindedness for him to begin to comprehend it. “The train,” Adam says, in a louder voice. “How was it?”
Roddy shrugs. “I don’t know. Same as usual, I suppose—dirty, slow.”
Adam nods absently; he is used to Roddy’s languid rudenesses. Of course, he is thinking, there would be no line or boundary at which the river stops being the river and the estuary starts being the estuary: they would flow into each other, necessarily, back and forth, according to the onward rush of the river and the more or less pressure of the alternating tides. Yet there must be some area of demarcation, surely, however broad or amorphous. He ponders the problem and, having pondered, comes to the conclusion that it is not a matter of the river being one thing and the estuary another; all that separates them, really, and it is not a real separation at all, is his having put the question in the first place. For the question is premised on two, manmade, terms—river, estuary—whereas in fact there is but one body of water, commingling here at the whim of unceasing flow on one side and of changing tides on the other; any separation is a separation made only by the action of his asking. This is strange.
“Does your father speak at all?” Roddy enquires. “I mean, can he?” There is a tinge of umbrage to his tone. The world keeps putting hindrances in his way, of which Adam Godley’s sudden collapse is the most recent and, for the moment, most serious example.
“Oh, no,” Adam says. “He’s in a coma.” Roddy nods. “But of course,” Adam continues, “no one can say how deep the coma is. He may be aware at some level, and able to think, and hear, for all we know. La says she’s convinced he’s conscious but just can’t communicate—she says he opens his eyes, though no one else has seen him do it. You might talk to him. He always did like having a talk with you.”
Roddy glances at him sharply, suspecting irony.
A further thought has struck Adam. Salt—what about salt? The river is fresh water but the sea is saline. That is a definite distinction. He does not know why he did not think of it at once, especially since—thanks to the discovery of cold fusion, the science of it founded, to the surprise of all, on his father’s notorious Brahma equations—the greater part of the world’s energy nowadays is derived from brine. And there is motion, too. All very well to speak of whim, but when the river’s outgoing flow meets the tide’s incoming flood there are two forces in opposition, and two forces mean two separate things doing the forcing. Then after all it is not merely a matter of man—in this case Adam himself—propo
sing, but of fact disposing. River here, estuary there, not two names only but two discrete entities. Yet where do they merge, exactly? He sighs. He is back to where he started.
Now they turn off the straight road and leave behind the river and its wastes of water and climb into the low hills that were once a part of Arden demesne. As this little elevation is steadily gained Adam’s spirits lift too. The going on this road is bumpy and the station-wagon yaws and rumbles and they hear the salt water sloshing in the tank under their seats. The hill to the left is a hedgeless upward sweep of close-cropped sward capped by a small stand of larches. Sheep are placidly grazing the hillside. A pied horse kicks up its hoofs as they pass by, gallops friskily a little way, stops and turns its head and looks back at them boldly, showing them its behind and flicking its tail from side to side. Rooks wheel in sunlight above the little wood. O Arcady! how I pine for thy brooks and glades.
John Banville Page 8
