She stops between the obelisk-topped columns of the Crypt Park’s metal gate, sets him down on the grass and, holding him by the shoulders, kisses him on both cheeks. Serge squirms and tries to escape but she’s got him trapped.
“I’ll never let you from my sight again until you’re …” she begins, but her voice trails away. She kisses him once more, then sweeps him up into her arms again and strides decisively towards the house. Women look over at them from the Mulberry Orchard. Behind the women, shapes and pictures drift flat and unnoticed on the stream as it emerges from behind the Crypt Park’s walls and oozes silently along its course.
i
Under the central staircase of the main house, the one above which the tapestry that shows a staircase hangs, there’s a photograph of Jacques Surin. It’s an early daguerreotype—one of the very first. If visitors enquire about it, either out of politeness or from genuine curiosity, they’re fed a tale that Versoie’s residents have heard so many times it’s taken on the aspect of a biblical fable involving plagues, exoduses, and long lines of “begot”s.
It goes something like this: When, in November 1796, Surin received from his recently deceased cousin—the baron de Saint-Surin, a resident of Lower Saxony whom he had never met but who, like him, was a second-generation réfugié—a chrysoprase ring, a round Dresden china box, a gold medal of Prince Henry of Prussia and a significant amount of money, he upped sticks from London and, acquiring a large plot of land in West Masedown, named it Versoie. He brought with him an entourage at once human, animal, vegetable and mechanical: spinners and dyers who had worked for him in Shoreditch, canaries whose chirping had drowned out the sounds of the machines but annoyed his English neighbours no less for that, worms and mulberry trees descended unadulteratedly from larvae and seeds smuggled out of La Rochelle one hundred and nine years earlier and a loom whose dis- and reassembly had presented a challenge no less daunting than that facing the architects of acropolises and mausoleums. To accommodate them all, Surin, who liked to style himself as a latter-day Noah despite the fact that all his offspring, and his offspring’s offspring, were female, built on the south-west corner of his new estate a complex of houses and workshops linked by doors, corridors and yards. It is into the outermost of these, the Hatching Room, that Surin’s several-times-great-grandson Serge, seven and sprightly, has just bounded from the garden.
Here, he finds two women kneeling over boxes. The boxes are small and shallow: the size of writing-table trays or vanity cases. Their lids have been removed, and the women are peering inside to watch moths laying eggs. The moths are females of the phylum Arthropoda: Bombyx mori. They have creamy white, scale-covered wings, the upper two of which are threaded with brownish patterns. Their bodies are hairy. They crawl slowly and groggily around each box’s paper-lined floor, stopping intermittently to let more tiny black baubles fall from their genital region. From their rudimentary mouthparts they dribble a gummy substance, which they smear onto the paper with their legs: as the eggs fall they stick to this, dotting the white with black. Scattered and sparse at first, the dots grow into small constellations, then whole galaxies made up of thousands of black stars. When these dark clusters have become so thick that they threaten to eclipse the space between them, the women pick the moths up one by one and, pinching their wings between their thumb and middle finger, deposit them inside another open box to continue their laying there. As the intermittent flow and drop of eggs from each individual moth dries up, the moth is picked up for a final time and cast onto the floor to die while a new moth is introduced into the box to begin laying in her place.
Serge was loud and panting when he cleared the threshold but, after adjusting both his pace and breathing to the room’s quiet, steady rhythm, is now standing still behind the kneeling women, watching them. Their faces, turned away from him and propped up on their forearms, are held just above the boxes, which makes the skirted waists that they present his way ride up into the air. The skirts’ fabric folds and pleats around their thighs but smoothly hugs their bottoms’ curves. Serge focuses on these, shifting his gaze from one woman’s haunches to the other’s. After a while he turns around and watches a third kneeling woman, bent over like the others but occupied instead with placing hatched larvae on a mat. This woman is facing him. Her arms are spread, her shoulders pulled back as she manoeuvres the slug-like creatures into place. She lays them out in rows, her hand returning to each row to neaten it the way a baker’s hand returns to rows of unbaked pastries on a tray. Each time she does this the top of her blouse falls half an inch or so, giving Serge a glimpse of breast. The larvae stir and wriggle slightly, their greyish-brown flesh soft and wrinkled, like the trunks of miniature elephants.
He’s come here looking for his mother, carrying a message from his father: something about costumes for the chorus, for the Cronos, children, Saturn, Saturday. It can wait, though. Two more women step into the Hatching Room with baskets slung across their backs. When they set these on the floor the woman kneeling by the mat pulls from them handfuls of mulberry leaves which she starts tearing up and scattering onto the larvae. The silkworms recoil and contract as the leaves hit them, then expand again, their oral cavities opening as they close in on the leaf-shards. The woman covers the mat in a gauze sheet, then turns to a second mat across which larger larvae have been spread and scatters torn-up leaves over these too. The women who have just walked in pick up empty baskets from beside the two mats and walk back towards the Mulberry Orchard, weaving around Serge on their way out.
A kind of clicking sound pervades the air: a fidgety, unsatisfying, low-level chafe. It doesn’t seem to be the laying moths who are making it: it’s coming from the far side of the room, from a large pit. Serge walks over to this, kneels beside it and sees something he’s not paid much attention to on previous visits to this room. Walled in by wooden planks, scores of white moths are coupling. Some are crawling around, their antennae twitching as they seek out partners; some are bumping blindly into one another, wrestling a little before moving on; but most are slotted into other moths. The males crouch over the females, thorax stacked above thorax, wings resting over wings. Once joined, they frot around, vibrating, as though trying to unhook themselves again, or to travel somewhere in this new formation. Serge reaches in and prods a couple with his finger; the stack of legs and wings topples onto its side and separates, leaving each half to stagger around in circles before beginning the slow process of reassembly. Once they’ve managed this, Serge scoops them up into his palm and, raising his hand into the air, says:
“You can do it, Orville and Wilbur!”
He jerks his palm upwards, propelling them towards the ceiling, but they arc leadenly, fall straight down to the floor and separate again. He picks the male, or perhaps female, moth up and, pinching its thorax in the fingers of one hand, plucks first one and then the other of its wings off. He sets the denuded torso back inside the pit to stagger around as it did before while he holds the wings up for inspection. Their markings, seen from close up, look like anaemic reproductions of the ones on the mulberry leaves. Thin, brown skeins run in lines through softer white tissue—straight, parallel lines all leading to a jagged, perpendicular main skein like spokes joining a central axis, breaking the creamy white into compartments. The pattern reminds Serge of the stained-glass windows of St. Alfege’s in Lydium—only these windows are without colour, void of scenes or characters: a set of empty, white, elongated boxes. He holds one right up to his eye, a moth-wing monocle: the Hatching Room, its wooden beams and kneeling women all sink behind gauze. They look like a daguerreotype, pale and sepiad. Serge, seven and splenetic, thinks: this is how this scene would look in years from now, if someone were to see it printed onto photographic paper—anaemic, faded, halfway dead.
ii
A ghost’s heading towards him, looming white and large behind the veil. The ghost lacks decorum: far from being awash with ghoulish dread, its face wears an expression of bemused derision.
; “You look stupid,” Sophie tells him.
Serge drops the wing and tells her:
“So do you.”
He’s got a point: she’s all togged up in long white silks. The strips hang awkwardly about her almost-adolescent body, pinned around her shoulders and ungathered at the waist.
“It’s not finished yet,” she says. “It’s got to have stars spilling from it. You’ll look worse. Papa says you have to hold a scythe. Where’s Mama?”
“Through here somewhere.” Serge jerks his head in the direction of the Hatching Room’s inner door. Sophie picks up her trailing hem and steps through it; he follows. They cross a small courtyard and enter the Rearing House. Trellises rise from floor to ceiling: bamboo frames that cut the room up into grids which, half-filled by cocoons, veil this room like the wing-prism veiled the other. Some of the cocoons are thick, barely translucent; others are fine and transparent: through their incomplete white carapaces Serge can see worms moving their heads in slow figures of eight inside, the repetitive movement pulsing through the thin shells like dark heartbeats. They pass through to the Reeling Yard, in which a woman tends a pot from which wispy smoke is rising.
“Master Serge, Miss Sophie.”
“Where’s our mama?” Sophie asks.
The woman prods at the cocoons that bob in the pot’s boiling water, dunking and turning them as though she were cooking gnocchi. “With a buyer,” she says. She bends down towards a bowl of cooler water and picks at a pre-cooked cocoon with a needle, pulling its loosened filament out and attaching it to the reeling wheel. The cocoon spins in the water as she turns the wheel, unravelling completely until only the withered black body of the chrysalis inside is left, to float on the surface for a few seconds before sinking to the bottom of the bowl.
“Maureen’s baby,” Sophie mumbles to Serge.
“What?” the woman asks.
“You have to kill them or they rip the thread when they come out.”
The woman frowns: she knows that’s not what Sophie said. She unhooks the newly reeled bobbin, gives it to Serge and tells him to carry it through to the Throwing Room. Here, he and Sophie find three women standing several feet apart, the first twisting individual threads together, the second paying out the combined organzine across the room, the third cutting it when it reaches a certain length. Serge rests his reel above a stack of other reels at the first woman’s feet; the woman glances at him and nods without breaking her rhythm. The children move through to the Dyeing Room, about whose air an acrid smell hangs, borne on vapour rising from a large cauldron over which an older woman hovers like a witch, pushing with a stick at the mass inside it, as though trying to drown a kitten. As the children pass, she sets her stick down, plunges her arms elbow-deep into the cauldron and pulls out a soaked, crimson bundle of silk threads which she swings red-dripping through the air and hoists up to hang from wooden poles.
“Yuk,” says Sophie, skirting the room’s edges to avoid the splashes bouncing to a regular rain-drumbeat off the floor. Another rhythmic noise mingles with this: the repetitive whirring and clanking of a machine in the next room, laced which the higher, shriller sound of birdsong. A third sound weaves its way into the mesh: footsteps, growing louder as they near the door the children have just come through. Bodner enters, holding a bucket full of crimson berries which he sets down beside the cauldron before continuing towards the Weaving Room. As they follow him through, Sophie reaches down to scoop up a small handful of the berries.
“Open wide,” she tells Serge, holding one above his mouth: “Medicine.”
He opens with an “Aaaaa”; she pops it in; he closes, chews. It’s bitter; the taste stays with him as he moves past the large loom that fills most of the room, its piston-levers shoving a huge comb through warp into which weft-silk is fed from a bobbin that unwinds jerkily at the loom’s edge. The comb’s teeth move again and again through the same stretch of warp, as though obsessively brushing and rebrushing the same clump of hair. Bobbin-side of it lies tight, finished fabric; piston-side, the weft’s strands run adjacent but unjoined, like the strings of some strange, tuneless piano. There’s music in the air, though, coming from canaries perched in hanging cages. Orange-brown or brown-grey, spangled by regular, symmetrical markings that run down their breast and back, they chirp and tweet shrilly and decisively in overlapping relay, as though issuing instructions to the loom, machine-code. The woman moves around the loom making sure that it complies with these instructions, lining up new bobbins, picking fluff from the woven fabric’s surface, checking that the loose parallel strands are evenly spaced out: a human go-between.
Serge and Sophie follow Bodner through to the Store Room. Finished silks lie in piles here, folded and pleated, leaning against walls as they rise halfway to the ceiling. Silk tapestries hang between these piles: large, patterned weavings. One shows, in red and gold against a background of black moiré, a throned king being handed a baby by his queen, or perhaps one of the palace servants, while courtiers whisper to one another in the background. Another, on the facing wall, depicts a woman holding what appears to be a lion’s head as she runs after a man who seems to be dressed as a woman, while shepherds and their very human-looking sheep gaze on smilingly. Others have ciphers in place of pictures: flowing, dancing signs that suggest Chinese or Indian script, or else some kind of musical notation. A woman moves around beneath these, selecting sample fabrics from the piles and carrying them towards Serge and Sophie’s mother, who’s seated on cushions. Her legs are folded away beneath a low table across which several samples have been laid out for inspection by a man who’s kneeling awkwardly on the table’s far side. Facing away from Serge, Sophie and Bodner, she’s unaware of their presence in the room.
“… two hundred yards of crêpe … two hundred of Jacquard … three hundred thrown singles …” the man reads from a notebook; “organzine and tram, two hundred and fifty …”
“Versoie originals,” she tells him.
“Naturally, Mrs. Carrefax,” he answers. “Finest around. If you produced five times as much we’d buy it just as fast.”
“Five times? You want five times more?” she asks him.
“I said if you made five times as much we’d buy it.”
“Why would I want to make five times as much?” she asks him.
“You’d make more money.”
She stares at him quizzically, not having understood his last phrase.
“Mo-ney.” He mouths the word slowly, raising his voice—then, realising that this second action makes no difference, drops it right down and continues: “And what with technology leaping forwards as it is, new century and all that, you might consider—”
“We have no need of more money here. We are not poor,” she tells him.
“Maybe so, maybe so. But your methods are somewhat antiquated, it must be admitted. The loom, for example, must be more than—”
“It is a Huguenot loom. Its craftsmanship has never been surpassed. Where else can you find silks like these?” Her arm sweeps round the room, past the piles and hanging tapestries—and as her eyes trail after it she catches sight of Bodner and the children, interlopers on this small business colloquium. Her face drops—though the look she gives them isn’t unkind. “The costumes,” she says wearily.
“Papa says because I’m Rhea I should have stars coming from mine,” Sophie tells her.
“Tears?”
“Stars,” Sophie repeats.
“Stars,” she repeats back. “And you, Serge?”
Serge. He always relishes the way she says his name: where his father gives it as an electrical “Surge” rounded by an abrupt j, her version takes the form of a light and lofty “Sairge” that tails off in a whispered shh.
“I’m Cronos. That’s Saturn. I need sheets around my head. But Papa says to tell you that he also must have streams of nectar which must be gold and eleven feet long. And the other children will be Curetes. These are shepherds, Mr. Clair says. And they must have clashing s
pears.”
“And Papa says to tell you Serge must have a scythe,” says Sophie.
“Nathaniel is Poseidon,” Serge adds, “and he must be disguised like a sheep so he can hide among the real sheep.”
“Tell your father to send Nathaniel and the other children to me in the morning to be measured. The sheep too if he wants—but in the morning.” As his mother speaks these words, her hands dance with one another, the fingers of one tripping along the palm of the other before rising to tap her chest. Bodner signs back. His twisted upper lip rises and falls slightly as he does this, as though he were slowly chewing something.
“He’s saying ‘poppies,’ ” Sophie says to Serge.
“You don’t know that,” Serge tells her.
“Yes I do.”
Their mother tells the buyer: “I must leave you now. My tea awaits.”
“A pleasure, as always, Mrs. Carrefax,” he tells her, rising to his feet. “And do think about what I …”
But she’s turned away from him; his words, redundant, shrivel in the air. She follows Bodner, who has left the room, passing her hand lightly over Serge’s hair as she brushes past him. Serge and Sophie stand abandoned by the doorway for a while, quiet, floor-gazing. Then Sophie chirps, more shrilly than the birds in the next room:
“Let’s do some chemistry!”
iii
They run out to the stables. As they cross the Maze and Mosaic gardens they can hear the Day School children chanting their lines in preparation for the Pageant:
Then streams ran milk, then streams ran wine, and yellow honey flowed
From each green tree whereon the rays of fiery Phoebus glowed …
C Page 4
