C

by Mccarthy, Tom

  “B. B-ee. B-b-b-b-b-ee. T. T-ee. T-t-t-t-t-ee. S-s-s-s-s, S-s-s-s-s. B-ee …”

  The voices, those of Day School pupils (now alumni), manifest varying degrees of distortedness and atonality; the letters warp and morph as they progress. They gather certain rhythms, patterns of repetition or half-repetition, then, just when it seems that there’s a logic to their sequences, break and relinquish them again. Serge and Sophie fall into the habit of putting on these recordings each time they’re in the attic, a mechanical background chorus to their various antics up there. Sometimes they play, on a newer Berliner gramophone, not cylinders but discs: exhibition plates their father’s had printed to showcase his students’ ability to enunciate whole phrases or manage entire conversations. After setting the disc gently on its turntable and cranking the Berliner’s handle, they lead the needle down towards the narrow groove with the assiduousness of surgeons guiding knives back to incisions made on previous occasions, then return to their tasks while random dialogues (model exchanges between infant shopkeepers and customers or passengers and train guards) waft around them. Often, when a disc’s come to its end, they let it run on, playing and replaying the same stretch of silence—silence which in fact is anything but silent, bursting as it is with a crackle and snap that conjures up for Serge the image of Bodner’s deformed mouth opening and closing: many Bodners’ mouths, repeated side by side in rows that fill the attic’s air and extend out beyond its roof and walls. Sometimes, while Sophie’s busy copying plants, he props his head right up against the gramophone and watches the needle running through its trench, snagging and jumping constantly as though locked in constant hostile struggle with the furrow. The disc’s made of a thick black material.

  “It’s shellac,” Sophie informs him when he asks her one overcast Monday. “Made from secretions of the lac bug.”

  “The lack bug? What’s it lacking?”

  “Lac, no k. I’ve got one of those in my lab as well. That’s Rainer’s voice.”

  She’s right: the disc he’s come across this morning contains not phrases but a passage of verse which, spoken in a child’s unbroken voice, seems strangely fitting for its newfound auditorium:

  Be not afeard; the isle is full of noises,

  Sounds and sweet airs that give delight and hurt not.

  Sometimes a thousand twangling instruments

  Will hum about mine ears, and sometime voices

  That, if I then had waked after long sleep,

  Will make me sleep again …

  The speaker, Rainer, spent a year or so at Versoie: a half-German boy who lost his hearing, then his life, to a cancer that developed in his ear. Serge saw the cancer one day: it was bulbous, like a set of roots buckling the organ’s inner chamber, upsetting the delicate architecture of its whorls and plateaus from beneath the skin’s surface while a moss-like coat overgrew it from above. Serge moves his head round and looks down into the reproducing horn. Its brass has turned slightly green with time. The tube darkens as it narrows, then disappears into the sound box. Listening to Rainer, Serge thinks of entrances to caves and wells, of worm- and foxholes, rabbits’ burrows, and all things that lead into the earth.

  ii

  Towards the middle of June, Simeon Carrefax’s old university associate Samuel Widsun pitches up, by car, from London. His arrival, in the middle of a rehearsal for this year’s Pageant, causes some commotion: few of Versoie’s residents, child or adult, have ever seen a motor car. Even before it’s turned off the road into the lightly sloping path that leads down past the Mulberry Lawn towards the house, the pupils have picked up the vibrations of its engines, choppy waves ruffling the ground they’re standing on. As it hauls into partial view through the conifers they run out and skip along beside it, almost tripping on the hems of their long robes. This year’s theme is Persephone: the Pageant is to represent her rapture by and marriage to Hades, and subsequent coronation as Queen of the Underworld.

  “Better a Greek than a German!” Widsun quips heartily to Simeon when his host explains the set-up to him as strangely dressed pupils unpack his bags. “Can you believe we’re crowning another of those blasted cabbage-eaters?”

  “That bastard Korn’s just pipped me on the phototelegraphic patent,” Carrefax replies.

  “The children can lip-read that word as well as any other, sir,” Maureen warns Carrefax as she takes Widsun’s cap and gloves.

  “We must have been working neck and neck the whole time, he and I. Another week and I’d have had the application in. I’ve a wealth of new projects to show you. A damn cornucopia!”

  “And that one too,” adds Maureen.

  “What, ‘cornucopia’?”

  “No, the other one. You’ll turn out gangs of thugs: deaf thugs.”

  “The Krauts are gearing up to let loose at us, make no mistake,” says Widsun. “Hey: watch out with that one!” he shouts at two Day School pupils dragging and bumping a heavy case across the gravel—boys who, facing away from him, remain oblivious to his concern. “It’s delicate,” he explains to Carrefax by way of compensation for being ignored by the boys. “A present for you and your family.”

  The present’s a really good one: a Projecting Kinetoscope. On his first evening in Versoie, after supper, Widsun sets it up on the Mulberry Lawn and projects onto a bedsheet strung between two trees moving images of fire crews riding through the streets of London on their engines’ sideboards, then of clothes jumping from laundry baskets, snaking across the floor and throwing themselves into laundry machines which then start churning them around and washing them, all without any human interference. The whole household turns out to watch the spectacle. Mr. and Mrs. Carrefax recline in large armchairs; Miss Hubbard and Mr. Clair sit on wooden seats beside them; Serge and Sophie sprawl belly-down on the grass; Maureen and the other servants stand in a huddle to the side. Only Bodner’s absent: he glances in at the film’s outset but seems unimpressed, as though he’d seen it all before, and wanders off towards his garden. Widsun stands at the back, beside the projector, announcing each of the reels he threads between its cogs and sprockets.

  “This one’s called Caught by Wireless,” he explains as the flickers steady to reveal a domestic setting that seems to involve a compromised wife and a not unreasonably suspicious husband. “And this one, a tribute to our hostess’s French ancestry: the artiste Méliès’s Voyage dans la Lune.”

  “It’s funny they have titles,” Mr. Clair says as a pockmarked and unhappy moon gets it in the eye from some misguided scientist’s rocket-ship. “Shouldn’t the children be in bed?”

  “Fiddlesticks!” scoffs Carrefax. “It’s not every night they get to observe interplanetary transit.”

  But every night they get to watch Kinetoscope projections. It becomes a ritual: as soon as supper’s over the bedsheet’s hauled up, chairs laid out and reel after reel fed into the mechanism. Serge carries the sounds of the celluloid strip running through its gate to bed with him, clicking and shuffling in his ears long after the machine’s been put to sleep, more real and present than the trickle of the stream or chirping grasshoppers. Each time Widsun racks up a new spool and starts running it, Serge feels a rush of anticipation run through the cogs and sprockets of his body; his mind merges with the bright bedsheet, lit up with the possibilities of what might dance across it in the next few seconds, its outrageous metamorphoses as moths’ and mosquitoes’ shadows on the screen turn into jumping hairs and speckles, then the first unsteady pictures, empty linen springing into artificial life.

  Widsun stays at Versoie for more than a week. Each morning, over eggs and kippers, he peruses the Times’s personal notices.

  “It’s amazing that these fools still think they’re safe conducting their illicit business in rail-fence cipher. Break it before my egg goes cold, what?”

  “What are they saying?” asks Sophie.

  “Hmm, let’s see. It’s a three-line rail-fence, a, d, g … d-a-r-l … Got it: ‘Darling Hepzibah’—Hepzibah? What kind of
name is that?—‘Will meet you Reading Sunday 15.25 train Didcot–Reading.’ Reading you all right, you idiots.”

  “Do you think they’re eloping?” Sophie says.

  “Ladies don’t ask those kinds of questions,” Maureen tells her as she clears her plate. “Or drink three cups of coffee.”

  “This one’s using atbash, at least,” Widsun continues.

  “Tell me what he’s saying!” Sophie chirps, creaming her dark cup and sliding from her chair to wander over to his.

  “V for e …” Widsun mumbles. “Q as null-sign … Give me one tick …” Sophie leans on his broad shoulder, peering over him into the page as his pencil flicks between the encrypted text and a row of letters scrawled in hangman-style beneath it, adding, crossing out. “Righty-ho: ‘Rose. Smell of your bosom lingers on my clothes and spirit. Must meet again next week. Advise when Piers away using this channel.’ The saucy scoundrel! I’ve a mind to give him a reply.”

  “Oh, let’s!” she squeals, patting her hands across his back. “You can teach me the code.”

  “My delightful child, nothing would give me greater pleasure.”

  He whisks her away to his room and they spend the whole morning there, poring over lines of Scytale, Caesar shift and Vigenère. Widsun hovers over her, his chin above her hair, correcting the odd letter here and there. Serge tries to join in, but the sequences, their transpositions and substitutions, are too convoluted for him to keep track of. After an hour he’s reduced to sitting at the escritoire in Widsun’s room and playing with Widsun’s personal seal and ink set, stamping the man’s signature across the sheets of headed government paper that he’s brought with him from London, and then, when these give out, his own forearm.

  “Leave us alone,” says Sophie. “Go and do something else.”

  “You can’t tell me what to do,” Serge snaps back. “And besides, Papa wouldn’t let you do this if he knew.”

  It’s true. Carrefax hates the notion of codes, ciphers and encryption. “Goes against the whole principle of communication,” he harrumphs to Widsun over post-lunch brandy and cigars one afternoon.

  “Secure communication,” Widsun replies, stabbing his cigar precisely as though plugging its lit point into some invisible telephone exchange socket in the library’s air.

  “Secure—what? Secure from whom?”

  “Your enemies.”

  “Are hearing people deaf ones’ enemies?”

  “Ah, yes,” taking a puff. “Your muted flock. In a way, that’s what I—”

  “Muted no longer once they’ve been here for a stretch.”

  Widsun mouths silent acknowledgment of this, blowing a smoke-ring from his lips. “You know I’m working for Room 40 now?”

  “Room 40?”

  “At the Ministry. Signals.”

  “Ah: they got you, did they? Consummatum est, and Homo fuge branded on your body. I wondered what the secretive tone in your letters was about.”

  “Carrefax, listen: things have changed since I was last here.”

  “Too damn right they have! When you were last here I was beavering away at wireless, only to get pipped at the post. When was it? ’Ninety-seven? ’Ninety-eight? Best part of a year before the boy was born, at any rate.” He gestures vaguely at Serge, who’s sitting quietly in the corner holding the guillotine with which the men have allowed him to cut their cigars. “Now we’ve got seven RX stations in Masedown alone.”

  “No, I mean that—”

  “Happens every bloody time. You work on it, prepare its way into the world, then some other bastard sneaks into the nest and steals your egg.”

  “Politically, old friend: I mean politically. There’ll be a war.”

  “Be a—what? War? Nonsense! The more we can all chatter with one another, the less likely that sort of thing becomes.”

  “If only that were true,” sighs Widsun dolefully. He sips his brandy, lets out a measured, spirit-heavy breath and continues: “We were hoping—my colleagues and I—we thought we might pick your brains about the sign language your pupils use when—”

  “You’ve come to the wrong place, old chap! It’s banned here from day one. We teach them language here, not secrecy and silence. That’s what leads to wars!”

  “I’ve seen old Bounder doing it …”

  “Bounder?”

  “Your gardener.”

  “Oh, Bodner! Blast that fellow. My damn wife insists on keeping him around. He came with the estate; been with her since she was born. Special connection, you see, what with his mouth …”

  “That kind of communication will become important when—”

  “When I first came down here to teach her to speak I tried to get him to do it too—but he was having none of it, the stubborn ox.”

  Serge, still fiddling with his guillotine, pictures Bodner’s mouth again: the undulating lips, the shrivelled trunk of tongue. He thinks of oxtongue, sliced and laid out on a plate. It makes him swallow, and his spit taste bitter.

  Sophie prances into the library and straight up to Widsun.

  “I’ve found seven of them!” she sings, thrusting a spread palm and two fingers from her other hand right up against his face.

  “Seven of what?” her father asks.

  “He puts messages in the papers every day, and I have to crack them and reply in the same code,” she announces in a voice that’s guilty and defiant at the same time.

  Carrefax looks daggers at his guest.

  “I’m training her up as a spy,” Widsun confesses. “Good mental exercise, you must admit, if nothing else …”

  “I’ll be a double agent,” Sophie purrs, bunching up her hair, “a double-double agent. If I’m caught, I’ll poison myself before the enemy can make me spill the code. I’m even working on the potion. Before you leave—” to Widsun, this, snaking her arm along his broad shoulder again—“I’ll give you a whole bunch of different poisons to take back to your Ministry. And in two years, when all your other spies are dead, I’ll come and be the greatest spy of all. Oh: apples!”

  “Apples—what?” her father asks her.

  “From the garden; Bodner; don’t you worry; need the pips, Papa; pip-pip!”

  And she’s off again. She spends the next few days scurrying between her lab and Widsun’s room, clutching pages filled with columns of letters, numbers and other, indeterminate ciphers scrawled and crossed out in her own hand, not to mention lighter pages hand-torn from the Daily Sketch and Daily Herald, from the Globe, Manchester Guardian and Times, the Star, the Western Mail and Evening News. Serge, no longer allowed into Widsun’s room with her, hears shrieks and squeals each time she finds or breaks a cipher, mixed with Widsun’s deep roars of approval. Occasionally she passes him in the corridor as she emerges with her hair messed up and ink spattered and smudged across her face.

  iii

  Pageant Day starts out unsettled. Clouds scud by swiftly; Carrefax monitors them anxiously, his head cranked back to watch them slide out from behind the house’s ivy-covered chimneys, elongating and unravelling as they drag patches of shade across the Mulberry Lawn—patches that wrinkle as they dip into the stream, then shorten as they make their way up Arcady Field, contracting right down to thin lines that slip away over the brim of Telegraph Hill. Staff and pupils lighten and darken as they move through these, hurrying from spinning sheds to schoolrooms, schoolrooms to Mulberry Lawn, house to spinning sheds and back again. The décor is being finished; women balance on the top rungs of stepladders, hanging leaf-tresses over wooden posts. In front of these, children lay out chairs in rows across the grass. Off to the side, Maureen and Frieda set up tea and coffee urns on trestle tables while their girls carry out plates laden with pyramids of cucumber and chopped-egg sandwiches, moving over lawn and gravel in an unbroken ant-like chain. Spitalfield slinks around among them, hoping for scraps. At the top of the lightly sloping path, Mr. Clair ties to the open gate a sign which bears, in both conventional and phonetic script, the text that most of Lydium’s trade
smen, clergy, civil servants, farmers, housewives, shopkeepers and misc. have already found slipped through their letter boxes in leaflet form during the past two weeks:

  MR. SIMEON CARREFAX

  cordially invites you to the

  VERSOIE DAY SCHOOL FOR THE DEAF’S

  ANNUAL PAGEANT

  on

  Saturday June 25th

  1911

  AT 3 IN THE AFTERNOON

  for

  ENTERTAINMENT and CLASSICAL INSTRUCTION, suitable for all Classes

  “Damn weather gods!” Carrefax snaps to Widsun. “Toying with us. Like wanton flies, in shambles—no, like wanton boys in sport. What was it … ?”

  “ ‘As flies to wanton boys are—’ ” Widsun begins, but Carrefax cuts him off:

  “I’m working on a patent for a way of using radio to sense the weather in advance. The waves travel through it, after all. Why aren’t you in your costume?”—this to Serge, who’s come to ask him something.

  “I don’t put my mask on till later. But Miss Hubbard wants to know what volume to set the amplification to.”

  “Amplification—what?”

  “Who’s this one meant to be, then?” Widsun asks.

  “Ascalaphus,” says Serge.

  “He’s the witness, isn’t he? Sees her eating grapefruit or something …”