Serge travels through the countryside with one other prisoner, a pilot from the 55th Squadron named Hodge. They stick to small paths and open fields, sleeping in ditches, pilfering from farmsteads clinging to the edge of hills: eggs, chickens, even dried maize. On the roads below them, they sometimes see troops marching away from the front. One day, they’re sitting on a wooded slope watching a battalion of infantry cross a river, waiting until they’ve disappeared so that they can cross it in the other direction, when a British aeroplane, an SE5, appears overhead and starts strafing the soldiers. They all run for cover: some of them duck beneath the bridge’s columns where these join the land; others throw their packs and rifles to the ground and plunge into the water; the majority of them, however, crawl up the very slope on which Serge and Hodge are sitting.
“English Offiz-ee-er!” Hodge says, a tad unwisely given what’s just happened on the bridge, to the soldiers who surround them with bemused looks. No longer having guns to point at them, the soldiers just stand facing them, motionless. The sound of the SE5’s engine dwindles as it goes in search of other prey. A sergeant, one arm streaked with blood, shows up.
“Wer sind die?” he barks at his men.
The men repeat what Hodge has told them. The sergeant steps right up to Hodge and, with the arm that’s not hurt, pulls Hodge’s coat back. He lifts his jersey up, then tugs the shirt loose from his trousers.
“Das ist keine Englische Uniform!” he growls.
“What’s he saying?” Hodge asks Serge.
“You’re not in uniform,” Serge translates for him.
The injured sergeant looks at Serge, then yanks at his clothes too. He’s civvy-clad as well, cap-à-pied.
“Deshalb sind sie Spione!” shouts the sergeant.
“What’s he saying now?” Hodge asks.
“He says we’re spies,” Serge tells him. “Technically, he’s right.”
“So what does that mean?”
“I imagine we’ll be shot.”
He’s spot on. The next morning, after being held in the same woods (the battalion camps there while it licks its wounds), Hodge and he are marched towards an area where the trees clear and the hillside flattens off.
“A pleasant location,” Serge comments. They didn’t pass it on the way through the woods yesterday, despite coming from the direction in which it lies.
Hodge doesn’t answer. He’s gone white. The sergeant who captured them presides over the ceremony. Still holding his bad arm in his good one, he orders his soldiers into line and, standing to the side of them, barks commands. As these mix with the click and shuffle of the rifles’ pins being pulled back, Serge experiences a familiar buzzing in his groin. He looks up. The trees’ trunks seem to incline slightly inwards as they rise. The sun’s out: blocked by the trunks in places, it casts shadows on the ground. Among the mesh of twigs and moss an insect’s moving, traversing the huge geometric patchwork of triangles and semi-circles formed by the alternating light and shade. At one point it pauses briefly, as though remembering something, and then trundles on. Finding its path barred a moment later at an obtuse angle by a twig that, to it, must seem as monumental as a fallen oak, the Käfer mounts this, then slips off again, then mounts once more. Watching it rise several times its own height, Serge gets a sense of elevation too: without leaving his body, he can look down on the whole scene. The arrangement of the soldiers, their position in relation to the clearing’s edge, the shapes formed by their planted feet, the angle of the guns against their shoulders: somehow it all makes sense. Seeing it this way, as though from above, appreciating all its lines and vectors, its vertical and horizontal axes, and at the same time from the only place from which he can see it, the spot to which he’s rooted, affords him, hand in hand with the feeling of rising, the vertiginous and pleasant sense of falling. It’s not just him; everything seems to be falling back into this moment, even the sky: a breeze is touching down now, making the trees rustle. From among the sound’s static there forms, like a clear signal, a familiar phrase:
Kennscht mi noch?
Serge murmurs the words himself this time, letting them echo from him as though he were some kind of sounding box, hollow and resonant. As he does this, their meaning becomes clear; he knows exactly what he’s saying. The question of who “me” is, or what time the “still” refers to, is no longer irksome: the dispersed, exterior mi previously held captive by the air, carried within its grain and texture, has joined with the interior one, their union then expanding to become a general condition, until “me” is every name in history; all times have fused into a now. It all makes sense. He’s been skirting this conjunction, edging his way towards it along a set of detours that have curved and meandered like the relays of a complex chart, for years—for his whole life, perhaps—and now the conjunction, its consummation, tired of waiting, has found its way to him: it’s hurtling back towards him on the line along which the bullets will come any second now. As he waits for the sergeant to give the command to shoot, Serge feels ecstatic.
The soldiers await the order too, with a perfect immobility, as though time had stopped, or run into itself so fully that it’s breached and flooded its own borders, overflowed. They could have shot already; Serge could be already dead, his consciousness held back within some kind of intermission that’s been opened up by the intricate physics of it all, or held suspended while time loops: it’s just a matter of waiting for its rim to reappear and slide back down his vision; then he’ll be gathered up by the overlap, disappear into its soft accretion. It’s not until he notices some motion behind the soldiers that he realises there’s a reason for the pause: a man, some other kind of sergeant, captain or subaltern, has appeared and called the first sergeant over to him. They’re talking together. They talk for a while—and while they do, time seems to fall back into its old shape, the accretion to withdraw. It’s not a pleasant feeling. Now the sergeant’s talking to the firing squad: he mutters something to them and they drop their guns.
“Was passiert?” Serge asks, indignant.
It’s the subaltern who answers him, in English:
“Finished. It’s over …” He starts to walk away.
“What do you mean it’s over?” Serge calls after him. “It hasn’t even started yet!”
“War over,” the subaltern shouts back across his shoulder.
Hodge drops to his knees and starts to cry. The soldiers begin walking away too, withdrawing. Superimposed across the clearing, as though projected there, Serge sees the image of a boat pulling off from a jetty at a point where several canals intersect: as the boat draws away, it takes the intersection with it, leaving him behind. For the first time in the whole course of the war, he feels scared.
“Hey!” he calls after the soldiers. “You can’t do that. Wait!”
THREE
Crash
i
Versoie seems smaller. Its proportions are the same: the surface area of the house’s side-wall in relation to that of the Maze Garden above which it rises, or the width of the maze’s paved path in relation to the garden’s lawn; the height of the Crypt Park’s obelisk-topped columns, or the sightline above these into the park itself afforded by the attic window—all these are correct. But, taken as a whole, they seem to have shrunk. The left-swerving passage from the house’s front door to the Low Lawn, then through the Lime Garden with its beehives and, beyond these, past the green slime-topped trough-pond towards the long, conker-tree-lined avenue that skirts the Apple Orchard as it heads towards the spinning sheds and Bodner’s garden—a passage each of whose sections used to comprise a world, expansive beyond comprehension, filled with organic density and volume, with the possibilities of what might take place in it, riven with enclaves and proclivities every one of which itself comprised a world within the world, on to infinity—now seems like a small, inconsequential circuit: a transceiver loop or well-worn route round a familiar parade ground. It’s as though, in Serge’s absence, the whole estate had, by some sleight
of hand, been substituted by a model, one into which he’s now been reinserted, oversize, cumbersome and gauche …
Versoie seems smaller, and the world seems smaller, seems like a model of the world. It’s not just that the distance between, say, here and Lydium has shrunk (and done so almost exponentially thanks to the motor car his father’s purchased and now lets him drive whenever he feels like an outing), but, beyond that, that the inventory of potential experiences—situations in which he might find himself, conversations and interactions he might undergo—has dwindled so low that they could be itemised on a single sheet of paper. The exchanges he has in shops or in the post office, the movements and gestures these involve, seem so limited, so mapped out in advance, as to be predetermined—as though they’d already happened and were simply being re-enacted by two or more people who’d agreed to maintain the farcical pretence that this was something new and exciting. He’s taken to walking out on the charade halfway through: stepping into, for example, the cheese shop, responding to the usual questions about how his parents or the Day School pupils are, agreeing how nice it is to be back after serving his country so bravely, admitting that the weather isn’t quite doing what might be expected of it at this time of year, and so on—then, just as the shopkeeper shifts his stance above the rows of Lancashires and Stiltons and asks him what he’ll have, turning round and pushing the door open, leaving its ting! hanging in the air behind him with the ruptured conversation. He once did this on three premises in a row—neighbouring ones: newsagent, baker, fishmonger—not out of maliciousness but simply to identify and breach the boundary of each situation, one after the other, to let it form a box around him which he could then step out of …
The same restless impulse sees him whipping up and down between Versoie and London. He enrols at the Architectural Association, then gets it into his head that he should study engineering instead; visiting Imperial College to sign up for this, he changes his mind and decides to follow in his sister’s footsteps and join the natural science department; but, realising after a week that he has no aptitude for this discipline, he cools on the idea of being at Imperial at all and re-enrols at the AA. The restlessness, he comes to realise, is in truth an attempt to achieve its opposite: stasis. It’s as though if he moves about enough, the world will fall into place around him. He experiences this most viscerally when driving across Salisbury Plain. Summoning up with his right foot a roar of snarling teeth and whirring cylinders, feeling beneath his hips the force of however many horses surging forwards, he watches the hedgerows run together till they blur into a tunnel of green speed. As this streaks by and the horizon accelerates towards him, it seems that he himself has become still—and, in these moments, he feels the same sense of satisfaction that he used to in the nacelle of the Rumpitee or the cabin of the RE8: the sense of being a fixed point in a world of motion. Holding this point against the landscape with the wheel, he pushes back into the air that screeches along his cheeks the word fassen, although this modulates amidst the noise sometimes to become fast or faster. The air carries a smell of lime—not the fruit but quicklime: the plain’s been used as a giant burial ground for victims of the recent flu pandemic. The calcium oxide penetrates his nostrils and sinks deep into his lungs, making him feel alive and good.
It’s not just Masedown’s humans who’ve been struck down by disease: the mulberry trees at Versoie have caught an infection—something called Dieback. It takes the form of a fuzzy white mould, like the mould you get on stale bread, growing around the leaves and branches and extending out from these in wispy strands from tree to tree—as though the vegetation had, as Clair’s heroes advocated, taken control of the means of production and, cutting out the parasites both insectoid and human who exploited its resources, started weaving for itself. The effects of this insurrection are quite tangible: most of the silk-making staff have been laid off; the spinning sheds are empty. Only Bodner can be seen from day to day: a small, lone figure trudging around the Mulberry Lawn with a bucket into which he dips a brush, painting the trees with disinfectant.
Serge’s father has a theory about the cause of the disease: electric blighting.
“Under times of great stress or excitation,” he explains to Serge over a glass of port one afternoon in Sophie’s former lab, “the body emits an increased static charge. Police forces in America and France—” his finger points vaguely left to indicate the former place; his thumb jerks back over his shoulder for the latter—“are already making use of this phenomenon, measuring electric levels on the skin to ascertain when a suspect is lying.”
“How does that blight our trees?” Serge asks.
“Blight—what?” his father barks. “Ah! Well, these electrical disturbances, once created, outlive the moment of their generation. If they remain behind indefinitely, they’re detectable indefinitely, n’est-ce pas?”
“By what?”
“By what?” repeats his father. “Why, by detecting devices, of course. You of all people should know that!” He switches on one of the many radio sets lying on the shelves behind him. As it warms up, and familiar tweets and crackles start spilling from it, he turns the dial. The static gives over to music, then to static again, then to a voice reading what seem to be sports results. This is new, hearing voices over the receiver: started this year, first of the new decade. Nowadays when you trawl the ether you get loads of little stations sending fully formed, audible words out to who-knows-where: songs, personal messages, phrases whose nature and purpose Serge can’t work out but has spent hours listening to nonetheless, charmed by the sequences’ sounds, the images that they evoke, their modulating repetitions. The string of names and numbers gives over to old-fashioned Morse beeps, then once again to static. His father, still turning the dial clockwise, turns to Serge and asks: “What do you think most of that stuff is?”
“What do you mean?” asks Serge.
“What is it?” his father repeats.
“It’s messages,” Serge answers.
“From when?” his father shoots back at him.
“From all over.”
“I didn’t ask from where: I asked from when.”
“When? From now …”
“Aha!” guffaws his father. “That’s where you’re wrong—or, at least, not entirely right.” He leans towards Serge and, his tone changing, tells him: “Wireless waves don’t die away after the ether disturbance is produced: they linger, clogging up the air and causing interference. Half the static we’ve just waded through is formed by residues of old transmissions. They build up, and up, and up, the more we pump them out.”
“And that’s what’s blighting our trees?” Serge asks him, incredulous.
His father downs his port and, reaching behind his work table, pulls out a device in which a needle sits behind glass within a hand-sized box.
“What’s that?” asks Serge.
“An ammeter,” his father answers. “Come with me.”
Serge knocks his glass back hurriedly and follows his father out into the Mosaic Garden, where he holds the device out in front of him and, pointing to its face, announces:
“Low levels of static here. Just standard background discharge.”
Serge peers at the needle, resting between zero and five micro-amperes. His father strides on into the Maze Garden and, holding the ammeter in front of him again, declares:
“Increasing. Five to ten.”
He’s right: the needle’s started stirring. He strides on, through the Maze Garden’s wall, across the gravel path and on towards the Mulberry Lawn, his upturned palm holding the instrument before his portly stomach all the while. Marching past Bodner, who ignores them as he daubs low-lying branches, he booms out triumphantly:
“Twenty to twenty-five!”
Serge peers around his forearm, and sees that the needle is, indeed, straining round to the dial’s right-hand side.
“That’s … I mean, how do you … ?” he stutters.
His father beams a satisfied smi
le back at him.
“Pretty conclusive, isn’t it, my boy?”
“But … why here?” Serge asks. “My old mast was in the Mosaic Garden.”
“Oh, you’re being too literal,” his father scolds. “Things move around, accumulate in ways we can’t anticipate. Besides,” he continues, eyes still on the needle as he takes two paces forwards, “I’m not even claiming that it’s radio per se that we’re detecting here.”
“What else could it be?” Serge demands to know.
“I refer you back to what I said about the body and its discharges,” his father tells him. “If the ones emitted by the brain are anything like the wireless waves that wend their way around the earth, they’ll leave a trace for a considerable time after their creation.”
“But that doesn’t work,” Serge says. “Transmissions travel. They go somewhere else, and then they’re not here anymore.”
“Ah: you’re behind the times, my child.” His eyes move from the dial to Serge, bathing him in pity. His left hand starts rising and sinking at an angle, cutting diagonal peaks and troughs in the air. “Imagine a ball bouncing around a dome, and hardly losing any energy in doing so—bouncing around the inside of a sphere and ricocheting off the outer surface of a smaller, solid sphere inset within the larger sphere …”
Serge cast his mind back to the tennis court in Berchtesgaden. He tries to roll its asphalt flatness up into a tarry sphere, to coil the outlying landscape into a larger, hollow ring around it, and to bounce a tiny, yellow ball between the two, but finds the mental space through which the smaller orb should move filling up with crackling gorse and heather. His father’s explaining:
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