The Luminaries

by Eleanor Catton

  ‘He must think this a terribly poor enterprise.’

  ‘I haven’t the first idea what that man thinks,’ said Mannering, scornfully.

  ANOTHER KIND OF DAWN

  In which Ah Quee, placing his hands upon the armoured curve of Anna’s bodice, makes a curious discovery, the full significance of which he will not appreciate until eight days later, when the complete rotation of Anna’s four muslin gowns has given him a mental estimation of the extent of the riches they contain, excluding, of course, the dust contained within the gown of orange silk, which Anna never wears to Kaniere.

  Anna lay perfectly still, her eyes closed, as Ah Quee ran his hands over her gown. He tapped every part of her corset with his fingers; he traced each flounce; he picked up the weighted hem and poured the fabric through his hands. His methodical touch seemed to anchor her in time and space; she felt that it was imperative that he touched every part of the garment before he touched her, and this certainty filled her with a lucid, powerful calm. When he slid his arm beneath her shoulders to roll her over, she complied without a sound, bringing her limp hands up to her mouth, like a baby, and turning her face towards his chest.

  MOON IN VIRGO, CRESCENT

  In which Ah Quee fills his firebox with charcoal, meaning to smelt the last of the dust excavated from Anna’s gown, and to inscribe the smelted bars with the name of the goldmine to which he is indentured, the Aurora; and Anna, as she sleeps, mutters syllables of distress, and moves her hand to her cheek, as if intending to staunch a wound.

  When Anna woke, it was morning. Ah Quee had moved her to the corner of his hut. He had placed a folded blanket beneath her cheek, and had covered her with a woollen cape, his own. She knew upon waking that she had been talking in her sleep, for she felt flushed and disturbed, and much too hot; her hair was damp. Ah Quee had not yet noticed that she had woken. She lay still and watched him as he fussed over his breakfast, and examined his fingernails, and nodded, and hummed, and bent to rake the coals.

  SUN IN VIRGO

  In which Emery Staines, to whom Crosbie Wells has since narrated the full story of his betrayal at the hands of Francis Carver, each having won the other’s trust and loyalty, decides in a moment to falsify the quarterly report, removing all evidence of the bonanza from the goldfield records, and quite forgetting as he does so the determined worker Quee, who, according to protocol, and notwithstanding the circumstances of his indenture, is nevertheless deserving of a bonus.

  Emery Staines, arriving at the camp station, was surprised to see that the Aurora’s box was flagged, meaning that a yield had been submitted. He requested the gold escort to unlock the box. Inside there was a neat lattice of smelted gold bars. Staines took one of the bars in his hand. ‘If I asked you to turn your back a moment,’ he said presently, ‘while I transferred the contents of this box elsewhere, what would be your price?’

  The escort thought a moment, running his fingers up and down the barrel of his rifle. ‘I’d do it for twenty pounds,’ he said. ‘Sterling. Not pure.’

  ‘I’ll give you fifty,’ said Staines.

  A PARTIAL ECLIPSE OF THE SUN

  In which Emery Staines journeys to the Arahura Valley, sack in hand, with the intention of burying the bonanza, for a period of safekeeping, upon a portion of land set aside for Maori use, having not considered the possibility that Francis Carver might soon return to Hokitika to investigate why the Aurora goldmine, such a promising investment, has become a veritable duffer.

  In the flax at Staines’s shoulder a tui dipped its head and gave its rattling cry—sounding, to his ear, like a stick being dragged across pickets, while a reedy whistle played a tune. How wonderfully strange the sound! He stretched out his palm and touched the waxy blades of the flax, noting the vivid colours with pleasure: purple at the blade’s edges, melting to a whitish green in the very centre of the leaf.

  The tui beat away, and it was quiet. Staines reached down and took up the smelted bars. He laid them carefully at the bottom of the hole that he had dug. After they were buried, he arranged above them several flat-topped stones in a sequence that he was sure to recognise, and then kicked away his footprints.

  PAPA-TU-A-NUKU

  In which, some half mile downriver from the site of the newly buried gold, Crosbie Wells and Tauwhare are sitting down to a hangi, a meal cooked in a fire pit that was covered in earth, later to be excavated, and the leaves around the meat unwrapped to yield a feast that is moist and richly flavoured with smoke and tannin and the rich, loamy flavours of the soil.

  ‘What I’m saying is that there’s nothing in it. You with your greenstone, us with our gold. It might just as well be the other way about. The greenstone rushes, we might call them. A greenrush, we might say.’

  Tauwhare thought about this, still chewing. After a moment he swallowed and shook his head. ‘No,’ he said.

  ‘There’s no difference,’ Wells insisted, reaching for another piece of meat. ‘You might not like it—but you have to admit—there’s no difference. It’s just one mineral or another. One rock or another.’

  ‘No,’ Tauwhare said. He looked angry. ‘It is not the same.’

  DETRIMENT

  In which Anna Wetherell, who remembers the assault that occurred in the boudoir of the House of Many Wishes in Dunedin upon the night of the 12th of May with a stricken, nauseated clarity, and who is made wretched, daily, by the memory of that assault, a wretchedness not assuaged by the knowledge that her collusion, however tacit, helped an innocent man to escape unharmed, is surprised by the appearance of the disfigured man himself, and, in a moment of weakness, forgets herself.

  Francis Carver was riding inland on the Kaniere-road when he spotted a familiar figure on the roadside. He reined in, dismounted his horse, and approached her, perceiving that her walk was unsteady and her face, very flushed. She was smiling.

  ‘He got away,’ she mumbled. ‘I helped him.’

  Carver came closer. He put his finger beneath her chin, and tilted her face. ‘Who?’

  ‘Crosbie.’

  Carver stiffened at once. ‘Wells,’ he said. ‘Where is he?’

  She hiccupped; suddenly she looked frightened.

  ‘Where?’ He pulled back and slapped her, hard, across the face. ‘Answer me. Is he here?’

  ‘No!’

  ‘In Otago? Canterbury? Where?’

  In desperation, she turned to run. Carver caught her by the shoulder, jerked her back—but just then there came the clap of gunshot, nearby—

  ‘Whoa,’ Carver shouted, spinning away—

  And the horse shied up—

  FALL

  In which Anna Wetherell tells a falsehood to protect Crosbie Wells, attempting, in this belated act of loyalty, to atone for an earlier betrayal, the partial memory of which shifts and recedes, uncertainly, for her mind has been thrice fogged, once by smoke, a second time by violence, and lastly by the opiate administered by the physician Dr. Gillies, preparatory to a most unhappy procedure, during which Anna sobbed, and groaned, and clawed herself, becoming so distressed that Dr. Gillies was obliged to ask for help in restraining her, and Löwenthal, ordinarily a man of some fortitude in times of injury or upheaval, wept freely as he pried her hands away.

  When Anna opened her eyes Löwenthal was standing over her, a white cloth in one hand, a jar of laudanum in the other; beside him stood Edgar Clinch, white-faced.

  ‘She’s awake,’ said Clinch.

  ‘Anna,’ Löwenthal said. ‘Anna. Dear heart.’

  ‘Mnh,’ she said.

  ‘Tell us what happened. Tell us who it was.’

  ‘Carver,’ she said thickly.

  ‘Yes?’ said Löwenthal, leaning in.

  She must not betray Crosbie Wells. She had sworn not to betray him. She must not mention his name.

  ‘Carver …’ she said again, her mind focusing, unfocusing.

  ‘Yes?’

  ‘… Was the father,’ Anna said.

  THE DESCENDANT

&nbs
p; In which Emery Staines, learning of Anna’s assault from Benjamin Löwenthal, saddles up at once and rides for the Arahura Valley, his jaw set, his eyes pricking tears, these being the external tokens of an emotional disturbance for which he does not, over the course of the journey north, admit true cause, much less attempt to articulate, inasmuch as any powerful emotion can be immediately articulated or understood by the sufferer, who, in this case, had been so distressed by Löwenthal’s frank account of the injuries sustained, and by the blood that soaked his printer’s apron from chest to hip, that he forgot both his wallet and his hat at the stables, and as he rode out, almost charged down Harald Nilssen as the latter exited Tiegreen’s Hardware with a paper sack beneath his arm.

  Wells opened his door. There upon the threshold, doubled over, was Emery Staines.

  ‘The baby’s gone,’ he sobbed. ‘Your baby’s gone.’

  Wells helped him inside, and listened to the story. Then he fetched a bottle of brandy, poured them each a glassful, downed it, poured them each another, downed it, poured them a third.

  When the bottle was empty Staines said, ‘I’ll give her half. I’ll share it with her. I’ve a fortune—secret—buried in the ground. I’ll dig it up.’

  Wells stared at him. After a time he said, ‘How much is half?’

  ‘Why,’ mumbled Staines, ‘I’d guess perhaps two thousand.’ He put his head down upon the table, and closed his eyes.

  Wells fetched down a tin box from his shelf, opened it, and withdrew a clean sheet of paper and a reservoir pen. He wrote:

  On this 11th day of October 1865 a sum of two thousand pounds is to be given to MISS ANNA WETHERELL, formerly of New South Wales, by MR. EMERY STAINES, formerly of New South Wales, as witnessed by MR. CROSBIE WELLS, presiding.

  ‘There,’ said Wells. He signed his name, and pushed the sheet to Staines. ‘Sign.’

  But the boy was asleep.

  MOON IN TAURUS (ORION’S REACH)

  In which Anna Wetherell, lost to meditation, tallies her obligations, a project that gives rise to such disconsolation that her mind averts its eye, so to speak, and casts about for another, lighter subject, alighting, inevitably, upon the smiling, bright-eyed form of Emery Staines, whose good opinion she has come to desire above all the others of her acquaintance, a desire quashed just as often as it is expressed, knowing his situation to be a world above her own, his prospects as bright and numerous as hers are dark and few, and presuming his regard for her to be likewise contrary, that is, the very opposite of hers for him, a belief held in spite of the fact that he has called upon her thrice since her recovery, and recently made her a present of a bottle of Andalusian brandy, the last bottle of its kind in all of Hokitika, though as she took it from his hands he became suddenly stricken, and begged to recover it and return with another, more suitable gift, to which she replied, honestly, that she was very flattered to be given a gift that did not attempt in any way to be suitable, and anyway, it was the last bottle of its kind in all of Hokitika, and for that, much rarer and more singular than any favour or trinket she had ever received.

  Anna’s debt to Mannering had doubled in the past month. A hundred pounds! It would take her a decade to repay that amount, perhaps even longer, if one considered the rates of usury, and the cost of opium, and the fact that her own value, inevitably, would come to fall. Her breath had fogged the corner of the window: she reached out to touch it. There was a snatch of something in her head, a maxim. A woman fallen has no future; a man risen has no past. Had she heard it spoken somewhere? Or had she composed it of her own accord?

  SUN IN SCORPIO

  In which Emery Staines, lost to meditation, doubts his own intentions, his natural frankness having accepted very readily the fact of his desire, and the fact of his delight, and the ease with which his pleasure might be got, expressions that cause him no shame, but that nevertheless give him pause, for he feels, whatever the difference in their respective stations, a certain bond with Anna Wetherell, a connexion, by virtue of which he feels less, rather than more, complete, in the sense that her nature, being both oppositional to and in accord with his own, seems to illumine those internal aspects of his character that his external manner does not or cannot betray, leaving him feeling both halved and doubled, or in other words, doubled when in her presence, and halved when out of it, and as a consequence he becomes suddenly doubtful of those qualities of frankness and good-natured curiosity upon which he might ordinarily have acted, without doubt and without delay; these meditations being interrupted, frequently, by a remark of Joseph Pritchard’s—‘if it weren’t for her debt, her dependency, she’d have had a dozen propositions from a dozen men’—that keeps returning, uncomfortably and without variation, to his mind.

  Perhaps he could buy her for the night. In the morning, he could take her to the Arahura, where he would show her the fortune he had buried there. He could explain that he meant to give exactly half of it to her. Would it defeat the purpose of the gift, if he had already paid for the pleasure of her company? Perhaps. But could he endure it, that other men knew her in a way that he, Staines, did not? He did not know. He crushed a leaf against his palm, and then lifted his palm to his nose, to smell the juices.

  THE LUMINARIES

  In which Anna Wetherell is purchased for the night; Alistair Lauderback rides to meet his bastard brother; Francis Carver makes for the Arahura Valley on a tip; Walter Moody disembarks upon New Zealand soil; Lydia Wells spins her wheel of fortune; George Shepard sits in the gaol-house, his rifle laid across his knees; a shipping crate on Gibson Quay is opened; the lovers lie down together; Carver uncorks a phial of laudanum; Moody turns his face to unfamiliar skies; the lovers fall asleep; Lauderback rehearses his apology; Carver comes upon the excavated fortune; Lydia spins her wheel again; Emery Staines wakes to an empty bed; Anna Wetherell, in need of solace, lights her pipe; Staines falls and strikes his head; Anna is concussed; in drugged confusion Staines sets out into the night; in concussed confusion Anna sets out into the night; Lauderback spies his brother’s cottage from the ridge; Crosbie Wells drinks half the phial; Moody checks into an hotel; Staines makes a misstep on Gibson Quay, and collapses; Anna makes a misstep on the Christchurch-road, and collapses; the lid of the shipping crate is nailed in place; Carver commits a piece of paper to the stove; Lydia Wells laughs long and gaily; Shepard blows his lantern out; and the hermit’s spirit detaches itself, ever so gently, and begins its lonely passage upwards, to find its final resting place among the stars.

  ‘Tonight shall be the very beginning.’

  ‘Was it?’

  ‘It shall be. For me.’

  ‘My beginning was the albatrosses.’

  ‘That is a good beginning; I am glad it is yours. Tonight shall be mine.’

  ‘Ought we to have different ones?’

  ‘Different beginnings? I think we must.’

  ‘Will there be more of them?’

  ‘A great many more. Are your eyes closed?’

  ‘Yes. Are yours?’

  ‘Yes. Though it’s so dark it hardly makes a difference.’

  ‘I feel—more than myself.’

  ‘I feel—as though a new chamber of my heart has opened.’

  ‘Listen.’

  ‘What is it?’

  ‘The rain.’

  ACKNOWLEDGEMENTS

  I am very grateful for the support and encouragement of the New Zealand Arts Foundation, the estate of Louis Johnson, Creative New Zealand, the New Zealand Society of Authors, the Taylor-Chehak family, the Schultz family, the Iowa Arts Foundation, the University of Canterbury English Department, the Michael King Writers’ Centre, the University of Auckland English Department, the Manukau Institute of Technology Faculty of Creative Arts, and my colleagues and teachers at the Iowa Writers’ Workshop. I feel very fortunate in having found a home at Granta in the UK, at Little, Brown in the USA, and at Victoria University Press in New Zealand.

  This book is not a factual account by any means; however I o
we a debt of inspiration to Colin Townsend’s account of the Seaview prison, Misery Hill, and Stevan Eldred-Grigg’s history of the New Zealand gold rushes, Diggers, Hatters and Whores. I am also indebted to the National Library of New Zealand news paper archives (paperspast.natlib.govt.nz); the extensive and some times hilarious astrological resources at www.astro.com; and the work of astrologers Stella Starsky and Quinn Cox. In charting stellar and planetary positions I used the interactive sky chart provided at www.starandtelescope.com and also the Mac application Stellarium.

  My love and thanks to Max Porter, Sara Holloway, and Fergus Barrowman; to Philip Gwyn Jones and Reagan Arthur; to Caroline Dawnay, Olivia Hunt, Jessica Craig, Linda Shaughnessy, Sarah Thickett, Zoe Ross, and Sophie Scard; and of course to Emma Borges-Scott, Justin Torres, Evan James, Katie Parry, and Thomas Fox Parry, whose friendship and conversation inspired this book in countless ways. Sincere thanks also to XuChong Judy Guan, who translated sections of this book into phonetic Cantonese; to Christine Lo, Sarah Bance, Ilona Jasiewicz, and Anne Meadows, who helped to edit the manuscript; to Barbara Hilliam, who drew the charts so beautifully; to Philip Catton, who explained the stars, the planets, and the golden ratio; and to Joan Oakley, who sent me the shipping news, across the sea.