C (18 page)

On their way back to base, they strafe the German trenches. While Gibbs holds his line above them, Serge points his Lewis gun down and nudges it from side to side until its point seems to slot into their groove. A sixth sense tells him when he’s found it: he just
feels
it go in, somehow; when it does, it starts to play, the same track every time:
of-PUR, pose-THAT, your-THOUGHT …
Enemy gunfire crackles back at them like angry static. They reach the limit of their area, pull out and turn towards their own lines. The air over no-man’s-land is thick with cordite smoke: it has the rich, livery smell of homecoming. The kite balloon’s on the ground being deflated, the Popham strips rolled back up. The woods beside the airfield rustle as they skim them; the row of poplars bends the other way. Gibbs puts the wing down; the ground locks them in its drag; and then they’re taxiing across the field towards the Bessoneaus. Serge jumps out before the machine’s come to a complete standstill, while mechanics are still harnessing it with chocks and halters. With his brandy-flask and biscuit-box beneath his arm, he strolls towards the Nissen huts.

“Narrative, Carrefax.” The recording officer, seated behind a table with a stack of papers at the hangar’s exit, stops him.

“What?” asks Serge, taking his glove off and wiping his hand across his face.

“Flight narrative for Corps HQ. I have to remind you every time.”

“Oh,” says Serge. “Well …” His hand has gathered a thick wedge of tar. He looks at it, then up at the recording officer. “We went up; we saw stuff; it was good.”

ii

Once, returning from the lines in fading light, zigzagging to dodge blue-black storm clouds, Serge and Gibbs find themselves landing on an aerodrome that’s not their own. They’re pretty sure it’s not a German one: the way the rain-curtains that sweep the ground are lit up, gold and precise with miniature rainbows in them, lets them know they’ve being flying west—but you can never be sure. The machines lying across the field are neither RE8s nor SE5s, and have storks painted on their fuselage. When Serge and Gibbs descend from theirs, mechanics greet them in a foreign language.

“Perdu la route …” one of them shouts.

“Oh, fuck!” snarls Gibbs. “Distract them while I climb back in and get my pistol. We can take off again before those others by the huts get over here.”

“They’re French,” Serge tells him.

“Français,” the mechanic nods—before, as though to prove it, launching into a rendition of “La Marseillaise.” Four pilots saunter over and serve them glasses of eau-de-vie, then stroll away across the field towards two sleek black cars against which elegantly dressed ladies lean smoking cigarettes through long ivory holders.

“Bloody Cigognes,” snaps Clegg when Serge recounts the episode back in the mess. “Nothing but playboys: race-car drivers, fly-half of the national rugby team, the Compte de Trou-de-Cul. Balloon-busters: all they ever dare attack. Show them an EA and they’ll cack their French
pantalons
faster than the
jardin de mon oncle
. But soon as they get down from each day’s chicken run they’ve got Parisian hostesses whisking them off to see
Manon
and
Salammbô
while we sit here listening to scratched-up Felix Powell. There’s no justice in this war.”

The Felix Powell is pretty scratched, it’s true. So are the Marie Lloyd, the Vesta Tilley and the Ella Shields. As they play them in the evenings, some of the officers dance together, drawing lots to see who’ll do the woman’s steps; others, meanwhile, reminisce about the war’s “golden era”:

“Pity we don’t use parasols and Moranes anymore,” Watson sighs nostalgically. “Do you remember drop bags?”

“Those things were great fun,” Dickinson says. “You’d scrawl your message in them, then just hurl them overboard above the reporting station, watch them drop. Radio killed all that.”

“There was this pilot here when I first came,” Baldwick tells them. “Said he used to wave at EA pilots when he passed them. You had no beef with one another. He said the first time one of them took a pop at him, he couldn’t believe it: seemed so low …”

“What happened to him?” Watson asks.

“What do you think?” answers Baldwick. “Last year, or maybe late in ’fifteen. He was a flamer:
carbonisé
.”

“Carbo-nee-zay,”
Dickinson and Watson repeat in unison, as though the word held some kind of mantric power, like an “Amen.”

“He was a real old-timer,” Baldwick tells them; “twenty-four or so.”

Baldwick is twenty, one year older than Serge; Watson, twenty-one. They could have been flying with the 104th before he was born, as far as he’s concerned. Each month is like a generation here. This makes the twenty-four-year-old who used to wave at passing Germans like a distant ancestor, belonging more to an order of stone reliefs, illuminated manuscripts and tapestries whose stories don’t quite lend themselves to comprehension than to any present in which Serge might also have a place. Mess talk is full of predecessors such as him: the dead get more attention than the living. Each week, one or two more airmen join their Olympiad; as new ones replace them, Serge and the others move up the ancestral chain, one generation with every arrival. Before they take off for Artillery Observation or Contact Patrol work, pilots and observers pool their wages in a small iron commode that’s been chosen for this purpose for a reason—a precise one, yet one whose particulars have become so subject to conjecture and apocrypha that they’ve grown obscure; if one of the men doesn’t come back, his portion buys the rest an outing to the Encas Estaminet in Vitriers.

The Encas’s décor is low-key. The walls of its two rooms are panelled with fly-brown mirrors; the zinc bar-top looks like it’s been reclaimed from a shot-down aeroplane or crashed Crossley truck, and hammered repeatedly in an attempt to flatten it that’s had the opposite effect: it’s all but impossible to keep a glass upright on its surface. The table tops are marble slabs that must have lost their lustre many years ago, worn down by greasy hands and dirty elbows, stained with wine. The whole place smells of spilt wine. Two waiters with hair so greasy that Gibbs once drunkenly accuses them of pilfering from the squadron’s engine-oil supplies move like slow spiders though a web of grey cigarette smoke that lingers as insistently as vapour trails and Archie-puffs above the battlefield.

“Hey,
garsson!”
Clegg says as one of them sets two bottles down in front of him. “Send two more to those homosexuals from the Eighty-ninth in the next room.
Comprennay?
Two
bootay; ’omosexuelle, katrer-vangt-nerf …
”

Serge explains in French to the waiter what Clegg means, and takes the bottles through himself. They often see the 89th men here; their aerodrome’s only four miles away. There’s one man named Carlisle whom Serge gets talking to each time they meet. Carlisle’s neither a pilot nor an observer, but an artist. He was studying at the Slade before the war, and got assigned to camouflage work, devising a whole system based on Goethe’s theory of colours and applying it to machines, painting blue, violet and yellow stripes across their wings and fuselage—before discovering that these only camouflaged the planes when seen against the ground, an asset deemed of such limited value that it was scrapped after only two machines had been thus decorated. Rather than recall him, the war office has kept him out here as an official War Artist, on secondment to the 89th. He hasn’t taken to his new post well.

“It doesn’t work,” he moans as Serge pours him a glass. “It’s just not possible once you’re in flight.”

“What’s not?” Serge asks.

“Art! Tell me, Counterfax: what’s the first rule of landscape painting?”

“Carrefax.” Serge thinks back to his afternoon sessions with Clair, but draws a blank. “Don’t know.”

“Horizon!” Carlisle slaps the table. “Got to have a damn horizon if you’re going to paint a landscape! And what’s the first thing to disappear when some madman at your back is loopy-looping?”

“Horizon?” Serge ventures.

“Carvers, you’re a man of intellect. But you don’t understand the half of it, my friend! It’s not just the horizon that goes. Oh no. Look at this.” He moves three half-full wineglasses together. “Here are some clouds. And here,” he continues, dipping his finger in a wine-puddle and smearing it around the table top, “are the French fields with all their pretty patterned colours. When you look at them from here—” he pulls Serge’s head across to where his own was—“they run together. Which is cloud? Which land? Can you tell what part of the liquid’s in the glass and what’s on the table top?”

“Does it matter?” Serge asks.

“Course it bloody matters!” Carlisle shouts back. “How you going to paint something if you can’t even see what it is?” His voice goes hushed and urgent as he grasps a bottle and, moving it slowly above the three glasses, says: “A thundercloud passes over; a patch of woodland goes dark—or was it dark already? Who knows? And then, to make it worse, you suddenly come across a block of writing set bang in the middle of a clearing.”

“Popham strips,” Serge tells him. “It’s because the batteries can’t send back wireless signals: only rec—”

“I can’t paint words!” Carlisle’s voice rises half an octave. “Painting’s painting, writing writing. Never the twain. It’s all wrong, aesthetically speaking: all the depth and texture of a summer countryside steamrollered into a flat page.”

“That’s what I like about it,” Serge says.

“I try not to look down,” Carlisle carries on, ignoring him as he drinks one of the clouds. “But looking up is just as bad! There’s no perspective in the sky, my friend. Some dot in front of you could be an EA swooping down to kill you, or a fly that’s landed on your nose, or for all I know the moon of Jupiter. You don’t have any measure to position yourself with …”

“Yes you do,” Serge tells him. “You’re connected to everything around you: all the streaks and puffs …”

“Ah, right: but how do you show those? The aircraft shell burst lasts a second—at its peak, I mean, the explosion itself, the bit I should be painting, seeing as I’m a War Artist and all that. A cloud is there forever—or at least for longer. What’s the honest thing to do, then? Give the shell the same substance as the cloud? How am I meant to paint time? How am I meant to paint anything?”

“Why not just paint it as you see it?” Serge asks.

“Can’t even do that,” Carlisle wails. “The stuff won’t stay still to be painted! Ground won’t stay still, air won’t stay still, nothing bloody stays still. Even the paint jumps from its bottles, gets all over me.”

“Maybe that’s the art,” Serge says. “I mean the action, all the mess …”

“Now, Carefors, you’re just talking rubbish,” Carlisle admonishes him in a disappointed tone. He drains another glass, then mutters bitterly: “It all comes from that show.”

“What show?” Serge asks.

“The bloody
show!”
Carlisle hisses. “Fry and his buddies. All this … 
this—”
he gestures at the ceiling, or rather the sky, then at the cloud-glasses and field-puddle on the table top—“is just an extension of
that.”
He jabs a finger towards London. “Soon as the cork popped at the Grafton and the poison genie seeped out, this war was a foregone conclusion. Just a matter of time.”

Cécile slips into the room through a side-door and walks towards the exit. Serge catches her eye and she waits.

“Headquarters are complaining that my images aren’t photographic enough,” Carlisle’s grumbling. “I tell them: ‘Well, take photographs.’ Jesus! Meanwhile, the officers in the mess want me to paint their caricatures. I studied under Tudor-Hart and I’m being asked to churn out caricatures!”

Serge rises from his seat and moves over to Cécile.

“You weren’t here in over a week,” she says.

“I was flying,” he tells her. “Can I see you?”

“Come to my place,” she says, slipping a key into his hand. “Wait for ten minutes, then follow.”

She leaves. Serge returns to the first room to drink with the 104th, then slips away and walks through a maze of unlit streets, past open windows through which he sees meagre suppers being laid out on cracked and termite-eaten tables. Cécile’s lock is well-oiled; her staircase is dark. He feels his way up it towards her room, which a paraffin lamp illuminates in dim, flickering patches; as Serge brushes past it, the room’s shadows elongate and wobble over the bare walls and floor. There’s not much there: most of the space is taken by a double bedstead whose black, shiny frame’s surmounted by brass knobs. A coverlet of coarse crotchet-work has been peeled and folded back on the side nearest the door. The one small window’s covered by a blind. In front of it a table stands; a mug on this has coffee dregs in; beside the mug, two empty eggshells sit in blue cups, flanked by wooden spoons.

“My breakfast from yesterday,” Cécile says.

“You eat two eggs every day?” he asks.

“No,” she replies, undressing. “Just one.”

They don’t talk much—not beforehand, at any rate. Serge turns Cécile away from him, towards the blind, and kneels behind her on the bed, running his hand up and down her back. Her sounds are feline: quiet wails that lose themselves among the shadows on the wall. Afterwards, she lies on her back beneath him and he scours her stomach.

“You’ve had something blasted away here,” he says, prodding a spot beside her belly button.

“It was a mole,” she tells him. “I burnt it off.”

“You can see that,” Serge says. “The scorch marks are still there.”

He looks across the floor beside the bed, and sees a book. He reaches down and picks it up: selected poetry of Friedrich Hölderlin, in German.

“A friend left it for me last year,” she explains. “An officer.”

“A German officer?”

She shrugs. “They were here first.”

After she falls asleep, he reads it for a while, then sets it down and drifts off watching gnats hovering beneath the ceiling just beyond the bed’s foot. The gnats travel in straight lines towards each other, then separate, each gliding to the spot another occupied seconds ago, before repeating the procedure, again and again …

There are insects forming patterns outside Battery M as well—only these ones aren’t moving. Corps HQ issues a directive that observers should pay a visit to at least one of the batteries with which they work, in order to foment a better understanding between air- and ground-based ends of Artillery Ops. Packed off to M by Walpond-Skinner, Serge finds a cratered moonscape. Rising from its surface like the mast of an interplanetary Marconi station is a fifty-foot pylon held by four guide-ropes. Its copper-gauze earth mat sits across a sheet of hessian on which thousands of dead moths, bees, butterflies and dragonflies lie, their bodies forming contours, swirls and eddies against its surface.

“Poison gas,” the operator explains when he notices Serge looking at them. “The hessian keeps it out—enough to stop it killing us, but not enough to stop us all getting catarrhs.”

“Where’s the receiver?” Serge asks.

“Down here,” the man answers, holding up the sheet for Serge to duck beneath it through the entrance to a kind of burrow.

“You’re listening to my sigs
beneath
the ground?”

“You wouldn’t have an audience for long if we stayed over it,” the man tells him. “The German kite-balloons pick our flashes up once we start firing, range their batteries on us. Here’s what we’ve got.”

Leaning against one of the burrow’s earth-walls, sitting on a wooden table, is a small Mark 4 receiver.

“Pelican crystals?” Serge asks.

“Two,” the operator says. “And two dials: aerial condenser and signal. We have to keep the first one turning constantly; then once we’ve caught your clicks, we crank the condenser up to max. Makes our ears bleed.”