C (36 page)

He finds her busily transcribing lines of text from the coffins into one of her ledgers. The lines run in strips, like flypaper or film, each frame a single picture: bird, scythe, foot, ankh, eye, a pair of hands …

“What does it say?” he asks, peering over her shoulder.

“They’re spells, for executing functions: opening the mouth so the deceased can eat, warding off crocodiles who want to devour his heart, things like that. All surfaces had these things written on them: amulets, masks, even bandages.”

On the page facing the one onto which she’s copying the strips are tables noting where these strips have come from:
outer coffin, right … outer coffin, left … ditto, foot … head … inner coffin, right … inner coffin, left … ditto, foot …
Below this, there’s a register of objects, with columns for
grave, body, vases, coffin, beads
. The entries in this read like doctors’ notes:
cut-up body … copper borer in bone … XLIII, 2 rolls of bandage … linen over left leg, head on box … linen … lion scarab … jasper scarab … linen … linen … linen …

“You found bodies, then?” he asks.

“Mainly loose bones: these are everywhere, hundreds of them. Most of the intact bodies have been plundered or removed by expeditions. Royal and noble tombs get cleared out early on, due to the value of the objects in them. Middle-class ones are better: they tend to get passed over, and so end up less contaminated. I prefer them anyway.”

“Why?”

“They’re more interesting, more varied. From the Fourth Dynasty onwards, with the downsizing of the pharaohs’ tombs, pools of skilled craftsmen were available to decorate the private monuments of anyone who could afford it …”

She’s streaming information again—but the languor’s gone, and the excitement’s back. It excites Serge as well: not only what she’s saying but how she’s saying it, its strip-procession from her. He looks at her mouth. Its lips, coated by dust, are brown. Watching them move, he has the strange sensation that he’s closing in on something: not just her, or information, but what lies
behind
these … Laura senses his excitement: her lips pinken beneath their dust-coat and quicken their pace:

“The decorators—artists, scribes—had greater freedom, more leeway to mix and match old texts, thereby creating new ones. A greater choice of subject matter, too. Look at this stele over here.”

She leads him to a large, flat slab propped up against the wall. On it, a coloured vignette shows a man seated, in profile, at a table piled high with food. At his feet a dog lounges; musicians, acrobats and dancers entertain him; beneath him servants and craftsmen labour—bakers, perhaps, retrieving loaves from ovens, or perhaps carpenters sawing at waist-high beams, masons chipping and hammering at stone or butchers hacking away at meat; around them, further from the picture’s central hearth, men work the fields and fish the marshes. All these figures—entertainers, tradesmen, farmers, pet—are drawn, like the main character, in profile. They interact with one another, and seem to be exchanging words—but in a silent, gestural language only.

“It’s beautiful,” says Serge.

“The colours?”

“No: the flatness.”

“It’s the autobiography of one of the people buried in the complex,” she tells him. “His life, the characters in it, the world around them. Literature in its infancy. Here the scribe has put himself in, in the bottom corner. See that figure writing?”

“Yes,” Serge answers. “What did you call this?”

“A stele. We found it just over here.”

Pinching his sleeve again, she leads him through the doorway that she wouldn’t let him go through earlier and, crouching down beside a large, square gap in the new chamber’s wall through which a small, plastic-coated wire runs downwards into darkness, tells him:

“Stelae were placed one level up from the grave proper, as a kind of visual portal to it. They carried pictures of the deceased’s old life to the underworld, and conveyed back up from there ones of the new life he was living—which, of course, was a better, more refined version of the old one.”

“Two-way Crookes tubes,” Serge murmurs; “death around the world.”

“What?”

“Nothing. Where’s the grave itself, then?”

“Down here,” she says—and, like a rat, she’s disappearing through the hole. She lowers herself feet-first, taking hold of Serge’s arm to steady her descent. When she lets go, he climbs in too, and makes his way down a long, slanting shaft into whose lower surface footholds have been cut. The sides are moist, oily; the wire runs all the way down, unsecured. When Serge emerges from the bottom into a large room illuminated by electric lamps, he sees that it’s the wire that’s powering these; also, that his hands are blackened.

“Bitumen,” says Laura, holding her black hands up too. “I hope you brought a change of clothes.”

He looks around. The numbered markers that he saw in the photographs are still here, standing beside vacant spots. Others guard objects that haven’t yet been hoisted to the upper chamber: alabaster dishes, copper pans, fragments of broken pottery.

“Don’t move anything,” she tells him.

“What are those?” he asks, pointing to three ebony statuettes.

“They’re figures for the
ka
—the soul—to dwell in.”

“They look like the same person, done in different sizes.”

“They are: if one gets broken, the
ka
moves on to another; plus, they show the dead man in three periods of life—childhood, youth, age—so that he himself can relive all three, enjoying them simultaneously.”

“And what’s through there?” he asks her, nodding at another slab-shaped gap.

“Another chamber that we haven’t processed yet. You want to see?”

“Yes,” he says.

She picks up a zinc-carbon flashlight and disappears, rat-like again, into the new hole. This one leads to another downward-slanting shaft. He helps her steady herself, then follows her again. There’s no electricity in this shaft, nor in the chamber onto which it opens. Laura’s flashlight picks out random objects: more broken pottery, parts of a coffin, a tea-box with
Lipton
written on it …

“We’ll do this tomb after we’ve cleared the one above,” she says.

“Look: it goes on further!” Serge gasps, catching sight of yet another opening in the wall. The excitement’s spreading in him, spurred on by the darkness, or the depth, or both.

“They all do: they continue endlessly. Which way do you want to go?”

She jumps her light from one wall to the next; each has a hole in it. Serge looks at one after another, then announces:

“This way.”

They descend a little further, then the shaft turns sharply up. They climb it, then descend again. Sometimes the shaft runs flat. It feels like a sewer: slippery, with sides the texture of molasses. It smells like one too.

“Bat-dung,” she tells him, holding his hand for balance.

“This one’s a bordello,” he says as the corridor opens up onto another chamber. Several coffins lie about here, overturned and empty; all around them are smashed pots and shreds of linen. An old metal lamp lies on the floor beside a pile of rubble.

“Looks like the one above has fallen into it,” says Laura.

They press on, through chambers neither Falkiner and Laura nor, in most probability, anyone else will ever process, treading constantly over linen and ceramic fragments. Bones too: Serge steps on what feel like knee-joints, knuckles, shin-bones. Sometimes the corridor becomes so shallow that they have to crawl, dragging themselves forwards against whatever pitch-coated surfaces present themselves to their touch. Everything’s written on: pottery, bandages, even the walls themselves. At one point, out of breath, they rest, still on their knees, inside a chamber so cluttered with piled-up objects that it makes the previous ones look like neatly kept households.

“Whose tomb is this?” Serge asks after a while.

“Who knows?” she says, pointing the light around. “It looks like twenty people’s all collapsed together. Here’s another stele.”

This one, or what remains of it, shows two central figures, one male and one female, seated one behind the other, the woman whispering something into the man’s ear.

“ ‘Ra-something, master of…’ ”
reads Laura, narrowing her eyes;
“ ‘his sister, his beloved, in his heart … words spoken by … do not…’ ”

“There’s that scarab-god again,” says Serge, pointing his finger at the image, just below the seated couple, of a man kneeling, arms raised, before a giant beetle mounted on a catafalque or platform.

“ ‘… my heart of transformations,’ ”
she continues reading,
“ ‘who comes forth … who came forth from himself…’ ”

Her forehead’s got black stains all over it. Her cheek too. Serge moves round behind her and, kneeling upright like her, watches as her flashlight moves across the stone, bringing its images and inscriptions into view, as though the metal object were itself projecting them.

“ ‘Meret-something,’ ”
she reads slowly,
“ ‘she who loves … who loves silence … he who is … who dies … who rests upon … upon his …’ ”

Her breath’s getting shorter and shorter. So is his. Serge knows, and knows that Laura knows, and that she knows he knows, that it’s not the lack of air that’s causing it, nor the fragmentary nature of the inscriptions she’s reading: he can smell, above the dung and bitumen, excitement emanating from her flesh too. His chest is almost touching her back. He leans slightly forwards, and makes contact. She tenses, then tilts her head back, towards his face; her lips continue moving in short bursts, but no more words come from them. He kisses her neck; she wraps her hand around his head, and pulls it down across her shoulders. He starts taking off her clothes, then his. Peeling away his sock, he’s aware of a small tickling sensation on his ankle. Then he’s in her, his hands sliding down her back while hers grab hold of debris, bitumen and bones. His knee slips on some object, whether organic or not he can’t tell; then his hands, too, fall to the floor and find there other hands, not only hers. It feels like an orgy: as though the two of them, their bodies, had become multiplied into a mass of limbs, discarded wrappings and excreta of a thousand couplings, a thousand deaths. She drops the flashlight at some point; it flickers against the wall, then, just before their final gasps spill out and echo round the rooms and corridors, goes off. They crawl around on hands and knees afterwards feeling for it, for their clothes, each other …

Somehow, they manage to find their way back up to the surface. Laura stays in her chamber; Serge steps out into the daylight. He climbs to the spot he surveyed the landscape from earlier, and looks down on the site again. For some reason, he recalls Pollard’s warning about fake antiquities, and the mad thought flashes through his mind that this whole cemetery might somehow be artificial, phoney as a dud 10-piastre coin. His ankle’s itching. His clothes are smeared with black. Looking out across the wider landscape’s ridges and plateaus again, he takes his notebook out once more and writes in it:
Here as good a place as any
. Before closing it again, he crosses the word
Arenow
out and writes, in its place,
Am not
.

iii

The journey back to Cairo takes much less time: they’re travelling with the flow. The river seems more concrete now, a moving belt that carries the
Ani
instead of shunting it. Now that it’s no longer rushing past him, Serge can see the individual silt clusters floating in the water’s mass; huge clods as well sometimes, being flushed downstream as though the land were voiding itself with a giant, continental enema. He’s alone with the crew now, the sole European. Fragments of his earlier conversations with the others play across his mind as the
dahabia
passes landmarks he vaguely recognises from the outward voyage—but, since he’s moving in the wrong direction, these fragments play themselves out backwards, words and gestures scrambled through reversal. Serge scratches his continually itching ankle as he tries to reconstruct their phrases from the plash and creak, their positions and movements from angles of the boom and tiller or the sunlight on the water …

Boulaq, when they arrive there, seems reversed too somehow, not quite right: as though, in approaching it from the wrong side, they’d turned its quayside, warehouses and tugs into negatives of themselves. Pollard, who meets Serge off the boat, also seems wrong.

“Didn’t your parting go on the other side?” Serge asks, looking at his hair.

“My what? Not got your land-legs yet?”

Serge is stumbling, his left arm lowered right down to his ankle, which he’s scratching violently now, digging his nails in, drawing blood. This isn’t the only reason he’s stumbling: he feels dazed and disoriented, as though seasick, although he senses that it’s something deeper than seasickness that’s making him feel this way. Pollard’s talking on and on, assailing him with information that doesn’t make much sense, as though its logic were reversed as well:

“… might opt for the direct transmission system … still to be decided … general feeling you’ve done excellently though … Macauley asked me to pass on …”

“How does he know how well I’ve done? I haven’t reported back yet.”

“… leave brought forwards … back to Blighty and all that … Port Said tomorrow … report can be completed in your own time …”

“My leave?” asks Serge.

Pollard nods.

“But it wasn’t due for …”

Pollard starts explaining something, but Serge can’t listen properly: the movement of the taxi into which his colleague’s bundled him is disorienting him further. They head straight for his apartment, where he finds his trunk already packed. He spends a fitful, sweaty night there, then is picked up in the morning and put on a train to Port Said.

“You’ve got a nasty cysthair,” says the man sharing his compartment as Serge scratches at his now much-inflamed ankle.

“A nasty what?” asks Serge.

“A nasty cyst, there,” the man repeats, more slowly. “Ought to get it looked at.”

Serge looks at the man instead.

“You’re an optician, right?” he asks him.

“Not at all,” the other answers guardedly. He begins to tell Serge what it is he does, but Serge ignores the content of his speech, trying all the while to place his accent. That he can’t do so isn’t due to any sociological failing on his part, but rather to a growing acoustic strangeness overtaking him: all dialogues and tones have sounded foreign since he left the
Ani
, as though his aural apparatus had been thrown off-kilter by the land’s vibrations. Port Said assaults his ears when he arrives: porters and lemonade-sellers haggling for custom, ships’ representatives calling out the names of liners as they round up passengers, water-busses sounding their horns as they ply the harbour. Serge is escorted, by somebody or other, to the Island and Far East Line’s
Borromeo
, on whose deck a gaggle of tourists, businessmen and civil servants argue in cacophony with stewards over hold and cabin baggage, cabin size and cabin allocation. One lady is repeatedly complaining at being given the wrong one. Serge, surrendering both his cases, is led to his own, where he immediately lies down, passing the next few hours in a state between waking and sleep. At some point the
Borromeo
’s engines start up, and the whole room begins to shake. A little later, the huge ship starts moving. Dragging himself from his berth, Serge steps out on deck to watch the land dwindle away. The city’s lights appear to flicker on and off, as though signalling, Pharos-like, across the water. The ship’s wake runs backwards like an inverted vapour trail, its parallels nearing each other as their distance from the stern increases. He wonders if they converge at some point—at the horizon, wherever that is, or perhaps just beyond it. Conversations are taking place around him: someone, leaning on the railings, is pronouncing the “Said” of the disappearing city’s name “said,” as in “he said, she said …”

Supper is called, but Serge skips it. Lying on his berth, sweating, he becomes aware of his own body in a way in which he hasn’t been since adolescence. His limbs are heavy, gangly; they don’t seem like part of him—at least not parts that fall beneath his mind’s control, but ones jolted and twitched instead by some manipulating hand located elsewhere. The engine noise sounds in his chest. It seems to carry conversations from other parts of the vessel: the deck, perhaps, or possibly the dining room, or maybe even those of its past passengers, still humming through its metal girders, resonating in the enclosed air of its corridors and cabins, shafts and vents. Their cadences rise and fall with the ship’s motion, with such synchronicity that it seems to Serge that he’s rising and falling not so much above the ocean per se as on and into
them:
the cadences themselves, their peaks and troughs …

When he falls properly asleep, he dreams of insects moving around a chessboard that may or may not be the sea. At times it seems more like a gridded carpet than a chessboard. The insects stagger about ponderously, stupidly, reacting with aggression towards other insects when these cross their paths: rearing up, waving their tentacles threateningly as antennae quiver and contract, and so on. Despite the unintelligent, blind nature of the creatures’ movement, there’s a will at work behind them, calculating and announcing moves, dictating their trajectories across the board. The presence of this will gives the whole scene an air of ritual. Above the board a voice intones, with a rhythm as steady as a galley drummer’s beat,
“K4, K4, K4 …”
After a while the woven mesh of sea turns into desert: an enormous stretch of it, all parched and cracked, across which figures stumble—multitudes of them, whole armies, linked up hand-in-hand, wave after wave, heading towards a demarcated compound. Falkiner’s inside the compound, fiddling with an urn, his station-marked geometries forming the supporting struts and girders of some kind of sandbox …

Serge wakes up briefly. His berth’s drenched in sweat. Looking around the cabin, he sees nothing special: just a cupboard and a chair, his untouched trunk. The single porthole gives onto a night that’s lit up by a full, bright moon. The sky’s a kind of silvery-black—an odd combination that, again, gives him the sense of having pitched up in a photographic negative. Turning away from the reversed image, he falls straight back into a lucid dream, once more of insects—only this time, all the insects have combined into a single, giant one from whose perspective, and from within whose body, he surveys this new dream’s landscape. In effect, he
is
the insect. His gangly, mutinous limbs have grown into long feelers that jab and scrape at the air. What’s more, the air presents back to these feelers surfaces with which contact is to be made, ones that
solicit
contact: plates, sockets, holes. As parts of him alight on and plug into these, space itself starts to jolt and crackle into action, and Serge finds himself connected to everywhere, to all imaginable places. Signals hurtle through the sky, through time, like particles or flecks of matter, visible and solid. Each of his feelers has now found its corresponding touch-point, and the overall shape formed by this coupling, its architecture, has become apparent: it’s a giant, tentacular wireless set, an insect-radio mounted on a plinth or altar. Serge is the votary kneeling down before it, arms stretched out to touch it; he’s also the set itself—he’s
both
. Twitching and shifting in his sleep, he fiddles with himself, nudging his way through the dial—and picks up, through the background thrum and general clutter of the conversations taking place all over, particular voices coming from some station that’s located in a cabin close at hand: one neighbouring his own, or two away, or possibly lying one deck above or below his and then one cabin along. They’re special voices, saying
important things
. There’s music coming from this nearby cabin-station too, but Serge can’t quite hear its melody: it, like the special voices’ words, is just beyond the range of hearing. He can tell, though, from the rhythm, the solemnity and grandeur of both words and music, that they form part of a ceremony of such splendour and magnificence that, to it, the ritualised game of chess he witnessed earlier bore the same relation as a canapé does to a banquet, a prelude to a symphony or a quick sketch to a fully executed masterpiece in oil: the ceremony is the climax of the process he’s embarked upon, the main event.

“That’s the place to be,” he says aloud—and, in doing so, wakes himself up. It’s morning. The engine noise is still going. The ship’s rising and falling as before. He feels slightly better; climbing from his berth, he digs a dressing gown out of his trunk and, slipping it on, makes his way to the
Borromeo’s
baths. These are located near the ship’s stern: two rows of wooden shacks each of which opens straight onto the deck. There’s a queue to use them. Men read papers and nod at one another gruffly as they wait. Women queue on the far side. A young, honeymooning couple wave to one another from their segregated spots; the lady who was complaining earlier looks out to sea indignantly, clasping her towelling robe tightly around her shoulders. Crewmen change the water between bathers, sloshing from buckets as they swing these across the deck. The bath itself is filled with hot sea-water, cooked in the ship’s bowels and piped in through a tap; what the staff are replacing is the bowl of fresh water that rests above this on a shelf. Both have traces of engine oil in them. Stretched out in the tub when it’s his turn, Serge watches the petroleum and coal-tar swirl and coalesce across the water’s surface; then he shifts his gaze down to his ankle, which is suppurating.
Flesh-eating
, Laura told him: lying on his back quite still, ignoring the impatient tapping on the door, he pictures himself as a dead man in a sarcophagus, swathed in spells and imprecations, heart replaced with secret writing and censorious seals. The soap has a logo embossed on its surface; it has tar on it as well. Serge feels more dirty after he’s washed than before, as though his labours, like those of a dung-beetle, had soiled rather than purified him.

Breakfast consists of blocks of bacon, fried bread, black pudding and mushrooms. They all look the same: dark lumps of matter. They taste the same as well, all giving off the flavour that, in vapour form, pervades the whole ship: a compound of decayed funguses, hot engine oil and onions. The indignant lady’s at it again, complaining to the stewards that she hasn’t been allotted the right table. The stewards try to relocate her, concocting a story about mixed-up or badly copied seating manifests, which they attempt to sell, with profuse apologies, to the family at the table the complainer covets. These people grudgingly move, although not to the complainer’s table, which is too small to accommodate them: they’re re-seated at a third one, which necessitates a new eviction, a new relocation. Pushing his plate away half-eaten, Serge leaves the dining room and skirts a game of deck quoits being played outside. Pausing for a while, he stares at the patterned markings and the poles rising above them; then, feeling fever taking hold of him once more, heads back to his cabin.

Lying on his berth, he sweats. The sweat, mixing with the tar-deposit left on his skin from his bath, turns black. That’s what he thinks is happening, at least: it’s possible that the sweat came out of him black in the first place.
Mela chole:
he hears, amidst the engine’s rumble and the room’s higher-pitched rattling, Dr. Filip’s thin, electric voice talking about black meat. He hears a lot of things: chants of the Versoie Day School children as they reel off their pronunciation exercises, footsteps marching along country roads, the whirr and clack of film projectors or motorised curtains. It seems that these are welling upwards, from the bottom of the sea—and that the sea itself is black, oily and dense. Closing his eyes, he pictures it as shellac, and the
Borromeo’s
prow as a gramophone needle, bobbing as it rides the contours of a disc. After a while, the image grows so strong in his mind that he becomes convinced that there’s a Berliner just outside his cabin: one deposited by someone, for some reason, in the corridor beside his door. He can clearly hear it playing, repeating variations of the same phrase:

Inking the centre
Inking the centre of the country
Inking the centre of

These words loop a few times, then give over to a single syllable, repeated:

kod, kod, kod, kod …

—a word, or non-word, that itself eventually mutates, changing its provenance and status until it finally resolves itself as a knocking on the cabin’s door.

“Who is it?” Serge calls out, or thinks he does.

“Thod, thod, thod, thod …”
a voice calls back. The door swings open, and a steward enters.

“Bodner?” Serge asks.

The steward says something, but it doesn’t make much sense. His voice trips over itself, stuttering.

“Bring the Berlin inner,” Serge says. “In, I mean.”

“The what’s the what, sir?” the steward enquires, holding some kind of clipboard in his hand.

“The ink set,” Serge replies.

The steward momentarily retreats, returning behind a trolley on whose tray large, black machine parts lie. The parts, while different shapes and sizes, have a uniform look: Serge can tell that they all belong to a single, larger contraption. The steward runs his finger down his clipboard’s columns until he finds the entry that he’s looking for and, tapping his fingertip twice against the spot where the pertinent paragraph commences, tells Serge: