Little, Big (46 page)

He was gone out of sight on his bike by the time she got out the front door. She called again, going down the porch stairs; and then noticed that she was outdoors, for the first time that day, and that the air was clear and tangy and large, and that she was aimless. She looked around herself. She could just see, extending beyond the corner of the house, a bit of the walled garden around the other side. On the stone ornament at its corner a crow was perched. It looked at her looking around herself—she couldn't remember ever having seen one so close to the house before, they were fearless but wary—and flopped from its perch, and flapped with heavy wings away over the park.
Cras, cras
: that's what Smoky said crows say in Latin.
Cras, cras
: "tomorrow, tomorrow."

She walked around the walled garden. Its little arched door stood ajar, inviting her in, but she didn't go in. She went around to the funny little walk bordered by hydrangeas that had once been in training to be ornamental shrubs, tall and orderly and cabbage-headed, but which had declined over the years into mere hydrangeas, and smothered the walk they were supposed to border, and obscured the view they were supposed to exhibit: two Doric pillars, leading to the path that went up the Hill. Still aimless, Alice walked along that walk (brushing from the last hydrangea blossoms a shower of papery petals like faded confetti) and started up the Hill.

Auberon circled back along the road that ran around Edgewood's guardian stone wall, and at a certain point, dismounted. He climbed the wall (a fallen tree there and a weedy hummock on the other side made a stile) and hauled his bike over, wheeled it through the rustling gilded beechwood to the path, mounted again, and, glancing behind him, rode to the Summer House. He concealed the bike in the shed old Auberon had built.

The Summer House, warmed by September sun poured in through its big windows, was still and dusty. On the table where once his diary and spying equipment had lain, and where later he had sorted through Auberon's pictures, there lay now a mass of scribbled-over papers, the sixth volume of Gregorovius's Medieval Rome, a few other large books, and a map of Europe.

Auberon studied the top sheet, which he had written the day before:

The scene is in the Emperor's tent outside Iconium. The Emperor is seated alone in an X-kind of chair. His sword is across his knees. He is wearing his armor but some of it has been taken off, and a servant is slowly polishing it, and sometimes he looks at the Emperor, but the emperor just looks straight ahead and doesn't notice him. The emperor looks tired.

He considered this, and then mentally crossed out the last sentence. Tired wasn't what he meant at all. Anybody can look tired. The Emperor Frederick Barbarossa on the eve of his last battle looked . . . well, what? Auberon uncapped his pen, thought, and recapped it again.

His play or screenplay (it might end up either, or be transmogrified into a novel) about the Emperor Frederick Barbarossa had in it Saracens and papal armies, Sicilian guerillas and potent paladins and princesses too. A congeries of romantic place-names where battles were fought by mobs of romantic personages. But what Auberon loved in these doings wasn't anything that could be called romantic. In fact all that he wrote was only to bring forth that figure, that single figure on a chair: a figure seen in a moment of repose snatched between two desperate actions, exhausted after victory or defeat, hard clothes stained with war and wear. Above all it was a gaze: a calm, appraising look, without illusions, the look of someone coming to see that the odds against a course of action were insurmountable but the pressures to execute it irresistible. He was indifferent to the weather around him, and as Auberon described it, it was like him: harsh, indifferent, without warmth. His landscape was empty, save for a far tower with an aspect like his own, and perhaps a distant muffled rider bearing news.

Auberon had a name for all this: Glory. If it wasn't what was meant by Glory, he didn't care. His plot—who was to be master, that's all—didn't really much interest him; he was never able to grasp just what the Pope and Barbarossa were arguing about anyway. If someone had asked him (but no one would, his project had been begun in secrecy and years later would be burned in secrecy) what it was that had drawn him to this particular emperor, he wouldn't have been able to say. A harsh ring in the name. The picture of him old, mounted, armed, on his last futile crusade (all crusades were futile to young Auberon). And then swept away by chance in that armor under the waters of a nameless Armenian river when his charger shied in the middle of the ford. Glory.

"The Emperor doesn't look tired exactly, but . . ."

He marked this out too, angrily, and recapped his pen again. His huge ambition to delineate seemed suddenly insupportable, as though he might weep that he had to bear it alone.

I just hope you don't creep back into your shell.

But he had worked so hard to make that shell look just like him. He thought everyone had been fooled, and they hadn't been.

Dust swam in the sunlight still being cast into weighty blocks by the windows of the Summer House, but the place was growing chilly. Auberon put his pen away. Behind him on the shelves, old Auberon's boxes and portfolios stared at the back of his head. Would it always be so? Always a shell, always secrets? For his own secrets seemed likely to separate him from the rest of them as surely as any secret they had kept from him could have. And all he wanted was to be the Barbarossa he imagined: without illusions, without confusions, without shameful secrets: ferocious sometimes, embittered maybe, but all of a piece from breast to back.

He shivered. What had become of his jacket, anyway?

His mother was drawing it over her shoulders as she climbed the hill, thinking: Who plays baseball in weather like this? Young maples along the path, surrendering early, had already flamed beside still-green sisters and brothers. Wasn't this football or soccer weather? An extrovert, she thought, and smiled and shook her head: the glad hand, the easy smile. Oh dear . . . Since her children had stopped growing up quite so fast, the seasons had started going by Daily Alice faster: once, her children were different people in spring and fall, so much learning and sensing and laughing and weeping were packed into their age-long summers. She had hardly noticed that this fall had come. Maybe because she had only one child now to be readied ftr school. One and Smoky. Practically dutiless on autumn mornings with only one lunch to make, one sleepy body to chivvy from bath to breakfast, one bookstrap and one pair of boots to find.

And yet, as she went up the Hill, she felt huge duties calling to her.

She reached the stone table at the peak of the Hill, a little out of breath, and sat on the stone bench by it. Beneath it—a sorry mess, decayed and autumnal-looking—she glimpsed the pretty straw hat that Lucy had lost in June and mourned all summer. Seeing it, she felt sharply her children's fragility, their danger, their helplessness before loss, before pain, before ignorance. She named them in order in her mind: Tacey, Lily, Lucy, Auberon. They rang like bells of different pitch, some truer than others, but all answering her pull: they were fine, really, all four, just as she always told Mrs. Wolf or Marge Juniper or whoever else inquired after them: "They're fine." No: the duties she felt calling her (and she felt them more intensely now, seated in the sunlight above a wide landscape) didn't have to do with them, or with Smoky either. They had, Somehow, to do with that path upward, and this windy hill-top, and that sky raddled with fast-moving, pigeon-feather gray-and-white cloud, and this young autumn full (as every autumn so strangely is) of hope and expectation.

The feeling was intense, as though she were being drawn in or swept away; she sat motionless in its grip, marveling and a little frightened, expecting it to pass in a moment, like sensations of
deja vu
. But it didn't pass.

"What?" she said to the day. "What is it?"

Mute, the day couldn't answer: but it seemed to gesture to her, to tug at her familiarly, as though it had mistaken her for someone else. It seemed, and it would not stop seeming, just about to turn all at once to face in her direction, having heard her voice—as though she had all this time been looking at the wrong or back side of it (and of everything, always) and was now about to see it plain, as it really was: and it she, too: and still it couldn't speak.

"Oh, what," Daily Alice said, not knowing she spoke. She felt that she was dissolving helplessly into what she beheld, and at the same time had grown imperious enough to command it in every part; light enough to fly; yet so heavy that not the stone bench but the whole stone hill was her seat; awed, yet for some reason not surprised as she came to know what was being asked of her, what she was summoned to.

"No," she said in reply; "no," she said, softly, as she might have to a child who had by mistake taken hold of her hand or the skirt of her dress, thinking her its mother, turning up to her, inquiringly, its wondering face. "No."

"Turn away," she said, and the day did.

"Not yet," she said, and rang the bells of her children's names again. Tacey Lily Lucy Auberon. Smoky. Too much, too much yet to do; and yet there would come a time when, no matter how much was left to do, no matter how her daily duties had grown or shrunk away, a time when she could no longer refuse. She wasn't unwilling, or afraid, though she thought that when the time came she would be afraid, and yet could not refuse. . . . Astonishing, astonishing that there could be no end to growing bigger, she had thought years ago that she had grown so huge that she could grow no more, and yet she hadn't even begun. But: "Not yet, not yet," she said, as the day turned away; "not yet, there's too much to do still; please, not yet."

The Black Crow (or someone like him), far off invisible through the turning trees, called its call, heading home.

Cras
.
Cras
.

Wild above rule or art, enormous bliss.

—Milton

What Smoky liked about his girls' growing up was that, though they moved away from him, they did so (it seemed to him) less from any distaste or boredom than simply to accommodate a growth in their own lives: when they were kids, their lives and concerns—Tacey's rabbits and music, Lily's bird's-nests and boy-friends, Lucy's bewilderments—could all fit within the compass of his life, which was then replete; and then as they grew up and out, they no longer fit, they needed room, their concerns multiplied, lovers and then children had to be fitted in, he could no longer contain them unless he expanded too, and so he did, and so his own life got larger as theirs did, and he felt them to be no further from him than ever, and he liked that. What he didn't like about their growing up was the same thing: that it forced him to grow, to enlarge, sometimes beyond what he felt the character he had come over the years to be encased in could stand.

There had been one great advantage in having grown up anonymous when he had come to have children: for they could make out of him what they wanted, could think him kindly or strict, evasive or frank, jolly or glum, as their own tempers required. That was great, great to be Universal Father, nothing withheld from him, he bet (though he had no way to prove it) that his daughters had told him more of their secrets, grave, shameful, or hilarious, than most men's did. But there were limits even to his flexibility, he couldn't as time went on stretch as much as he had once done, he found himself less and less able to ignore it when his character, growing ever more lobsterlike and unsheddable, disapproved of or could not understand the Young.

Perhaps it was chiefly that which had come between him and his youngest child, his son Auberon. Certainly the commonest emotions Smoky remembered feeling about the boy were a sort of baffled irritation, and a sadness over the mysterious gulf that seemed fixed between them. Whenever he got up the nerve to try to learn what was with his son, Auberon had produced a complex and wellpracticed secretiveness that Smoky was helpless and even bored before; when Auberon had come to him, on the other hand, Smoky had seemed unable not to retreat into a bluff, know-nothing, standard-issue parent costume, and Auberon would too quickly retire. And it had grown not better but worse as the years went by, until at last Smoky, with outward head-shaking and reluctance, and inward relief, had seen him off on his strange quest to the City.

Maybe if they'd played ball more. Just gone out, son and dad, and tossed the old pill around on a summer afternoon. Auberon had always liked to play ball, Smoky knew, though he himself had never been either good at it or happy doing it.

He laughed at the insufficiency of this reverie. Just the sort of thing his character might suggest, in the face of his children's inexplicability. Maybe, though, it had occurred to him because he sensed that some common touch, some ordinary gesture, might have crossed over what lay between him and his son; if there were something as wide that lay between him and his daughters, he had never noticed it, but of course it might well be there, disguised in the daily strangenesses of growing up today with a father who had grown up yesterday, or even the day before that.

None of his daughters had married, or seemed likely to, though he had now two grandchildren, Lily's twins, and Tacey seemed ready to bear a child by Tony Buck. Smoky held no particular brief for marriage, though he couldn't imagine life without his own, odd as it had proved to be; and as for fidelity, he had no right to speak at all. But he did find it distressing to think that his offspring would be more or less nameless, and that if this kept up might one day be describable only as race-horses are, by so-and-so out of soand-so. And he couldn't help thinking that there was something embarrassingly obvious in the couplings of his daughters with their lovers, a shamelessness that marriage would have decently hid. Or rather his character thought so. Smoky himself mostly cheered their daring, their bravery, and wasn't ashamed to admire their sexuality as he had always admired their beauty. Big girls now, after all. But still . . . well, he hoped they could ignore it when his character made noises, or caused him, for instance, to decline to visit Tacey and what's-his-name when they were living together in a cave. A cave! His children seemed bent on recapitulating in their own lives the whole history of the race. Lucy gathered herbs for simples and Lucy read the stars and hung coral around her babies' necks to ward off evil; Auberon with a knapsack set out to seek his fortune. And in her cave Tacey discovered fire. Just when the supply of electricity in the world seemed to be running out for good, too. Thinking of which, he listened to the clock chime the quarter hour, and wondered if he should go down and shut down the generator.