Oscar and Lucinda (16 page)

"Perhaps I am simple," said Oscar stubbornly, "but I should like to take responsibility for my own bills. I would wish you to worry no longer."

"Your father is paying."

"I swear to you he is not," said Oscar who was due to leave for Epsom in fifteen minutes. Wardley-Fish's binoculars sat on the ledge

in1?

Ascension Day beside the breakfast table, but they were of even less consequence than a suitcase.

"Then how," the clergyman hissed, "are you paying?" Oscar felt obliged to tell the truth, was about to do so, but then he thought: He will take the gossip back to Hennacombe and use it against my papa in some way.

"You are up to no good," said Hugh Stratton. "For all I know you are a member of a betting ring. There was one in my time, three Hons too, and they were all of them sent down. You must promise me you would never be involved in such a thing. I am raising money for my little church's restoration in Oxford. I cannot have my name

brought low."

"My dear patron," said Oscar, allowing himself to touch Mr Stratton on his rigid shoulder, "there is no need for such a promise."

There were heavy steps upon the stair. Oscar thought: It is Fish. But the steps passed on. It was not Fish.

"No need," said Oscar, "at all."

Hugh Stratton narrowed his eyes and stared fiercely at his protégé. If Oscar had not known him he would have imagined himself hated, but in a moment the gaunt face became loose and floppy and a small pink tongue came out to dampen the dry white corners of the mouth.

"You are a good boy, Oscar," he said. "You must not think that I imagine otherwise." vi•,. :.-., vvy ;.•,.*' . ;."-x^ ^ •:..-•••'.•:•.• ••-<.',~ •;."•

31

Ascension Day

•V

There was something wrong with Lucinda's dress. She did not know what it was, but it attracted attention. She had no confidence in the stupid fashion which bespoke mincing and vapidity. But her own judgement was of no use in the matter and she had purchased in accordance with the preferences of Chas Ahearn and his lavender-water

im

Oscar and Lucinda

wife. Even now, on the day of departure, they would not let her be but shepherded her, the one huffing and blowing, the other wobbling on her ankles and complaining about the dangerous timbering on the wharf. People stared and she assumed it was the dress. A larrikin threw a rock to fright her with its splash. She was in a fright anyway. She needed neither larrikins nor Ahearns to make it any worse. She had her inheritance, her parents' lives rendered down as whole sheep are rendered down to tallow, something living and breathing that has become reduced to a piece of paper, a bank draft she could cany in this silly beaded purse and which, in the words of Mrs Ahearn, would "have you married in a jiff, and to the best in all the colony, a judge, a governor, yes, indeed, I mean to say."

Mr Ahearn thought that wishing for a governor went too far. Mrs Ahearn thought not. Their excitement made them quite insensitive to the feelings of the young heiress whose eyes were slitted to contain her anger. How dare they. They would dress her up in silly frippery and never once think how her Papa and Mama had worried and fretted over every penny. This money did not belong to them, or to her either. The money was stolen from the land. The land was stolen from the blacks. She could not have it. It was thirty pieces of silver. She would give it to the church. Indeed, she tried. She made a written offer to the Baptist Church but the minister, instead of accepting, visited Mr Anglican Ahearn and together they conspired that she should keep it. And she wished to keep it. She was alone in the world, orphaned, unprotected. She trusted nothing so much as she trusted that money, which she wished, fiercely, passionately, to keep, even while she tried to give it away. There was no one she could talk to about her feelings. She was pinned and crippled by her loneliness. In the afternoons she lay in her bed. There was a spring coiled tight across her chest. She held her arms straight and rigid by her side, like a trap waiting to be triggered.

Lucinda Leplastrier was leaving Parramatta and going to Sydney. She was going against the most passionate advice, but she could not bear to be in Parramatta any more. Everyone wished to steer her this way and that, have her sit down, stand up, while all the time they smirked and thought her simple. She thought her simple. She thanked her God in heaven that she had money and was not at their mercy. And now there was this one final series of misunderstandings and she would be gone. Her crinoline cage bumped and swayed against the pressure of Mrs Ahearn's wobbly-ankled perambulations. Everyone encouraged her to see this crinoline as an

"improvement." She thought

irtA
^

Ascension Day

them ignorant. The impracticality of the garment made her angry. She also had a silly hat. No wonder they stared at her.

Mr Ahearn had it into his head that she should on no account travel down to Sydney with the
hoi
polloi
aboard the packet.
He
was one of those men who must always deliver you safely to his friend, his associate, his colleague. If you are going to Woop-Woop, he will know the bank manager of the Australasian or the dog-catcher or Jimmy Jones, the sergeant of police. As for Sydney, he was not quite so knowledgeable, but he had a letter of introduction to Petty's Hotel and to Mr James d'Abbs thé accountant-a funny little chap, but somehow a relation of his wife. And Miss Leplastrier certainly must not travel on the packet steamer, but with his good friend and trusted client, Sol Myer, who was taking nothing down to Sydney but cold white cauliflowers and would, in any case deliver her gratis to the Market Street Wharf where there were none of your predatory types you found at Semi-Circular Quay waiting to prey on foolish young ladies. The foolish young lady's face hurt from false smiling. It was Ascension Day and you could feel the winter lying like a snake along the water. Lucinda's hair had been spared the scissors for three months and now that it had grown to a length her custodians judged more ladylike, Mrs Ahearn had pulled it up tight on her head and secured it with pins and clips. But pins and clips would not work. They had never worked. Her hair was a sea of little snakes, each one struggling to insist on its freedom. She patted her prickling neck feeling as the first wisps of hair escaped. The pins were merely ineffectual, but the patented clips grabbed at her. They dragged and stretched the hair at the roots. Lucinda could not understand the logic: how one's hair must be grown long in order to be pulled up short. Her nose and cheeks felt far too prominent. She wished her hair released so it might stop her headache, so her features might be softened, but no, it was not allowed. She got, instead, the Garibaldi hat and Mr Ahearn's little joke-he pretended to be much amused by ladies' fashions-that it looked like a pimple on a pumpkin.

Lucinda, imagining the expression referred to her red cheeks, was mortified, but Mr Ahearn had liked the expression for its sound, not its verisimilitude-the hat was not too small, nor her cheeks too red. He was a silly puritanical man who wished to show that he cared for her, but had no proper way of doing it, and his attempts resembled his wife's wobbly walk-all that bumping and shoving when all he intended, as she did, was solicitude. It was already noon, late for a weekday market trip, but not for a

Oscar and Lucinda

Saturday when there was a night market in Sydney. The cauliflowers would
be
sold under gaslight. But there was no heat in the sun and the shadows of the ramshackle timber warehouse behind the little party seemed, to Lucinda, to be filled with the most hostile and uncaring cold. There was a smell of bad fish and a confusion of noises, steam whistles, human voices, the heavy thwack of river timber against wharf iron rings. There was a dinghy caught beneath the wharf and in danger of being sunk by the rise of the tide. There were boatmen calling for its removal, and others, in mid river, jockeying so they might take their turn at the busy wharf. Sol Myer was the subject of abuse for not shifting his boat on. There was now a rush to have Lucinda aboard. .. She hurt her ankle jumping down. There was no time-thank God-.> for tears, embraces (she thought of that cardiganed stomach-it was
"\ as
repulsive as a governor's) or recriminations about her actions. ]

She stood straight on the deck with her arms by her sides. ;.

Chas Ahearn could not see the expression on her face. When she ; saluted him, as formal as a sentry, he did not know how to take it, | A barge carrying a shining black donkey engine now blocked his view. ] It was a large engine and when the men gathered around it to effect its *

transfer to the wharf, he completely lost sight of her. In any case, it . was only a very small smile, and it is unlikely he would have seen it from that distance.

' ..""".' 32 U",.:,:;,/'

Prince Rupert's Drops

There was a small roofed section on Mr Myer's boat, but it seemed that this was more intended for the shelter of the engine than the driver and, in any case, it was decorated with so many oily cans and rags that she thought it better to pretend an affection for the bracing air beside the cauliflowers. A thin sheet of cloud began to materialize in the sky - the smoke from

Prince Rupert's Drops

burning hedgerows on farms along the banks - and it was soon so general that the river, in response, assumed a pearly yellow sheen. She had never been on a boat before. She had never been to Sydney. She sat on a rough packing case in the bow, her hands in her lap, shivering. Sol Myer, like all of Chas Ahearn's clients, knew the story of the tragedy. He saw the way she held herself-the straightness of the spine, the squareness of the shoulder. He had not missed the irony of her last salute, but he was most conscious of her dignity, of her solitariness -both qualities being emphasized by her small stature-and he felt, as he did not often with strangers, that he knew her.

He would like to give her something, a gift. It would give him pleasure. He imagined it, his face creasing. But he had nothing except cauliflowers, and these, look at her, she was stealing from him in any case.

She sat so straight, such a good back, such a proper back, a back you would trust in any crowd, and there was her hand-a different animal entirely-scuttling off down, a tiny crab with its friend the snake, gone stealing little florets of cauliflowers.

Sol Myer started giggling. You could not tell a story like this. A story like this you could only feel.

The river journey was picturesque, with so many pretty farms along its banks. Lucinda could not look at them without feeling angry. She looked straight ahead, shivering. It was cold, of course, but not only cold that caused this agitation. There was a jitteriness, a sort of stage fright about her future which was not totally unpleasant. She dramatized herself. And even while she felt real pain, real grief, real loneliness, she also looked at herself from what she imagined was Sol Myer's perspective, and then she was a heroine at the beginning of an adventure. She did not know that she was about to see the glassworks and that she would, within the month, have purchased them. And yet she would not have been surprised. This was within the range of her expectations, for whatever harm Elizabeth had done her daughter, she had given her this one substantial gift-that she did not expect anything small from her life. It would be easy to see this purchase-half her inheritance splurged on the first thing with a FOR

SALE sign tacked to it-as nothing more than the desire to unburden herself of all this money, and this may be partly true. But the opposite is true as well, i.e., she knew she would need the money to have any sort of freedom. It is better to think about the purchase as a piano manoeuvred up a staircase by ten different circumstances and you cannot say it was one or the other that finally got it there-even the weakest may have been indispensable at that

Oscar and Lucinda

tricky turn on the landing. But of all the shifting forces, there is this one burly factor, this strong and handsome beast, i.e., her previous experience of glass via the phenomenon known as
larmes
bataviques
or Prince Rupert's drops.

You need not ask me who is Prince Rupert or what is a
batavique
because I do not know. I have, though, right here beside me as I write (I hold it in the palm of my left hand while the right hand moves to and fro across the page) a Prince Rupert drop-a solid teardrop of glass no more than two inches from head to tail. And do not worry that this oddity, this rarity, was the basis for de la Bastie's technique for toughening glass, or that it led to the invention of safety glass-these are practical matters and shed no light on the incredible attractiveness of the drop itself which you will understand faster if you take a fourteenpound sledgehammer and try to smash it on a forge. You cannot. This is glass of the most phenomenal strength and would seem, for a moment, to be the fabled unbreakable glass described by the alchemical author of
Mappae Clavicula.
And yet if you put down your hammer and take down your pliers instead-I say "if," I am not recommending ityou will soon see that this is not the fabled glass stone of the alchemists, but something almost as magical. For although it is strong enough to withstand the sledgehammer, the tail can be nipped with a pair of blunt-nosed pliers. It takes a little effort. And once it is done it is as if you have taken out the keystone, removed the linchpin, kicked out the foundations. The whole thing explodes. And where, a moment before, you had unbreakable glass, now you have grains of glass in every corner of the workshop-in your eyes if you are not carefuland what is left in your hand you can crumble-it feels like sugarwithout danger.

It is not unusual to see a glass blower or a gatherer scrabbling around in a kibble, arm deep in the oily water, sorting through the little gobs of cast-off cullet, fossicking for Prince Rupert's drop. The drops are made by accident, when a tear of molten glass falls a certain distance and is cooled rapidly.

You will find grown men in the glass business, blowers amongst them, who have handled molten metal all their life, and if you put a Prince Rupert's drop before them, they are like children. I have this one here, in my hands. If you were here beside me in the room, I would find it almost impossible not to demonstrate it to you, to take my pliers and-in a second-destroy it. So it was a Prince Rupert's drop, shaped like a tear, but also like a seed, that had a powerful effect on Lucinda Leplastrier. It is the nature