The Infinities (4 page)

The doctors have not witnessed him opening his eyes and do not believe his wife when she says that he does. That he looks at her. That he sees her. They put on a stolidly blank expression and say nothing but she knows that inwardly they scoff, even Dr. Schweitzer I mean Fortune, Dr. Ferdinand Fortune, old Ferdie. Pah, doctors, what do they know?

He fears premature burial.

There is no pain. In the pain department he feels nothing. Or not nothing, exactly. He has an awareness of something, a dinning and hammering deep inside him, the surely agonising effects of which register only as a distant rumour. He is trapped in the celestial dentist’s chair.

Yet why is he not content with this state? Is it not the apotheosis
he always hankered after, to be pure mind, mind unalloyed? Whirling and whirling his thoughts go, like the so many grains of grit swept up in a dust-devil. Pure mind, aye, pure thought.

He might have stipulated a little bell to be set on a stick above his plot with a string going down into the hole and tied to one of his fingers. But to what avail? Not even a digit is he capable of stirring. He has thought of a telephone, too, in the coffin, but how would he dial?

An hour ago, when his wife was here—or was it before she came? or after?—he heard the early train grinding past, making the window-panes buzz. When he was a child his mother took him once on that same train to the city for a Christmas treat and bought him a ten-shilling watch, which soon broke. Even in those days the train used to stop here for no reason, in the middle of nowhere, and he would press his face to the window and look longingly at this house standing in a shroud of frost-smoke—this very house, if he is not mistaken and he believes he is not—and dream of living here, of being what his disparaging mother would have called a big fellow, with money and a motor car and a camel-hair overcoat. A big fellow, now felled.

His mind wanders. There are gaps, short and sometimes longer periods of absence, when he is lost to himself, or no, not lost, but as if astray on some far, flat shore, at nightfall, with no moon, and the sea a fringe of soiled white foam off on the horizon, and the sea birds high up, calling and crying in the brumous air.

By the way, tenses: he is stuck in the present, though his preference would be for the preterite. As for the future, he avoids it as the plague. He wishes he had the powers of that emperor of
old Cathay who on his deathbed forbade the use of the future tense throughout his vast realm, saying that since he was going to die there would be no future to speak of.

He wonders what time of day it is. If what he heard a while past was indeed the early train it means the sun will be well risen by now. He searches the ceiling for a sign of it but all up there is greyly indistinct, thanks to the curtains his wife insists on keeping pulled day and night. He is reminded of Venice—why? Surely a Venetian ceiling would be awash with lozenges of water-light, a shimmering, amoebic pulsing, and not, as here, soft-grey and crumbly-seeming, like mould. Yet it is definitely the city on the lagoon this memoryless memory is of. Venice!
La Serenissima
, as they call it, her. Whereas I think of a sea-captain’s frowsty old relict,
una vecchia carampana
, in tide-stained billows of watered silk, squatting on her piles. To the picturesque I have always had a healthy aversion. I consider it healthy.

But why do I say
an hour ago?
I have—
he
has,
he
, I must stick to the third person—he has lost track of time, he who once was one of time’s masters and a keeper of its keys. Now the things that happen merge and flow through each other unresisted, a hopeless mishmash.

Yet there must have been a ceiling like this somewhere, in a waterside villa or hotel room in some southern sea port, where he lay love-sated and let his gaze bathe in bundles of mould-grey shadow above a bed—where? when? with what woman? So much he has forgotten because it meant nothing at the time or if not nothing then not nearly enough. This it is that torments him now, among his many torments, the thought of all that he had and did not prize as he should have when he had it. A trove of experience spurned as it was happening because it was simply
that, something that was happening and not a thing anticipated or recollected. Now: that is a word he never appreciated the meaning of, until now.

Inside his head the numbers swarm in a vast grid, a matrix without limit, flickering, in stellar silence.

For diversion he sets himself to thinking of his daughter-in-law, slumbering somewhere in the house, like Mélisande, if that is who he means. In the night he heard them arriving, she and his son, heard their voices down on the landing, urgent-sounding because hushed, and imagined he was dreaming. But he knows it was no dream, and now at morning Helen is in that room down there, he senses her, yes; his senses extend their feelers and feel her sensate presence. Is she sleeping? He tries to grasp with his mind the reality of her, asleep or waking, being there where he is not. Before the autonomous existence of others he shares his son’s doubt and wonderment—shares? shares? it is his doubt, his wonder, passed on second-hand to the next and lesser generation. He asks, how can people go on being fully real when they are elsewhere, out of his ken? He is not such a solipsist—he is a solipsist but not such a one—that he imagines it is proximity to him that confers their essential realness on people. Of course others exist beyond his presence, billions of others, but they are not part of the mystery proper since he knows nothing of them, cares nothing for them. The truly mysterious ones are the ones who are most familiar to him, his sad wife, his neglected offspring, his desired daughter-in-law. That they should have an existence independent of him, and, indeed, of each other, too, is an affront to the laws of—of what? He speculates sometimes if his early espousal of the theory that posits our existing in the midst of multiple, intertwined worlds was prompted by nothing
more than the necessity for somewhere for people to be when they are not with him—I said he was a solipsist—but even there, shoved in sideways with their noses pressed against the glass of those countless crystalline fissures, what would there be to prevent them getting up to things that he cannot imagine or, if he can imagine them, cannot be certain of? Look at him now, unable even to know if his daughter-in-law, like Schrösteinberg’s anxiously anticipant cat, is conscious or not, down there in her sealed chamber. He pictures her naked under a single sheet, the linen, softly aglow in the morning light, moulded to the shape of her lovely limbs. Aah. I wonder if his loins are any longer capable of stirring. Something could have come up down there the size and rigidity of an indian club and he would not know it. In younger days his scrotum was as firm and tightly furred as a tennis ball, but by now the testes have probably shrunk back up into wherever it is they dropped from all those years ago. Maybe there is nothing much there at all any longer, since he seems to have bypassed his second childhood and re-entered the embryonic state. Yes, that is how it seems to him, that he is being born in reverse, so that this garrulous dying he is doing will bring him not to the next world but back to a state of suspended pre-existence, ready to start all over again from before the beginning. It is a nice conceit, is it not? I shall let him entertain it for the nonce.

Down in the kitchen Petra in mid-rant pauses for breath and her mother seizes the moment to say on a falling sigh, “Oh, I have such a headache today.” At this the girl goes furiously silent and shoves her spoon with violent force into a lumpy wodge of stirabout in the baby-bowl before her on the table. The back
door opens, making its usual bang and rattle, and Ivy Blount appears, in her old brown mackintosh and her cut-off green wellingtons. She has a basket of eggs on her arm and is bearing by the neck a recently throttled chicken. She pauses on the threshold and looks at the three people in the room with an expression of distracted startlement. The dog thumps his tail in welcome. Miss Blount is unofficial cook, housekeeper and, as Duffy the cowman darkly asserts, taken-for-granted skivvy here at Arden House.

“Good morning, Ivy!” Ursula says, too loudly, for she persists in the mistaken conviction that Miss Blount is hard of hearing. Seeing the ill-plucked chicken she wonders if she might broach the subject of lunch. She really cannot think why she should have to feed that fellow Wagstaff yet knows she must. And how he will sneer, as always. Suddenly and with a shock she recognises the chicken. It is, or used to be, the speckled brown one with the orange feet; she saw it from the window of her room not an hour ago, unsuspectingly scratching for worms between the cobbles down in the yard. She was fond of that one. She used to have names for all the hens, though Adam laughed at her.

Something in her head is pounding; it is like a hammer hitting a block of soft metal, over and over. What if she, too, were to have a stroke? The sudden idea of it almost delights her. She pictures herself lying with Adam up there in the dark, the two of them motionless on their backs and blankly staring, their hands folded identically over their breasts, like a pair of statues laid out side by side on a tomb.

Ivy advances and sets the chicken and the basket of eggs on the table and takes off her mac. She is wearing a heavy tweed
skirt and a man’s old-fashioned striped shirt with the sleeves rolled. The wings of her finely aristocratic nose are translucent. She gives off a faint odour of roses and dishwater. The dog gets up with an effort and waddles forward and snuffles at her knees. Adam notes the chicken’s glazing eyeball and tries to think of a word—obsidian? agate? Its head is still attached above a ruff of burnished umber feathers. He can smell the poor dead thing, its blood-warm reek. Petra is peering at the bird in smouldering alarm as if she fears it might suddenly struggle back to life and come flapping and squawking at her across the table.

The secret of survival is a defective imagination. The inability of mortals to imagine things as they truly are is what allows them to live, since one momentary, unresisted glimpse of the world’s totality of suffering would annihilate them on the spot, like a whiff of the most lethal sewer gas. We have stronger stomachs, stouter lungs, we see it all in all its awfulness at every moment and are not daunted; that is the difference; that is what makes us divine.

Young Adam rises from the table and crosses the room and climbs the three steps to the door with the stricken mien of a man mounting the gallows. He pauses and glances back at no one in particular and then goes out, shutting the door behind him so softly it seems a rebuke. His departure leaves an unsettled silence. Ursula has drifted again to her place at the sink with her face lifted to the window. She is glad Petra has shut up and does not care that the child is furious at her for breaking in on her flow of nonsense. Everybody is on edge, everybody’s nerves are stretched to the limit. This waiting is unbearable. It is as if Adam had toppled from an immensely high place and were falling, falling, with dreamlike slowness, and they were all looking up
in awe and anguish, at this plummeting speck that presently will lie sprawled at their feet, smashed, bloodied, dead. Dead. The word is another thud of the hammer, achingly soft and dull.

Ivy Blount takes down her stained old apron from its hook on the back of the door. This morning she is even more bemused than usual. She has had a shock, poor soul, though none here knows of it save she and I. It is said she is a direct descendant of Charles Blount, eighth Lord Mountjoy and first Earl of Devonshire, that eccentric soldier whom Mary, Queen of Scots, great Gloriana, on her accession to the English throne after the beheading of her cousin, the upstart and treasonous Elizabeth Tudor, sent over at the dawn of the seventeenth century to pacify this most distressful country. Ivy has the face of a Virgin in an icon, tapering sharply to the chin and touched with indeterminate sorrow. It was from her, last of the Blounts and so sadly come down in the world, that Adam Godley purchased this house, at a knock-down price, twenty years ago. She clings on in a two-storey cottage at the corner of a crooked field where the gates to the property once stood. Duffy, who minds what is left of the farmyard and the few scrawny cattle old Adam insists I mean insisted—tenses, tenses!—on keeping, is known to have a great notion of her.

“Petra’s boyfriend is coming down today,” Ursula says, addressing Ivy without turning from the window. “Perhaps we might have lunch in the conservatory?” She thinks she hears Petra snort but still she will not turn. It is, she supposes, her way of putting things—antiquated, no doubt, arch-sounding—that makes her daughter laugh. She wishes Ivy Blount would say something; Ivy’s accent, her decayed-patrician intonations are far more laughable than hers; at least Ursula believes they are and
takes a spiteful comfort from it. But Ivy has transferred the chicken to the draining-board and is doing something to it with a bone-handled knife and will say nothing. The blade of the knife is worn to a gleaming spur. A few feathers drift seesawing to the floor. Petra’s leg is jigging under the table again. What shall I do, Ursula thinks, what shall I
do?

Adam on the landing upstairs comes to a narrow door set flush into the wall and taps on it softly three times with a knuckle. He stands intently still, leaning forward a little with his ear cocked, in the attitude of a domestic spy. He feels foolish but the old interdiction is unbreachable—no one would ever dare climb to his father’s room without knocking first. But today, of course, there can be no response, so what is he waiting for? The porcelain doorknob is suavely cold and unwelcoming to his palm. He opens the door. From here a cramped flight of seven steps leads up to the Sky Room. He sets his foot on the first step with a twinge of reluctance. In his earliest memories the Sky Room was the forbidden place where his father worked, impervious it seemed to the discomforts of the place, the winter winds and the summer stiflings. How often when he was little he used to stand like this at doors, listening in vain for the faintest sound of his father at work. That was what fascinated him always, the silence from the study. In fact, it was not silence, not a mere absence of sound, but was a force, a field, like the fields his father once tried to explain to him, abstract spaces humming with the play of fantastically small and forever invisible particles. “Imagine,” his father said, “the little bits of everything in the universe all pulling against each other”—making claws of his
long, pale hands and hooking them together at the fingertips to demonstrate—“keeping each other in place.” The boy thought of the safety net in the circus, the way it was stretched there with nobody noticing it until at the end of the trapeze act the last one of the troupe, disdaining the rope the others had already shimmied down, would let himself plummet into its springy mesh and bounce on his back in leisurely fashion, once, twice, three times, like a big baby, before scrambling to his feet and wading off into the powdery darkness on rubber legs, looking smug and brandishing a triumphantly clenched fist. His father sighed—“Yes, yes, something like that”—and turned away. They were living then in the old stone house on Haggard Head and his father worked in the room with the big curved window—Adam had thought it was called a bay window because it overlooked the bay—from where the sea seemed an oval sheet of pockmarked steel and the waves broke in slow motion on the rocks far below. He liked that house, and cried when his father moved them here, to the empty middle of the country.