The Last Detective (8 page)

PLENTY OF PEOPLE CROSS PULTENEY bridge without even realizing that they're passing over the Avon. The reason, of course, is that it's lined on either side with buildings, like the Ponte Vecchio in Florence. You can't see the river without going into one of the shops and looking out of a window. I heard that when Robert Adam designed the thing in 1769 he had the Ponte Vecchio in mind, but if there's any resemblance, it's superficial only. Adam's bridge is charming and original, a Palladian structure built over the three arches, with a central Venetian window and domed tollhouses at either end.

The tollhouse on the west side, opposite the library, functions as a coffee shop called David's. I had come here after my meeting with the Steering Committee. My presence had nothing to do with the new assignment; I had come to David's to unwind. After the sessions with Dr Bookbinder and the Steering Committee, I thought I was entitled to a break. I couldn't stomach the Senior Common Room. My nature rebels against the attitudes and assumptions of most provincial academics. As the professor of a newly formed department I feel obliged most days to sit and listen to regurgitated points of view from the
Guardian
and
Independent,
or the failings of the cricket selectors, or the union, or the photocopier. Not that day.

David's is a haven for me. On the day nearly three years ago that I arrived in Bath to be interviewed for the chair of English, it seemed a happy omen when I chanced upon this
bijou
establishment no wider than a railway carriage, with its aroma of cappuccino, its narrow back-to-back seats and linen tablecloths and the quiet clientele lingering over newspapers provided by the owner. At one end is a framed picture of Michelangelo's
David.
At the other the modern David dispenses tea and coffee from a serving area designed to utilize the limited space to the maximum. David is slim and supple, an essential requirement; one needs almost to be a limbo-dancer to get behind the counter.

The most favoured seats enjoy a view of the river. The broad sweep of water below the bridge is dominated by the weir, a white, U-shaped structure in three tiers. However, its elegant lines mask a deathtrap. Thousands of gallons converge and drop on a confined area that forms a whirlpool where, year after year, foolhardy swimmers and canoeists come to grief.

I took a seat by the window, easing my weight downwards in a practised way to avoid rocking the person at the next table. I ordered a coffee, and thought about the interview in the surgery. The hell with Bookbinder. Later I would tell Geraldine exactly what had been said. Honesty in our marriage was more important than medical ethics that had already been muddied by the doctor.

I glanced at the front page of
The Times
and pushed it aside, and took from my pocket a paperback
of Northanger
Abbey
that I had picked off my bookshelf in the office before walking down Bathwick Hill. I searched for and found a remark Jane Austen had put into the mouth of Isabella Thorpe: 7
get so immoderately sick of Bath; your
brother and I were agreeing this morning that though it is vastly
well to be here for a few weeks, we would not live here for
millions.'
It was like a balm. I felt restored by the words, which were much as I had remembered them. Of course it's erroneous to impute the views of fictitious characters to their author, and in justice the book does also contain some complimentary remarks about the city, but in my mood at that stage it pleased me to picture the councillors touring their exhibition and finding gracious pictures of Georgian Bath captioned with caustic quotes from Jane.

I sipped the coffee, telling myself to put subversive thoughts out of my mind. The exhibition had been dumped in my lap. It was my baby now, so I had better start to love it. A celebration of Jane Austen in Bath. In principle, I was more than willing to celebrate the six completed novels. If not, I was in the wrong job. The celebrating of their creator was more of a problem for me. I have never had any desire to join the legion of devotees who call themselves Janeites. Not that I find much to object to in Jane's character. In fact, the occasional waspish comments in her letters make her seem more worldly, more approachable, than the 'gentle Jane' of the novels. My difficulty is more fundamental. I am out of sympathy with those who venerate writers and study their lives minutely. Any piece of literature has a life of its own, complete and independent of its author. So I baulk at the trend of modern criticism to bury creative work in biographical data.

My thoughts were diverted momentarily by something I saw from the window. Below, three young boys had ventured out to the end of the weir and found a footing where driftwood collected. The current was not as strong there as in the centre, where it raced over the edge, the result of several days of steady rain. The lads were picking up bits of wood and hurling them into the middle for the sheer joy of disturbing the shimmering uniformity of the flow.

The scene illustrated my difficulty rather aptly. There must be visual stimulation in this exhibition. Pages of text, however elegant, were not suited to public display unless they were supported by strong images. Yet the novels provided few striking pictorial possibilities. I always find illustrated editions of the Austen novels depressing to look at. They are little more than fashion plates. The dynamism is all in the text. Thinking it over, I could photograph the locations Jane Austen had used in
Northanger Abbey
and
Persuasion,
the two novels set in Bath, but to what effect? Who wanted to look at photos of Milsom Street and the Pump Room when they could see the places for themselves? No, I was going to be compelled to set aside my objections and use the biographical approach, providing pictures of Jane's family, the houses she had lived in and the people she had met. The illustrations would be static, but at least they would not seem insipid.

Then how about moving pictures? It might be worth setting up a video and screening extracts from a television dramatisation that had actually been filmed in Bath. I recalled a production of
Persuasion
not long ago. Presumably the BBC had obtained permission from the Bath City Council to film on location, so it wouldn't be unreasonable to ask for their co-operation in return.

I visualized several rows of chairs in front of a large screen at one end of the ballroom, and felt more optimistic. My gaze returned to the weir.

One of the boys was stepping along the edge towards the centre. A stick, presumably one he had thrown, had lodged almost at the cusp of the curve. The other two watched as he moved quite confidently towards it. He looked about twelve or thirteen, and sturdy in physique. It was still a foolhardy thing to try. Notices on each bank of the river warned of the danger of swimming and canoeing here.

I remember telling myself with one voice that the boy was a little idiot and with the other that kids of that age needed physical challenges. If they weren't walking along the weir they would probably be skate-boarding down the ramps in one of the city car parks. The boy reached the centre and drew the stick out of the water. He held it aloft like Excalibur.

Feeling, perhaps, that this was excessive, one of the others picked up a chunk of wood and slung it towards the show-off. It didn't hit him. He saw it coming and swayed aside. But he must have underestimated the strength of the current, because he was forced to take a step sideways to keep his footing. It took him closer to the edge. He seemed to sense the danger and teetered there for a moment with arms swaying. Then he was forced to step down to the next level.

The move was sensible. The concrete tiers were quite wide at that point and the difference in levels was no more than a few inches in depth. The force of the water seemed not to be a problem for him. He might easily have stepped up to safety.

He was unlucky, however. His foot slipped, he lost balance and fell on his back. The water carried him down to the next level.

I got up fast, concerned that the boy would be swept into the maelstrom of converging water. I believe I called out to David, 'Someone in trouble', and ran out of the shop and across the bridge. Others may have seen the incident from Grand Parade, which overlooked the weir, but I was closer to the side with access to it. At the far end, I turned right, grabbed the iron handrail and hurried down the enclosed flight of steps to the stone pier that supported the bridge. I ran to the railing. I had a clear view. The boy was not in sight. The other two stood as if petrified, staring at the place where the water poured off the weir and formed a bubbling vortex.

On this side of the river a sluice forms part of the weir construction, a huge floodgate on a pivot surmounted by a platform. To reach the weir on foot I would need to dash about a hundred yards to the steps on the far side and cross the platform. The lifebuoy was almost as far away, attached to the railing beside the sluice. There wasn't time.

I wrenched off my jacket and shoes, climbed over the railing and jumped. The drop to the river was about fifteen feet. I went under, surfaced, coughed out some filthy-tasting water, and started swimming. My actions up to this moment had been automatic. Now, as I struck out for the weir, the doubts came. Had there really been three boys down there, or only two? What a pointless and embarrassing exhibition this would be if the kid in trouble had picked himself up already.

My right hand touched a solid structure under the water. I grasped the stone surround of the weir and with difficulty hauled myself upwards, getting my leg up first and scrambling up sideways. I managed to stand upright, close to the point where the boy had gone for the piece of wood. The current dragged at my legs.

The boys at the end of the weir were waving and shouting.

I shouted back to them, 'Can you see him?'

'He keeps going under,' one called out in an accent redolent of Latin primers and striped schoolcaps.

'Where? Where did you see him?'

The boy pointed. 'There, sir! Over there!'

I glanced left and saw an arm exposed in the foam, a hand with fingers extended. Almost at once it sank from view.

I yelled, 'Get the lifebelt! Get some help!'

I didn't give much for my chances in the torrent but you can't watch a child drown. I stepped down two tiers and felt my foot slip, so I dropped to my knees and crawled around the ledge to the point nearest to where the arm had appeared. I could see graphically how the inundation of water produced a churning effect that would prevent the boy from climbing back or being carried downstream. He would be submerged repeatedly until he drowned.

Desperately I scanned the seething surface for another glimpse of the boy and suddenly saw him thrust upwards again a mere two or three yards ahead. This time it was the torso that appeared, turning in the water like a log, apparently lifeless.

I launched myself after it, arms outstretched to make a grab. The cold water struck me like a charging rhino and forced me down. I went under, swallowing copiously. My ears roared. I was turned over, buffeted and disoriented. My head glanced against something solid. But I succeeded in getting a hold on the boy. I had him by the thigh.

I drew the limb to me and clung to it with both hands. The conflicting currents tossed us about as if we were cork. We were dragged down, hauled along the bottom, thrust upwards, spun around and slapped in the face. But I continued to hold the boy. And by degrees I was conscious of a lessening in the force of the buffeting. Now, when we came to the surface, there was time to inhale. I glimpsed foliage overhead, which meant that we were being carried to the outer extremity of the weir where the current was less strong.

My shoulder scraped against the stone embankment. I found a foothold. I took a gulp of air and adjusted my hold on the boy, drawing a hand under his back, lifting the face clear of the water. It was lily-white and lifeless. The head lolled back.

With this limp burden in my arms, I battled against the flow until I stumbled on to the lowest level of the weir at the outermost edge, just below the point where the boys had stood. I might as well say it, even if it sounds like something out of the
Boy's Own Paper:
the urge to do whatever I could to save this young life was giving me more strength than I knew I possessed. First I was kneeling. Then I managed to draw my right leg into a position where I could force myself fully upright. I staggered across the structure and climbed upwards to a place where the end of the weir had been built up to form the wall of the sluice. It was wide enough to have been planted with trees.

Crouching, I rested the small body on the ground, and the daunting realization came to me that if the boy was to have any chance of survival, some life-saving technique was crucial. I had only the vaguest notion of what was necessary. As if prompted by my thoughts, a child's voice beside me said, 'Kiss of life. Try the kiss of life, sir.'

It was one of the boys from the weir.

I struggled to remember what one has to do. Resting a hand on the forehead of the unconscious boy, I tilted back his head. A trickle of water seeped from the edge of the mouth, so I turned the head, but no more was emitted. The mouth and nostrils appeared to be clear of weed or other obstructions.

The kid at my side said, 'You have to pinch his nose and blow into his mouth.'

I tried it. His lips felt clammy and gave no promise of life. I expelled several breaths, and saw the chest rise as the air penetrated the lungs. Nothing else happened. I seemed to be making no progress, so I tried pressure on the chest, pressing repeatedly on the lower half of the breastbone.

Without taking my eyes off the pale face, I asked the boy, 'Did you go for help?'

'Nelson went. The boy that threw the wood.'

The significance of the identity of the wood thrower was wasted on me. I was fast losing confidence in my ability to restore consciousness.

I stopped kneading the chest and put my fingers to the pulse beside the boy's Adam's apple. If there was any life there, it was too faint to detect. I lifted the left eyelid. No movement. I pinched the nostrils closed again and clamped my mouth over the boy's.