Coventry (11 page)

She is afraid that she will find the body of Wendell Mumby in the rubble, but if he is there, he is well buried under the bricks and broken pieces of furniture. Her flat has collapsed into the ground-floor flat. Even so, she finds precious little that has remained intact.

“Look for my wedding photograph,” she tells Jeremy. “It’s in a silver frame.”

They are moving cautiously over the debris. Even with the bright of the moon it is still hard to see properly.

“You’re married?” says Jeremy.

“Was married. My husband died in the last war.”

In the photograph, Harriet and Owen are standing at the door of the church. She has the bottom of her dress gathered in her hand because they’re about to go down the stone steps. Owen is wearing a morning coat. The photograph has stood on Harriet’s bedside table since he died. Every night she goes to sleep looking at it, and every morning she wakes up doing the same.

They don’t find the photograph. All they find is a small wooden box covered with shells that Harriet had kept buttons in. The buttons are gone, but the box has remained whole. They find pages of books and fragments of crockery. Jeremy unearths a bent spoon, straightens it, and hands it to Harriet. Not knowing what to do with it, she puts it in the box covered in shells.

“Mrs. Marsh,” calls a voice, and Harriet looks down from the hill of rubble to see her neighbour Mr. Carter from the other end of the terrace.

“Have you seen Mr. Mumby?” shouts Harriet.

Mr. Carter shakes his head. “No,” he says. “But I have your cat. I have Abigail.”

The Carters’ house is as it ever was, not even a window blown out. It seems miraculous to walk inside and see all the cups and saucers intact, sitting on the shelves the way they always have.

There’s a hurricane lamp on the worktop, and candles burning for light. Mrs. Carter pours them water from a large saucepan on the floor. “You’re welcome to shelter here with us until morning,” she says.

The elderly Carters and their equally elderly collie, Jack, have been lying on a mattress under their heavy oak dining table for protection against the bombs.

“The cat won’t come near the dog,” says Mr. Carter, leading them into the kitchen. “She prefers the upstairs landing window. We found her sitting on the wall of your garden.”

Harriet leaves Jeremy in the kitchen with Mr. and Mrs. Carter and bolts the stairs two at a time. Abigail, just as reported, is curled up on the ledge of the window at the top of the stairs. She meows when she sees Harriet, and Harriet bursts into tears. It is not that she is overly fond of the cat. She was a stray that Harriet took in and initially they merely tolerated each other. But Harriet has grown attached to her and now, except for that vulgar box coated in shells, she is the only thing she has left. She reaches out her hand and strokes the cat’s head, rubbing behind her ears as Abigail likes. When she takes her hand away, it is dusty with ash.

“What happened to Wendell?” Harriet asks Abigail. “Where did he go?” Abigail meows again, and then gets down to the serious business of grooming her right back leg.

Jeremy is crouched under the table with the Carter family. The plates rattle on the shelves as a bomb explodes nearby. The dog appears to be asleep.

“He’s deaf, poor lamb,” says Mrs. Carter.

“Lucky dog,” says Jeremy.

The dog kicks out his legs in his sleep, dreaming of running.

“No sign of Wendell?” Harriet asks.

“We haven’t see him,” says Mrs. Carter.

Another bomb goes off. Chunks of plaster fall from the ceiling onto the table. Everyone flinches, even though they’re not hit.

“I can’t believe my house is gone,” Harriet says to Jeremy. She keeps alternately forgetting and remembering this fact. She feels disembodied.

“Poor lamb,” says Mrs. Carter, patting Harriet’s knee.

They’re close together under the table. Harriet has to keep shifting on the mattress to avoid coming into contact with Mrs. Carter or Jeremy. Mr. Carter keeps patting her shoulder. She is getting a cramp in her calf from the unnatural way her legs are bent. Her arm aches and her throat is sore. Wendell is gone. Her house is destroyed. The cat is safe. This is the sum total of her life.

“I should go to my house,” whispers Jeremy in her ear. “I need to find my mother.”

Harriet feels immense relief when he says this. She found the Carters boring before the war, and even though she is grateful for their kindness, she is eager to get away from their well-meaning blandness.

The donkey’s name is Amos. He is not impressed with the bombing, or with the long night perambulation he is being forced to undertake. Periodically he stops dead in the road and the man leading him has to lean his weight backwards on the rope to get Amos moving again.

Maeve likes the irritable donkey, his stubborn refusal to do as he is bidden. She likes the undulations of his leg and shoulder muscles as he walks. She likes the smooth grey wall of him, less than an arm’s length away from her own body. She looks at him as much as possible, trying to memorize him so that she’ll be able to draw him later on.

No one talks. The line of evacuees just moves forward, each step taking them farther away from Coventry, farther away from this terrible night of destruction and death.

Maeve eats her apple and gives half to the donkey. His teeth are big and yellow; even in the moonlit darkness she can see their tarnish. He must be an old donkey. He takes the piece of apple from the flat of Maeve’s hand and stops to eat, chewing with his mouth open, as all animals do.

Jeremy would have liked Amos, thinks Maeve, and then she reprimands herself for using the past tense to think about her son. Jeremy
will
like Amos.

When Maeve first came to Coventry five months ago, she had a little money saved from her last job and didn’t have to work right away. She put her energy into setting up the house and getting Jeremy settled into his job at Triumph. She was waiting to hear if she’d been accepted to work as a postman; with so many men away they were taking women. But this hadn’t happened yet. She spent her days looking after domestic duties and then, in the afternoons, she worked on her drawing. Not since she was a young girl had she had such a calm routine. This autumn had been almost a rest because the pace of her days had been so relaxed.

Maeve thinks of this now, as she’s walking along the road, the city slowly dimming behind her. She has been happy with the rhythm of her days. It is not as though she’s greedy for happiness, but she wishes that she’d been able to recognize it completely when she had it.

Maeve remembers the light in the front room in the afternoon, how it crawled from the settee to the sideboard to the fireplace mantel. She remembers the creak on the staircase when Jeremy thudded down in the morning, the slower creaking as he ascended at night. She remembers the clink of milk bottles on the stone steps, the sputter of sausages under the grill. There was always a breeze in the garden when she was hanging out the wash. It filled the sheets as though they were sails.

These were ordinary moments. They were not filled with meaning, but they were Maeve’s life. Nothing that will come after tonight will be her known world. If she and Jeremy survive tonight, there will be the struggle of beginning again. This is hard enough at the best of times, but in the middle of a war it will be almost impossible to bear.

Maeve wipes the tears away that have started down her cheeks. She has slowed without realizing it, and is no longer keeping pace with Richard or the donkey. She has fallen behind. She is alone among this moving wall of strangers.

Harriet and Jeremy pass the fallen house of Mrs. Patterson and turn the corner. Harriet feels enormous relief at leaving her wrecked house behind. Wendell Mumby is buried under the rubble of it. It has become his grave. The invincibility she felt earlier in the evening seems to have evaporated. She thinks it is likely that Jeremy’s mother is dead too, and that she and Jeremy could be killed before the night is over. They are foolish to be out on the streets of Coventry when almost everyone else is hiding from the bombs. But when they were in that church basement earlier, Harriet had felt claustrophobic, and surely the cellars will be like ovens, with the city on fire above them. It feels better to be above ground, to be moving about, to see what is happening, rather than just imagining it. It would be better to die outside than trapped in a cellar with people she doesn’t like or know.

Jeremy’s street is perhaps five minutes away. Harriet does not know what will happen when they reach his house. If the house has survived, and he finds his mother, what will become of Harriet? Will he simply thank her for being his guide and expect her to disappear back into the night?

Harriet never wanted that much from her life, and what she did get was taken away. What will happen to her after this? Will she have to go back down south, throw herself on the mercy of her remaining relatives? She has been wilfully bad about keeping in touch with any of her family. She’s not even sure where anyone is except for her drunken father. Surely she won’t have to go and live with him again. How could she bear that?

Harriet looks over at Jeremy, walking beside her. She barely knows him, and yet he seems known to her. She likes his long limbs and the way, even when he’s hurrying out of danger, he ambles along. It’s reassuring to her. Harriet has not been in such accordance with anyone for as long as she can remember. An affinity, that’s what it is, she thinks. She feels an affinity with young Jeremy Fisher, and she badly wants to keep it.

There has been a pause in the bombing. Maybe it is over at last.

Harriet realizes that Jeremy has been speaking and she hasn’t been listening.

“What?” she says.

“I liked this place,” says Jeremy. “I thought we’d stay here. I liked my job at Triumph, and the house was close by, and Mum was looking into getting a job as a postman.” Women were now filling a lot of the traditionally male positions. One of the women Harriet used to work with at the coal merchants had left to become a welder because the pay was better and she fancied herself a sort of dragon, spraying fire over great sheets of steel.
Everyone would have to stay out of my way
is how she’d described it to Harriet.

They turn onto Jeremy’s street.

“Where are you?” asks Harriet.

“In the middle there, on the left.”

Mayfield has sustained much less damage than Berkeley. There don’t seem to be any houses down, just a few windows blown out and pieces of rubble scattered about the street, probably lifted there from bombs that have exploded nearby.

Jeremy’s house is standing. There is a window gone downstairs, and a door from some other house lying in the front garden. Harriet feels a wave of envy.

“You’re a lucky man,” she says, but Jeremy isn’t listening, is no longer standing beside her. He has bolted up the path, pushing open the front door, which swings easily off the latch.

“Mum,” he bellows into the interior of the house. “Mummy.”

The inside of the house is not in as good condition as the outside. The kitchen is a mess of smashed china. There are balls rolling around on the floor. It takes Harriet a while to get her eyes accustomed to the darkness in the kitchen and realize that the balls are really potatoes. There are bits of glass from the smashed front window in the sitting room. The hanging lamp in the front hall has come away from the plaster ceiling.

Jeremy has gone upstairs and Harriet follows him. She meets him on the landing. The finial on the stair rail comes off in her hand when she grabs it to steady herself.

“She’s not here,” says Jeremy. “No sign of her. I can’t tell how long she’s been gone.”

“She probably went to a shelter.”

“Or she wasn’t at home when the air raid started.” Jeremy drops down to sit on the top step. “She likes to go to the pub in the evening, to have a drink and draw in her sketchbook. I left home at four and she was here then, but she could have gone after that.”

“She’s probably safe,” says Harriet, thinking of Wendell Mumby, who is probably not safe, is probably squashed flat under the pile of rubble that their shared home has become.

“But what now?” says Jeremy. “Do I keep looking for her? Do I stay here?” The building shakes from a nearby bomb blast and plaster dust falls from the ceiling like flour sifting down. The raid is certainly nowhere near over. If anything, the frequency of the bombing has increased in the last little while.

“Stay here,” says Harriet. She only knows that she doesn’t want Jeremy to leave her. “We could stay here until morning, and then we could do a proper search for your mother. It will be hard to find her in the dark if we don’t know where to look.”

Harriet drops down beside him on the stairs. Their legs are touching.

Jeremy cocks his head to one side and looks at her. “All right,” he says. “We’ll stay.”

In the silence Harriet can hear the trickling of plaster down the wall behind them.

“Would you like something to eat?” says Jeremy. “I’m forgetting my manners.”

“No, thank you,” says Harriet. She pauses. “Do you have manners?” she asks.

“I do.”

“Do you have a girl?”

“No.” Jeremy shifts on the staircase and moves, ever so slightly, toward Harriet. “I told myself I was in love with Lily Palmer, but she didn’t love me back. She went with a pilot. I can’t really compete with the RAF.” He smiles.

“How old are you?” asks Harriet.

“Twenty-two.”

“That’s half my age, exactly.”

“You don’t look over forty,” says Jeremy.

“You haven’t seen me in daylight.”

They are quiet again. Harriet feels suddenly shy.

Jeremy takes her hand. “I keep thinking of that woman in the park.”

“So do I.”

“Is there blood on me?” he asks.

“Up near the collar and a bit on the sleeve. Here.” She moves her other hand, the one not holding his, and turns the piece of overall sleeve above his wrist so that he can see the patch of blood. They are turned toward each other now, close enough to kiss. The thought frightens her so much that she drops Jeremy’s hand.