The Buried Circle (12 page)
‘Sorry?’
‘Your grandmother worked at the Manor.’
I stare at him. ‘Where on earth did you get that from?’
‘She must have told you,’ says Michael, reprovingly, as if holding me to account for all the neglectful young people who never listen to what their elders tell them. He leans over my shoulder and opens one of the photo albums. ‘Lilian reminded me last week, after you’d left the office. There’s hardly anyone left alive who knew him, so we’re keen to get memories on tape. She’s in here somewhere…’
As he turns the pages, separated by leaves of tissue paper, there are glimpses of men in Panama hats and plus-fours, lean women in droopy skirts. ‘We had a Memories of Avebury day last spring, and I invited the old dears who’d lived in the village all their lives to come and talk about it. Where is the bloody thing? We blew up copies of some of the pictures in the albums…
There
…’ he lays the album in front of me ‘…and asked people if they could tell us who was in them. Your grandmother didn’t come, but one of the other old ladies identified her…’ He points to a group photograph that takes up most of the page. ‘She told us that was Frances Robinson, who’d done secretarial work at the Manor, and that she’d come back recently to live in Trusloe. Lilian went to see your gran, but couldn’t get a useful word out of her, unfortunately–bless the poor old love, Lilian thought she seemed confused by all the questions. If there’s any chance of you getting her to talk…’
Confused? Or simply being Frannie, keeping her mouth shut? In the picture three women, seated on wooden crates, flank a man who is leaning forward and smiling at the camera. Behind, there is a line of men, standing, most in waistcoats and cloth caps, but the younger ones at the end of the row are in sports jackets.
‘Nineteen thirty-eight,’ says Michael. ‘They’re excavating the southwestern quadrant of the stone circle. Keiller in the middle, of course, with Doris Chapman on his right, soon to become the third Mrs K. Piggott and Cromley at either end of the back row, both cutting their teeth as archaeologists with him. Piggott, as you know, went on to excavate at Avebury long after Keiller was gone–pity about Cromley, though, great loss to archaeology. Keiller thought a lot of his abilities.’
These are people I’m not interested in. Impatient, I pull the album towards me to see better. ‘So which…?’
Michael’s manicured fingernail moves along the photo to the slight figure at the end of the front row, shielding her eyes against the sun. ‘Would you say that was your grandmother?’
She looks shy, younger than the other two women. Although there’s a smile on her face, she seems more solemn than the rest. ‘I don’t know,’ I say slowly, disguising my mounting excitement. ‘Might be Frannie…’ The age looks right, the set of her mouth. ‘To be honest, Michael, couldn’t say one way or the other. Who was it reckoned her to be my gran?’
‘I forget her name. Used to live in a bungalow in Berwick Bassett.’ He lays the tissue paper carefully over the photo, and shuts the album. ‘She worked for Keiller too. Not one of the women in the picture. She was a housemaid.’
After Michael has gone downstairs, I open the brown leather album again and leaf through it, looking for the photo. Archaeologists today wear funny hats, walking boots and woolly jumpers; in most of these pictures Keiller is in suit and tie and golf shoes. He was fabulously rich, the heir to a marmalade fortune, a playboy who loved fast cars and the ski slopes. A good-looking man, too: wide, sexy mouth, oddly haunted eyes.
No wonder Frannie–if it was Frannie–looked awkward in front of the camera. As well as being hardly out of school–fifteen? Sixteen?–she wasn’t from anything like the same background or class. How did she manage to talk her way into a job on the excavation? I try to remember what else I’ve gleaned about Keiller since I’ve been in Avebury. He was an egalitarian employer, and at least one of his wives worked alongside him as a professional archaeologist. Until he divorced her, that is, and moved on to the next Mrs K.
I stare at the photo. No, it can’t be Frannie. She’d have said something.
But…the letter hidden in her armchair. Anyone with eyes in their head at the Manor knew what was going on.
I pick up one of the box files, and set to work.
As well as Keiller’s letters, the boxes also contain, in no particular order, correspondence from other archaeologists, friends, tradesmen and the occasional nutter. Keiller seems to have replied to everyone, even the weirdos. Did Frannie really type some of these letters? And what else might she have done for the Great Man? Wear a mask and cast a pentangle, like something in sixties Technicolor starring Christopher Lee?
The room is darker. Outside, the sun has disappeared behind heavy cloud. Almost two hours have passed. I stand up to stretch, wondering if I can be bothered to go downstairs to the staff kitchen to warm up. There are several large cardboard boxes in a stack by the door, waiting to be transferred to the main storeroom. I kneel down to lift the lid of one, catching a glimpse of about a billion polythene bags containing tiny fragments of yellowish-white honeycomb, then scramble guiltily to my feet as footsteps rap on the stairs.
Michael.
‘I came to see how you were getting on.’ There’s a hint of reproach in his voice. ‘That’s animal bone from Windmill Hill, by the way.’
‘Sorry. I…was curious.’
‘Thought for a moment you were after our skeletons too. Had another missive this morning from those bloody Druids. Want a coffee? Kettle’s already on.’ I follow him downstairs.
‘Are
there skeletons in the cardboard boxes?’
‘Lord, no. Not human, anyway. We only keep Charlie in this building, in his glass case, and I’m sure the Druids aren’t fussed by the dog and the goat on display. All the rest are in secure storage.’ He puts his head round the door into the gallery where one of the volunteers is manning the till. ‘Chris? Fancy a cuppa? Don’t know anyone who’d do a couple of months part-time as assistant warden, do you?’
‘Why won’t you take me on?’ I ask, as Michael returns to the kitchen and sets out a line of mugs.
‘India, you are a splendid woman of many talents but you don’t have the right qualifications. I don’t mind letting you do the odd day, but I’d prefer someone with a grasp of landscape archaeology.’ He dispenses instant coffee into the mugs with unnerving precision. Every spoonful probably has the exact same number of granules. ‘Besides, I understand you’re now archaeological consultant to a film crew.’
This is news to me. I’d been half expecting to hear nothing more from Overview TV. And, oh, shit, if Michael knows–
‘Don’t look so worried.’ Michael clamps the lid onto the coffee jar and swings round to face me, but I can’t look him in the eye. ‘Daniel Porteus called me this morning and asked me to tell you he’d be in touch. He wants you to go to London for some meeting next week. And, no, I didn’t tell them your main function for the National Trust was making cappuccinos. Indeed, I told them on the phone not ten minutes ago that you were labouring in the archive.’
‘Thanks.’ With some difficulty, I meet his eyes, and discover only amusement.
‘We’ve all at some point embellished our CVs. By the way, I
like
your idea of putting up another stone. Don’t look smug, though, you aren’t the first to have it–nobody’s yet succeeded in persuading a broadcaster to part with enough money to do it. Anyway, how are you getting on with the letters?’
‘Slowly’ I cast around for milk. ‘I can’t help reading them. Hey, you know this woman who says my grandmother used to work at the Manor?’
‘Said,’ says Michael. ‘She died in December. She was something like ninety, mind.’
Damn. ‘Anyone else left who was around then?’
‘That’s what the TV people wanted to know. Gave them all the names I had, but everyone I could think of was at last night’s meeting. Most of them were tots in the thirties. It’s a pity your gran is so confused because, by my reckoning, she’s the last surviving person who worked at the Manor then.’
At home, Frannie is ensconced in her favourite armchair, watching
Flog It!
.
‘Why do you find it so fascinating?’ I’ve asked her this more than once.
‘All this stuff,’ she says. ‘People’s treasures. Never think it was worth so much, would you? I live in hope, Indy. One day there’ll be something come up and I’ll think, Ooh, blow me down and bugger, I got one of those.’
On the television, someone’s holding up a truly hideous pottery figurine, turning it this way and that so the camera takes in every porcelain dimple and simper.
‘You know these television people want to make a film about Alexander Keiller? I’ve spent the whole morning in the archive sorting out his letters. Michael at the National Trust says you used to be one of AK’s secretaries.’
Frannie rearranges her features to look more than ever like she should be serving drinks on a budget airline, face utterly bland and unreadable. Strikes me you can hide a lot of dirt in wrinkles. ‘How’s he reckon he knows that?’
‘Somebody else who used to work at the Manor.’
‘That’d be the interfering old bitch below stairs. Dead now.’
Well, knock me down with the duty-free trolley. ‘So you did? Work for the Great Man as a secretary?’
‘Before the war I did, yes.’
‘You never told me. What was he like?’
‘You never asked. ‘Sides, told you, I prefer not to ‘member those times. Bad for everyone.’ She heaves herself out of the armchair. ‘Thing about diggin’ up the past, like Mr Keiller did, don’t really know what you’m turning over with your spade, do you?’
‘Where are you going? Your programme’s not finished.’
‘Call of nature.’ She shuffles out of the room. ‘You wait till you’re my age. Getting old’s no fun. No fun at all’
I should wait till tonight, after she’s gone to bed, but I can’t. As the loo door closes, I’m across the room, hand diving down the side of her armchair.
My fingers come up empty. The letter has gone.
There’s a man on
Flog It!
with a lovely Victorian cow-creamer. Black Jackfield lustre glaze, he says, little gilt flowers painted on its hide. It has a lid on the top, where you fill it, and the tail curls into a handle so you can lift her up by the arse end and pour the cream out of her mouth. Mr Keiller had one just like it. No, I’m wrong. Our mam had one just like it, and Mr Keiller wanted to buy it off her, but she wouldn’t sell. Said it had belonged to her mother. I wonder what became of it. We never used it. It sat on the Welsh dresser with the Royal Albert.
Mr Keiller collected them. They had a whole room to themselves at the Manor. He had six hundred and sixty-six. Can’t remember why I know how many. I surely to goodness didn’t count the blasted things while I was dusting them. He was particular about who was allowed to touch them, wouldn’t let the housemaid do it, said she had fumbly fingers and he preferred me, even though I was secretarial. I washed them once, with him stood over me while I did it. Made me uncomfortable. I told him to get out a tea-towel and dry them himself, if he didn’t trust me, and that made him laugh.
Six hundred and sixty-six. The number of the Beast. Did he always keep just six hundred and sixty-six, and have to sell one every time he bought one? No wonder some in the village said he was the devil incarnate.
My mam used to say I had the devil in me. She didn’t know the half of it.
My feet were dragging when I crossed the road after getting off the bus. I was about done in. Mam was in the kitchen. The wireless was on, but you could hardly hear it because the Frigidaire was making a terrible racket, somewhere between a wheeze and a beehive-sized hum. It couldn’t cope with the heat when Mam was baking.
‘Any luck?’ she said, without looking up from rolling pastry.
‘No. They all said I was too young.’
I wanted a secretarial job. I couldn’t go on working with Mam and Dad in the guesthouse. Not that it was going to be a guesthouse much longer. Heap of rubble was next on the agenda. Mr Keiller was our landlord, and Mr Keiller wanted us out, so he could knock the place down and put up more of his old stones.
Wouldn’t have happened if it hadn’t been for the day he came to call to try to persuade Mam to part with her cow-creamer that he’d heard about from one of his friends who’d stayed with us. Mam said ever so polite she wouldn’t sell, but she was happy to show it to him. She took him into the front parlour where it stood on the dresser, and Mr Keiller spotted the big stone that made the lintel over our fireplace.
‘Sarsen, Mrs Robinson,’ he said. ‘Mind if I take a closer look?’
Well, he’s the landlord, she couldn’t very well say no. Next thing, he’s out of the door saying he’ll be back in a tick. Came back trailed by the dark-haired young archaeologist with the pointed nose and prominent teeth, the one I’d watched surveying the stones, and introduced him as Mr Stuart Piggott. Close up, I didn’t like the look of him. He had sly eyes, which peered into our inglenook and up our chimney while Mr K looked on approvingly. Then they put their heads together and eventually declared that the house was built around one of the stones used to be in the circle, broke up into bits.
‘Well, isn’t that nice?’ said our mam, uneasily.
Mr Keiller looks at her like she’s some insignificant species of small brown bird, interesting maybe to some but not to him; he’s a man for hawks. ‘I’d like to get a closer look at it,’ he says. Standing in our parlour, he was even more handsome than he’d seemed that night in the Manor garden. ‘See those grooves on your lintel? It looks like it may have been a
polissoir!
Powerful clever, too, knowing all them foreign words.
‘A polly-what?’ says Dad, who’s come in from the garden where he’s been digging up a load of taters for the guests’ dinners.
‘A polishing stone. Where Neolithic people smoothed stone axes. There are several up on the Downs.’ Mostly he sounded like any posh toff, but occasionally his voice took on a soft Scottish lilt; the rs sounding more like
ws
, but not in a pansyish way. ‘They were probably considered sacred.’