The Sea (15 page)

She was prone to sudden and unnerving flashes of violence. I am thinking of one wet afternoon when we were alone together in the living room at the Cedars. The air in the room was damply chill and there was the sad, rainy-day smell of soot and cretonne curtains. Chloe had come in from the kitchen and was crossing to the window and I stood up from the sofa and went toward her, I suppose to try to get my arms around her. Immediately at my approach she stopped and brought up her hand in a quick short arc and delivered me a slap full in the face. So sudden was the blow, so complete, it seemed a definition of some small, unique and vital thing. I heard the echo of it ping back from a corner of the ceiling. We stood a moment motionless, I with my face averted, and she took a step backward, and laughed, and then pouted sulkily and went on to the window, where she picked up something from the table and looked at it with a fierce frown. There was a day on the beach when she fixed on a townie to torment. It was a blustery grey afternoon toward the end of the holiday, the faintest of autumnal notes already in the air, and she was bored and in a malevolent mood. The townie was a pale, shivering fellow in sagging black swimming trunks, with a concave chest and nipples swollen and discoloured from the cold. We cornered him, the three of us, behind a concrete groyne. He was taller than the twins, but I was taller still, and being eager to impress my girl I gave him a good hard push and knocked him back against the green-slimed wall, and Chloe planted herself in front of him and at her most imperious demanded to know his name and what he was doing here. He looked at her in slow bewilderment, unable to understand, it seemed, why he had been picked on, or what it was we wanted of him, which of course we did not know either. "Well?" Chloe cried, hands on her hips and tapping one foot on the sand. He smiled uncertainly, more embarrassed than in fear of her. He had come down for the day, he said, mumbling, with his Mammy, on the train.

"Oh, your Mammy, is it?" Chloe said with a sneer, and as if that were a signal Myles stepped forward and smacked him hard on the side of the head with the flat of his hand, producing an impressively loud sharp
tock!
"See?" Chloe said shrilly. "That's what you get for being smart with us!" The townie, poor slow sheep that he was, only looked startled, and put up a hand and felt his face as if to verify the amazing fact of having been hit. There was a thrilling moment of stillness then when anything might have happened. Nothing did. The townie only gave a sort of resigned, sad shrug and shambled away, still with a hand lifted to his jaw, and Chloe turned on me defiantly but said nothing, while Myles only laughed.

What remained with me from the incident was not Chloe's glare or Myles's snigger, but the look the townie gave me at the end, before turning disconsolately away. He knew me, knew I was a townie too, like him, whatever I might try to seem. If in that look there had been an accusation of betrayal, of anger at me for siding with strangers against him, anything like that, I would not have minded, but would, in fact, have felt gratified, even if shamefacedly so. No, what unsettled me was the expression of acceptance in his glance, the ovine unsurprisedness at my perfidy. I had an urge to hurry after him and put a hand on his shoulder, not so that I might apologise or try to excuse myself for helping to humiliate him, but to make him look at me again, or, rather, to make him withdraw that other look, to negate it, to wipe the record of it from his eye. For I found intolerable the thought of being known in the way that he seemed to know me. Better than I knew myself. Worse.

I have always disliked being photographed, but I intensely disliked being photographed by Anna. It is a strange thing to say, I know, but when she was behind a camera she was like a blind person, something in her eyes went dead, an essential light was extinguished. She seemed not to be looking through the lens, at her subject, but rather to be peering inward, into herself, in search of some defining perspective, some essential point of view. She would hold the camera steady at eye-level and thrust her raptor's head out sideways and stare for a second, sightlessly, it might be, as if one's features were written in some form of braille that she was capable of reading at a distance; when she pressed the shutter it seemed the least important thing, no more than a gesture to placate the apparatus. In our early days together I was unwise enough to allow her to persuade me to pose for her on a few occasions; the results were shockingly raw, shockingly revealing. In those half dozen black-and-white head-andshoulders shots that she took of me—and took is the word—I seemed to myself more starkly on show than I would have been in a full-length study and wearing not a stitch. I was young and smooth and not unhandsome—I am being modest—but in those photographs I appeared an overgrown homunculus. It was not that she made me look ugly or deformed. People who saw the photographs said they flattered me. I was not flattered, far from it. In them I appeared to have been grabbed and held for an instant on the point of fleeing, with cries of
Stop, thief!
ringing about me. My expression was uniformly winsome and ingratiating, the expression of a miscreant who fears he is about to be accused of a crime he knows he has committed yet cannot quite recall, but is preparing his extenuations and justifications anyway. What a desperate, beseeching smile I wore, a leer, a very leer. She trained her camera on a fresh-faced hopeful but the pictures she produced were the mug-shots of a raddled old confidence trickster. Exposed, yes, that is the word, too.

It was her special gift, the disenchanted, disenchanting, eye. I am thinking of the photographs she took in the hospital, at the end, at the beginning of the end, when she was still undergoing treatment and had strength enough to get up from her bed unaided. She had Claire search out her camera, it was years since she had used it. The prospect of this return to an old obsession gave me a strong yet unaccountable sense of fore- boding. I found disturbing too, although again I could not have said exactly why, the fact that it was Claire, and not I, whom she had asked to fetch the camera, and in the tacit understanding, furthermore, that I was not to hear of it. What did it mean, all this secrecy and hugger-mugger? Claire, lately returned briefly from her studies abroad—France, the Low Countries, Vaublin, all that—was shocked to find her mother so ill, and was angry at me, of course, for not summoning her sooner. I did not tell her that Anna was the one who had not wanted her home. This too was odd, for in the past they had always been close, that pair. Was I jealous? Yes, a little, in fact more than a little, if I am to be honest. I am well aware of what I expected, what I expect, of my daughter, and of the selfishness and pathos of that expectation. Much is demanded of the dilettante's offspring. She will do what I could not, and be a great scholar, if I have any say in the matter, and I have. Her mother left her some money, but not enough. I am the big fat goose, and costive with the golden eggs.

It was by chance that I caught Claire smuggling the camera out of the house. She tried to pass it off casually, but Claire is not good at being casual. Not that she knew, any more than I did, why it should be a secret. Anna always had an underhand way of going about the simplest things, it was the lingering influence of her father and their rackety early life together, I suppose. There was a childish side to her. I mean she was wilful, secretive, and deeply resentful of the slightest interference or objection. I can talk, I know. I think it must be that we were both only children. That sounds odd. I mean that we were both the only children of our parents. That sounds odd too. Did I seem to disapprove of her attempts to be an artist, if taking snapshots can be considered artistry? In fact, I paid scant attention to her photographs, and she had no reason to think I would have kept the camera from her. It is all very puzzling.

Anyway, a day or two after I caught Claire with the camera I was called in by the hospital to be sternly informed that my wife had been taking photographs of the other patients and that there had been complaints. I blushed on Anna's behalf, standing in front of the Matron's desk and feeling like a schoolboy hauled up before the Head to account for someone else's misdeeds. It seemed Anna had been wandering through the wards, barefoot, in her hospital-issue bleached white smock, wheeling her drip-feed stand—she called it her dumb-waiter—in search of the more grievously marked and maimed among her fellow patients, by whose bedsides she would park the drip stand and bring out her Leica and snap away until she was spotted by one or other of the nurses and ordered back to her room.

"Did they tell you who complained?" she demanded of me sulkily. "Not the patients, only the relatives, and what do they know?"

She had me bring the film for developing to her friend Serge. Her friend Serge, who at one time in the far past may possibly have been more than a friend, is a burly fellow with a limp and a mane of beautiful black hair which he tosses back from his forehead with a graceful sweep of both his big blunt hands. He has a studio at the top of one of those tall narrow old houses in Shade Street, by the river. He takes fashion photographs, and sleeps with his models. He claims to be a refugee from somewhere or other, and speaks with a lisping accent which the girls are said to find irresistible. He does not use a surname, and even Serge, for all I know, may be a
nom-d'appareil.
He is the kind of person we used to know, Anna and I, in the old days, which were still new then. I cannot think now how I tolerated him; nothing like disaster for showing up the cheapness and fraudulence of one's world, one's former world.

There seems to be something about me that Serge finds irresistibly funny. He keeps up a stream of unamusing little jokes, which I am convinced are a pretext for him to laugh without seeming to be laughing at me. When I came to collect the developed prints he set off on a search for them amidst the picturesque disorder of the studio—it would not surprise me if he arranges the disorder, like a window display—picking his way about nimbly on his disproportionately dainty feet despite a violent list to the left at every other step. He slurped coffee from a seemingly bottomless mug and talked to me over his shoulder. The coffee is another of his trademarks, along with the hair and the limp and the Tolstoyan baggy white shirts that he favours. "How is the beautiful Annie?" he asked. He glanced at me sidelong and laughed. He always called her Annie, which no one else did; I suppress the thought that it might have been his old love name for her. I had not told him of her illness— why should I? He was scrabbling about in the chaos on the big table he uses as a work desk. The vinegary stink of developing fluid from the darkroom was stinging my nostrils and my eyes.
"Any news of Annie" he
warbled to himself, making a jingle of it, and gave another snuffly laugh down his nostrils. I saw myself run forward with a cry and hustle him to the window and heave him headlong down into the cobbled street. He gave a grunt of triumph and came up with a thick manila envelope, but when I reached out to take it he held back, considering me with a mer- rily speculative eye, his head cocked to the side. "These things she is taking, they are some pictures," he said, hefting the envelope in one hand and flapping the other limply up and down in his studied Mitteleuropan way. Through a skylight above us the sun of summer shone full on the work table, making the strewn sheets of photographic paper burn with a hot white glare. Serge shook his head and whistled soundlessly through pursed lips. "Some pictures!" From her hospital bed Anna reached up eagerly with fingers childishly splayed and snatched the envelope from my hands without a word. It was over-warm and humid in the room and there was a glistening grey film of sweat on her forehead and her upper lip. Her hair had begun to grow again, in a half-hearted fashion, as if it knew it would not be needed for long; it came out in patches, lank and black and greasy-seeming, like a cat's licked fur. I sat on the side of the bed and watched her tear impatiently with her fingernails at the flap of the envelope. What is it about hospital rooms that makes them so seductive, despite all that goes on in them? They are not like hotel rooms. Hotel rooms, even the grandest of them, are anonymous; there is nothing in them that cares for a guest, not the bed, not the refrigerated drinks cabinet, not even the trouser-press, standing so deferentially at attention with its back to the wall. Despite all efforts of architects, designers, managements, hotel rooms are always impatient for us to be gone; hospital rooms, on the contrary, and without anybody's effort, are there to make us stay, to want to stay, and be content. They have a soothing suggestion of the nursery, all that thick cream paint on the walls, the rubberised floors, the miniature hand-basin in the corner with its demure little towel on a rail underneath, and the bed, of course, with its wheels and levers, that looks like a kiddie's complicated cot, where one might sleep and dream, and be watched over, and cared for, and never, not ever, die. I wonder if I could rent one, a hospital room, that is, and work there, live there, even. The amenities would be wonderful. There would be the cheery wake-up call in the mornings, meals served with iron regularity, one's bed made up neat and tight as a long white envelope, and a whole medical team standing by to cope with any emergency. Yes, I could be content there, in one of those white cells, my barred window, no, not barred, I am getting carried away, my window looking down on the city, the smokestacks, the busy roads, the hunched houses, and all the little figures, hurrying endlessly, to and fro. Anna spread the photographs around her on the bed and pored over them avidly, her eyes alight, those eyes that by then had come to seem enormous, starting from the armature of the skull. The first surprise was that she had used colour film, for she had always favoured black-and-white. Then there were the photographs themselves. They might have been taken in a field hospital in wartime, or in a casualty ward in a defeated and devastated city. There was an old man with one leg gone below the knee, a thick line of sutures like the prototype of a zip fastener traversing the shiny stump. An obese, middle-aged woman was missing a breast, the flesh where it had been recently removed all puckered and swollen like a giant, empty eye-socket. A big-bosomed, smiling mother in a lacy nightdress displayed a hydrocephalic baby with a bewildered look in its otter's bulging eye. The arthritic fingers of an old woman taken in close-up were knotted and knobbed like clusters of root ginger. A boy with a canker embossed on his cheek, intricate as amandala, grinned into the camera, his two fists lifted and giving a double thumbs-up sign, a fat tongue cheekily stuck out. There was a shot angled down into a metal bin with gobs and strings of unidentifiable dark wet meat thrown into it—was that refuse from the kitchen, or the operating theatre?