The Infinities (6 page)

“I was awake,” Adam says. “I went downstairs. Did you hear the train?”

Helen’s frown deepens and she tilts her head to one side and looks at him hard, as if she thinks he is teasing her and is cautioning him to stop. What colour are her eyes? They must be blue, yes, dark blue and deep as the Grecian sea itself. Her head is an exquisite, cream-and-gold inverted egg that sits on its pale length of neck as on a plinth of polished stone. She has cut her hair in a new fashion, close to the skull in countless imbricated layers like flakes of gold leaf; he is not sure he likes it in this style but would not dare to say so. In the matter of his wife and the things she does or does not do he feels he is standing astride the hub of a great steel disc that is spinning at an immense speed and that at the tiniest ill-judged action on his part will begin to wobble wildly and a second later fly off its spindle with terrible shrieks and clangs and send him flailing into darkness and irreparable damage. “You were here, not downstairs,” she says, more in puzzlement than contradiction. “You were here, with me.”

“I couldn’t sleep.”

She gives an odd, dry laugh. “Is that so?” Her tone too puzzles him; she must still be half in a dream. One naked foot has kicked free the hem of the sheet; he notes the heel’s callused rim and his already smitten chest seems to open and let something fly out, like a bird out of a clock, love’s desperate cuckoo. “I have to go to the bathroom,” she says. “I’m sopping.”

When she steps from the bed the tails of the blue shirt open briefly in front and he catches a glimpse of her russet fleece. He wants to touch her, to detain and hold her. There is a grain of
sleep at the canthus of her left eye, the one that has a slight and captivating droop. She brushes past him and as she goes to the door he is treated to a brief view under the shirt-tails of two pale half-moons of pendent, glimmering flesh. He imagines licking that fleck of hardened gleet from the corner of her eye with just the very tip of his tongue. Sopping?

He kneels on the side of the bed and leans deeply forward on his hands as if prostrating himself in prayer and buries his face in the still-warm nest in the bedclothes where until a moment ago his wife was sitting.

The tiny bathroom is wedge-shaped, narrowing from the door to where the handbasin and the single small window are, which makes the place feel all the more cramped. Half the space is taken up by an enamel bath the size of a sarcophagus with a chipped rim and brown and yellowish-green streaks running down from the taps. Over the bath there is a giant geyser, also enamel-plated, also chipped, which long ago ceased to function but which no one has thought to have removed. The first time Helen came to stay at Arden and was unwise enough to take a bath here she stood up and cut her head on the sharp edge of the brass spigot that sticks out under the hole where the pilot light used to be. That was before she was married to Adam. Married. The word stops her, as it always does. It has to her ears an antiquated and faintly indecent ring, like one of those innocent-sounding words in the old plays,
swive
, or
fig
, or
mutuality
.

The window looks down on a field of thistles and, farther on, a circular dark wood that seems to huddle around itself in
fear of something, and over which now the morning sun is pouring in vain its somehow heartless cheer. When she is outside she can never seem to locate that field, or that wood—how is that?—not that she would spend much time searching for them. It is just another of the place’s many small but exasperating mysteries. She is a city girl and finds the countryside either dull or worrying, or both.

She hikes up the shirt she is wearing by grasping a handful of it at the front and lowers herself on to the lavatory like, she thinks, a big white soft hen getting ready to lay an egg. The antique lavatory seat is a mighty frame of varnished, maroon-coloured wood that reminds her of the collar of a work-horse—but where would she ever have seen such a thing?—and feels cold and sticky at first and then warm and stickier still. She listens in mild dismay to the splashings and ploppings going on underneath her. She is sure she can be heard all over the house. She plants her hands on her bare knees and gazes straight ahead of her at nothing. White light glows on the patch of pale-yellow wall in front of her. She hears from below scraps of the life of the house going on, people talking, a door opening and shutting, a dull thud that could be anything; the dog barks, three unemphatic woofs; that door again, banging this time; light steps on the stairs; a brusque, back-and-forth rattling as someone riddles the cinders in a grate. Why is it that people heard from afar like this, in distant rooms on other floors, always sound as if they are doing things—confiding, fighting, striking loud deals—far more interesting than the mundane things that they are really engaged in?

It seems old Adam is going to die, the doctors say so, and everyone except Ursula has given up hope. It is strange to think
of him not being here any more, at Arden; strange to think of him not being anywhere. What is it like to die, she wonders, what is it like to be dead? Is it like anything? Like being under an anaesthetic, perhaps, with the forgetful anaesthetist gone home and all the lights in the operating theatre turned off and the doors locked and the last squeaky footsteps fallen silent down all the long corridors. She is not sure what she is meant to feel about this coming death. She knows the old man lusts after her—lusted, now—she has seen him eyeing her when he thought she was not noticing, has seen how he puts his head back, running his nails through the underneath of his beard, and how that white patch of skin between his eyebrows creases as if he were in faint pain. It gives her the shivers to think of it now. Yet he must have been handsome, once, beautiful, even, with that narrow brow and those deeply indented temples, the sharp nose and the large, slightly slanted, glistening black eyes. He is nothing like his son—how can the two of them be so different? But she would not have wanted to be married to old Adam, and not just because he is dying. Why, then? Something uncanny in him; something cold.

She reaches out to the roller and tears off a length of tissue. The parched, leaf-mould smell of the paper reminds her of something from the past—trees, summer, a boy—but it is gone before she can fix it. The flush is operated by a chain with a wooden handle polished and worn thin from use.

—oh, such a dream!
We were upon some golden mountain top,
The two of us, just we, and all around
The air was blue, and endless, and so soft!

She wonders at herself and how she fairly fled just now from the bedroom and her husband in a confusion of unwonted shyness, of shame, almost, that was more pleasurable than not, and now—could it be?—there is already a heat beginning to glow again in her lap. What came over her? And, more amazingly, what came over him? She puts a hand between her thighs and probes inside herself with squeamish fingers. She expects to find all raw and sore there but does not. She lifts her fingertips to her nostrils and sniffs. There are only her own familiar pungencies. Was it a dream? Surely not. Surely something so intensely felt must have been real.

She thinks again of the dying old man.

Loosened, released, she rises from the cascading bowl and walks to the window and peers at what she can see of her face in the cracked looking-glass in its worm-eaten wooden frame. Who if not her husband was that monstrous man who made such love to her in the dimness of the dawning bedroom? And if her husband, how transfigured! Her limbs are shaking still from the awful weight of him. The things he did to her, the things he had her do! Never, never in all her life—! In the glass with its diagonal crack her face is slashed into two ill-fitting halves and a lopsided eye looks back at her quizzically, with a sceptical cast. The morning beats around her like a pulse, the cistern gurgles. The warmish afterglow of her own spicy stink lingers on the air. Through the little window the glare of daylight startles anew, making her squint. The light out here in the country, the hue of headaches, is different than in the city, brighter, more intense, as if there is shining behind it another light, mysterious, unvarying, with an acid cast. The water, coiling from the tap like running metal, shatters on her knuckles in silvery streels. She seems to
herself gathered up, somehow, enfolded and gathered up. The burning in her belly is growing more intense, a sullen fire. She lowers her head with eyes shut fast and braces her hands on the sides of the handbasin and leans forward heavily on locked elbows, trembling in remembered pleasure that seems a part of pain. She would swoon if I were not there to hold her up with arms of air. This is how it always is when Dad has done what he does with a girl, the old lecher. I am remembering Tyndareus’s wife, and, later, that trollop her daughter—another Helen!—who caused all the trouble at Troy and brought great Ilium low. Not to mention the nameless ones, countless in number, before and since, betrayed, spurned, forgotten.

Adam is waiting for her in the bedroom. He has dressed. He wears a white shirt and a preposterous pair of rough tweed trousers, of a rusty colour, much too tight for him, that she has never seen before—they cannot be his, he must have found them somewhere in the room. He always does strange things at Arden. Coming here he still speaks of coming home. He is sitting sideways on the bed. This bed—it is wider than a single but far too narrow for the two of them; last night she said she was afraid he would turn in his sleep and squash her against the wall and kill her, as it is said babies are sometimes suffocated when their sleeping mothers roll on top of them. At the mention of babies they both went silent, and he looked away though she made herself stare at him, her eyes narrowed, daring him to say something, but he would not, of course. She looks now at the things of his in the room, that aeroplane, the hurley stick, and in her mind she curls a lip. He is propped on an arm and smiling up at her as if in entreaty. What does he want? She wishes he had gone downstairs.
She would like to be alone. She does not want to dress in front of him. She feels still a vestige of excited shame, recalling the dream of their love-making. For she has decided it was a dream, after all. What else could it have been, her seeming to wake and find him looming over her arrayed in light, unspeaking, urgent, his arms outstretched and his hands on her breasts—what else?

When you return, who will you be but you?
What other you is there that I might love?

Again now he moves a hand towards her, the hand he had been leaning on, its fingers scurrying crablike playfully over the sheet. She likes his hands, foursquare and always warm, but now she does not want to be touched and draws back an almost imperceptible inch from the edge of the bed. He makes a smiling frown. “What’s wrong?” he asks. “Did Duffy spot you in my shirt?”

She considers this. She has had cause before now to remark the cowman’s seeming freedom of the house, his way of popping up at inappropriate moments in unexpected places, with his beetling brow and his bold, undeflectable stare. What if he did see her, scampering out of the bathroom and up the steps with her backside on show? Well, let him see, she does not care.

“Did you go in yet to see your father?” she asks. Her overnight bag is open on the floor, things spilling out of it as if stalled in a desperate scramble to escape. “How is he?”

He stops smiling but continues to frown, his upper lip protruding over the lower. As always when he dips his head a wing
of hair falls forward on his brow and he lifts a hand impatiently to brush it back. His hair is soft and pale. His eyes are pale too, a limpid blue, like her own, but uncanny, somehow, uncanny, that word again. In her dream he was himself and yet not, a figure of cold fire, burning her; his mouth was gold.

“I don’t know how he is,” he says. “He’s just there, not doing anything. I hope he is not suffering but how am I supposed to know?” He pauses, and picks at something on the sheet. “I burst into tears at the bedside.”

“Did you?” is all she says, as if she were thinking of something else. He wonders if she will ask to see him, the dying man.

She walks to the window and pulls up the muslin blind and secures its string by winding it on a hook screwed into the sill and stands looking out. It is supposed to be possible to see the sea from here but she never can. “Poor thing,” she says, and neither of them is sure whom she means, Adam’s father or Adam. Below, there is a different field from the one the bathroom window looks down on, or maybe, she thinks, it is the same one but from another angle. Beyond it there is no wood, though, only a long, lush slope—surely even grass should not be that unreally bright shade of green—behind which rise the roof and single chimney of Ivy Blount’s cottage. Three black-and-white cows are desultorily at graze. A tiny bird flits down from a bough as if not flying but falling, a quick, brown leaf, and then can be seen no more. There is something less than real about the look of this place, especially in summer; it all seems got up, to her. Everything is too flat, somehow, the distances especially but the nearer hills, too, and all laid over with a weak lavender wash, like a badly done backdrop.

She has played Hedda, and Miss Julie. She has swept on in a matt-black gown and seduced and scorned. In the farthest back row they saw the flash of her azure eyes. She had the whip and the whip-hand. Now she will play Alcmene, the soldier’s wife, sweet and baffled and beleaguered. How to pitch it?

“What?” She looks back.

When you return, who will you be but you?—

Tee-tum tee-tum tee-tum tee-tum tee
-tum
. Like Duffy in his big boots.

“I said nothing,” her husband says.

She glances, frowning, about the room. “She even kept your toys,” she says, wonderingly.

“Who?”

“Your mother—who else?”

She recalls again the gold man in her dream, the looming weight of him. She strides quickly to the bed—a maenad! look!—and clambers over the steamer trunk on to the mattress and wades along it on her knees and with an impassioned violence takes her husband’s head between her hands and presses his face to her breast. He wriggles, and says something that is too muffled for her to make out. She feels his breath on her skin and a shirt button that his chin is pressing into her. Although she is slight compared to him she seems to herself a giantess, towering over him, voracious and commanding. He reaches around and lifts the tail of his shirt that she is wearing and puts his hands on her bare behind and they both feel the blood-heat of her flesh. He is trying to speak again but she will not let him, and grinds
his face against her, rolling it from side to side. He makes muffled, laughing noises. His nails dig into her behind, stingingly. She throws back her head with a savage sigh.