A Small Indiscretion
Read A Small Indiscretion Online
Authors: Jan Ellison
A Small Indiscretion
is a work of fiction. Names, characters, places, and incidents are the products of the author’s imagination or are used fictitiously. Any resemblance to actual events, locales, or persons, living or dead, is entirely coincidental.
Copyright © 2014 by Jan Ellison
All rights reserved.
Published in the United States by Random House, an imprint of The Random House Publishing Group, a division of Random House LLC, a Penguin Random House Company, New York.
R
ANDOM
H
OUSE
and the H
OUSE
colophon are registered trademarks of Random House LLC.
Grateful acknowledgment is made to Music Sales Limited for permission to reprint an excerpt from “These Are the Days,” words and music by Natalie Merchant and Robert Buck, copyright © 1992 by Christian Burial Music. Nettwerk One Music Limited. All rights reserved. International copyright secured.
Used by permission of Music Sales Limited.
L
IBRARY OF
C
ONGRESS
C
ATALOGING
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IN
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UBLICATION
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ATA
Ellison, Jan.
A small indiscretion : a novel / Jan Ellison.
pages cm
ISBN
978-0-8129-9544-2
eBook
ISBN
978-0-8129-9545-9
1. Mothers and sons—Fiction. 2. Traffic accidents—Fiction. 3. Coma—Fiction.
4. Man-woman relationships—Fiction. I. Title.
PS
3605.
L
47534
S
63 2014
813′.6—dc23 2013032279
Jacket design: Gabriele Wilson
Hand lettering: Keith Hayes
Jacket photograph: Maskot/
Goto-Foto.co
v3.1
Nothing looks so like innocence as an indiscretion
.
—
OSCAR WILDE
L
ONDON
, the year I turned twenty.
I wore a winter coat, the first I’d ever owned—a man’s coat purchased at a secondhand store. I wore it every day, along with a silk scarf tied around my neck, imagining I looked arty or sophisticated. Each scarf cost a pound, and I bought them from an Indian woman who kept a stall in the tube station at Victoria, where I caught my train to work. They were thin, crinkled things, not the sort of scarves that ought to be worn to work in an office or that offered any protection against the cold. But I could not resist them, their weightlessness and soft, faint colors. The money I spent on them, and the habit I adopted of wearing a different one each day, seems to me now a haphazard indulgence, an attempt to prove that I was the kind of girl capable of throwing herself headlong into an affair with her boss—a married man twice her age—and escaping without consequence.
“Church,” he said, the morning I arrived at the address the woman at the agency had printed out on a card. “Malcolm Church.”
He extended his hand, and right away I was struck by a certain contradiction in him—the impressive height and mass of him in opposition to his stooped shoulders, his hesitant manner, his unwieldy
arms and legs. He had a square face and round brown eyes and brown hair streaked with gray, but his features were mostly overwhelmed by his size, so that all I remembered afterward was the pleasing sensation of feeling small, by comparison, even at five feet eight. He had a strange way of talking, his head tucked into his neck and his eyes fixed in the empty space beyond, as if something were suspended there, ripe fruit or a glimmer of light, as if he were not quite brave enough, or perhaps too polite, to look a person in the eye.
He asked me how long I was available. I told him I planned to be in London three months, but that my work permit was good for six, through March of next year. I’d intended to claim I was available indefinitely, since the position was listed as full-time permanent, and I was entirely out of money and badly needed the job, but something had stopped me. Not a sense of right and wrong or fear of getting caught, but a hard center of self-importance I had not lived long enough to shed, the notion that I would offer myself on my own terms or not at all. And I was buoyed up by my typing speed—eighty words per minute—about which he never even inquired.
“That’ll be fine,” Malcolm said, staring intently over my shoulder as he proceeded to explain that his work was in structural engineering, and that he was currently preparing a bid for the new Docklands Light Rail station at Canary Wharf. The London Docklands, he explained, was an area in east and southeast London whose docks had once been part of the Port of London. The area had fallen into disarray, and in the seventies, the government had put forward plans for commercial and residential redevelopment. Malcolm had been involved in the early phases of the project. Now he was hoping to work on the renovation of the original rail station.
There would be dictation and word processing, he said, a little research and generally helping to set up the office and assemble the
bid. The office was a single room upstairs from a sandwich shop near Bond Street, with two desks, industrial gray carpet and two folding metal chairs. On one desk was an unusual photograph of a woman and a baby, a posed black-and-white image with a startling play of silver light and shadow set against a background of trees and sky. A single smudge of pink had been hand-painted over the baby’s lips. It was Malcolm’s family—his wife, Louise, who would feature so prominently in my thoughts, and their infant daughter, Daisy, who was by then ten years old and away at the boarding school in the north that Louise had attended when she was Daisy’s age. I was to learn later that the photograph had been taken by a young man named Patrick Ardghal, the son of an old family friend of Malcolm’s, who was living in the cottage out back of Malcolm and Louise’s house in Richmond. He’d taken the photo a decade earlier, when he was in art school.
In the photo Louise had blond hair and a fine straight nose and a smile with a hint of impatience in it, perhaps not with the baby per se, but with the general condition of motherhood into which Louise had finally plunged. It had taken them seven years to conceive their daughter, Malcolm told me later. By the time they became parents they had already been married a decade, and Louise had not wanted another child. She didn’t have the temperament for it, Malcolm said. It overwhelmed and exhausted her and the delivery had nearly killed her, the baby, Daisy, having inherited from her father a rather large head.
I
MOVED FROM
a youth hostel in Earl’s Court to a boardinghouse in Victoria. The building was five stories high, made of gray stone, on a block not far from the tube station. My room was ten feet square with bright-blue walls, a laminate desk and a hard, narrow bed covered
in a thin white spread. There were bathrooms down the hall. There were no showers, only a single tub and a hose you attached to the faucet for washing your hair. There was no lock on the room with the bathtub, so I made a habit of propping a chair in front of the door for privacy. The chair, as I recall, did not stop Patrick Ardghal. Nothing much stopped Patrick when he had an idea in his mind. He simply shoved the door hard, and I welcomed him, I suppose, as I always did, and he undressed and climbed in. Our wet bodies were awkwardly entangled long enough to please him—then he left, as he always did, taking my heart with him.
My rent was sixty pounds a week, including breakfast and dinner. The meals were served buffet-style in the dining room downstairs. There were eggs and toast and stewed tomatoes for breakfast, meat pie or fish and chips or baked ham for dinner. It was a source of solidarity among the other boarders to complain about the food but I could not in good conscience join in. I loved those meals, the bounty and efficiency of them, the thick gravies, the custards and puddings and soft, fat rolls. It seemed a small miracle to me, to have so much available and to be paying for it all with my own wages. It pleased me, too, each time I handed over a pound coin in exchange for a scarf, and when I purchased, at the secondhand shop in Notting Hill, the winter coat, a full-length single-breasted gray tweed with covered buttons and a wide collar that could be turned up against the cold. I wore my coat and scarf and descended the escalator into the bowels of Victoria Station, emerging again into the dense, unyielding energy of city life feeling brisk, and stylish, and superior to the person I’d been when I’d left home. I was taken over by a sense of liberation and possibility. Any false steps I made now would be mine alone. Any foolish moves would be private business that had no bearing on the hopes and dreams of others, and that would not later be a source of remorse or reckoning or pain.
W
HAT A SHOCK
to discover, some twenty years later, that exactly the opposite was true. To learn, in the aftermath, that I hadn’t known the half of it. To stand in my San Francisco kitchen last June and slip my finger through the flap of a white envelope, and to find a black-and-white photograph of myself in that tweed coat, standing on the chalk down of the White Cliffs of Dover, waiting to board a ferry to Paris.
It was a photograph innocent enough to anyone unacquainted with its history, its treacherous biological imperatives, its call for reparations left unpaid. It had been solarized, just as the photo of Louise and the baby on Malcolm’s desk had been. It had been subjected to a light source in the darkroom, causing a reversal of dark and light. My form, and Malcolm’s, along with the inch of air between us, were bathed in silver light that brightened at the edges like a halo. Louise and Patrick, on the other side of the photo, were deep in shadow. The scarf I was wearing had been hand-colored a blunt red. It was tied around my neck like a choker, like a noose. But it wasn’t me who was about to hang.
