Atonement (4 page)

Briony leaned back against a wall and stared unseeingly down the nursery's length. It was a temptation for her to be magical and dramatic, and to regard what she had witnessed as a tableau mounted for her alone, a special moral for her
wrapped in a mystery. But she knew very well that if she had not stood when she did, the scene would still have happened, for it was not about her at all. Only chance had brought her to the window. This was not a fairy tale, this was the real, the adult world in which frogs did not address princesses, and the only messages were the ones that people sent. It was also a temptation to run to Cecilia's room and demand an explanation. Briony resisted because she wanted to chase in solitude the faint thrill of possibility she had felt before, the elusive excitement at a prospect she was coming close to defining, at least emotionally. The definition would refine itself over the years. She was to concede that she may have attributed more deliberation than was feasible to her thirteen-year-old self. At the time there may have been no precise form of words; in fact, she may have experienced nothing more than impatience to begin writing again.

As she stood in the nursery waiting for her cousins' return she sensed she could write a scene like the one by the fountain and she could include a hidden observer like herself. She could imagine herself hurrying down now to her bedroom, to a clean block of lined paper and her marbled, Bakelite fountain pen. She could see the simple sentences, the accumulating telepathic symbols, unfurling at the nib's end. She could write the scene three times over, from three points of view; her excitement was in the prospect of freedom, of being delivered from the cumbrous struggle between good and bad, heroes and villains. None of these three was bad, nor were they particularly good. She need not judge. There did not have to be a moral. She need only show separate minds, as alive as her own, struggling with the idea that other minds were equally alive. It wasn't only wickedness and scheming that made people unhappy, it was confusion and misunderstanding; above all, it was the failure to grasp the simple truth that other people are as real as you. And only in a story could you enter these different minds and show how they had an equal value. That was the only moral a story need have.

Six decades later she would describe how at the age of thirteen she had written her way through a whole history of literature, beginning with stories derived from the European tradition of folk tales, through drama with simple moral intent, to arrive at an impartial psychological realism which she had discovered for herself, one special morning during a heat wave in 1935. She would be well aware of the extent of her self-mythologising, and she gave her account a self-mocking, or mock-heroic tone. Her fiction was known for its amorality, and like all authors pressed by a repeated question, she felt obliged to produce a story line, a plot of her development that contained the moment when she became recognisably herself. She knew that it was not correct to refer to her dramas in the plural, that her mockery distanced her from the earnest, reflective child, and that it was not the long-ago morning she was recalling so much as her subsequent accounts of it. It was possible that the contemplation of a crooked finger, the unbearable idea of other minds and the superiority of stories over plays were thoughts she had had on other days. She also knew that whatever actually happened drew its significance from her published work and would not have been remembered without it.

However, she could not betray herself completely; there could be no doubt that some kind of revelation occurred. When the young girl went back to the window and looked down, the damp patch on the gravel had evaporated. Now there was nothing left of the dumb show by the fountain beyond what survived in memory, in three separate and overlapping memories. The truth had become as ghostly as invention. She could begin now, setting it down as she had seen it, meeting the challenge by refusing to condemn her sister's shocking near-nakedness, in daylight, right by the house. Then the scene could be recast, through Cecilia's eyes, and then Robbie's. But now was not the time to begin. Briony's sense of obligation, as well as her instinct for order, were powerful; she must complete what she had initiated,
there was a rehearsal in progress, Leon was on his way, the household was expecting a performance tonight. She should go down once more to the laundry to see whether the trials of Jackson were at an end. The writing could wait until she was free.

 

Four

I
t was not until the late afternoon that Cecilia judged the vase repaired. It had baked all afternoon on a table by a south-facing window in the library, and now three fine meandering lines in the glaze, converging like rivers in an atlas, were all that showed. No one would ever know. As she crossed the library with the vase in both hands, she heard what she thought was the sound of bare feet on the hallway tiles outside the library door. Having passed many hours deliberately not thinking about Robbie Turner, it seemed an outrage to her that he should be back in the house, once again without his socks. She stepped out into the hallway, determined to face down his insolence, or his mockery, and was confronted instead by her sister, clearly in distress. Her eyelids were swollen and pink, and she was pinching on her lower lip with forefinger and thumb, an old sign with Briony that some serious weeping was to be done.

‘Darling! What's up?'

Her eyes in fact were dry, and they lowered fractionally to take in the vase, then she pushed on past, to where the easel stood supporting the poster with the merry, multicoloured title, and a Chagall-like montage of highlights from her play in water-colour scattered around the lettering – the tearful parents waving, the moon-lit ride to the coast, the heroine on
her sickbed, a wedding. She paused before it, and then, with one violent, diagonal stroke, ripped away more than half of it and let it fall to the floor. Cecilia put the vase down and hurried over, and knelt down to retrieve the fragment before her sister began to trample on it. This would not be the first time she had rescued Briony from self-destruction.

‘Little Sis. Is it the cousins?'

She wanted to comfort her sister, for Cecilia had always loved to cuddle the baby of the family. When she was small and prone to nightmares – those terrible screams in the night – Cecilia used to go to her room and wake her.
Come back
, she used to whisper.
It's only a dream. Come back
. And then she would carry her into her own bed. She wanted to put her arm round Briony's shoulder now, but she was no longer tugging on her lip, and had moved away to the front door and was resting one hand on the great brass lion's-head handle that Mrs Turner had polished that afternoon.

‘The cousins are stupid. But it's not only that. It's…' She trailed away, doubtful whether she should confide her recent revelation.

Cecilia smoothed the jagged triangle of paper and thought how her little sister was changing. It would have suited her better had Briony wept and allowed herself to be comforted on the silk chaise longue in the drawing room. Such stroking and soothing murmurs would have been a release for Cecilia after a frustrating day whose various cross-currents of feeling she had preferred not to examine. Addressing Briony's problems with kind words and caresses would have restored a sense of control. However, there was an element of autonomy in the younger girl's unhappiness. She had turned her back and was opening the door wide.

‘But what is it then?' Cecilia could hear the neediness in her own voice.

Beyond her sister, far beyond the lake, the driveway curved across the park, narrowed and converged over rising ground to a point where a tiny shape, made formless by the warping
heat, was growing, and then flickered and seemed to recede. It would be Hardman, who said he was too old to learn to drive a car, bringing the visitors in the trap.

Briony changed her mind and faced her sister. ‘The whole thing's a mistake. It's the wrong…' She snatched a breath and glanced away, a signal, Cecilia sensed, of a dictionary word about to have its first outing. ‘It's the wrong genre!' She pronounced it, as she thought, in the French way, monosyllabically, but without quite getting her tongue round the ‘r'.

‘
Jean
?' Cecilia called after her. ‘What are you talking about?'

But Briony was hobbling away on soft white soles across the fiery gravel.

Cecilia went to the kitchen to fill the vase, and carried it up to her bedroom to retrieve the flowers from the handbasin. When she dropped them in they once again refused to fall into the artful disorder she preferred, and instead swung round in the water into a wilful neatness, with the taller stalks evenly distributed around the rim. She lifted the flowers and let them drop again, and they fell into another orderly pattern. Still, it hardly mattered. It was difficult to imagine this Mr Marshall complaining that the flowers by his bedside were too symmetrically displayed. She took the arrangement up to the second floor, along the creaking corridor to what was known as Auntie Venus's room, and set the vase on a chest of drawers by a four-poster bed, thus completing the little commission her mother had set her that morning, eight hours before.

However, she did not immediately leave, for the room was pleasingly uncluttered by personal possessions – in fact, apart from Briony's, it was the only tidy bedroom. And it was cool here, now that the sun had moved round the house. Every drawer was empty, every bare surface without so much as a fingerprint. Under the chintz counterpane the sheets would be starchily pure. She had an impulse to slip her hand between the covers to feel them, but instead she moved deeper into Mr Marshall's room. At the foot of the four-poster, the seat of a Chippendale sofa had been so carefully straightened
that sitting down would have seemed a desecration. The air was smooth with the scent of wax, and in the honeyed light, the gleaming surfaces of the furniture seemed to ripple and breathe. As her approach altered her angle of view, the revellers on the lid of an ancient trousseau chest writhed into dance steps. Mrs Turner must have passed through that morning. Cecilia shrugged away the association with Robbie. Being here was a kind of trespass, with the room's future occupant just a few hundred yards away from the house.

From where she had arrived by the window she could see that Briony had crossed the bridge to the island, and was walking down the grassy bank, and beginning to disappear among the lakeshore trees that surrounded the island temple. Further off, Cecilia could just make out the two hatted figures sitting up on the bench behind Hardman. Now she saw a third figure whom she had not noticed before, striding along the driveway towards the trap. Surely it was Robbie Turner on his way home. He stopped, and as the visitors approached, his outline seemed to fuse with that of the visitors. She could imagine the scene – the manly punches to the shoulder, the horseplay. She was annoyed that her brother could not know that Robbie was in disgrace, and she turned from the window with a sound of exasperation, and set off for her room in search of a cigarette.

She had one packet remaining, and only after several minutes of irritable raking through her mess did she find it in the pocket of a blue silk dressing gown on her bathroom floor. She lit up as she descended the stairs to the hall, knowing that she would not have dared had her father been at home. He had precise ideas about where and when a woman should be seen smoking: not in the street, or any other public place, not on entering a room, not standing up, and only when offered, never from her own supply – notions as self-evident to him as natural justice. Three years among the sophisticates of Girton had not provided her with the courage to confront him. The light-hearted ironies she might have deployed among
her friends deserted her in his presence, and she heard her own voice become thin when she attempted some docile contradiction. In fact, being at odds with her father about anything at all, even an insignificant domestic detail, made her uncomfortable, and nothing that great literature might have done to modify her sensibilities, none of the lessons of practical criticism, could quite deliver her from obedience. Smoking on the stairway when her father was installed in his Whitehall ministry was all the revolt her education would allow, and still it cost her some effort.

As she reached the broad landing that dominated the hallway, Leon was showing Paul Marshall through the wide-open front entrance. Danny Hardman was behind them with their luggage. Old Hardman was just in view outside, gazing mutely at the five-pound note in his hand. The indirect afternoon light, reflected from the gravel and filtered through the fanlight, filled the entrance hall with the yellowish-orange tones of a sepia print. The men had removed their hats and stood waiting for her, smiling. Cecilia wondered, as she sometimes did when she met a man for the first time, if this was the one she was going to marry, and whether it was this particular moment she would remember for the rest of her life – with gratitude, or profound and particular regret.

‘Sis-Celia!' Leon called. When they embraced she felt against her collar-bone through the fabric of his jacket a thick fountain pen, and smelled pipe smoke in the folds of his clothes, prompting a moment's nostalgia for afternoon tea visits to rooms in men's colleges, rather polite and anodyne occasions mostly, but cheery too, especially in winter.

Paul Marshall shook her hand and made a faint bow. There was something comically brooding about his face. His opener was conventionally dull.

‘I've heard an awful lot about you.'

‘And me you.' What she could remember was a telephone conversation with her brother some months before, during
which they had discussed whether they had ever eaten, or would ever eat, an Amo bar.

‘Emily's lying down.'

It was hardly necessary to say it. As children they claimed to be able to tell from across the far side of the park whenever their mother had a migraine by a certain darkening at the windows.

‘And the Old Man's staying in town?'

‘He might come later.'

Cecilia was aware that Paul Marshall was staring at her, but before she could look at him she needed to prepare something to say.

‘The children were putting on a play, but it rather looks like it's fallen apart.'

Marshall said, ‘That might have been your sister I saw down by the lake. She was giving the nettles a good thrashing.'

Leon stepped aside to let Hardman's boy through with the bags. ‘Where are we putting Paul?'

‘On the second floor.' Cecilia had inclined her head to direct these words at the young Hardman. He had reached the foot of the stairs and now stopped and turned, a leather suitcase in each hand, to face them where they were grouped, in the centre of the chequered, tiled expanse. His expression was of tranquil incomprehension. She had noticed him hanging around the children lately. Perhaps he was interested in Lola. He was sixteen, and certainly no boy. The roundness she remembered in his cheeks had gone, and the childish bow of his lips had become elongated and innocently cruel. Across his brow a constellation of acne had a new-minted look, its garishness softened by the sepia light. All day long, she realised, she had been feeling strange, and seeing strangely, as though everything was already long in the past, made more vivid by posthumous ironies she could not quite grasp.

She said to him patiently, ‘The big room past the nursery.'

‘Auntie Venus's room,' Leon said.

Auntie Venus had been for almost half a century a vital
nursing presence across a swathe of the Northern Territories in Canada. She was no one's aunt particularly, or rather, she was Mr Tallis's dead second cousin's aunt, but no one questioned her right, after her retirement, to the room on the second floor where, for most of their childhoods, she had been a sweet-natured, bedridden invalid who withered away to an uncomplaining death when Cecilia was ten. A week later Briony was born.

Cecilia led the visitors into the drawing room, through the French windows, past the roses towards the swimming pool, which was behind the stable block and was surrounded on four sides by a high thicket of bamboo, with a tunnel-like gap for an entrance. They walked through, bending their heads under low canes, and emerged onto a terrace of dazzling white stone from which the heat rose in a blast. In deep shadow, set well back from the water's edge, was a white-painted tin table with a pitcher of iced punch under a square of cheesecloth. Leon unfolded the canvas chairs and they sat with their glasses in a shallow circle facing the pool. From his position between Leon and Cecilia, Marshall took control of the conversation with a ten-minute monologue. He told them how wonderful it was, to be away from town, in tranquillity, in the country air; for nine months, for every waking minute of every day, enslaved to a vision, he had shuttled between headquarters, his boardroom and the factory floor. He had bought a large house on Clapham Common and hardly had time to visit it. The launch of Rainbow Amo had been a triumph, but only after various distribution catastrophes which had now been set right; the advertising campaign had offended some elderly bishops so another was devised; then came the problems of success itself, unbelievable sales, new production quotas, and disputes about overtime rates, and the search for a site for a second factory about which the four unions involved had been generally sullen and had needed to be charmed and coaxed like children; and now, when all had been brought to fruition, there loomed the greater challenge yet of Army
Amo, the khaki bar with the Pass the Amo! slogan; the concept rested on an assumption that spending on the Armed Forces must go on increasing if Mr Hitler did not pipe down; there was even a chance that the bar could become part of the standard-issue ration pack; in that case, if there were to be a general conscription, a further five factories would be needed; there were some on the board who were convinced there should and would be an accommodation with Germany and that Army Amo was a dead duck; one member was even accusing Marshall of being a warmonger; but, exhausted as he was, and maligned, he would not be turned away from his purpose, his vision. He ended by repeating that it was wonderful to find oneself ‘way out here' where one could, as it were, catch one's breath.

Watching him during the first several minutes of his delivery, Cecilia felt a pleasant sinking sensation in her stomach as she contemplated how deliciously self-destructive it would be, almost erotic, to be married to a man so nearly handsome, so hugely rich, so unfathomably stupid. He would fill her with his big-faced children, all of them loud, bone-headed boys with a passion for guns and football and aeroplanes. She watched him in profile as he turned his head towards Leon. A long muscle twitched above the line of his jaw as he spoke. A few thick black hairs curled free of his eyebrow, and from his earholes there sprouted the same black growth, comically kinked like pubic hair. He should instruct his barber.