Master of Petersburg (8 page)

Anna Sergeyevna and her daughter emerge. It is a long walk to the park, along Voznesensky Prospekt and across the foot of Vasilevsky Island. Even before they get to the park he knows he has made a mistake, a stupid mistake. The bandstand is empty, the fields around the skaters' pond bare save for strutting gulls.

He apologizes to Anna Sergeyevna. ‘There's lots of time, it's not yet noon,' she replies cheerfully. ‘Shall we go for a walk?'

Her good humour surprises him; he is even more surprised when she takes his arm. With Matryona at her other side they stride across the fields. A family, he thinks: only a fourth required and we will be complete. As if reading his thoughts, Anna Sergeyevna presses his arm.

They pass a flock of sheep huddled in a reed thicket. Matryona approaches them with a handful of grass; they break and scatter. A peasant boy with a stick emerges from the thicket and scowls at her. For an instant it seems that words will pass. Then the boy thinks better of it and Matryona slips back to them.

The exercise is bringing a glow to her cheeks. She will be a beauty yet, he thinks: she will break hearts.

He wonders what his wife would think. His indiscretions hitherto have been followed by remorse and, on the heels of remorse, a voluptuous urge to confess. These confessions, tortured in expression yet vague in point of detail, have confused and infuriated his wife, bedevilling their marriage far more than the infidelities themselves.

But in the present case he feels no guilt. On the contrary, he has an invincible sense of his own rightness. He wonders what this sense of rightness conceals; but he does not really want to know. For the present there is something like joy in his heart.
Forgive me, Pavel
, he whispers to himself. But again he does not really mean it.

If only I had my life over again, he thinks; if only I were young! And perhaps also: If only I had the use of the life, the youth that Pavel threw away!

And what of the woman at his side? Does she regret the impulse by which she gave herself to him? Had that never happened, today's outing might mark the opening of a proper courtship. For that is surely what a woman wants: to be courted, wooed, persuaded, won! Even when she surrenders, she wants to give herself up not frankly but in a delicious haze of confusion, resisting yet unresisting. Falling, but never an irrevocable falling. No: to fall and then come back from the fall new, remade, virginal, ready to be wooed again and to fall again. A playing with death, a play of resurrection.

What would she do if she knew what he was thinking? Draw back in outrage? And would that be part of the play too?

He steals a glance at her, and in that instant it comes home to him:
I could love this woman
. More than the tug of the body, he feels what he can only call kinship with her. He and she are of the same kind, the same generation. And all of a sudden the generations fall into place: Pavel and Matryona and his wife Anna ranked on the one side, he and Anna Sergeyevna on the other. The children against those who are not children, those old enough to recognize in their lovemaking the first foretaste of death. Hence the urgency that night, hence the heat. She in his arms like Jeanne d'Arc in the flames: the spirit wrestling against its bonds while the body burns away. A struggle with time. Something a child would never understand.

‘Pavel said you were in Siberia.'

Her words startle him out of his reverie.

‘For ten years. That is where I met Pavel's mother. In Semipalatinsk. Her husband was in the customs service. He died when Pavel was seven. She died too, a few years ago – Pavel must have told you.'

‘And then you married again.'

‘Yes. What did Pavel have to say about that?'

‘Only that your wife is young.'

‘My wife and Pavel are of much the same age. For a while we lived together, the three of us, in an apartment on Meshchanskaya Street. It was not a happy time for Pavel. He felt a certain rivalry with my wife. In fact, when I told him she and I were engaged, he went to her and warned her quite seriously that I was too old for her. Afterwards he used to refer to himself as
the orphan
: “The orphan would like another slice of toast,” “The orphan has no money,” and so forth. We pretended it was a joke, but it wasn't. It made for a troubled household.'

‘I can imagine that. But one can sympathize with him, surely. He must have felt he was losing you.'

‘How could he have lost me? From the day I became his father I never once failed him. Am I failing him now?'

‘Of course not, Fyodor Mikhailovich. But children are possessive. They have jealous phases, like all of us. And when we are jealous, we make up stories against ourselves. We work up our own feelings, we frighten ourselves.'

Her words, like a prism, have only to be shifted slightly in their angle to reflect a quite different meaning. Is that what she intends?

He casts a glance at Matryona. She is wearing new boots with fluffy sheepskin fringes. Stamping her heels into the damp grass, she leaves a trail of indented prints. Her brow is knitted in concentration.

‘He said you used him to carry messages.'

A stab of pain goes through him. So Pavel remembered that!

‘Yes, that is true. The year before we were married, on her name-day, I asked him to take a present to her from me. It was a mistake that I regretted afterwards, regretted deeply. It was inexcusable. I did not think. Was that the worst?'

‘The worst?'

‘Did Pavel tell you of things that were worse than that? I would like to know, so that when I ask forgiveness I know what I have been guilty of.'

She glances at him oddly. ‘That is not a fair question, Fyodor Mikhailovich. Pavel went through lonely spells. He would talk, I would listen. Stories would come out, not always pleasant stories. But perhaps it was good that it was so. Once he had brought the past into the open, perhaps he could stop brooding about it.'

‘Matryona!' He turns to the child. ‘Did Pavel say anything to you –'

But Anna Sergeyevna interrupts him. ‘I am sure Pavel didn't,' she says; and then, turning on him softly but furiously: ‘You can't ask a child a question like that!'

They stop and face each other on the bare field. Matryona looks away scowling, her lips clamped tight; Anna Sergeyevna glares.

‘It is getting cold,' she says. ‘Shall we turn back?'

7

He does not accompany them home, but has his evening meal at an inn. In a back room there is a card game going on. He watches for a while, and drinks, but does not play. It is late when he returns to the darkened apartment, the empty room.

Alone, lonely, he allows himself a twinge of longing, not unpleasant in itself, for Dresden and the comfortable regularity of life there, with a wife who jealously guards his privacy and organizes the family day around his habits.

He is not at home at No. 63 and never will be. Not only is he the most transient of sojourners, his excuse for staying on as obscure to others as to himself, but he feels the strain of living at close quarters with a woman of volatile moods and a child who may all too easily begin to find his bodily presence offensive. In Matryona's company he is keenly aware that his clothes have begun to smell, that his skin is dry and flaky, that the dental plates he wears click when he talks. His haemorrhoids, too, cause him endless discomfort. The iron constitution that took him through Siberia is beginning to crack; and this spectacle of decay must be all the more distasteful to a child, herself finical about cleanliness, in whose eyes he has supplanted a being of godlike strength and beauty. When her playmates ask about the funereal visitor who refuses to pack his belongings and leave, what, he wonders, does she reply?

You were pleading:
when he thinks of Anna Sergeyevna's words he flinches. To have been an object of pity all the time! He goes down on his knees, rests his forehead against the bed, tries to find his way to Yelagin Island and to Pavel in his cold grave. Pavel, at least, will not turn on him. On Pavel he can rely, on Pavel and Pavel's icy love.

The father, faded copy of the son. How can he expect a woman who beheld the son in the pride of his days to look with favour on the father?

He remembers the words of a fellow-prisoner in Siberia: ‘Why are we given old age, brothers? So that we can grow small again, small enough to crawl through the eye of a needle.' Peasant wisdom.

He kneels and kneels, but Pavel does not come. Sighing, he clambers at last into bed.

He awakes full of surprise. Though it is still dark, he feels as if he has rested enough for seven nights. He is fresh and invincible; the very tissues of his brain seem washed clean. He can barely contain himself. He is like a child at Easter, on fire for the household to wake up so that he can share his joy with them. He wants to wake her, the woman, he wants the two of them to dance through the apartment: ‘Christ is risen!' he wants to call out, and hear her respond ‘Christ is risen!' and clash her egg against his. The two of them dancing in a circle with their painted eggs, and Matryosha as well, in her nightdress, stumbling sleepy-eyed and happy amid their legs; and the ghost of the fourth one too, weaving between them, clumsy, big-footed, smiling: children together, newborn, released from the tomb. And over the city dawn breaking, and the roosters in the yards crowing their welcome of the new day.

Joy breaking like a dawn! But only for an instant. It is not merely that clouds begin to cross this new, radiant sky. It is as if, at the moment when the sun comes forth in its glory, another sun appears too, a shadow sun, an anti-sun sliding across its face. The word
omen
crosses his mind in all its dark, ominous weight. The dawning sun is there not for itself but to undergo eclipse; joy shines out only to reveal what the annihilation of joy will be like.

In a single hasty movement he is out of bed. The next few minutes stretch before him like a dark passage down which he must scurry. He must dress and get out of the apartment before the shame of the fit descends; he must find a place out of sight, out of the hearing of decent people, where he can manage the episode as best he can.

He lets himself out. The corridor is in pitch darkness. Stretching out his arms like a blind man, he gropes his way to the head of the stairs and, holding to the banister, taking one step at a time, begins to descend. On the second-floor landing a wave of terror overtakes him, terror without object. He sits down in a corner and holds his head. His hands are smelly from something he has touched, but he does not wipe them. Let it come, he thinks in despair; I have done all I can.

There is a cry that echoes down the stairwell, so loud and so frightful that sleepers are woken by it. As for him, he hears nothing, he is gone, there is no longer time.

When he wakes it is into darkness so dense that he can feel it pressing upon his eyeballs. He has no idea where he is, no idea who he is. He is a wakefulness, a consciousness, that is all. It is as if he has been born a minute ago, born into a world of unrelieved night.

Be calm, says this consciousness, addressing itself, trying to quell its own panic: you have been here before – wait, something will come back.

A body falls vertically through space inside him. He is that body. There is a rush of air: he is the one who feels the rush. There is a throat choked with terror: it is his throat.

Let it die, he thinks: let it die!

He tries to move an arm but the arm is trapped under his body. Stupidly he tries to tug it free. There is a bad smell, his clothes are damp. Like ice forming in water, memories begin at last to coagulate: who he is, where he is; and together with memory an urgent desire to get away from this place before he is discovered in all his disgrace.

These attacks are the burden he carries with him through the world. To no one has he ever confessed how much of his time he spends listening for premonitions of them, trying to read the signs. Why am I accursed? he cries out within himself, pounding the earth with his staff, commanding the rock to yield an answer. But he is not Moses, the rock does not split. Nor do the trances themselves provide illumination. They are not visitations. Far from it: they are nothing – mouthfuls of his life sucked out of him as if by a whirlwind that leaves behind not even a memory of darkness.

He rises and gropes his way down the last flight of stairs. He is shivering, his whole body is cold. Dawn is breaking as he emerges into the open. It has been snowing. Over the fallen snow lies a haze of pulsing scarlet. The colour is not in the snow but in his eyes; he cannot get rid of it. An eyelid twitches so irritatingly that he claps a cold hand over it. His head aches as though a fist were clenching and unclenching inside it. His hat is lost somewhere on the stairway.

Bareheaded, in soiled clothes, he trudges through the snow to the little Church of the Redeemer near Kameny Bridge and shelters there till he is sure Matryona and her mother have gone out. Then he returns to the apartment, warms water, strips naked, and washes himself. He washes his underwear too, and hangs it in the washroom. Fortunate for Pavel, he thinks, that he did not have to suffer the falling sickness, fortunate he was not born of me! Then the irony of his words bursts in upon him and he gnashes his teeth. His head thunders with pain, the red haze still colours everything. He lies down in his dressing-gown, rocks himself to sleep.

An hour later he awakes in an angry and irritable mood. Cones of pain seem to go back from his eyes into his head. His skin is like paper and tender to the touch.

Naked under his dressing-gown, he pads through Anna Sergeyevna's apartment, opening cupboards, looking through drawers. Everything is in order, neat and prim.

In one drawer, wrapped in scarlet velveteen, he finds a picture of a younger Anna Sergeyevna side by side with a man whom he takes to be the printer Kolenkin. Dressed in his Sunday best, Kolenkin looks gaunt and old and tired. What kind of marriage could it have been for this intense and darkly handsome young woman? And why is the picture stuck away in a drawer? Putting it back, he deliberately smudges the glass, leaving his thumbprint over the face of the dead man.