Still Waters (24 page)

She took his scarf and hung it in the hall, the coat he kept on, the gloves had somehow disappeared. “Have you glasses?” he said. And then, when they were sitting drinking, the smell of smoke faint from the fire, the shaded light dancing in his eyes, “So, Hannah, how've you been?”

He took her on the floor, the curtains only partly drawn across, touching her first with his tongue and then no time for niceties, Hannah's skirt pushed up and knickers pulled aside, Andrew having her there, wedged somehow between floor and chair, his long coat trailing round them as she moaned and he bit her breast and thrust deeper inside, stopping only to turn her round and push her down again face first onto the chair, hands clutching her, himself, not gentle, never that, the quick deep strokes and his fingers, damp, so far inside her mouth Hannah thought, if think she did, that she must surely choke.

He sat across the fire from her afterwards, uncovered, his lissome cock folding slowly back against his balls, savoring the whiskey, the cigarette he'd lit from the fire.

“I've missed you,” he said.

Hannah hunched there, legs drawn up, arms raised across her chest, feeling him slowly dribble out of her, for those moments immune to tears.

There was another woman, of course; well, there were two, one in Belfast, one here. He wondered if he might not marry one of them this time, put an end to all this wandering, settle down. He'd written a poem about it, this yearning after hearth and home, but then he would.

When next he came round unannounced she bolted the door against him and immediately broke out laughing, unable to think of anything save the wonderfully melodramatic scene at the end of
The Heiress
, a film she remembered watching with her mother one long Saturday afternoon, Olivia de Havilland locking Montgomery Clift outside her door. Who said art didn't prepare you for life? She hoped Andrew could hear her laughter as he trudged away.

He had married, she heard, soon after; married and divorced and married again. His new book of poetry much acclaimed, he had given a reading at the university but she had not gone. She had glanced through the book once, displayed on the table in Water-stone's, smiling quietly at a poem she thought most probably about her. She missed the way he would read to her at night, his work and others—Heaney, Longley, Yeats—but Andrew being Andrew, mostly his own. She surprised herself by missing sometimes the way he would arrive unexpectedly home after a lecture that had gone spectacularly well or badly, and reach for her no matter what she was doing, taking her, hungry and fast, pinned up against the sink or stretched along the stairs.

Jim, the peripatetic music teacher who eventually took Andrew's place, had been far too sensitive and thoughtful to suggest anything so aggressive and uncaring. And Charlie … well, Charlie, bless him, was still a little hesitant and cautious at the best of times. A little lacking in that kind of fervor or imagination. Poets and policemen. Hannah smiled: at least she felt safe.

He was there when she finally arrived home, worn out after battling with the Sunday evening traffic on the motorway. A casserole of chicken and cured French sausage was in the oven, the kettle was simmering, ready to make coffee or tea. “You'd be So Nice to Come Home to.” Billie Holiday was playing on the stereo in the front room.

“Why don't you let me run you a bath?” Resnick said. “Relax you. Then we can eat.” Arms around her, he had no idea why she was crying.

“Charlie, why is it?”

“What?”

“You're forever trying to get me clean.”

Less than fifteen minutes hater, he carried mugs of tea upstairs and sat on the edge of the bath, telling her about what was happening with the investigation, the fact that he was now fully involved.

“Poor Jane,” Hannah said, “putting up with that for as long as she did. That bastard. That sanctimonious, know-it-all bastard. If he … if he …”

“If he did,” Resnick said, “we'll catch him for it.”

She rested her head sideways against his leg and he soaped her back, rinsing it with warm water and then, when she climbed out of the bath, helping to towel her dry. When he kissed her, she felt him starting to harden against her.

“Charlie,” she said, “the casserole …”

“Isn't that the thing about casseroles? They just sit there and wait till you're ready.”

Bubbles of water speckled the small of her back and the length of her thigh as she lay on the bed. “Is that all right?” he asked. “Is this?”

She curled beside him, her legs around his, feeling his heart beating through his ribs.

“Why are you so good to me, Charlie?” she asked.

Later still, they sat propped up by pillows, dipping bread into Portuguese blue bowls and soaking up the juice.

Thirty-four

Grabianski remembered the first time he had seen her, striding out between the traffic on Gregory Boulevard, her topcoat belted but unbuttoned, a tall, well-made woman of a certain age. Now, as he stood on the steps outside the National Gallery, scanning the crowds that moved without pattern across Trafalgar Square, he felt the anticipation of her like ice beneath his skin. All below where he was standing, students lounged and laughed and smoked across the steps, Italians, German, French. More of them sprawled on the grass that ran wide along the front of the gallery, sharing it with the homeless and their cardboard havens, cans of cider and ratty wet-nosed dogs tied up with string—as much a part of the tourist sights as the Horse Guards on parade.

Grabianski willed himself not to look at his watch again, and lost; in any case, there was the clock beyond the square telling him past doubt that she was close to an hour late. Of course, she wasn't coming, some emergency she had to deal with, one of the unfortunates she'd befriended had taken an overdose, thrown themself from a bridge; maybe one of the others, Sister Bonaventura or Sister Marguerite, had been taken ill. Or it could be simply the train, the train was late, seriously delayed, derailed, rerouted due to engineering works—wasn't that always happening on a Sunday, engineering works?—he believed it was.

No. She had decided against it, pure and simple: decided, on reflection, it was not a sound idea, not pure and simple at all. Meet at the National Gallery, Sunday, to see the Degas. Innocent enough. He would give it another five minutes and that was all. Go round on his own. Except that would be too depressing. No, a movie; he could go and see a film, dozens of them showing five minutes' stroll from where he stood. That slow jolt of pleasure, immersion in the dark.

The five minutes up and there he still was, fingers drumming the worn parapet of stone. Below him, buses crept past, red and green, some open at the top, Americans and Japanese craning their cameras toward the this and the that, guides blurred through their microphones; a bunch of dreadlocked, punked-up kids scrambling over one of the stone lions, pulling at each other's legs and feet; a small boy, no more than four or five, running between the pigeons, clapping his hands so that they rose on grimy wings and resettled on the far side of the square; the slow bass shaking down from the open windows of slick cars as young black men anointed the afternoon with soul. Almost before he had time to register her presence, there she was, Teresa, Sister Teresa, smiling as she stepped over the outstretched legs of youths from Perugia or Milan.

“I'm sorry I'm late, so sorry. One thing after another.”

And Grabianski grinning fit to bust as, just to help her over the last hurdle, he takes her arm. “It doesn't matter. Really, it doesn't matter at all.”

The exhibition was in the Sainsbury Wing and the clock alongside the ticket desk informed them their entry was timed for forty minutes hence. The slightly harassed young woman at the entrance to the brasserie found them a table toward the far corner, almost with a view of St. Martin-in-the-Fields.

“Cream tea?” said Grabianski, looking up from the menu.

“Just tea, thank you.”

“You won't mind if I do?”

Teresa smiled her permission. Unlike some of her calling, it rarely occurred to her to deny others those pleasures she herself abjured.

Order placed, Grabianski was content to sit back and look. Teresa was wearing gray, a color she favored, but today in softer shades which accentuated rather than diminished the slight plumpness of her lower arms, the green that loitered in her eyes.

She was telling him of diversions via Milton Keynes, the thirty or so minutes they had spent, shunted onto a side line north of Willesden Junction due to signal failure; Grabianski half-listening, more than happy just to sit there, watching, watching the tilt of her head, the slow curling and uncurling of her fingers, the movement of her mouth—she knew he was watching her mouth—the stir of other conversations sealing them in.

The tea was served in china pots, Grabianski's scone a wholemeal disk studded with sultanas, harsh to cut and rich to taste, richer still once he had ladled it with jam and cream; the cream not of the clotted, Devon kind, but fluid enough to suggest it might easily slide off the blade of a knife, his half-moon of scone, his tongue.

“A good choice, then?” Teresa said, eyeing his plate.

“Oh, yes.”

She smiled a private smile and added water to the pot.

“How are the other sisters?” Grabianski asked, wiping his face.

“Well. Sister Marguerite sends her love.”

“Not Sister Bonaventura?”

“I'm afraid Sister Bonaventura regards this entire day as a foolhardy enterprise.”

“Because of me?” Grabianski grinned.

“Oh, no. Because of Degas. What does she call him now? An over-the-hill representative of a dying bourgeois art form, eking out a talent for repetitive misogyny.”

“She knows his work well, then. She's been down already.”

Teresa laughed. “Not for Sister Bonaventura any of Thomas' existential doubts. She'd no more need to see a Degas in the flesh than press her hand against Christ's wounds before believing that he lived and breathed. Religion or politics, faith and dogma for her live side by side.”

“She sounds hard work.”

“Of course; it's the life we've chosen.”

Grabianski finished his scone and washed it down with tea; summoning the waiter he paid the bill, careful to overtip generously.

“Shall we go?” he said, easing back his chair.

“Of course.”

The first room seemed impossible and Grabianski's heart sank: what he had envisaged as an intimate afternoon, spent in close proximity and expressive silences, was instantly awash with earnest shufflers, shifting from painting to painting as slowly as breath would allow, parents with whimpering offspring dangling from backpack or sling, solitary listeners strapped into headphones listening to recorded commentary, girls from good homes sitting cross-legged, sketching.

Glancing around the walls, he glimpsed ballet dancers, bathers, hats, bouquets, a woman ironing, another standing, stern and staring out as if daring the artist to put a stroke wrong.

“Look,” Teresa said, “the color. There. Isn't that wonderful?” At the center of a group of hats, the kind that for Grabianski existed only in the royal enclosure at Ascot, a scarf loosely knotted, hung down, lime green, so bright that it threatened to outshine all the other colors in the room.

When they moved on through the arch, the crowd already seemed to have dispersed a little, and they had an almost unimpeded view of five pictures hanging on the left-hand wall, five women drying themselves from the bath, or rather, the same woman in almost identical poses, the artist working on her again and again: ankle, leg, the deep cleft between the muscles of the back, broad swell of hips, arm raised to towel the now brown, now red hair, the curtains behind changing from orange fleck to fleshy pink, the wicker chair that is there and then not there. Working at it, Grabianski thought, until he got it right.

Except there was no right, he realized, each day a little different, the position, the light never the same: the way it would be if every day you were privileged to watch the same woman, unselfcon-scious, step, first one leg and then, steadying herself, the other, out from the bath and then bend forward to retrieve the towel that has slid to the floor, before drying herself slowly, then briskly, a snatch of song on her lips, a song she has surprised herself by knowing.

As Teresa turned in front of him, Grabianski followed her slowly into the next room toward the famous picture of a woman leaning back in a flame-red dress having the tangles brushed painfully from her flame-red hair.

“I never knew,” Teresa said some minutes later, standing close.

“What's that?”

“That she was pregnant, look. That's why she's so uncomfortable. That's why it hurts.” And she smiled the secret smile that would forever keep Grabianski excluded, an outsider, more so even than herself, who had forfeited all right to so much that was womanly, to enter into the marriage she craved.

Turning sharply into the fourth room, Grabianski came face to face with the painting he would later believe he liked best; the body submerged in a near-abstract pattern of color and light, blue to the left and orange to the right. As he stood in front of this, Teresa, at his back, hurried past a canvas showing a woman bending forward unclothed, presenting her backside in a way that none of the others had, more frankly sexual, an invitation that lodged a thought in Teresa's mind and brought a rare blush to her throat.

When Grabianski looked closely at it later, it seemed to him the texture of the model's flesh was that of skin seen through wet shower glass, spied on, unannounced.

Teresa, meanwhile, had been relieved to escape from all that flesh into the last room, three gentle landscapes on the far wall threaded through with violet and mauve, so still that you could almost smell the woodsmoke on the evening air.

They hesitated before the exit: they had been there an eternity; they had been there almost no time at all.