The Sea (12 page)

When I came here first I thought of growing a beard, out of inertia more than anything else, but after three or four days I noticed that the stubble was of a peculiar dark-rust colour— now I know how Claire can be a redhead—nothing like the hair on my scalp, and frosted with specks of silver. This rufous stuff, coarse as sandpaper, combined with that shifty, bloodshot gaze, made me into a comic-strip convict, a real hard case, not yet hanged perhaps but definitely on Death Row. My temples where the greying hair has gone sparse are flecked with chocolatey, Avrilaceous freckles, or liver spots, I suppose they are, any one of which, I am all too well aware, might in a moment turn rampant at the whim of a rogue cell. I note too that my rosacea is coming on apace. The skin on my brow is marked all over with rubescent blotches and there is an angry rash on the wings of my nose, and even my cheeks are developing an unsightly red flush. My venerable and much thumbed copy of
Black's Medical Dictionary,
by the estimable and ever unflappable William A. R. Thomson, M.D.—Adam & Charles Black, London, thirtieth edition, with 441 black-and-white, or grey-and-greyer, illustrations and four colour plates which never fail to freeze the cockles of my heart—informs me that rosacea, a nice name for an unpleasant complaint, is due to
a chronic congestion of the flush areas of the face and forehead, hading to the formation
of red papules;
the resultant erythema, the name we medical men give to redness of the skin, tends to wax and wane but ultimately becomes permanent,
and may,
the candid Doctor warns,
be accompanied by gross enlargement of the
sebaceous glands (see SKIN), leading to the gross enlargement of the nose known as rbinophyma (qv) or grog blossoms.
The repetition there—
gross enlargement. . . gross enlargement
—is an uncharacteristic infelicity in Dr. Thomson's usually euphonious if somewhat antiquated prose style. I wonder if he does house calls. He would be bound to have a calming bedside manner and a fund of information on all sorts of topics, not all of them health-related. Medical men are more versatile than they are given credit for. Roget of
Roget's Thesaurus
was a physician, did important research on consumption and laughing gas, and no doubt cured the odd patient, into the bargain. But grog blossoms, now, that is something to look forward to.

When I consider my face in the glass like this I think, naturally, of those last studies Bonnard made of himself in the bathroom mirror at Le Bosquet towards the end of the war after his wife had died—critics call these portraits pitiless, although I do not see why pity should come into it—but in fact what my reflection most reminds me of, I have just realised it, is that Van Gogh self-portrait, not the famous one with bandage and tobacco pipe and bad hat, but that one from an earlier series, done in Paris in 1887, in which he is bare-headed in a high collar and Provence-blue necktie with all ears intact, looking as if he has just emerged from some form of punitive dousing, the forehead sloped and temples concave and cheeks sunken as from hunger; he peers out from the frame sidewise, warily, with wrathful foreboding, expecting the worst, as so he should. This morning it was the state of my eyes that struck me most forcibly, the whites all craquelured over with those tiny bright-red veins and the moist lower lids inflamed and hanging a little way loose of the eyeballs. I have, I note, hardly any lashes left, I who when young had a silky set a girl might have envied. At the inner extremity of the upper lids there is a little bump just before the swoop of the canthus which is almost pretty except that it is permanently yellowish at the tip, as if infected. And that bud in the canthus itself, what is that for? Nothing in the human visage bears prolonged scrutiny. The pink-tinged pallor of my cheeks, which are, I am afraid, yes, sunken, just like poor Vincent's, was made the more stark and sickly by the radiance reflected off the white walls and the enamel of the sink. This radiance was not the glow of a northern autumn but seemed more like the hard, unyielding, dry glare of the far south. It glinted on the glass before me and sank into the distemper of the walls, giving them the parched, brittle texture of cuttlefish bone. A spot of it on the curve of the hand-basin streamed outward in all directions like an immensely distant nebula. Standing there in that white box of light I was transported for a moment to some far shore, real or imagined, I do not know which, although the details had a remarkable dreamlike definition, where I sat in the sun on a hard ridge of shaly sand holding in my hands a big flat smooth blue stone. The stone was dry and warm, I seemed to press it to my lips, it seemed to taste saltily of the sea's deeps and distances, far islands, lost places under leaning fronds, the frail skeletons of fishes, wrack and rot. The little waves before me at the water's edge speak with an animate voice, whispering eagerly of some ancient catastrophe, the sack of Troy, perhaps, or the sinking of Atlantis. All brims, brackish and shining. Water-beads break and fall in a silver string from the tip of an oar. I see the black ship in the distance, looming imperceptibly nearer at every instant. I am there. I hear your siren's song. I am there, almost there.

II

We seemed to spend, Chloe and Myles and I, the most part of our days in the sea. We swam in sunshine and in rain; we swam in the morning, when the sea was sluggish as soup, we swam at night, the water flowing over our arms like undulations of black satin; one afternoon we stayed in the water during a thunderstorm, and a fork of lightning struck the surface of the sea so close to us we heard the crackle of it and smelt the burnt air. I was not much of a swimmer. The twins had been taking lessons since they were babies and clove the waves effortlessly, like two pairs of gleaming shears. What I lacked of skill and gracefulness I made up for in stamina. I could go long distances without stopping, and frequently did, given any kind of audience, churning along steadily in side-stroke until I had exhausted not only myself but the patience of the watchers on the strand as well.

It was at the end of one of these sad little gala displays that I had my first inkling of a change in Chloe's regard for me, or, should I say, an inkling that she had a regard for me and that a change was occurring in it. Late in the evening it was, and I had swum the distance—what, a hundred, two hundred yards?—between two of the green-slimed concrete groynes that long ago had been thrown out into the sea in a vain attempt to halt the creeping erosion of the beach. I stumbled out of the waves to find that Chloe had waited for me, on the shore, all the time that I was in the water. She stood huddled in a towel, shivering in spasms; her lips were lavender.

"There's no need to show off, you know," she said crossly. Before I could reply—and what would I have said, anyway, since she was right, I had been showing off—Myles came leaping down from the dunes above us on wheeling legs and sprayed us both with sand and at once I had an image, perfectly clear and strangely stirring, of Chloe as I had first seen her that day when she jumped from the edge of that other dune into the midst of my life. Now she handed me my towel. We three were the only ones on the beach. The misty grey air of evening had the feel of dampened ash. I see us turn and walk away toward the gap in the dunes that led to Station Road. A corner of Chloe's towel trails in the sand. I go along with my towel draped over one shoulder and my wet hair slicked down, a Roman senator in miniature. Myles runs ahead. But who is it that lingers there on the strand in the half-light, by the darkening sea that seems to arch its back like a beast as the night fast advances from the fogged horizon? What phantom version of me is it that watches us—them—those three children—as they grow indistinct in that cinereal air and then are gone through the gap that will bring them out at the foot of Station Road?

I have not yet described Chloe. In appearance there was not much difference between us, she and I, at that age, I mean in terms of what of us might have been measured. Even her hair, almost white but darkening when it was wet to the colour of polished wheat, was hardly longer than mine. She wore it in a pageboy style, with a fringe at the front overhanging her handsome, high-domed, oddly convex forehead—like, it suddenly strikes me, remarkably like the forehead of that ghostly figure seen in profile hovering at the edge of Bonnard's
Table in Tront of the Window,
the one with the fruit bowl and the book and the window that itself looks like a canvas seen from behind propped on an easel; everything for me is something else, it is a thing I notice increasingly. One of the older boys from the Field assured me one day with a snicker that a fringe like Chloe's was the certain sign of a girl who played with herself. I did not know what he meant, but I felt sure that Chloe did not play, on her own or otherwise. Not for her the games of rounders or of hunt that I had formerly enjoyed with the other youngsters in the Field. And how she sneered, flaring her nostrils, when I told her that among the families in the chalets there were girls of her age who still played with dolls. She held the majority of her coevals in high scorn. No, Chloe did not play, except with Myles, and what they did together was not really play.

The boy who had remarked on her fringe—suddenly I see him, as if he were before me here, Joe somebody, a hulking, big-boned fellow with jug ears and horrent hair—also said that Chloe had green teeth. I was outraged, but he was right; there was, I saw, the next time I had the opportunity to take a close look at them, a faint tinge to the enamel of her incisors that was green indeed, but a delicate damp grey-green, like the damp light under trees after rain, or the dull-apple shade of the undersides of leaves reflected in still water. Apples, yes, her breath too had an appley smell. Little animals we were, sniffing at each other. I liked in particular, when in time I got the chance to savour it, the cheesy tang in the crevices of her elbows and her knees. She was not, I am compelled to admit, the most hygienic of girls, and in general she gave off, more strongly as the day progressed, a flattish, fawnish odour, like that which comes out of, which used to come out of, empty biscuit tins in shops—do shops still sell loose biscuits from those big square tins? Her hands. Her eyes. Her
bitten
fingernails. All this I remember, intensely remember, yet it is all disparate, I cannot assemble it into a unity. Try as I may, pretend as I may, I am unable to conjure her as I can her mother, say, or Myles, or even jugeared Joe from the Field. I cannot, in short, see her. She wavers before my memory's eye at a fixed distance, always just beyond focus, moving backward at exactly the same rate as I am moving forward. But since what I am moving forward into has begun to dwindle more and more rapidly, why can I not catch up with her? Even still I sometimes see her in the street, I mean someone who might be she, with the same domed forehead and pale hair, the same headlong and yet curiously hesitant, pigeon-toed stride, but always too young, years, years too young. This is the mystery that baffled me then, and that baffles me yet. How could she be with me one moment and the next not?

How could she be elsewhere, absolutely? That was what I could not understand, could not be reconciled to, cannot still. Once out of my presence she should by right become pure figment, a memory of mine, a dream of mine, but all the evidence told me that even away from me she remained solidly, stubbornly, incomprehensibly herself. And yet people do go, do vanish. That is the greater mystery; the greatest. I too could go, oh, yes, at a moment's notice I could go and be as though I had not been, except that the long habit of living indisposeth me for dying, as Doctor Browne has it.

"Patient"
Anna said to me one day towards the end, "that is an odd word. I must say, I don't feel patient at all." When exactly I transferred my affections—how incorrigibly fond I am of these old-fashioned formulations!—from mother to daughter I cannot recollect. There was that moment of insight and intensity at the picnic, with Chloe, under the pine tree, but that was an aesthetic rather than amorous or erotic crystallisation. No, I recall no grand moment of recognition and acknowledgment, no slipping of Chloe s hand shyly into mine, no sudden stormy embrace, no stammered profession of eternal love. That is, there must have been some or even all of these, must have been a first time we held hands, embraced, made declarations, but these first times are lost in the folds of an ever more evanescent past. Even that evening when with chattering teeth I waded out of the sea and found her waiting for me blue-lipped on the strand in the dusk I did not suffer the soundless detonation that love is supposed to set off in even a boy's supposedly unsusceptible breast. I saw how cold she was, and realised how long she had waited, registered too the brusquely tender way in which she drew the wing of the towel across my scrawny, goosefleshed ribs and draped it on my shoulder, but saw and realised and registered with little more than a mild glow of gratification, as though a warm breath had fanned across a flame burning inside me somewhere in the vicinity of my heart and made it briefly flare. Yet all along a transmutation, not to say a transubstantiation, must have been taking place, in secret.

I do recall a kiss, one out of the so many that I have forgotten. Whether or not it was our first kiss I do not know. They meant so much then, kisses, they could set the whole kit and caboodle going, flares and firecrackers, fountains, gushing geysers, the lot. This one took place—no, was exchanged—no, was consummated, that is the word, in the corrugated-iron picture-house, which all along has been surreptitiously erecting itself for this very purpose out of the numerous sly references I have sprinkled through these pages. It was a barn-like structure set on a bit of scrubby waste-land between the Cliff Road and the beach. It had a steeply angled roof and no windows, only a door at the side, hung with a long curtain, of leather, I think, or somesuch stiff heavy stuff, to keep the screen from being whited-out when late-comers slipped in during matinees or at evening while the sun was shooting out its last piercing rays from behind the tennis courts. For seating there were wooden benches—we called them forms—and the screen was a large square of linen which any stray draught would set languorously asway, giving an extra undulation to some heroine's silk-clad hips or an incongruous quiver to a fearless gun-slinger's gun-hand. The proprietor was a Mr. Reckett, or Rick-ett, a small man in a Fair Isle jumper, assisted by his two big handsome teenage sons, who were a little ashamed, I always thought, of the family business, with its taint of peep-shows and the burlesque. There was only one projector, a noisy affair with a tendency to overheat—I am convinced I once saw smoke coming out of its innards—so that a full-length feature required at least two reel changes. During these intervals Mr. R., who was also the projectionist, did not raise the lights, thus affording—deliberately, I am sure, for Reckett's or Rick-ett's Picture-House had an invitingly disreputable reputation—the numerous couples in the house, even the under-age ones, an opportunity for a minute or two of covert erotic fumbling in the pitch-dark.