Eclipse

1

At first it was a form. Or not even that. A weight, an extra weight; a ballast. I felt it that first day out in the fields. It was as if someone had fallen silently into step beside me, or inside me, rather, someone who was else, another, and yet familiar. I was accustomed to putting on personae but this, this was different. I stopped, struck, stricken by that infernal cold I have come to know so well, that paradisal cold. Then a slight thickening in the air, a momentary occlusion of the light, as if something had plummeted past the sun, a winged boy, perhaps, or falling angel. It was April: bird and bush, silver glint of coming rain, vast sky, the glacial clouds in monumental progress. See me there, the haunted one, in my fiftieth year, assailed suddenly, in the midst of the world. I was frightened, as well I might be. I imagined such sorrows; such exaltations.

I turned and looked back at the house and saw what I took to be my wife standing at the window of what was once my mother’s room. The figure was motionless, gazing steadily in my direction but not directly at me. What did she see? What was it she was seeing? I felt diminished briefly, an incidental in that gaze, dealt, as it were, a glancing blow or blown a derisive kiss. Day reflecting on the glass made the image in the window shimmer and slip; was it she or just a shadow, woman-shaped? I set off over the uneven ground, retracing my steps, with this other, my invader, walking steadily inside me, like a knight in his armour. The going was treacherous. The grass clutched at my ankles and there were holes in the clay, under the grass, made by the hoofs of immemorial cattle when this edge of town was still open country, that would trip me up, perhaps break one of the myriad delicate bones it is said are in the foot. A gush of panic rose in me like gorge. How, I asked myself, how could I stay here? How could I have thought I could stay here, all alone? Well, too late now; I would have to go through with it. This is what I told myself, I murmured it aloud: I shall have to go through with it, now. Then I smelled the faint salt reek of the sea and shivered.

I enquired of Lydia what it was she had been looking at.

“What?” she said. “When?”

I gestured. “From the window, upstairs; you were looking out at me.”

She gave me that dulled gaze she had lately developed, drawing her chin down and in, as if she were slowly swallowing something. She said she had not been upstairs. We stood in silence for a moment then.

“Aren’t you cold?” I said. “I’m cold.”

“You’re always cold.”

“I dreamed last night I was a child and here again.”

“Of course; you never left here, that’s the truth.”

A fine feel for the pentameter, my Lydia has.

The house itself it was that drew me back, sent out its secret sum-moners to bid me come… home, I was going to say. On the road one winter twilight an animal appeared in front of the car, cowering and yet fearless-seeming, sharp teeth bared and eyes flashing in the glare of the headlamps. I had stopped on instinct before I registered the thing, and sat aghast now smelling mephitic fumes of tyre smoke and listening to my own blood hammering in my ears. The animal made a movement as if to flee, then stopped still again. Such fierceness in that stare, the electric eyes an unreal neon-red. What was it? Weasel? Ferret? Too big for these, yet not big enough for fox or dog. Just some wild unknown thing. Then at a low run, seemingly legless, silently, it was gone. My heart was pounding yet. The woods leaned inward on either side of me blackly brown against the last faint radiance of the dying day. For miles I had been travelling in a kind of sleep and now I thought I was lost. I wanted to turn the car around and drive back the way I had come, but something would not let me go. Something. I switched off the headlights and struggled out and stood befuddled on the road, the damp half-darkness folding me about, making me its own. From this low hill the twilit land ahead fell away into shadow and mist. An unseen bird above me in the branches gave a cautious croak, a wafer of ice in the wet verge snapped glassily under my heel. When I sighed, an ectoplasmic flaw of breath stood in front of me briefly like a second face. I walked forward to the brow of the hill and saw the town then, its few little glimmering lights, and, beyond, the fainter glimmer of the sea, and I knew where unknowingly I had come to. I went back and got behind the wheel again and drove to the top of the hill and there I switched off the engine and the lights and let the car roll down the long incline in bumping silence, dreamily, and stopped in the square, before the house standing in its darkness, deserted, its windows all unlit. All, all unlit.

Now as we stood together at one of these same windows I tried to tell my wife about the dream. I had asked her to come down with me, to look over the old place, I had said, hearing the wheedling note in my voice, to see, I said, if she thought it could be made habitable again, if a man might inhabit it, alone. She had laughed. “Is this how you think you’ll cure whatever it is that’s supposed to be wrong with you,” she said, “by running back here like this like a child who has had a fright and wants its mama?” she said my mother would be laughing in her grave. I doubted it. Even in life she was never a great one for mirth, my mother. Laughing will end crying, that was one of her sayings. As I described my dream Lydia listened impatiently, watching the tumultuous April sky above the fields, huddled into herself against the dank air of the house, the wings of her nose whitening as she suppressed a yawn. In the dream it was an Easter morning, and I a child standing on the doorstep looking out at the recently rained on, sun-dazzled square. Birds flitted, whistling, a breeze swooped and the already blossoming cherry trees shivered in vernal anticipation. I could feel the cool of outdoors on my face, could smell from within the house the smells of the feast-day morning: fusty bedclothes, tea smoke, the charry embers of last night’s fire, and something redolent of my mother, some scent or soap, a woody tang. All this in the dream, and so clear. And there were Easter presents, as I stood in the doorway they were a palpable glow of happiness behind me in the depths of the house: eggs that my dream-mother had emptied and then filled somehow with chocolate—that was another smell, the fuggy smell of melted chocolate—and a yellow plastic chicken.

“A what?” Lydia said with a snort of almost-laughter. “A chicken?”

Yes, I said stoutly, a plastic chicken standing on spindly legs and when you pressed down on its back it laid a plastic egg. I could see it, in the dream, could see the moulded wattle and blunt beak and hear the click as the spring was released inside the bird and the yellow egg joggled down the channel and plopped on the table, wobbling. The wings flapped, too, with a clatter, when the egg was coming out. The egg was made of two hollow halves glued together slightly out of true, I could feel with my dreaming fingertips the twin sharp ridges at either side. Lydia was regarding me with an ironical smile, scornful, not unfond.

“And how does it get back in?” she asked.

“What?” Lately I had been finding it hard to understand the simplest things people said to me, as if what they were speaking in were a form of language I did not recognise; I would know the words but could not assemble them into sense.

“How do you get the egg back into the chicken,” she said, “for it to come out again? In this dream.”

“I don’t know. It just… pushes back in, I suppose.”

Now she did laugh, sharply.

“Well, what would Doctor Freud say.”

I sighed angrily. “Not everything is…” Sigh. “Not everything…” I gave it up. Still she held me fixed in fond disparaging regard.

“Oh, yes,” she said. “Sometimes a chicken is only a chicken—except when it’s a hen.”

Now we were both angry. She could not understand why I wanted to come back here. She said it was morbid. She said I should have sold the place years ago, when my mother died. I stood in sullen silence, offering no defence; I had none to offer. How could I hope to explain to her the summons I had received out on the road that winter eve, when I could not explain it to myself? She waited, still watching me, then shrugged and turned back to the window. She is a big-shouldered, handsome woman. Through her thick dark hair a broad plume of silver flows up from the left temple, a startling silver flame. She favours shawls and scarves, rings, bangles, bits of things that glitter and clink; I imagine her a desert princess, striding amidst a sea of sand. She is as tall as I am, even though it seems to me I can remember a time when I had a good hand’s span on her. Perhaps I have shrunk, it would not surprise me. Misery is a certain shriveller.

“It’s something to do with the future,” I said. “In the dream.” If only I could communicate to her the quick, keen sense of being here, the dense all-roundness of the dream, and everything in it so piercingly familiar, and I being I and also not. Frowning, I nodded, dull as a dog. “Yes,” I said, “I’m standing in the doorway, in the sun, on an Easter Sunday morning, and somehow it is the future.”

“What doorway?”

“What?” I shrugged, sloping a shoulder. “Here, of course,” I said, nodding, baffled, certain. “Yes, the front door here.”

She lifted her brows at me, leaning backwards a little her large-boned head, her hands stuck deep in the pockets of her big coat.

“It sounds more like the past, to me,” she said, losing interest, what little there had been.

The past, or the future, yes, I might have said—but whose?

Cleave is the name, Alexander Cleave, called Alex. Yes, that Alex Cleave. You will remember my face, perhaps, the famous eyes whose flash of fire could penetrate to the very back row of the stalls. At fifty I am, if I say so myself, handsome still, albeit in a pinched and blurry sort of way. Think of your ideal Hamlet and you have me: the blond straight hair—somewhat grizzled now—the transparent, pale-blue eyes, the Nordic cheekbones, and that out-thrust jaw, sensitive, and yet hinting at depths of refined brutality. I mention the matter only because I am wondering to what extent my histrionic looks might explain the indulgence, the tenderness, the unfailing and largely undeserved loving kindness, shown me by the many—well, not many, not what even the most loyal Leporello would call many—women who have been drawn into the orbit of my life over the years. They have cared for me, they have sustained me; however precipitate my behaviour may be at times, they are always there to break my fall. What do they see in me? What is there in me to be seen? Maybe it is only the surface that they see. When I was young I was often dismissed as a matinée idol. This was unfair. True, I could, as I say, be the flaxen-haired hero when occasion called for it, but I played best the sombre, inward types, the ones who seem not part of the cast but to have been brought in from the street to lend plausibility to the plot. Menace was a specialty of mine, I was good at doing menace. If a poisoner was needed, or a brocaded revenger, I was your man. Even in the sunniest roles, the ass in a boater or the cocktail-quaffing wit, I projected a troubled, threatening something that silenced even the hatted old dears in the front row and made them clutch their bags of toffees tighter. I could play big, too; people when they glimpsed me at the stage door were always startled to find me, in what they call real life, not the shambling shaggy heavyweight they were expecting, but a trim lithe person with the wary walk of a dancer. I had mugged it up, you see, I had studied big men and understood that what defines them is not brawn or strength or force, but an essential vulnerability. Little chaps are all push and self-possession, whereas the large ones, if they look at all presentable, give off an appealing sense of confusion, of being at a loss, of anguish, even. They are less bruiser than bruised. No one moves more daintily than the giant, though it is always he who comes crashing down the beanstalk or has his eye put out with a burning brand. All this I learned, and learned to play. It was one of the secrets of my success, onstage and off, that I could put on size. And stillness, a quality of absolute stillness even in the midst of mayhem, that was another of my tricks. This is what the critics were groping for when they talked of my uncanny Iago or my coiled Richard Crookback. The biding beast is always more seductive than the one that springs.

I do not fail to note the use of the past tense throughout the above.

Ah, the stage, the stage; I shall miss it, I know. Those old saws about the camaraderie of theatre folk are, I have to report, all true. Children of the night, we keep each other company against the encroaching dark, playing at being grown-ups. I do not find my fellow man particularly lovable, only I must be part of a cast. We actors like to complain of the lean times, the stints in provincial rep., the ramshackle fit-ups and rained-out seaside tours, but it was the very seediness of that gimcrack world that I secretly loved. When I look back over my career, which seems to be ended now, what I recall most fondly is the cramped cosiness of some dingy hall in the middle of nowhere shut fast against the loamy darkness of an autumn night and smelling of fag smoke and wet overcoats; in our box of light we players strut and declaim, laughing and weeping, while out in the furry gloom before us that vague, many-eyed mass hangs on our every bellowed word, gasps at our every overblown gesture. In this neck of the woods, when we were children, we used to say of show-offs in the school playground that they were only shaping; it is something I never got out of the habit of; I made a living from shaping; indeed, I made a life. It is not reality, I know, but for me it was the next best thing—at times, the only thing, more real than the real. When I fled that peopled world I had no one except myself to keep me from coming to grief. And it was to grief that I came.

Acting was inevitable. From earliest days life for me was a perpetual state of being watched. Even when alone I carried myself with covert circumspection, keeping up a front, putting on a performance. This is the actor’s hubris, to imagine the world possessed of a single, avid eye fixed solely and always on him. And he, of course, acting, thinks himself the only real one, the most substantial shadow in a world of shades. I have a particular memory—though memory is not the word, what I am thinking of is too vivid to be a real memory—of standing in the lane that goes down beside the house one late spring morning when I was a boy. The day is damp and fresh as a peeled stick. A broad, unreally clear light lies over everything, even in the highest trees I can pick out individual leaves. A cobweb laden with dew sparkles in a bush. Down the lane comes hobbling an old woman, bent almost double, her gait a repeated pained slow swing around the pivot of a damaged hip. I watch her approach. She is harmless, poor Peg, I have seen her often about the town. At each lurching step she shoots up sideways at me a sharp, speculative glance. She wears a shawl and an old straw hat and a pair of rubber boots cut off jaggedly at the ankles. She carries a basket on her arm. When she draws level with me she pauses and looks up at me eagerly with a lopsided leer, her tongue showing, and mumbles something that I cannot make out. She shows the basket, with mushrooms she has picked in the fields, which perhaps she is offering to sell to me. Her eyes are a faded, almost transparent blue, like my own, now. She waits for me to speak, panting a little, and when I say nothing, offer nothing, she sighs and shakes her old head and hobbles painfully on again, keeping to the grassy verge. What was it in the moment that so affected me? Was it the lambent air, that wide light, the sense of spring’s exhilarations all around me? Was it the old beggar-woman, the impenetrable thereness of her? Something surged in me, an objectless exultancy. Myriad voices struggled within me for expression. I seemed to myself a multitude. I would utter them, that would be my task, to be them, the voiceless ones! Thus was the actor born. Four decades later he died in the middle of the last act and staggered off the stage in sweaty ignominy just when the action was coming to its climax.

The house. It is tall and narrow, and stands on a corner of the little square across from the high white wall of the convent of the Sisters of Mercy. In fact, our square is not a square at all, but converges and funnels off at the far end into a road that climbs a hill leading out into the country. I date a fascination with speculative thought, uncommon in my profession—the thinking man’s thespian, that is another thing the critics used to call me, with a detectable smirk—from the moment in childhood when it occurred to me to wonder how a triangular space could have come to be called a square. Next door had a madwoman in the attic. Really, this is true. Often of a morning when I was setting off for school she would pop her golliwog’s head out at the mansard window and call down to me, shrieking gibberish. Her hair was very black and her face was very white. She was twenty, or thirty, some age like that, and played with dolls. What ailed her no one seemed to know for sure, or would not say; there was talk of incest. Her father was a coarse, puce-faced person with a big round head set necklessly on his shoulders like a stone ball. I see him in gaiters but surely that is just fancy. Mind you, pelt shoon and hempen trews would not be out of place, for those days are so far off from me now they have become a kind of antiquity.

See how I parry and duck, like an outclassed boxer? I begin to speak of the ancestral home and within a sentence or two I have moved next door. That is me all over.

The incident with the animal on the road in the wintry gloaming was definitive, though what it was that was being defined I could not tell. I saw where I was, and I thought of the house, and knew that I must live there again, if only for a little while. So came the April day when I drove with Lydia down those familiar roads and found the keys, left under a stone beside the doorstep by an unknown hand. Such seeming absence of human agency was proper also; it was as if…

“As if what?” my wife said.

I turned from her with a shrug.

“I don’t know.”

Once I had made my arrangements—a contract brusquely broken, a summer tour abandoned—it took no time at all, one Sunday afternoon, to move my things down here, the few necessities of what I insist on thinking will be no more than a brief respite from life, an interval between acts. I loaded my bags and books into the boot and the back seat of the car, not speaking, while Lydia looked on with folded arms, smiling angrily. I shuffled from house to car and back again without pausing, afraid that if I stopped once I would not start up again, would dissolve into a puddle of irresolution on the pavement. It was summer by now, one of those vague hazy days of early June that seem made half of weather and half of memory. A soft breeze stirred the lilac bush by the front door. Across the road a pair of poplars were excitedly discussing something dreadful, their foliage tinkling. Lydia had accused me of being a sentimentalist. “All this is just some kind of ridiculous nostalgia,” she said, and laughed unsteadily. She stopped me in the hallway, planted herself and the barrier of her folded arms in front of me and would not let me pass. I stood breathing, burdened with baggage, staring morosely at the floor by her feet, saying nothing. I pictured myself hauling off and hitting her. This is the kind of thing that comes into my head nowadays. It is strange, for I was never a brawler: the word was always weapon enough. It is true that when we were younger and our relations more tempestuous Lydia and I would sometimes resort to fisticuffs to settle a difference, but that was less from anger than other things—how erotic is the sight of a woman winding up her fist to deliver a punch!—for all that one or other of us might come out of the fray with a ringing ear or a chipped tooth. These new thoughts of violence are alarming. Is it not right that I should have put myself out of harm’s way? The harm of others, that is; the harm to others.

“Be honest,” Lydia said. “Are you leaving us?”

Us.

“Listen, my dear—”

“Don’t call me my dear,” she cried. “Don’t you dare speak to me like that.” I was, I realised, bored. Boredom is the brother of misery, that is something I have been discovering. I gazed away from her, into the soft, unresting air. There were moments even then when the very light seemed thronged with figures. She waited; still I would not speak. “Oh, go, then,” she said, and turned away in disgust.

But when I was in the car and about to drive off she came out of the house with her coat and her keys and got in wordlessly beside me. Soon we were bowling along through the countryside’s slovenly and uncaring loveliness. We passed by a circus, going in our direction, one of the old-fashioned kind, rarely to be seen any more, with garishly painted horse-drawn caravans, driven by gypsy types with neckerchiefs and earrings. A circus, now, this was surely a good sign, I thought, and began to feel quite gay. The trees were puffs of green, the sky was blue. I recalled a page from my daughter’s homework book I had kept since she was a child, hidden at the back of a drawer in my desk, along with a clutch of yellowed first-night programmes and one or two clandestine love letters. The Bud is in flower, she had written, in the big, wide-eyed hand of a five-year-old. Mud is brown. I feel as fit as a Flea. things can go wrong. A spasm of sweetish sadness made my mind droop; I thought perhaps Lydia was right, perhaps I am a sentimentalist. I brooded on words. Sentimentality: unearned emotion. Nostalgia: longing for what never was. I remarked aloud the smoothness of the road. “When I was young this journey took three hours, nearly.” Lydia threw up her eyes and sighed. Yes, the past, again. I was thinking of my Easter-morning dream. I still felt invaded, as I had that day out in the fields: invaded, occupied, big with whatever it was that has entered me. It is still here; I feel I am pregnant; it is a very peculiar sensation. Before, what I contained was the blastomere of myself, the coiled hot core of all I was and might be. Now, that essential self has been pushed to the side with savage insouciance, and I am as a house walked up and down in by an irresistibly proprietorial stranger. I am all inwardness, gazing out in ever intensifying perplexity upon a world in which nothing is exactly plausible, nothing is exactly what it is. And the thing itself, my little stranger, what of it? To have no past, no foreseeable future, only the steady pulse of a changeless present—how would that feel? There’s being for you. I imagine it in there, filling me to the skin, anticipating and matching my every movement, diligently mimicking the tiniest details of what I am and do. Why am I not writhing in disgust, to feel thus horribly inhabited? Why not revulsion, instead of this sweet, melancholy sense of longing and lost promise?

The house too had been invaded, someone had got in and had been living here, some tramp or fugitive. There were crusts of bread on the kitchen table and used tea bags in the sink, obscene, squashed brown things. A fire had been lit in the parlour, in the grate were the charred remains of books the intruder had pulled from the shelves and used for fuel. Some titles and parts of titles were still legible. I leaned down and tried to make them out, intent as a scryer: The Revenant, My Mother’s House—apt, that one—something called Heart’s Needle, and, most badly burned, The Necessary… with a final word obscured by a scorch mark that I thought might have been Angel. Not your run-of-the-mill book-burner, evidently. I sat back on my heels and sighed, then rose and picked my way from room to room, frowning at the grime, the faded furnishings, the sun-bleached curtains; how could I stay here? Lydia called to me. I went and found her standing in the lime-smelling lavatory under the stairs, a wrist on her hip, in the pose of Donatello’s David, pointing disgustedly into the bowl, where a gigantic turd was wedged. “Aren’t people lovely,” she said.

We cleaned up as best we could, gathered the rubbish, opened windows, flung bucketfuls of water down the lavatory pan. I had not dared to venture upstairs yet.

“I heard from Cass,” Lydia said without looking at me, wringing the neck of a bulging plastic bag.

I felt the usual constriction in my chest. Cass is my daughter. She has been living abroad.

“Oh, yes?” I said, cautiously.

“She says she will be coming home.”

“The harpies gather, eh?” I had intended it lightly, but Lydia’s brow grew red. “Harpazein,” I said hastily, “to seize. Greek, that is.” Playing the fussy old professor, remote but kindly; when in difficulty, act.

“Of course, she’ll take your side,” she said.

I followed her into the parlour. Large dark masses of furniture stood sullenly at attention in the dimness of the gaunt room like almost living things. Lydia walked to the window, lighting a cigarette. On her delicate pale long feet she wore a pair of crimson velvet slippers suggestive of Araby. I marvel to think there was a time when I would have fallen on my face before her in the sand and covered those Arabian feet with kisses, caresses, adoring helpless tears.

“I didn’t know that there were sides,” I said, too innocently.

She gave a full cold laugh.

“Oh, no,” she said, “you know nothing.” She turned, her head swathed in a swirl of ash-blue cigarette smoke, the garden’s menacing greenery crowding in the window behind her, and, between the green, a patch of the sky’s delicate summer azure. In this light the shock of silver in her hair was stark, undulate, ashine. Once in one of our fights she called me a black-hearted bastard and I experienced a warm little thrill, as at a pretty piece of flattery—that is the kind of black-hearted bastard that I am. Now she gazed at me for a moment in silence, slowly shaking her head. “No,” she said again, with a bitter, weary sigh, “you know nothing.”

The moment came, which I had been both impatient for and dreading, when there was nothing left for her to do but leave. We loitered on the pavement outside the front door in the milky light of late afternoon, together yet already apart. The day was without human sound, as if everyone else in the world had gone away (how can I stay here?). Then a motor car came fizzing across the square and passed us by, the driver glaring at us briefly, in angry surprise, so it seemed. The silence returned. I lifted a hand and touched the air by Lydia’s shoulder.

“Yes, all right,” she said, “I’ll go.”

Her eyes turned glossy and she ducked into the car and slammed the door. The tyres skidded as she drove away. The last I saw of her she was leaning forward over the wheel with a knuckle stuck into an eye. I turned back to the house. Cass, I was thinking. Cass, now.

Things to do, things to do. Store the kitchen supplies, set out my books, my framed photographs, my lucky rabbit’s paw. Too soon it was all done. There was no avoiding upstairs any longer. Grimly I mounted the steps as if I were climbing into the past itself, the years pressing down on me, like a heavier atmosphere. Here is the room looking out on the square that used to be mine. Alex’s room. Dust, and a mildew smell, and droppings on an inside sill where birds had got in through a broken windowpane. Strange, how places, once so intimate, can go neutral under the dust-fall of time. First there is the soft detonation of recognition, and for a moment the object throbs in the sudden awareness of being unique—that chair, that awful picture—then all composes itself into the drear familiar, the parts of a world. Everything in the room seemed turned away from me in sullen resistance, averting itself from my unwelcome return. I lingered a moment, feeling nothing except a heavy hollowness, as if I had been holding my breath—as perhaps I had—then I turned and went down a flight, to the first floor, and entered the big back bedroom there. It was light still. I stood at the tall window, where that other day I had seen my not-wife not-standing, and looked out at what she had not-seen: the garden straggling off into nondescript fields, then a huddle of trees, and beyond that, where the world tilted, an upland meadow with motionless miniature cattle, and in the farthest distance a fringe of mountains, matt blue and flat against the sky where the sun was causing a livid commotion behind a heaping of clouds. Having used up the outside, I turned to the in: high ceiling, the sagging bed with brass knobs, a night table with wormholes, a solitary, resentful-looking bentwood chair. The floral-patterned linoleum—three shades of dried blood—had a worn patch alongside the bed, where my mother used to pace, unsubduably, night after long night, trying to die. I felt nothing. Was I here at all? I seemed to be fading in face of these signs, the hollow in the mattress, the wear in the lino; a watcher outside the window would hardly see me now, a shadow only.

There were traces here too of an intruder; someone had been sleeping in my mother’s bed. Outrage flared briefly, then faded; why should not some Goldilocks lay down her weary head where my poor mother would never again lay hers?

I loved to prowl the house like this when I was young. Afternoons were my favourite time, there was a special quality to afternoons indoors, a wistfulness, a sense of dreamy distance, of boundless air all around, that was at once tranquil and unsettling. There were hidden portents everywhere. Something would catch my attention, anything, a cobweb, a damp patch on a wall, a scrap of old newspaper lining a drawer, a discarded paperback, and I would stop and stand gazing at it for a long time, motionless, lost, unthinking. My mother kept lodgers, clerks and secretaries, schoolteachers, travelling salesmen. They fascinated me, their furtive and somehow anguished, rented lives. Inhabiting a place that could not be home, they were like actors compelled to play themselves. When one of them moved out I would slip into the vacated room and breathe its hushed, attentive air, turning things over, poking into corners, searching through drawers and mysteriously airless cupboards, diligent as a sleuth hunting for clues. And what incriminating leavings I came up with—a set of horribly grinning false teeth, a pair of underpants caked and brittle with blood, a baffling contraption like the bellows of a bagpipes made of red rubber and bristling with tubes and nozzles, and, best of all, pushed to the back of a wardrobe’s highest shelf, a sealed jar of yellowish liquid in which a preserved frog was suspended, its slash of mouth blackly open, its translucent toes splayed and touching delicately the clouded glass walls of its tomb…

Anaglypta! That was the name of that old-fashioned wallpaper stuff, stiff with layers of yellowed white paint, with which every other wall in the house is covered to the height of the dado. I wonder if it is manufactured any more. Anaglypta. All afternoon I had been searching for the word and now I had found it. Why glyp not glyph? This, I told myself, this is the way I shall be condemned to pass my days, turning over words, stray lines, fragments of memory, to see what might be lurking underneath them, as if they were so many flat stones, while I steadily faded.

Eight o’clock. The curtain would be going up and I not there. Another absence. I would be missed. When an actor walks out of a performance no understudy can entirely fill his place. He leaves the shadow of something behind him, an aspect of the character that only he could have conjured, his singular creation, independent of mere lines. The rest of the cast feel it, the audience feels it too. The stand-in is always a stand-in: for him there is always another, prior presence, standing in him. Who if not I, then, is Amphitryon?

I heard a noise from downstairs and a shock of fright passed through me, making my shoulder blades quiver and my head feel momentarily hot. I have always been a timid soul, for all the blackness of my heart. I went out creakingly on to the landing and stood amid the standing shadows and listened, clutching the banister rail, registering the clammy texture of old varnish and the oddly unresistant hardness of the wood. The noise came faintly again up through the stairwell, an intermittent, brittle scratching. I recalled the strange animal on the road that night. Then a surge of indignation and impatience made me frown and shake my head. “Oh, this is all completely… !” I began to say, and stopped; the silence took my words and tittered over them. Down there, someone uttered a low, guttural oath, and I went still again. I waited—scratch scratch—then stepped backwards cautiously into the bedroom doorway, squared my shoulders, took a breath, and marched out on to the landing once more, but differently this time—for whose benefit did I think I was putting on this dumb show?—slamming the door behind me, all bluff business now, a man at home in his world. “Hello?” I called out grandly, actorily, though my voice had a crack in it. “Hello, who is there?” This brought a startled silence, with a suggestion of laughter. Then the voice again, calling upwards:

“Ah, it’s only me.”

Quirke.

He was in the parlour, on his hunkers in front of the grate, with a blackened bit of stick in his hand. He had been poking among the remains of the charred books. He turned up his head, an amiable eyebrow cocked, and watched me as I entered.

“Some tinker must have got in here,” he said without rancour. “Or was it you was burning the books?” This amused him. He shook his head and made a clicking noise in his cheek. “You can’t leave a thing untended.”

Stalled at the foot of the stairs I nodded, for want of better. Quirke’s sardonical composure is both annoying and unchallengeable. He is the superannuated office boy a solicitor in the town appointed years ago at my request to look after the house. That is, I requested a caretaker: I did not bargain on it being Quirke. He tossed the stick into the fireplace and rose to his feet with surprising agility, brushing his hands. I had already noticed those unlikely hands: pale, hairless, plump in the palm, with long, tapering fingers, the hands of a Pre-Raphaelite maiden. The rest of him is shaped like a sea elephant. He is large, soft-skinned, sandy-haired, in his middle forties, with the ageless aspect of a wastrel son.

“There was someone living here, some intruder,” I said, with a heavy emphasis of reproof, wasted on him, as I could see by his unruffled look. “He left more than burned books.” I mentioned, with a qualm of disgust, the thing Lydia had found in the lavatory. Quirke was only the more amused.

“A squatter is right,” he said, and grinned.

He was quite at his ease, standing on the hearth rug—another furrow there, kin to the one beside the bed upstairs—and looking about him with an expression of arch scepticism, as if the things in the room had been arranged to deceive him and he was not deceived. His protuberant pale eyes reminded me of a virulent kind of boiled sweet much fancied when I was a boy. There was a raw patch on his chin where the morning razor had scraped too closely. From the pocket of his balding corduroy jacket he brought out a bottle in a brown-paper bag. “Warm the house,” he said, with a lopsided leer, showing the whiskey.

We sat at the oilcloth-covered table in the kitchen and drank while the day died. Quirke was not to be got rid of. He squirmed his big backside down on a kitchen chair and lit up a cigarette and planted his elbows on the table, regarding me the while with an air of high expectancy, his boiled eyes roaming speculatively over my face and frame like those of a rock climber searching for a handhold on a not very serious but tricky piece of cliff. He told of the history of the house before my family’s time—he had gone into it, he said, it was a hobby of his, he had the documents, the searches and affidavits and deeds, all done out in sepia copperplate, beribboned, stamped, impressed with seals. I meanwhile was recalling the first time I had found myself weeping in the cinema, soundlessly, unstoppably. It was the ache in my constricted throat that I registered first, then the salt tears that were seeping in at the corners of my mouth. It was deep winter, the middle of a sleety afternoon. I had ducked out of a matinée performance—young Sniveling my understudy’s impossible dream come true—and sloped off on my own to the pictures, feeling foolish and elated. Then when the film started there were these inexplicable tears, hiccups, stifled wails, as I sat shuddering with fists clenched in my lap, the hot drops plopping off my chin and wetting my shirt-front. I was baffled, and mortified, too, of course, afraid the afternoon’s other shadowy voyeurs around me would notice my shameful collapse, yet there was something glorious too in such abandon, such childish transgression. When the picture ended and I skulked out red-eyed into the cold and the early dark I felt emptied, invigorated, rinsed. It became a shameful habit then, twice, three times a week I would do it, in different picture-houses, the dingier the better, with still no notion of what I was weeping for, what loss I might be mourning. Somewhere inside me there must be a secret well of grief from which these springs were pouring. Sprawled there in the phantasmally peopled darkness I would sob myself dry, while some extravaganza of violence and impossible passions played itself out on the vast screen tilted above me. Then came the night when I dried onstage—cold sweat, mute helpless fish-mouths, the works—and I knew I must get away.

“So what are you up to?” Quirke said. “Down here, I mean.” Last of evening in the window, dishwater light and the overgrown grass in the garden all grey. I wanted to say, I have lived amid surfaces too long, skated too well upon them; I require the shock of the icy water now, the icy deeps. Yet wasn’t ice my trouble, that it had penetrated me, to the very marrow? A man thronged up with cold… Fire, rather; fire was what was needed…

With a start I came back to myself, from myself. Quirke was nodding: someone must have said something of moment—Lord, I wondered, was it me? Often lately I would be startled to hear people replying to things I had thought I had only spoken in my head. I wanted to jump up now and tell Quirke to leave, to leave and leave me alone, to my own devices, my own voices.

“That’s the trouble, all right,” he was saying, nodding slowly, solemnly, like that black saint on the collection box who nodded when as a little boy you put a penny in. Mnemosyne, mother of sorrows!

“What is?” I said.

“What?”

” The trouble—what is the trouble? “

“What?”

A kind of quacking. We gaped at each other helplessly.

“I’m sorry,” I said then, lifting a hand wearily to shade my eyes. “I have forgotten what we were talking about.”

But Quirke’s attention too had wandered, and he sat motion-lessly at gaze with one shoulder hunched and his virginal hands with fingers palely linked resting on the table before him. I stood up at an angle and everything in the world slid abruptly to one side and I realised I was drunk. I said that I must go to bed. Quirke looked up at me in hurt amazement. He too must be drunk, but evidently he was not ready to go home. He made no stir, and let his wounded gaze drift to the window.

“Not dark yet,” he said, “look. And still when it does get dark the nights seem like they’ll never end. This is a terrible time of the year, if you’re not a sleeper.”

I would speak no more, but stood with steepled fingers pressed on the table, softly snorting, head ahang. Quirke heaved a sigh that turned into an involuntary sorrowful little chirrup at the end and hauled himself to his feet at last and yanked open the door to the hall, making the tongued lever of the latch joggle in its worn hole, quirquirquirke. He staggered going out into the passageway, lurched hugely sideways and struck his shoulder on the door jamb, swore, chuckled, liquidly coughed. “Good luck, then,” he said, bowing under the low lintel and giving a stiff-armed salute behind him. Wordlessly we walked in single file through the dark house. When I opened the front door the smells of the summer night came into the hall, of tar and lupins, and something mushroomy, of sun-warmed pavements gone cold now, of salt sea-mist, and a myriad of other, nameless things. Quirke’s bicycle, a high, black, old-fashioned affair, was tethered to a lamppost. He tarried a moment, looking blearily about him. The deserted square at dusk, with its low, humped roofs and windows sullenly aglow, has a slightly sinister, alien air, a touch almost of Transylvania. “Good luck,” Quirke said again, loudly, and uttered a phrase of mournful laughter, as at some painful joke. The saddle of his bicycle was furred with dew. Indifferent to damp discomfort he mounted up and pedalled away unsteadily, as I turned back and shut the door, maundering chaotically in my disordered heart.

As I drifted toward sleep, my whiskeyed breath staling the air, I seemed to feel another rise up out of me into the room and hang there on the dark like smoke, like thought, like memory. A night breeze stirred the hem of the dusty lace curtain at the window. There was a glimmer even yet in the far sky. I fell into a dream. There was a room, cool, marble tiled, as in a Roman villa, with a view through unglazed windows of a stepped ochre hill and a line of sentinel trees. Scant furnishings: a couch with ornately scrolled ends and a low table nearby bearing unguents in porphyry pots and coloured glass phials, and in a far corner a tall urn in which a single lily leaned. On the couch, of which I was permitted only a three-quarters view, a woman was lying back, young, ample, impossibly pale skinned, her naked arms lifted and hiding her face in abandonment and shame. Beside her sat a turbaned negress, naked also, a mountainous figure with polished melony thighs and big hard gleaming breasts and broad pink palms. The middle finger and thumb of her right hand were plunged to the knuckle and ball in the two holes of the woman’s wantonly offered lap. I noted the angry-pink frilling of the vagina, dainty as the volutes of a cat’s ear, and the taut oiled tea-coloured cincture of the anus. The slave turned her head and looked at me over her shoulder with a broad, jaunty grin and for my benefit joggled her mistress’s gaping flesh, and the woman shuddered and made a mewling sound. In succubus sleep my face formed a rictus, and as the little seizure took me I arched my back and pressed the back of my head into the pillow and then went still and lay like that for a long moment, like a dead dictator lying in state sunk to his ears in the plush.

I opened my eyes and did not know where I was. The window was in the wrong place, the wardrobe too. Then I remembered, and the old, mysterious foreboding seized on me again. There was neither darkness nor light, but a dim grainy glow that seemed to have no source, unless the source were the room itself, the very walls. I felt the patter and skip of my labouring heart. The sticky wetness on my thigh was growing cold already. I thought I should get up and go to the lavatory and wipe myself, I even saw myself rise and fumble for the light switch—was I still dreaming, half asleep?—yet I lay on, swaddled in flocculent warmth. Languorously my fancy found its way back to the woman in the dream and traced again the outline of her white limbs and touched her secret places, but without agitation now, curious only, mildly wondering at the unreally white flesh, the fantastical lewdness. Musing thus in drowsy torpor I turned my head on the pillow and it was then I saw the figure in the room, standing motionless a little way from the side of the bed. I took it for a woman, or womanish old man, or even a child, of indeterminate gender. Shrouded and still it stood facing in my direction, like one of those guardians of the sickroom long ago, the dim attendants of childhood fevers. The head was covered and I could make out no features. The hands were clasped at the breastbone in what seemed an attitude of beseeching, or of anguished prayer, or some other extreme of passionate striving. I was frightened, of course—cold sweat stood on my forehead, hairs prickled at the nape of my neck—but what I registered most strongly was a sense of being the object of intense concentration, a kind of needful scrutiny. I tried to speak but could not, not because I was struck dumb with fear but because the mechanism of my voice could not be made to work in the other-world between dream and waking in which I was suspended. Still the figure did not stir, nor give any sign, only stood in that pose of ambiguous extremity, waiting, it might be, for some desired response from me. I thought: The Necessary… and as I did, in that momentary blink of the mind, the figure faded. I was not aware of its going. There seemed no transition between its state of being seen and its invisibility, as if it had not departed but only changed its form, or refined itself into a frequency beyond the reach of my coarse senses. At once relieved and regretful at its going I closed my eyes, and when I unwillingly opened them again, no more than a moment later, so it seemed, a streaming blade of sunlight had already made a deep slash through the parting in the curtains.

This is how I wake now, sidling warily out of sleep as though I had spent the night in hiding. That falling shaft of gold at the window was blinding. In the corners of the room brownish shadows thronged. I have a deep dislike of mornings, their muffled, musty texture, like that of a bed too long slept in. Latterly there are dawns when I wake up wishing it were night again and the day done with. I have come to think of my life as altogether like a morning’s interminable passing; whatever the hour, it is always as if I have just risen and am trying to clear my head and get a grip on things. I sighed, and kicked back the covers and squirmed my limbs on the lumpy mattress. The day would be hot. Last night, in my drunkenness, I had thought to sleep in my mother’s bed—yes, there is the Herr Doktor again, with his beard and his cigar—but must have changed my mind, for here I was in my old room. How often I had lain here as a boy on summer mornings just like this one, afloat in a gauze of expectation, convinced of great events being just about to happen, of a bud inside me waiting to burst into the marvellously intricate blossom of what would be my life when at last it really began. Such plans I had! Or no, not plans, they were too vague and large and distant to be called plans. Hopes, then? Not that, either. Dreams, I suppose. Fantasies. Delusions.

With a grunt and a heave I got myself up from the bed and stood scratching. I suspect I am coming more and more to look like my father, especially as he was at the end, with that same peering, apprehensive stance. It is a parent’s posthumous revenge, the legacy of increasing resemblance. I padded to the window and opened the tattered curtains, wincing in the light. It was early still. The square was deserted. Not a soul, not even a bird. A tall sharp wedge of sunlight leaned against the white wall of the convent, motionless and menacing. One Maytime here when I was a boy I built a shrine to the Virgin Mary. What inspired me to this uncommon enterprise? Some visionary moment must have been granted me, some glimpse of matutinal blue, or radiance in a limitless sky at noon, or lily-scented exaltation, at Evening Devotions, in the midst of the Rosary, as the Glorious Mysteries were given out. I was a solemn child, prone to bouts of religious fervour, and that May, which is the month of Mary—and also, curiously, of both Lucifer and the wolf; who decides these matters, I wonder?—I had determined I would make her a shrine, or grotto, as such things were called, at that time, in this part of the world, and probably are still so called. I chose a spot in the lane beside the house where a little brown stream squirmed along under a hawthorn hedge. I was not sure if stones were free, and gathered them with circumspection from the fields and vacant lots roundabout, prizing in particular the flinty white ones. From hedgerows I plucked primroses, and when I saw how quickly the blossoms died I dug the plants out roots and all and sowed them on my bit of bank, among the stones, first filling the holes with water and watching with satisfaction the muddy bubbles rise and fatly plop as the tufted sods sank and settled and I trod them home with the heel of my Wellington boot. The statue of the Virgin must have come from the house, or perhaps I persuaded my mother to buy one specially: I fancy I can recall her grumbling a the expense. She viewed this venture of mine with grudging regard, distrustful of such a show of piety, for despite her own veneration of the Virgin she liked a boy to be a boy, she said, and not a namby-pamby. When the work was finished I sat contentedly for a long time by myself looking at the shrine and feeling proud, and virtuous in a cloying sort of way. I heard old Nockter the apple-seller with his horse and cart calling his wares in a far street, and mad Maude up in her attic crooning to her dollies. Later still, as the sun declined and shadows lengthened, my father came out of the house in shirtsleeves and braces and looked at the grotto and at me and at the grotto again, and sucked his teeth, and smiled a little and said nothing, remote and sceptical, as always. When it rained the Virgin’s face seemed tear-stained. One day a gang of older boys passing by on their bikes saw the shrine and dismounted and grabbed the statue and tossed it from one to another, laughing, until one of them fumbled it and it fell on the road and shattered. I retrieved a fragment of blue mantle and kept it, awed by the exposed whiteness of the plaster; such purity was almost indecent, and whenever afterwards I heard the priests recall that the Blessed Virgin had been born without stain of sin I experienced a troubled, dark excitement.

She must be of Minoan origin, the Virgin; even her colours, cobalt and lime-white, suggest the Isles of Greece. Mary as Pasiphaë, serpent in hand and her conical bare breasts on show, there is a thought to frighten the priests.

I have remained a devotee of the goddess, and she in turn has been attentive to me, in the various forms in which she has been manifest in my life. First of course there was my mother. She tried to but could not understand me, her changeling. She was a querulous, distracted person, given to worries and vague agitations, always labouring under unspecified grievances, always waiting, it seemed, tight-lipped and patiently sorrowing, for a general apology from the world. She was afraid of everything, of being late and of being too early, of draughts and of stuffiness, of germs and crowds and accidents and neighbours, of being knocked down in the street by a stranger and robbed. When my father died she took to widowhood as if it were the natural state for which her life with him had been merely a long and heartsore preparation. They had not been happy; happiness had not been part of life’s guarded promise to them. They did not quarrel, I think they were not intimate enough for that. My mother was voluble, at times to the point of hysteria, while my father kept silence, and so they struck a violent equilibrium. After he died, or finished fading—his physical demise was only the official end of a slow dissolution, like the full stop the doctor stabbed into his death certificate that day, leaving a shiny blot—she in her turn began gradually to fall silent. Her voice itself turned thin and papery, with a whining cadence, like that of one left standing in the dust of the road, watching the carriage wheels roll away, with a sentence half finished and no one left to finish it for. All her dealings with me then became a kind of ceaseless pleading, by turns piteous and angry. What she wanted was for me to explain myself to her, to account for what I was, and why I differed so from her. It was as if she believed she could through me somehow solve the riddle of her own life and of the things that had happened to her, and of the so many more things that had not. But I could not help her, I was not the one to take her and lead her back along that shadowed pathway past the shut gates guarding all the unspent riches of what she might have been. The end for her was bafflement and furious refusal, as she clung to the posts of the last gate, the one that had finally opened for her, bracing her feet against the threshold, until the gateman came and prised her fingers loose and brought her onward finally, into the dark place. No, I could not help her. I did not even weep at the graveside; I think I was thinking of something else. There is in me, deep down, as there must be in everyone—at least, I hope there is, for I would not wish to be alone in this—a part that does not care for anything other than itself. I could lose everything and everyone and that pilot light would still be burning at my centre, that steady flame that nothing will quench, until the final quenching.

I clearly recall the day I first became truly aware of myself, I mean of myself as something that everything else was not. As a boy I liked best those dead intervals of the year when one season had ended and the next had not yet begun, and all was grey and hushed and still, and out of the stillness and the hush something would seem to approach me, some small, soft, tentative thing, and offer itself to my attention. This day of which I speak I was walking along the main street of the town. It was November, or March, not cold, but neutral. From a lowering sky fine rain was falling, so fine as to be hardly felt. It was morning, and the housewives were out, with their shopping bags and headscarves. A questing dog trotted busily past me looking neither to right nor left, following a straight line drawn invisibly on the pavement. There was a smell of smoke and butcher’s meat, and a brackish smell of the sea, and, as always in the town in those days, the faint sweet stench of pig-swill. The open doorway of a hardware shop breathed brownly at me as I went past. Taking in all this, I experienced something to which the only name I could give was happiness, although it was not happiness, it was more and less than happiness. What had occurred? What in that commonplace scene before me, the ordinary sights and sounds and smells of the town, had made this unexpected thing, whatever it was, burgeon suddenly inside me like the possibility of an answer to all the nameless yearnings of my life? Everything was the same now as it had been before, the housewives, that busy dog, the same, and yet in some way transfigured. Along with the happiness went a feeling of anxiety. It was as if I were carrying some frail vessel that it was my task to protect, like the boy in the story told to us in religious class who carried the Host through the licentious streets of ancient Rome hidden inside his tunic; in my case, however, it seemed I was myself the precious vessel. Yes, that was it, it was /that was happening here. I did not know exactly what this meant, but surely, I told myself, surely it must mean something. And so I went on, in happy puzzlement, under the small rain, bearing the mystery of myself in my heart.

Was it that same phial of precious ichor, still inside me, that spilled in the cinema that afternoon, and that I carry in me yet, and that yet will overflow at the slightest movement, the slightest mis-beat of my heart?

I passed the years of my youth practising for the stage. I would prowl the back roads of the town, always alone, playing out solitary dramas of struggle and triumph in which I spoke all the parts, even of the vanquished and the slain. I would be anyone but myself. Thus it continued year on year, the intense, unending rehearsal. But what was it I was rehearsing for? When I searched inside myself I found nothing finished, only a permanent potential, a waiting to go on. At the site of what was supposed to be my self was only a vacancy, an ecstatic hollow. And things rushed into this vacuum where the self should be. Women, for instance. They fell into me, thinking to fill me with all they had to give. It was not simply that I was an actor and therefore supposedly lacking an essential part of personality; I was a challenge to them, to their urge to create, to make life. I am afraid they did not succeed, with me.

Lydia had seemed the one capable of concentrating sufficient attention on me to make me shine out into the world with a flickering intensity such that even I might believe I was real. When I first encountered her she lived in a hotel. I mean, her family home was a hotel. That summer, more than half my lifetime ago now, I would see her almost every day as she came and went through the revolving glass doors of the Halcyon, got up in outlandish confections of cheesecloth and velvet and beads. She wore her black hair very straight, in the soulful style of the day, the bold silver streak in it less pronounced than it would be in later years but still striking. She became an object of keen speculation for me. I had a room in a rotting tenement in one of those cobbled canyons off the river, where at dawn the drays let loose from the brewery gates woke me with the thunder of apocalyptic hoofs, and the nights were permeated with the sickly sweet smell of roasting malt. Loitering along the embankment I watched for Lydia by the hour, in the gritty airlessness of the summer city. She was an exotic, a daughter of the desert. She walked with a sort of sulky swing, rolling her shoulders a little, always with her head down, as if she were meticulously retracing her steps to somewhere or something momentous. When she pushed through the hotel door the revolving glass panels threw off a splintered multiple image of her before she disappeared into the peopled dimness of the lobby. I made up lives for her. She was foreign, of course, the runaway daughter of an aristocratic family of fabulous pedigree; she was a rich man’s former mistress, in hiding from his agents here in this backwater; certainly, she must have something in her past, I was convinced of it, some loss, some secret burden, some crime, even. When by chance I was introduced to her at an opening night—she was a great one for the theatre, in those days, and seemed to go to every production that was put on, with undiscriminating enthusiasm—I experienced an inevitable jolt of disappointment, as of something subsiding with a crunch under my diaphragm. Just another girl, after all.

“I’ve seen you,” she said, “hanging about on the quays.” She was always disconcertingly direct.

But that Levantine tinge to her looks, the hothouse pallor and stark black brows and faintly shadowed upper lip, remained a powerful attraction. The Hotel Halcyon took on for me the air of an oasis; before I entered there I imagined behind that revolving door a secret world of greenery and plashing water and sultry murmurings; I could almost taste the sherbet, smell the sandalwood. Lydia had a magnificence about her that was all the more enticing for her seeming unawareness of it. I admired her fullness, the sense she gave of filling whatever she wore, no matter how ample or flowing. Even her name bespoke for me a physical opulence. She was my big sleek slightly helpless princess. I loved to watch her as she walked to meet me, with that heavy-hipped slouch and that distracted, always vaguely dissatisfied smile. I basked in her; she seemed the very source and origin of the word uxorious; I decided at once, without having to think about it, that I would marry her.

I should say in fact that my tender-eyed wife’s real, or given, name is Leah; in the hubbub of the crush bar that night when I was introduced to her I misheard it as Lydia, and when I repeated it later she liked it, and we kept it between us as a love-name, and eventually it became established, even among the more easygoing members of her family. It occurs to me to wonder now if this surrender and substitution of names worked a deeper change in her than one of mere nomenclature. She had relinquished a part of herself, so surely she took something on, as well. From Leah to Lydia is no small journey. When I was starting out in the theatre I toyed with the possibility of taking a stage name, but there was already so little of me that was real, I felt I could not afford to sacrifice the imperial label my mother—I am sure my father had no say in the matter—pinned on me so that I might be at least a noise in the world, though at once everyone, including my mother, went to work shortening my name to Alex. In my first parts I billed myself as Alexander, but it did not stick. I wonder what it takes to be proof against abbreviation.

I looked up the name Leah in a dictionary, which told me that in Hebrew it means cow. Dear me. No wonder she was willing to relinquish it.

Over all my recollections of that period of my life there lingers a faint warm bloom of embarrassment. I was not entirely what I pretended to be. It is an actor’s failing. I did not tell lies about myself, exactly, but I did permit certain prominences to show through the deliberate fuzziness of my origins that were, frankly, larger than life. The fact is, I would happily have exchanged everything I had made myself into for a modicum of inherited grace, something not of my own invention, and which I had done nothing to deserve—class, breeding, money, even a run-down riverside hotel and a drop of the blood of Abraham in my veins. I was an unknown, as we say of fledgelings in our trade: in my case, truly an unknown, even to myself.

I think I took to the stage to give myself a cast of characters to inhabit who would be bigger, grander, of more weight and moment than I could ever hope to be. I studied—oh, how I studied for the part, I mean the role of being others, while at the same time striving to achieve my authentic self. I devoted hours to my exercises, far beyond the demands of even the most demanding among my coaches. The stage is a great academy; I mastered all manner of useless accomplishments: I can dance, I can fence, I can, should circumstance demand it, swing down from the rafters on a rope with a cutlass in my teeth. When I was younger I used to do a frightening fall, straight over, crash! like a pole-axed ox. For a year I took elocution lessons, at five bob a time, from a genteel old thing in black velvet and musty lace—“By a negg, Mr. Cleave, do you perhaps mean an egg?”—who at intervals in our weekly half-hours together would excuse herself and turn aside demurely to steal a swig from a naggin-bottle she kept hidden in her reticule. I did a course in ballet, stuck at it throughout a whole winter, sweating away doggedly at the barre, stared at by lumpen schoolgirls and doe-eyed ephebes of doubtful intent. I devoured improving texts. I read Stanislavski, and Bradley on tragedy and Kleist on the puppet theatre, and even double-barrelled old buffers like Granville-Barker and Beerbohm Tree on the art of acting. I sought out the most obscure treatises. I still have somewhere on my shelves Perrucci’s Dell’arte rappresentativa, premeditata ed all’improvviso—I used to roll that title around my tongue like a line from Petrarch—on seventeenth-century Venetian comedy, which I would carry about with studied aplomb, and some pages of which I even read, laboriously, with the aid of a primer. I was after nothing less than a total transformation, a making-over of all I was into a miraculous, bright new being. But it was impossible. What I desired only a god could manage—a god, or a marionette. I learned to act, that was all, which really means I learned to act convincingly the part of an actor seeming not to act. It brought me no nearer to that exalted metamorphosis I had so hoped to achieve. The self-made man has no solid ground to stand on. He who pulls himself up by his bootstraps is in a permanent state of somersault, and in his ear always is the world’s laughter as, look! there he goes again, arse over tip. I had come from nowhere, and now at last, through Lydia, I had arrived at the centre of what seemed to be somewhere. I was compelled to invent, of course, to elaborate on myself, for how could I expect to be accepted for what I merely was in the exotic new accommodation she was offering me?

We were married in a register office, a scandalous thing, in those days; it made me feel quite the iconoclast. My mother stayed away, not so much out of disapproval of the miscegenous match I was making—though disapprove she assuredly did—as from a fear of what to her was the dauntingly exotic world I was entering. The wedding breakfast was held at the Halcyon. It was a hot day and the stink from the river gave to the celebrations a bilious cast of the bazaar. Lydia’s many black-haired, big-bottomed brothers, hearty and curiously childlike young men, clapped me on the back and made harmlessly lewd jokes. They kept walking away from me; that is how I remember them that day, walking away from me, all with the family’s heavy-hipped gait that in them was a waddle, laughing back over their shoulders with a sort of amiable scepticism. My brand-new father-in-law, a watchful widower with the incongruously noble brow of a philosopher king, patrolled the occasion, wearing more the aspect of the hotel’s detective than its proprietor. He had not liked the look of me from the start.

Have I described the Halcyon? I was fond of that old place. It is gone now, of course. The sons got rid of it when their father died, and then there was a fire, and the building was razed and the site sold on. It seems extraordinary, that something so solid could be so thoroughly erased. The interior as I remember it was generally brown, not the brown of mellowed wood but of old varnish, many-layered and slightly gummy to the touch, like toffee. A flabby smell of overcooked food stood in the corridors night and day. The bathrooms had enormous throne-like lavatories with wooden seats, and baths that seemed made for rendering murdered brides in; when the taps were turned on a tremendous knocking would run back along the pipes and make the very walls tremble all the way up to the attics. It was in a vacant room up there under the roof, one stifling Sabbath afternoon in summer, on a high broad bed troublingly reminiscent of an altar, that Lydia and I first made illicit love. It was like clasping in my arms a big marvellous flustered bird that cooed and cawed and thrashed wild wings and shuddered at the end and sank down beneath me helplessly with faint woeful-sounding cries.

That submissiveness of the boudoir was deceptive. Despite her scattered air, despite her father-fixation and her awe of the stage, despite all those bangles and beads and fluttering silks—there were days when she resembled an entire caravan undulating through a heat-haze across shimmering dunes—I know that of the two of us she was the stronger. I do not mean to say that she was the harder; I am hard, but I was never strong; that is my strength. She took care of me, protected me from the world, and from myself. Under the carapace of her safekeeping I could pretend to be as soft as any milksop in those Restoration comedies that enjoyed one of their recurrent popular revivals in the middle passage of my career. She even had money, eventually, when her dad upped and died one bounteous Christmas Day. Yes, we were a pair, a two-hander, a team. And now, red-eyed and crapulent, standing in my drawers at the window of my boyhood bedroom, above the morning-empty square, in bewilderment and inexplicable distress, I wondered when exactly the moment of catastrophic inattention had occurred and I had dropped the gilded bowl of my life and let it shatter.

Barefoot I made my shaky way downstairs and went into the kitchen and leant infirmly at the table with aching eyes and a frightening pressure in my head. The whiskey bottle, three-quarters empty, stood alone on the table with its shoulders set in what seemed a pointed rebuke. The room in sunlight was a luminous taut tent held down by studs of light reflecting at many corners, that bottle top, the rim of a smeared glass, an unbearably glaring knife blade. What had I said to Quirke? I remembered describing the night the animal made me stop on the road and I knew I must come back and live here. I had recounted to him my dream of being a child on Easter morning; I had even described the plastic chicken, and asked him if he knew what was the difference between a chicken and a hen. This last conundrum he gravely considered for a long moment, without result. Then I heard myself telling him of those afternoons when I would creep off to cry by myself in suburban picture-houses. Under the loosening influence of the whiskey it all came spilling out of me, another version somehow of those very storms of inexplicable sorrow I used to suffer there in the humid darkness, crouched under those vast, shimmering screens. And now in the pitiless light of morning I stood canted by the table with eyes shut fast and felt myself go hot with helpless shame at the thought of that blurted confession. The telephone began to shrill, giving me a fright. I had not known it was still connected. After a flustered search I found it in the hall, on the floor behind a disembowelled sofa. It was an old-fashioned model made of Bakelite; the receiver had the osseous heft of a tribal artefact, shaped and polished by long and murderous use. I took a moment to register Lydia’s voice on the line. I heard her dry laugh.

“Have you forgotten us already?” she said.

“I didn’t know the telephone still worked.”

“Well, it does.” A beat of breathing silence. “And how is the hermit?”

“Hungover.” I could see through into the kitchen; the window there had a flaw in one of its panes, and when I made the tiniest movement of my head a tree in the garden seemed to ripple, as if refracted under water. “I was drinking with Quirke,” I said.

“With what?”

“Quirke. Our so-called caretaker.”

“Much care he’s taken.”

“He brought a bottle of whiskey.”

“To launch you on your new life. Did he break it over your head?”

I could see the scene, the morning light like heavy pale gas and Lydia standing in the living room of the big old dark house by the sea that had been part of her inheritance from her father, with the receiver wedged between shoulder and jaw, a trick that I have never been able to master, talking sideways into it as if it were a sleepy infant cradled beside her face. There is the briny smell of the sea, the far cry of gulls. It all seemed so clear and yet so far away it might have been a vision of life on another planet, unimaginably distant from this one, yet similar in every detail.

“Cass called again,” Lydia said.

“Yes?” Slowly I sat down on the sofa, sinking so low my chin almost touched my knees, the sofa’s horsehair guts spilling out from underneath and tickling my bare ankles.

“She has a surprise for you.”

She breathed a brief laugh.

“Oh?”

“You’ll be amazed.”

No doubt I shall; a surprise from Cass is a formidable prospect. The tree beyond the flawed pane in the kitchen window rippled. Lydia made a sound that to my consternation seemed a sob; when she spoke again her voice was husky with reproach. “I think you should come home,” she said. “I think you should be here when she arrives.” I had nothing to say to that. I was remembering the day my daughter was born. She sprang into the world, a smeared and furious fingerling, bearing the generations with her. I had not been prepared for so many resemblances. She was my mother and father, and Lydia’s father and dead mother, and Lydia herself, and a host of shadowy ancestors, all of them jostling together, as in the porthole of a departing emigrant ship, in that miniature face contorted upon the struggle for breath. I was present for the birth—oh, yes, I was very progressive, went in for all that kind of thing; it was another performance, of course, inwardly I quailed before the bloody spectacle. By the time the baby came I was in a sort of daze, and did not know where to turn. They put the infant in my arms before they had even washed her. How light she was, yet what a weight. A doctor in bloodied green rubber boots spoke to me but I could not understand him; the nurses were brisk and smug. When they lifted Cass away from me I seemed to hear the twang of an umbilical cord, one that I had paid out of myself, severing. We brought her home in a basket, like some precious piece of shopping we could not wait to unwrap. It was winter, and there was an alpine sting to the air. I recall the pallid sunlight on the car park—Lydia blinking like a prisoner led up from the dungeons—and the cold fresh fragrant breeze coming down from the high hills behind the hospital, and nothing to be seen of the baby but a patch of vague pink above a satin blanket. When we got her home we had no cot for her, and had to put her in the open bottom drawer of a tallboy in our bedroom. I could hardly sleep for fear of getting up in the night and forgetting she was there and slamming it shut. Triangles of watery light from the headlamps of passing motor cars kept opening across the ceiling only to be folded smartly again and dropped, like so many ladies’ fans, into the drawer where she was asleep. We had a nickname for her, what was it? Hedgehog, I think; yes, that was it, because of the tiny snuffling noises she made. Bright, innocent-seeming days, in my memory of them, though the clouds were already massing behind the horizon.

“I am talking to myself here,” Lydia said, with a tight, exasperated sigh.

I allowed my eyes to close, feeling the rims of the inflamed lids hotly touch. My head ached.

“When is she arriving?” I said.

“Oh, she won’t say, of course—that would be too simple.” Lydia’s voice always takes on a bridling tone when she speaks of our difficult daughter. “She’ll probably just appear one day out of the blue.”

Another silence then, in which I could hear the rustle of my own breathing in the mouthpiece. I opened my eyes and looked out to the kitchen again. What struck me first about the image, vision, hallucination—I would not have known what to call it, had I thought to call it anything—that I glimpsed out there was the ordinariness of it: the figure of a woman, tall, young, turning from the range, abruptly handing something, it looked like, to what seemed a seated child. Slowly I set the receiver down on the arm of the sofa. No sound at all, except for a faint, a very faint hissing, that might have been no more than the sound of my own self, blood, lymph, labouring organs, making its low susurrus in my ears. I was given only that glimpse—the woman, if it was a woman, turning, the arm extending, the child unmoving, if it was a child—and then it was gone. I squeezed my sore eyes shut again, trying to retain the image. It was all inexplicably, achingly familiar.

I walked softly out to the kitchen and stood and looked about. No one was there. Everything was as it had been a minute ago, before the phone rang, except for a sense of general suspension, as of things holding themselves in stillness, not daring to breathe. I returned to the hall and sat down again on the sofa, a sort of collapse, and exhaled a shuddery sigh. Lydia was still on the line.

“What?” she said snappishly. “What did you say?”

I felt a piercing cold.

“I said, the place is haunted.” I was laughing now, unmanageable, feathery gasps of laughter burbling out of me.

Another silence.

“You are your own ghost,” Lydia said, with angry haste, and I heard the receiver drop with a crash into its cradle an instant before the connection broke, she too all at once become phantom, fading into air and distance.

It was not the first time I had seen a ghost in this house. One day, when I was a boy, in the dreamy boredom of a summer afternoon I climbed up the unlit steep stairs to the garret, drawn there at who knows what behest. The room was hot under the slanted, low ceiling. Someone, my mother, I suppose, in one of her periodic doomed attempts at thriftiness, had spread shallots on the bare wooden floor to preserve them for a winter that now was long past, and the air was spiced with their sweet decayed dry odour, stirring in me a tangle of indistinct rememberings. There was a single, small window here, round, like a porthole, at which I was leaning, peering out vacantly through the dusty pane into an immensity of dense blue air, when something, not a sound but a sort of tightening in the atmosphere of the room, made me turn my head. I expected it would be one of the lodgers; sometimes on my prowls I would meet one of the more peculiar among them, creeping about, looking for something to spy on or to steal, I suppose. But it was not a lodger. It was my dead father, standing in the open doorway, as real as in life, dressed in striped pyjamas and shoes without laces and an old wheat-coloured cardigan, the same attire that he had worn every day in the long last months of his dying. He held himself stooped in an attitude of indecision, not looking at me, apparently unaware of me, with his head inclined a little, listening, it might be, or trying to recollect something, to capture some stray thought. After a moment he seemed to give up the effort, whatever it was, and shrugged, letting one shoulder droop in that way that he had, and turned and ducked through the doorway out to the stairs and was gone.

I was not frightened. I would have been, I am sure, had he looked directly at me, or given some sign that he knew I was there. As it was, I was only puzzled, and curious, too, of course. Afterwards, I supposed I had been asleep somehow, in some kind of waking sleep, or trance, although there had been no moment at which I had felt myself coming to. I thought of telling my mother what I had seen, and even went down through the house in search of her, but when I found her I was overcome by a sort of shyness, and knew that I must preserve the visit, or haunting, or whatever it had been, against the contamination of a mere recounting of it. For I believed I had been privileged, a privileged witness to some bit of intimate and perhaps momentous business, as when at school one day passing by an empty classroom I had glimpsed a teacher, a youngish man with red hair—I can still see him, so clearly—standing by the blackboard with a letter in his hands, weeping lavishly, his shoulders shaking, with dark stains on his soutane where the tears were splashing.

For a long time after I saw my father everything was bathed in a faint glow of strangeness, an unearthly radiance. The world seemed tilted slightly out of true. Now, all these years later, when I saw the woman in the kitchen, I thought at once that I must have conjured up the apparition in order that it might have the same effect, that is, to make me disoriented, and alienate me from my surroundings and from myself. For I had determined, from the moment Lydia had left me on the doorstep and driven away with tears in her eyes, that I would not let myself become accustomed to the new life I had entered into on the site of the old, and had been angry to discover straight away that I was failing. To be watchful and attentive of everything, to be vigilant against complacency, to resist habituation, these were my aims in coming here. I would catch myself, red-handed, in the act of living; alone, without an audience of any kind, I would cease from performing and simply be. And what would be my register of being if not things, the more commonplace the better? Yet almost immediately I found myself settling down in these once familiar surroundings and letting them be so again, with all my plans and pledges forgotten. Even the first sight of my old room had affected me hardly at all; what makes for presence if not absence?—I mean the presence of oneself as a remembered other—and I might as well never have gone away, so little of me was there, to be pondered on or grasped. Making strange, people hereabouts say when a child wails at the sudden appearance of a visitor; how was I to make strange now, and not stop making strange? How was I to fight the deadening force of custom? In a month, in a week, I told myself, the old delusion of belonging would have re-established itself irremediably.

So if the purpose of the appearance of this ghost is to dislocate me and keep me thrown off balance, am I indeed projecting it out of my own fancy, or does it come from some outside source? Both, somehow, it seems, although I do not understand how that can be. That glimpse through the kitchen doorway was the first of many such sightings, brief, diaphanous, gleamingly translucent, like a series of photographs blown up to life-size and for a moment made wanly animate. What happens in them continues to be remarkable only in its being unremarkable, the woman going about what seem to be commonplace tasks—nothing is definite in the dimension in which she exists—or just standing, silent, lost in reverie. It is not possible to make out her features properly. That is, I see the scenes in photographic sharpness, but the figures themselves are not finally realised, their features not fully developed, as if they had moved a fraction while the plate was still being exposed. The child in particular is unfixed; I do not know why I even call it a child, so vague and amorphous is its form; it is the mere idea of a child, no more. They are still growing into existence, these shadows made of light, or perhaps they existed once and are fading now. Whatever they are engaged in, whatever attitude they strike, they seem always somehow guardedly at attention. Have they, I wonder, on their side, an intimation of my presence? Am I to them what they are to me, a fleeting brightness glimpsed out of the corner of the eye, through a doorway, or pausing for a second on the stairs and then vanishing with a noiseless sigh? And it is not just these two—that is, they are the ones I see, if see is the word, but there is the sense of others, too, a world of unseen others, through which this woman and her formless child move, and in which they have their life, if life is the word.

I am not afraid of them, just as I was not afraid when my father appeared to me that day in the garret. There is too much the sense of striving, of large and melancholy effort on their part, for them to be truly frightening. Some intricate system, elaborate yet mundane, an unknown unity, some little lost and desolated order, is trying to put itself into place here, to assemble itself within the ill-fitting frame of the house and its contents. I am convinced they are making the effort not only out of an unavoidable compulsion—these creatures are struggling somehow to come to being—but that it is for my benefit, too. I believe these phenomena are in some way concentrated on me and my state, intricately involved in the problem of whatever it is that has gone wrong with me. There is pathos in the notion of this poor half-developed world struggling blindly, in bafflement, perhaps in pain, to come fully to life, so that I might… what? Have something demonstrated to me? Be a witness? Be instructed? Or is it, I ask myself, is it that something is trying to exist through me, to find some form of being, in me? For although I speak of them appearing outside of me, a moving spectacle, like figures on a stage, in fact—in fact!—I am amongst them, I am of them, and they are of me, my familiars.

Familiars, yes—that is what is strangest, that I find it all not strange at all. Everything here is twilight and half dream, yet the appearance of these phantoms is naggingly insinuative, as if I should, or would, know them. There is something in them of those ancestral resemblances that will spring unnervingly up at one from the cradle or the deathbed. They hover maddeningly at the tip of my mind, as a sought-for word will hover on the tip of the tongue. They have that air of inscrutable significance that will surround people encountered the morning after a troubling dream in which they have figured. And indeed, the visions themselves work a similar effect, lending to this or that piece of the humble appurtenances of my new life a passing spectral significance. When I speak of them being at the table, or the range, or standing on the stairs, it is not the actual stairs or range or table that I mean. They have their own furniture, in their own world. It looks like the solid stuff among which I move, but it is not the same, or is the same at another stage of existence. Both sets of things, the phantom and the real, strike up a resonance together, a chiming. If the ghostly scene has a chair in it, say, that the woman is sitting on, and that occupies the same space as a real chair in the real kitchen, and is superimposed on it, however ill the fit, the result will be that when the scene vanishes the real chair will retain a sort of aura, will blush, almost, in the surprise of being singled out and fixed upon, of being lighted upon, in this fashion. The effect soon fades, however, and then the chair, the real chair, will step back, as it were, out of the spotlight, and take its accustomed place in dim anonymity, and I will cease to notice it, try as I might to go on paying deference to this plain thing that has known its numinous moment.

I have come to distrust even the solidest objects, uncertain if they are not merely representations of themselves that might in a moment flicker and fade. The actual has taken on a tense, trembling quality. Everything is poised for dissolution. Yet never in my life, so it seems, have I been so close up to the very stuff of the world, even as the world itself shimmers and turns transparent before my eyes. There are dreams in which one seems to live more vividly than in life. I have my moments of impatient incredulity when, a troubled sleeper, I will seem to struggle out of this dreamworld into the sweaty bewilderment of waking. But then one of those translucent images will flash along the edges of my vision and I will realise that I am not awake, or that I am awake and all this that had seemed a dream is no dream at all. The line between delusion and whatever is its opposite has for me grown faint to the point of vanishing. I am neither sleeping nor awake, but in some fuddled middle state between the two; it is like being half tight all the time, a transcendent tipsiness.

The suggestion of the familial the phantoms bring with them makes me wonder if they might be the form of a rejected life coming back to claim me. After all, here I am, living in the house of the dead. It is such a strange sensation, being once more among the surroundings of my growing up. I was never fully at home here. If the lodgers led unreal lives, so too did we, the permanent inhabitants, so called. Doubtless this is a reason why the apparitions do not frighten me, that the place was always haunted. I spent my childhood among alien presences, ghostly figures. How meek they were, our lodgers, how self-effacing, blurring themselves to a sort of murmur in the house. I would meet them on the stairs, squirming sideways as they edged past me and smiling their fixed smiles of pained politeness. In what was called the dining room they would sit stooped over their plates of rashers or meat and mash in the watchful, downcast attitude of children being punished. At night I would seem to hear their presence all around me, a tossing, a shifting, a low, restless sighing. Now here I am, a lodger myself, no more real than the phantoms that appear to me, a shadow among insubstantial shadows.

What is it about the past that makes the present by comparison seem so pallid and weightless? My father, for instance, is more alive to me now than he was when he was living. Even my mother was not wholly there for me until she had safely become a memory. I see them as a sort of archaic double-act, a Baucis and Philemon, bound together here, tending to the needs of others, both of them slowly turning to grey stone as the days rose and fell, each new day indistinguishable from the one that had gone before, slow grains accumulating, becoming the years. As a child I took it that when the time came for me to leave they would stand back, two humble caryatids holding up the portal to my future, watching patiently, in uncomplaining puzzlement, as I strode away from them with hardly a backward glance, each league that I covered making me not smaller but steadily more vast, their overgrown, incomprehensible son. When they died I did not grieve for them. And so I ask myself, are these hauntings now their revenge, a forcing on me of some part of a lost life I did not attend to properly when I had the chance? Are they demanding the due of mourning that I did not pay? For there is a sense of sorrow here, and of regret; of promises unkept, of promise unfulfilled.

In those first days alone here I saw no one, or not in the flesh, at least. After the call from Lydia I would not answer the telephone, and grew so to fear its abrupt harsh summonings that in the end I disconnected it. Such silence after that! I let myself sink down into it as into some motionless warm sustaining stuff. But I did not bask, no, I did not. In the beginning I was all energy, up and doing every day at dawn’s first light. I tackled the overgrown garden, ripping up armfuls of scutch grass and hacking at the brambles until my hands bled and sweat ran into my eyes. My mother’s rose bushes are still here, all gone wild. The spade turned up ancient potatoes, hollowed-out carcasses that burst under my heel with a plop and oozed a whitish fluid. Spiders scuttled, grubs writhed. I was in my element. Labouring there in the midsummer heat I experienced a demented euphoria. I would find myself muttering snatches of wild talk, or singing, or laughing, and sometimes even weeping, not in sorrow but a kind of awful glee. I had no aim in view, I was not going to plant anything; I was just working for the sake of work, and presently I gave it up, and left the briars and the mounds of uprooted grass to swelter and rot in the sun until new growth covered them over.

Now, my fruitless labours abandoned, I felt an unshakeable lassitude settling on me like a net. At evening, slumped on the sofa in a daze, I would look back over the eventless day and wonder what it could have been that had so wearied me. I am calm, if calm is the way to put it; numb, perhaps, would be a better. My nights are long, twelve, fourteen hours of turbulent drowsing and dreaming from which I wake exhausted, cast up on the morning like a survivor from a shipwreck. I thought that by coming here I would find a perspective on things, a standpoint from which to survey my life, but when I look back now to what I have left behind me I am afflicted by a disabling wonderment: how did I manage to accumulate so much of life’s clutter, apparently without effort, or even full consciousness?—so much, that under the weight of it I cannot begin to locate that singular essential self, the one I came here to find, that must be in hiding, somewhere, under the jumble of discarded masks. It is a dizzying sensation, as when a word or an object will break free for a moment from the mind’s grasp and drift out into the empty space of its own utter separateness. Everything is strange now. The most humdrum phenomena fill me with slow astonishment. I feel at once newborn and immensely old. I have a dotard’s fondness for my chair, my cup of grog, my warm bed, while in my clumsy groping after things that keep eluding my grasp I am as helpless as an infant. I have fallen into thrall with myself. I marvel at the matter my body produces, the stools, the crusts of snot, the infinitesimal creep of fingernails and hair. I have as good as given up shaving. I like the scratchy feel of my face and the sulphur smell of the brisdes and the sandpapery rasp when I run a hand along the line of my jaw. After that short-lived attempt at gardening my palm turned septic where a thorn from a rose bush had lodged, and I would stand motionless and rapt at the window with my hand held up to the daylight, studying the swelling with its shiny meniscus of purplish skin, taut and translucent as the stuff of an insect’s wing; at night, when I woke in the dark, the hand would seem a separate, living thing throbbing beside me. The dull hot pain of it was almost voluptuous. Then one morning when I was getting myself out of bed I stumbled and caught my hand on something sharp, and a tattoo of pain drummed up my arm and the swelling burst and the splinter popped out in a blob of pus. I sank back on the bed clutching my wrist and whimpering, but whether from pain or pleasure I could not exactly say.

There are more well-defined if no less shameful pleasures. I found a cache of dirty pictures thrown on top of a wardrobe in one of the rooms, left behind no doubt by some long-gone travelling salesman. Antique smut it is, hand-tinted photographs of paintings from the last century, postcard-sized but rich in detail, all creams and crimsons and rose-petal pinks. They are mostly oriental scenes: a bevy of pneumatic harem wives in a Turkish bath touching each other up, a blackamoor in a turban doing it from behind to a girl on her knees, a naked wanton on a couch being pleasured by her black slave. I keep them under my mattress, from where in guilty heat I will bring them out and plump up my pillows and sink back with a hoarse sigh into my own vigorous embraces. Afterwards, there is as always a small, sad hollow inside me, that seems in volume to match exactly what I have got rid of, as if the stuff I have pumped out of myself has made a space my body does not quite know how to fill. Yet it is not all anticlimax. There are occasions, rare and precious, when, having brought myself to the last hiccupy scamper, with the pictures fanned out before me and my eyes agoggle, I will experience a moment of desolating rapture that has nothing to do with what is happening in my lap but seems a distillation of all the tenderness and intensity that life can promise. The other day, at one of those moments of swollen bliss, as I lay gasping with my chin on my breast, I heard faintly through the stillness of afternoon the ragged sound of a children’s choir in the convent across the way, and it might have been the seraphs singing.

The house attends me, monitoring my movements, as if it had been set the task of keeping track of me and will not let its vigilance slip even for an instant. Floorboards creak under my tread, door hinges squeal tinnily behind me when I walk into a room; if I am sitting at a certain angle by the fireplace in the living room and make some sudden noise—if I cough, or slam shut a book—the whole house like a struck piano will give me back in echo a low, dark, jangling chord. At times I have the feeling that the very air in the rooms is congregating to discuss me and my doings. Then I will jump up and pace about, wringing my hands and muttering to myself, halting to stand motionless, glaring at some object, or into a corner or an open doorway, daring—willing—some hobgoblin to appear there; but the apparitions will never come at my bidding, and at once I am off again headlong, pace and turn, pace and turn. Mostly, though, I am at peace, and want for no one. When I am in the garden and a person goes by on the road, a farmer on his tractor or the postman on his bike, I will turn aside hurriedly, hunching a shoulder, poor Quasimodo, skulking behind the hump of my incomprehensible troubles.

As well as the ghostly ones there are phenomena that seem too solid not to be real, if I may be said to know what real means any more. I hear soft footsteps on the stair, and what seem distant mur-murings down in the depths of the house; now and then I have the sense of a general pausing and standing still, as when one stops on a country road at night and the imagined footsteps at one’s back stop also on the instant. Surely these are not spirit sounds. The phantom woman appears to me always in a silence deeper than silence, a silence that is an unheard hum. No, these are sounds such as the living make. Is there an interloper in the house, another, or the same one as before, the book-burner come back, some rough brute who might rear up behind me at an unguarded moment and put his terrible hands on my neck or leap from the darkness and dash my brains out with a cudgel? I have taken to keeping a poker by the bed for self-defence. But what if the ruffian were to fall upon me while I was asleep? I have the feeling I am being observed by living eyes. Last evening when I was doing my washing at the kitchen sink I turned my head quickly and caught sight of something in the doorway, not a presence but an intense absence, the vacated air quivering where a second ago I am convinced someone more substantial than a ghost had been standing, watching me.

No, the phantoms will not come when I bid them, and that puzzles me. For I do seem to have some control over them, as one has control, however weak or contingent, over the riotous tumble of happenings in a dream. They depend on me for their autonomy, however paradoxical that may sound. They yearn toward me, one of the living, toward my living light, like invisible plants invisibly at feed on the sky’s radiance. This is the pathos of their predicament. I seem to be the engine of action for them, the source that feeds them the sustenance for their frail existence. The woman’s manner, if it is possible to speak of such an evanescent being as having a manner, is one of surmise and vague expectation; she is tentative, bemused, uncertain. Oh, I am not so deluded as not to know that these images are the product of my imagination—but they are a product; they are not in my head, they are outside; I see them, clear as anything I cannot touch, the sky, clouds, those far blue hills. At night they press into my dreams, wan shades mutely clamouring for my attention. In the daytime there are passages when they will flicker about me like wildfire. As I step through this or that picture of their doings I seem to feel a crackle of faint, falling energy, as if I had broken the tenuous connections of a force field. Something is expected of me here, something is being asked of me. They are not even proper spectres, bent on being terrifying or delivering awful warnings. Shrieks in the darkness, groans and clanking chains, such effects, however exhausted or banal, might at least succeed in frightening me, but what am I to make of this little ghost trio to whose mundane doings I am the puzzled and less than willing witness?

Trio? Why do I say trio? There is only the woman and the even more indistinct child—who is the third? Who, if not I? Perhaps Lydia is right, perhaps I have at last become my own ghost.

Memories crowd in on me, irresistibly, threatening to overwhelm my thoughts entirely, and I might be a child again, and this arid present no more than a troubled foreglimpse of the future. I dare not go up to the garret for fear I might see my father again, still loitering there. Although he does not figure much in the thumbed and dog-eared photo album that passes for my past—he died young, or youngish, after all—one of the earliest mental snapshots I retain is of being taken late one night to meet him at the train station. I do not know where he can have been coming back from, for he was no traveller, my father. He stepped quickly from the train and held me high on his shoulder and laughed. I was no more than, what, four or five? yet I was struck by the unaccustomed gaiety of the moment. Even my mother was laughing. I remember it like a page out of a children’s storybook, the station lamps aglow in the misty darkness like the furry heads of dandelions, and the looming black steam engine gasping where it stood, and the licorice smell of smoke and cinders. It was Eastertime. My father had brought me a present. What was it? Some kind of bird, a plastic thing, yellow. We cycled home, my father carrying me on the crossbar of his bicycle inside his buttoned-up overcoat and my mother with his cardboard suitcase strapped to the carrier behind her. The night pressed around us, chill and damp and secret. In the house my father sat by the range in the kitchen smoking a cigarette and talking to my mother. I liked to watch my father smoking. He went at it with a kind of negligent deftness, as if it were a tricky exercise in prestidigitation which he had long ago mastered, tapping and twirling the miniature white baton and rolling it along his knuckles with a magician’s fluency. When he put it to his lips he would incline his head sideways and screw up one eye, as if he were taking aim along the barrel of a tiny gun. The smoke that he exhaled—it was blue going in, grey when it came out—had a particular savour that he gave to it, something flat and tarry, the very odour of his insides; I often fancy I can catch a trace of that smell still lingering in odd corners of the house.

But am I righdy remembering that night? Am I remembering anything rightly? I may be embellishing, inventing, I may be mixing everything up. Perhaps it was another night entirely that he brought me home on the bar of his bicycle, under his coat. And how did his bicycle come to be there, at the station, anyway, if he was arriving by train? These are the telltale threads on which memory snags her nails.

Here I am, a grown man in a haunted house, obsessing on the past.

It was summer when my father died. My mother had moved him to the top of the house, to a room across the landing from mine, where he would be out of sight of the lodgers. I would meet him, leaving his tea tray outside his door, or shuffling in his slippers down the hall to the lavatory, and I would avoid his eye, the anguished stoicism of it, like the eye of the Saviour mournfully displaying his pierced heart in the silver and neon-pink picture that hung beside the hatstand in the hall. I see him, ashen, lost inside his clothes, and always, like me now, with a three-day stubble, moving wraithlike without sound through rooms gaunt with summer’s stillness, a stooped figure flickering from sunlight into shadow, fading with no footfall, leaving no trace of his passing save a sort of shimmer, a fold in the air, and a coiling question mark of cigarette smoke.

The day of his death is memorable too as the day my mother slapped my face. When she turned from the range I thought she was reaching out quickly to give me something. I can feel still the hard hot quick smack of her hand on my jaw, the jolt of it. She had never hit me before. She did it too not as a parent slapping a child, but as one angry adult turning suddenly on another. I do not remember what I had said or done to provoke her. Her look immediately afterwards was one almost of triumph. She lifted her head back and widened her nostrils, like Snow White’s wicked stepmother, and something came at me out of her eyes, sharp and glittering and swift, like a blade shown and promptly pocketed. Then without a word she turned back to whatever it was she had been doing at the range. I did not cry, I was too surprised to cry, but only sat with one hand laid flat before me on the table, feeling the tingle along my jaw where she had slapped me, as if tiny droplets of something scalding were falling on my skin. The oilcloth cover on the table was wonderfully cool and smooth and moist under my hand, almost like something living, almost like skin. Then my father came down, clutching a blanket tight around his drawn, ill-shaven neck. There were shadows in the hollows of his face and feverish red spots on his cheekbones that looked as if they had been painted there. My mother’s expression was blank, as though nothing had happened, but my father wrinkled his nose, testing the pressure of her anger on the air, and gave me an odd, sidewise glance, half-smiling, almost sly. Late that night I was wakened by muffled noises outside my room. When I went to the door and looked out I saw my mother in her nightdress crossing the landing hastily with a blue bowl in her hands, and heard through the open door of my father’s room a high whistling noise that was the noise of him struggling for breath, and I shut my door hurriedly and got back into bed, and when I woke again it was morning, and I knew that my father was gone.

At the funeral it rained briefly, as if just for us. A small round cloud appeared in an otherwise empty sky above the cemetery and let fall upon the circle of mourners a gentle drizzle, warm and fine. I watched every step of the ceremony with frowning attention, determined not to miss a thing. My mother kept glancing off with a vague, anxious look in the direction of the cemetery gate, as if there were something far more urgent elsewhere calling out plaintively for her attention. Later in the day, when the mourners had all dispersed, I came upon her sitting on the sofa in the parlour, weeping, with her face in her hands, and feeling grown-up and solemnly responsible I walked up quietly and stopped just behind her and laid a hand gently on her shoulder. I can still feel the cool smooth brittle texture of her newly bought black dress. She wrenched herself away from me, making cat noises and scrubbing at her cheeks, and I had the sense of a small, slightly shameful and gratifying victory.

Why is it not she who appears to me? Her own last years were haunted. I would hear her in the night, pacing the floor by her bed, endlessly pacing. She grew confused, and mistook me for my father, and would fly into fits of unprovoked rage. Then one morning I found her lying on her side on the floor in the downstairs lavatory with her bloomers around her knees. Her face had a bluish cast and there was froth on her lips. I thought she was dead; I felt strange, very cold and calm and distant from myself. I flushed the lavatory, careful not to look into the bowl, and knelt and hauled her up and held her to me. She was warm and flaccid and faintly atremble, and I was shocked to find myself thinking of Lydia as she would be at the climax of love-making. Her eyelids fluttered but did not open, and she sighed as if from a great weariness, and a glistening bubble came out of her mouth and swelled, and swelled, and burst.

For weeks she lay unmoving in a metal-framed bed in a bright room at the corner of the hospital wing that looked out on a cindered pathway and a row of cherry trees. I sat with her through long hours of wakeful dreaming; it was almost restful there. The sunlight threw complicated shapes across the bed that would spend the afternoon inching their way slowly along the blanket and on to the floor like things making an elaborately stealthy getaway. Hospital sounds came to me, soothingly muffled. My mother’s hands rested on the sheet, unmoving, pale as paper, impossibly large. She looked like a more than life-sized statue of herself. Some error had been made, some bit of celestial business had gone awry and she had been left like this, felled by death yet still alive, stranded between two imperceptibly darkening shores. When I was leaving at the end of the day’s vigil I would lean over her, teetering a little, and kiss her self-consciously on the forehead, smelling her mingled smell of soap and washed-out cotton and dried skin and musty hair.

The cherry trees blossomed, and the blossoms fell, and then the leaves fell. Eventually she regained a sort of consciousness. I arrived one late autumn afternoon and she was sitting up at an angle wearing a pink cardigan that was not hers, with a look of wild enquiry in her eye. When I spoke to her she jerked her head back on its wattled neck like a startled hen. She came home that evening. They brought her in an ambulance, which impressed her, I could see, for all her distractedness; she descended from the wide-flung back doors with an almost queenly step, laying a hand imperiously on my offered arm.

It was strange, the silent clamour of her presence in the house. I felt like an attendant set to watch over a large, dangerous machine that had seized up and that no one knew how to set going again. It was always there, under everything, the sense of her, all that stalled potential, the house hummed with it. Inside her somewhere the dynamo was still spinning; where did the energy go to, what invisible elaborations was it generating? She unnerved me. She seemed no longer human, she seemed something more than that, ancient and elemental. I tended her like a priest at a shrine, with weary reverence, resignedly, stooping under that silent stare, that mute mixture of pleading and disdain. She took to pushing things off the bedside table, pill boxes, the night-light holder, the glass for her false teeth; she even developed a knack of overturning her chamber pot. Word of her condition got round among the lodgers, and soon the commercial travellers stopped coming and the clerks and secretaries found digs elsewhere. Now the deserted house became her shell, her sounding-box. Despite the ruin of her mind I credited her with uncanny powers of perception. I fancied I could hear her breathing wherever I was in the house, even down in the back scullery, where I brewed her tea and mashed the slops for her that were all she could manage now. She seemed never to sleep. I would look into her room and there she would be, no matter how late the hour, sprawled in the foul roost of her bed, propped up crookedly in the corner against a bank of pillows, in the tallowy glow of the night light, an elbow wedged against the wall, grey hair a fright and her jaw set and the little hard blue teary eyes fixed on me furiously, brimming with all that was pent in her, the years. Despite myself, I would step inside, and shut the door, and the flame of the night light would waver and the room would lurch and immediately right itself again. Sometimes I would talk to her, not knowing if she could hear me, or if she did, that she could understand what I was saying. I was prey to an oppressive self-awareness. Listening shadows hung in the high room. The tall black wardrobe had a curved front, more like a lid than a door, and always reminded me of a sarcophagus. She would stir, or rather, something would stir in her, one of those interior tremors, barely detectable, that I had learned to interpret, I do not know how, and I would sigh, and lift the teacup and cracked jug that stood with her rosary beads and prayer book on the bedside table, and pour out a draught of water, marvelling vaguely at the undulant rope of liquid coiling into the cup, gold-coloured in the candlelight. I would sit down beside her on one haunch on the side of the bed, the bed in which I had been born—had been got, too, most likely—and put an arm around her shoulders and draw her forward and look on as she drank, her puckered, whiskery lips mumbling the rim of the cup, and feel the water going down her gullet in hiccupy swallows. Then I would see myself here as a child, kneeling on the floor in the rain-light of a winter afternoon, lost in my solitary games, my mother lolling in bed with her magazines and her chocs, and the wireless whispering and the rain tapping on the windowpanes, and now I would shake her a little, not roughly, feeling the bones of her shoulders shift inside their parcel of loose flesh, and at last, surrendering, she would lay her raddled old head against my shoulder and exhale a long, slow, whistling sigh. Look at us there, a deposition scene in reverse, the dying hunched old woman cradled in the arm of her living son, in our dome of candlelight, lapped in our noisome, ancient warmth.

Presently she died. It was, as they say in these parts, a great release.

It is late, the light is going. My mind aches from so much futile remembering. What does it signify, this chapter of family accidents? What is it I hope to retrieve? What is it I am trying to avoid? I see what was my life adrift behind me, going smaller and smaller with distance, like a city on an ice floe caught in a current, its twinkling lights, its palaces and spires and slums, all miraculously intact, all hopelessly beyond reach. Was it I who took an axe to the ice? What can I do now but stand on this crumbling promontory and watch the past as it dwindles? When I look ahead, I see nothing except empty morning, and no day, only dusk thickening into night, and, far off, something that is not to be made out, something vague, patient, biding. Is that the future, trying to speak to me here, among these shadows of the past? I do not want to hear what it might have to say.