Loot and Other Stories

THE GENERATION GAP

He was the one told: James, the youngest of them. The father to the son — and it was Jamie, with whom he’d never got on since Jamie was a kid; Jamie who ran away when he was adolescent, was brought back resentful, nothing between them but a turned-aside head (the boy’s) and the tight tolerant jaw of suppressed disapproval (the father’s). Jamie who is doing — what was it now? Running a cybersurfers’ restaurant with a friend, that’s the latest, he’s done so many things but the consensus in the family is that he’s the one who’s done nothing with his life. His brother and sisters love him but see it as a waste: of charm and some kind of ill-defined talent, sensed but not directed in any of the ways they recognise.

So it was from Jamie that they received the announcement. The father had it conveyed by Jamie to them — Virginia, Barbara, and Matthew called at some unearthly hour in Australia. The father has left the mother.

A husband leaves his wife. It is one of the most unexceptional of events. The father has left the mother: that is a completely different version, their version.

A husband leaves his wife for another woman. Of course. Their father, their affectionate, loyal, considerate father, announces, just like that: he has left their mother for another woman. Inconceivable.

And to have chosen, of all of them, the younger brother as confidant, confessor, messenger — whatever the reasoning was?

They talked to each other on the telephone, calls those first few days frustratingly blocked while numbers were being dialled simultaneously and the occupied whine sounded on and on. Matthew in Brisbane sent an e-mail. They got together in Barbara’s house — his Ba, his favourite. Even Jamie appeared, summoned — for an explanation he could not give.

Why should I ask why, how?

Or would not give. He must have said something beyond this announcement; but no. And Jamie had to get back to the bar nook and the espresso machine, leave them to it with his archaic smile of irresponsible comfort in any situation.

And suddenly, from the door — We’re all grown up now. Even he.

It was established that no-one had heard from the mother. Ginnie had called her and waited to see if she would say anything, but she chatted about the grandchildren and the progress of a friend she had been visiting in hospital. Not a word. Perhaps she doesn’t know. But even if he kept the affair somehow secret from her until now, he would hardly ‘inform’ his children before telling his wife of a decision to abandon her.

Perhaps she thinks we don’t know.

No, can’t you see — she doesn’t want us to know because she thinks he’ll come back, and we don’t need ever to know. A private thing. As Jamie said.

That’s ridiculous, she’s embarrassed, ashamed, I don’t know what — humiliated at the idea of us …

Ginnie had to intervene as chairperson to restore clarity out of the spurting criss-cross of sibling voices. Now what do we do? What are we talking about: are we going to try and change his mind? Talk some sense into him. Are we going to go to her?

We must. First of all.

Then Ba should go.

One would have thought Ba was the child he would have turned to. She said nothing, stirred in her chair and took a gulp of gin-and-tonic with a pull of lip muscles at its kick. There was no need to ask, why me, because she’s her Daddy’s favourite, she’s closest to him, the one best to understand if anyone can, what has led him to do what he has done — to himself, to their mother.

And the woman? The voices rise as a temperature of the room, what about the woman? Anybody have any idea of who she might be. None of those wives in their circle of friends — it’s Alister, Ginnie’s husband, considering — Just look at them. Your poor dad.

But where did he and she ever go that he’d meet anyone new?

Well, she’ll know who it is. Ba will be told.

Nothing sure about that.

As the youngest of them said, they’re all grown up, there are two among the three present (and that’s not counting sports commentator Matthew in Brisbane) who know how affairs may be and are concealed; it’s only if they take the place of the marriage that they have to be revealed.

Sick. That’s what it is. He’s sick.

Ba — all of them anticipating for Ba to deal with the mother — expected tears and heart-break to burst the conventions that protect the intimacy of parents’ marriage from their sons and daughters. But there are no tears.

Derision and scorn, from their mother become the discarded wife. Indeed she knows who the woman is. A pause. As if the daughter, not the mother, were the one who must prepare herself.

She’s exactly your age, Ba.

And the effect is what the mother must have counted on as part of the kind of triumph she has set herself to make of the disaster, deflecting it to the father. The woman has a child, never been married. Do? Plays the fiddle in an orchestra. How and where he found her, God only knows — you know we never go to concerts, he has his CD collection here in this room. Everything’s been just as usual, while it’s been going on — he says, very exact — for eight months. So when he finally had the courage to come out with it, I told him, eight months after forty-two years, you’ve made your choice. May he survive it.

When I said (Ba is reporting), doesn’t sound as if it will work for him, it’s just an episode, something he’s never tried, never done, a missing experience, he’ll come back to his life (of course, that would be the way Ba would put it), she said — I won’t give it back to him. I can’t tell you what she’s like. It’s as if the place they were in together — not just the house — is barricaded. She’s in there, guns cocked.

What can they do for her, their mother, who doesn’t want sympathy, doesn’t want reconciliation brokered even if it were to be possible, doesn’t want the healing of their love, any kind of love, if the love of forty-two years doesn’t exist.

His Ba offers to bring the three available of his sons and daughters together again to meet him at her house, but he tells her he would rather ‘spend some time’ with each separately. She is the last he comes to and his presence is strange, both to him and to her. How can it be otherwise? When he sleeps with the woman, she could have been his daughter. It’s as if something forbidden has happened between him and his favourite child. Something unspeakable exists.

Ba has already heard it all before — all he will allow himself to tell — from the others. Same story to Ginnie, Jamie and according to an e-mail from Matthew, much the same in a ‘bloody awful’ call to him. Yes, she is not married, yes, she plays second violin in a symphony orchestra, and yes — she is thirty-five years old. He looks up slowly and he gives his daughter this fact as if he must hold her gaze and she cannot let hers waver; a secret between them. So she feels able to ask him what the others didn’t, perhaps because the enquiry might somehow imply acceptance of the validity of happenstance in a preposterous decision of a sixty-seven-year-old to overturn his life. How did he meet this woman?

He shapes that tight tolerant jaw, now not of disapproval (he has no right to that, in these circumstances) but of hurt resignation to probing: on a plane. On a plane! The daughter cannot show her doubtful surprise; when did he ever travel without the mother? While he continues, feeling himself pressed to it: he went to Cape Town for negotiations with principals from the American company who didn’t have time to come to him up in Pretoria. The orchestra was going to the coast to open a music festival. He found her beside him. They got talking and she kindly offered to arrange a seat for him at the over-subscribed concert. And then? And then? But her poor father, she couldn’t humiliate him, she couldn’t follow him, naked, the outer-inner man she’d never seen, through the months in the woman’s bed beside the violin case.

What are you going to do, she asked.

It’s done.

That’s what he said (the siblings compare notes). And he gave such explanation as he could. Practical. I’ve moved out — but Isabel must have told you. I’ve taken a furnished flat. I’ll leave the number, I’d rather you didn’t call at the office, at present.

And then? What will happen to you, my poor father — but all she spoke out was, So you want to marry this girl. For in comparison with his mate, his wife of forty-two years, his sixty-seven years, she is no more than that.

I’ll never marry again.

Yes, he told the others that, too. Is the vehemence prudence (the huge age difference, for God’s sake: Matthew, from Australia) or is it telling them something about the marriage that produced them, some parental sorrow they weren’t aware of while in the family home, or ignored, too preoccupied with their own hived-off lives to bother with, after.

There’s nothing wrong between Isabel and me, but for a very long time there’s been nothing right, either.

Wishing you every happiness. The wedding gift maxim. Grown apart? Put together mistakenly in the first place — they’re all of them too close to the surface marriage created for them, in self-defence and in protection of them, the children, no doubt, to be able to speculate.

And what is going to happen to our mother, your Isabel?

And then. And then. That concert, after the indigestion of a three-hour lunch and another three hours of business-speak wrangling I had with those jocular sharks from Seattle. Mahler’s Symphony No. 1 following Respighi. I’ve forgotten there’s no comparison between listening to recorded music in a room filled with all the same things — the photographs, the glass, the coffee cup in your hand, the chair that fits you — and hearing music, live. Seeing it, as well, that’s the difference, because acoustically reproduction these days is perfect — I know I used to say it was better than the bother of driving to concerts. Watching the players, how they’re creating what you’re hearing, their movements, their breathing, the expressions of concentration, even the way they sit, sway in obedience to the conductor, he’s a magician transforming their bodies into sound. I don’t think I took particular notice of her. Maybe I did without knowing it, these things are a human mystery, I’ve realised. But that would have been that — she’d told me her name but I didn’t know where she lived, so I wouldn’t even have known where to thank her for the concert reservation — if it hadn’t been that she was on the plane again next day when I was returning home. We were seated in the same row, both aisle seats, separated this time only by that narrow gap we naturally could talk across. About the concert, what it was like to be a musician, people like myself are always curious about artists — she was teasing, saying we regard theirs as a free, undisciplined life compared with being — myself — a businessman, but it was a much more disciplined life than ours — the rehearsals, the performance, the ‘red-eye night-work, endless overtime’ she called it, while we others have regular hours and leisure. We had the freebie drink together and a sort of mock argument about stress, hers, facing an audience and knowing she’d get hell afterwards if she played a wrong note, and mine with the example of the principals from Seattle the day before. The kind of exchange you hear strangers making on a plane, and that I always avoid.

I avoid now talking about her to my children — what can you call sons and daughters who are far from children. I know they think it’s ridiculous — it’s all ridiculous, to them — but I don’t want anyone running around making ‘enquiries’ about her, her life, as if her ‘suitability’ is an issue that has anything to do with them. But of course everything about what I suppose must be called this affair has to do with them because it’s their mother, someone they’ve always seen — will see — as the other half of me. They’ll want to put me together again.

The children (he’s right, what do you call a couple’s grown-up children) often had found weeks go by without meeting one another or getting in touch. Ginnie is a lecturer in the maths department at the university and her husband is a lawyer, their friends are fellow academics and lawyers, with a satisfying link between the two in concerns over the need for a powerful civil society to protect human rights. Their elder son and daughters are almost adult, and they have a late-comer, a four-year-old boy. Ba — she’s barren — Ginnie is the repository of this secret of her childlessness. Ba and her husband live in the city as week-long exiles: from the bush. Carl was manager of a wild-life reserve when she fell in love with him, he now manages a branch of clothing chain stores and she is personal secretary to a stockbroker; every weekend they are away, camping and walking, incommunicado to humans, animal-watching, bird-watching, insect-watching, plant-identifying, returned to the lover-arms of the veld. As Ginnie and Alister have remarked, if affectionately, her sister and brother-in-law are more interested in buck and beetles than in any endangered human species. Jamie — to catch up with him, except for Christmas! He was always all over the place other than where you would expect to find him. And Matthew: he was the childhood and adolescence photographs displayed in the parents’ house, and a commentator’s voice broadcasting a test cricket match from Australia in which recognisable quirks of home pronunciation came and went like the fading and return of an unclear line.

Now they are in touch again as they have not been since a time, times, they wouldn’t remember or would remember differently, each according to a need that made this sibling then seek out that, while avoiding the others.

Ginnie and Ba even meet for lunch. It’s in a piano bar-cum-bistro with deep armchairs and standing lamps which fan a sunset light to the ceiling beneath which you eat from the low table at your knees. A most unlikely place to be chosen by Ba, who picks at the spicy olives and peri-peri cashew nuts as if she were trying some unfamiliar seed come upon in the wild; but she has suggested the place because she and Carl don’t go to restaurants and it’s the one she knows of since her stockbroker asks her to make bookings there for him. When the sisters meet they don’t know where to begin. The weeks go by, when the phone rings and (fairly regularly, duty bound) it’s the father, or (rarely, she’s in a mood when duty is seen to be a farce) it’s the mother, the siblings have a high moment when it could be another announcement — that it is over, he’s back, she’s given his life back to him, the forty-two years. But no, no.

May he survive. That’s the axiom the daughters and sons have, ironically, taken from her. Who is this woman who threatens it?

Her name is Alicia (affected choice on the part of whoever engendered her?), surname Parks (commonplace enough, which explains a certain level of origin, perhaps?). She was something of a prodigy for as long as childhood lasts, but has not fulfilled this promise and has ended up no further than second violinist in a second-best symphony orchestra — so rated by people who really know music. Which the father, poor man, doesn’t, just his CD shelf in the livingroom, for relaxation with his wife on evenings at home. The woman’s career will have impressed him; those who can, play; those who can’t, listen: he and Isabel.

What happened to the man, father of the child? Has their father a rival? Is he a hopeful sign? Or — indeed — is he a threat, a complication in the risk the darling crazy sixty-seven-year-old is taking, next thing he’ll be mixed up in some crime passionnel—but Jamie, captured for drinks at Ginnie’s house, laughs — Daddy-O, right on, the older man has appeal! And Jamie’s the one who does what as youngsters they called ‘picking up stompies’—cigarette butts of information and gossip. The child’s father lives in London, he’s a journalist and he’s said to be a Coloured. So the little boy to whom he must be playing surrogate father is a mixed-blood child, twice or thrice diluted, since the father might be heaven knows what concoction of human variety.

At least that shows this business has brought progress in some way. Ginnie is privately returning to something in her own experience of the parental home only one other sibling (Matthew) happens to know about. The parents always affirmed they were not racist and brought up their children that way. So far as they felt they could without conflict with the law of the time. Ginnie, as a student, had a long love affair with a young Indian who was admitted to study at the white university on a quota. She never could tell the parents. When it came to a daughter or son of their own …

The fact of the child obviously doesn’t matter to him, now. Of course the mother, in her present mood, if she gets to hear …

Ginnie was at a door of the past, opening contiguous to the present. You never know about anything like that. Principles. Look at me. I wear a ribbon in support of no discrimination against AIDS victims, but what if I found the woman who takes care of my kid was HIV positive — would I get rid of her?

Alister, merely a husband among them, had something to say to the siblings. The matter of the child might be an added attraction for him. The rainbow child. Many well-meaning people in the past now want some way to prove in practice the abstract positions they hid in, then. Of course I don’t know your father as well as you do.

His wife had something to add.

Or as we think we do.

Ba did not speak at these family meetings.

She is in a house with her father. The house is something familiar to her but it isn’t either the family home or her own. Or maybe it’s both — dreams can do these things. Just she and her father; she wonders why he’s there in the middle of the day. He says he’s waiting for the arrival of the maid. There’s the tringtring of an old-fashioned bicycle bell, the kind they had on their bikes as children. She looks out the window, he’s standing behind her, and she sees — they see, she’s aware he knows she’s looking — a young and pretty redhead/blonde dismount from a bicycle, smiling. But there are no whites who work as maids in this country.

Ginnie and Ba, not telling anyone else, go to a concert. Seats chosen neither too near nor too far back. Yes, she is there with the violin nestling between jaw and shoulder. Follow white hands doing different intricate things, some fingers depressing strings, those of the other hand folded around the bow. She wears the sort of informal evening dress the other women players in the orchestra wear, not quite a uniform; the equivalent of the not quite black-tie outfits the male players allow themselves — roll-collar shirts and coloured cummerbunds. There’s some sort of fringed shawl slipped off the side of the bowing arm. Apparently the dress is quite sexily décolleté. They’ll verify when the orchestra rises at interval. She is certainly very slim — the left leg stretched gracefully, and there’s a lot of hair piled on top of her head. Not blonde, not redhead. It’s the colour of every second woman’s at present, an unidentifiable brown overlaid with a purplish shine of henna. She rests her bow, plays when summoned by the conductor, and the sisters are summoned to listen to her. They feel she knows they are there, although she doesn’t know them. She’s looking at them although blinded by the stage lights. She’s playing to them.

The palm of the hand.

All that you go through your life (sixty-seven years, how long it’s been) without knowing. Most of it you’ll never suspect you lack and it’s pure chance that you may come upon. An ordinary short flight between one familiar city and another in daily, yearly time. The palm of a hand: that it can be so erotic. Its pads and valleys and lines to trace and kiss; she laughs at me and says they’re lines of fortune, that’s why I’m here with her. The palm that holds enfolds the rod of the bow and it sings. Enfolds holds me.

Matthew mustn’t think he can stay out of it! They send him e-mail letters, despatched by Ginnie but addressing him as from a collective ‘we’—the sisters and their husbands, the younger brother — who expect him to take part in decisions: whatever there is to be done. Matthew writes, I suppose we gave them the general amount of trouble sons and daughters do. The parents, he means. And what is meant by that? What’s that got to do with anything that can be done? What’s he getting at? Is it that it’s the parents’ turn now — for God’s sake, at their, at his age! Or is it that because of their past youth the sons and daughters ought to understand the parents better? All these irrelevances — relevances, who knows — come upon, brought up by the one nice and far-away among the cricket bats and kangaroos. What is there for Matthew to disinter; he was always so uncomplicated — so far as they know, those who grew up close to him in the entanglements of a family; never ran away from anything — unless you count Australia, where he’s made what is widely recognised as a success.

The general amount of trouble. Jamie. And for the parents he’s unlikely ever to be regarded as anything other than troubling. As long as they’re happy, parents say of their engendered adults, swallowing dismay and disappointment. What did the parents really know of what was happening to their young, back then. Ginnie’s Indian; the irony, she sees it now, that it was his parents who found out about the affair and broke it off. Never mind falling in love, that kind of love was called miscegenation in those days, punishable by law, and would have put his studies at risk; his parents planned for him to be a doctor, not a lover — in prison. Ba’s abortion. How he would have anguished over his favourite daughter if he had known. Only Ginnie knows that this botched back-room process is the reason why Ba is childless. No-one else; not Carl. It belongs to a life before Ba found him, her rare and only elect mate, come upon in the bush. It’s unlikely that Jamie has a passing thought (in the reminder of the general amount of trouble they’ve given) for what he arranged for his frantic sister, that time; even as a teenager he had precociously the kind of friends who were used to mutual efforts in getting one another out of all manner of youthful trouble. Yes, it was Jamie — Jamie of all of them — Ba turned to; as it was Jamie — of all of them — her father had turned to in his trouble, now.

It became possible to have him to eat a meal at one or other of their homes, without the mother. As if it were normal. And not easy to convey to him implicitly that it was not; that his place as a lover was not at this table, his place here was as a husband with his wife, mother-and-father. This displacement did not apply to their mother because she, as they saw it, was the victim of this invading lover in the family circle. She had accepted to come to them, in her own right (so to speak), now and then, her carefully erected composure forbidding any discussion of the situation at table, and now she had gone to spend a holiday with her cousin, a consular official in Mauritius.

After the meal with her at Ginnie’s or Ba’s house, one of them, her daughters or their husbands, insisted on a sense of reality by bringing up the subject; the only subject. How did things stand now? Was there any exchange of ideas, say, about the future, going on between him and her?

Her lawyer had met him and an allowance for her had been arranged; there were other matters to be cleared up. Possessions. These were not specified, as if it had nothing to do with anyone but herself. It was Carl who was able to say, out of his privileged innocence close to nature’s organic cycles of change and renewal, Maybe your absence will be the right thing. For both of you. When you come back you may find you can work things out again together.

She looked at him half-pityingly, for his concern.

Things are worked out. It was his work.

And she turned away as of her right to grandmotherly talk with Ginnie’s small boy, for whom she had brought a model jeep, and then to a low exchange in intimate tone with her favourite, the elder of the two teenage daughters, who happened to be at home in the family that evening. No boyfriends around tonight? Usually when I come at the weekend I hear a lot of music and laughing going on upstairs. Helen’s friends, the girl says. And not yours, not your type — I understand. What’s your type … all right, the one, then — I have a pretty good idea of what would interest you, you know.

And the girl lies, describing the non-existent one as she thinks an adult would wish him to be.

When the mother-grandmother had left, Ginnie’s husband Alister told them: Isabel thinks we’re on his side, that’s the problem.

Why should we be. — Nobody takes up Ba’s statement.

May he survive.

Best of all. Early in the morning some days to wake at the sound of the key turning in the lock; her key. Hear it but not sufficiently awake to open eyes; and there’s a cold fresh cheek laid against the unshaven one. She’s left her apartment before seven to deliver the child to nursery school and after, she’s suddenly here. Yesterday. Heard her shoes drop and opened eyes to follow her clothes to the floor. She glides into bed, the cheek is still cold and the rest of her is her special warmth. Not today: waiting for the key to turn. Tomorrow. Again it will turn. Again and again.

They broach to one another the obligation — the usefulness, perhaps — of inviting him to bring her along some time. Sunday lunch? No, too familial a gesture, and Ba and Carl would not be there, why should Ginnie and Alister deal with this on their own, you can’t count on Jamie. Come by for a drink sixish, that would do. What’s she like — look like? The two men want to know in advance — after all, they are the father’s fellow males — what to expect in order to put themselves in his place. But the splash of stage lights drops a mask on faces, there were cavehollows of eyes, white cheeks, bright mouth. It was the hands in movement by which an identity was followed.

The man who brings her to Ginnie’s house is another personage: their father? He who always listened, talks. Although this is not his home, he is not the host, he rises to refill glasses and offer snacks. He is courting her, in front of them, they see it! Their mother is much better-looking; still beautiful; this one has a long, thin, voracious face, the light did not exaggerate its hollows, and her intelligently narrowed eyes — hazel? greenish? doesn’t matter — are iconised by makeup in the style of Egyptian statues. She’s chosen a loose but clinging tunic and the sisters see that she has firm breasts. When they compare impressions afterwards it seems it was the women who noted this rather than, as they would have thought, the men. Her hands are unadorned (the mother has had gifts of beautiful rings from him, over the years) and lie half-curled, the palms half-open on chair-arm or lap; it’s as if the hands’ lack of tension is meant to put them at ease, these hands that make music. And pleasure their father. She has a voice with what the women suspect as an adopted huskiness they believe men find attractive. It turns out no-one of the men — Jamie was present — noticed it either as an affectation or an attraction he might have responded to.

The talk was quite animated and completely artificial; they were all other people; chatting about nothing that mattered to whom and what they really were. There are so many harmless subjects, you can really get along in any situation by sticking to what has been in the newspapers and on television about the floods/drought, the times of day to avoid driving in traffic congestion (keep off wars and politics, both local and international, those are intimate subjects), and, of course about music. It is the lover who brings that up; Ginnie and Ba would have preferred to keep off that, too. She might somehow sense how their eyes had been upon her while she played … He even boasts about her: Alicia will go with the orchestra to an international music festival in Montreal in the winter, and it will be particularly enjoyable for her because Alicia also speaks fluent French. He might be — ought to be — boring someone with the achievements of his seventeen-year-old grand-daughter, Ginnie’s eldest child. Ginnie’s biological after-thought, four-year-old Shaun, had been playing with his jeep around everyone’s feet. When the father and his woman were leaving, she bent to the child: I’ve got a little boy like you, you know. He has a collection of cars but I don’t think he has a jeep, yours’s great.

They are not embarrassed about anything, these lovers.

The new father of some other man’s progeny makes a pledge for the rainbow child. We’ll have to find one for him. Where did you get it?

Shaun asserts the presence not admitted to the drinks party. My grandmother did bring it for me.

A curious — almost shaming — moment comes to the siblings and husbands when they suddenly laugh about the whole business — mother, father, the woman. It begins to happen when they get together — less and less frequently — dutifully to try and decide yet again what they ought to be doing about it. The outbreak’s akin to the hysterical giggle that sometimes accompanies tearful frustration. What can you do about Papa in his bemused state, and oh my God, next thing is he’ll get her pregnant, he’ll be Daddy all over again. No no no — spare us that! What do you mean no—presumably that’s what it’s all about, his pride in an old man’s intact male prowess! And Alister in an aside to Jamie — Apparently he’s still able to get it up — right on, as you would say — and they all lose control again. What is there to do with the mother who is unapproachable, wants to be left alone like a sulky teenager, and a father who’s broken loose like a youth sowing wild oats? Who could ever do anything with people in such conditions? Ah — but these are mature people! So nobody knows what maturity is, after all? Is that it? Not any longer, not any more, now that the mother and father have taken away that certainty from their sons and daughters. Matthew calls and sends e-mail from his safe distance, reproaching, What is the matter with all of you? Why can’t you get some reality into them, bring them together for what’s left after their forty-two years? How else can this end?

Well, the mother seems to be making an extended holiday-of-a-lifetime out of the situation, and he, he’s out of reach (spaced out: Jamie) dancing to a fiddle. Shaking their heads with laughter; that dies in exasperation. There’s nothing you can do with the parents.

Only fear for them. Ba’s tears are not of laughter.

At least adolescents grow up; that could have been counted on to solve most of the general trouble they’d given. In the circumstances of parents it seems there isn’t anything to be counted on, least of all the much-vaunted wisdom of old age. The mother wrote a long round-robin letter (copy to each sibling, just a different name after ‘Dearest’) telling that she was going to Matthew in Australia. So Mauritius had been halfway there, halfway from her rightful home, all along, in more than its geographical position across the Indian Ocean between Africa and Australia. She would ‘keep house’ in Matthew’s bachelor apartment while she looked for a new place of her own, with space enough for them to come and visit her. Send the grandchildren.

Alicia Parks, second violinist, did not return from Montreal. He continued to exchange letters and calls with her over many months. The family gathered this when he gave them news of her successes with the orchestra on tour, as if whether this was of interest or welcome to them or not, they must recognise her as an extension of his life — and therefore theirs. They, it obviously implied, could make up their minds about that.

What he did not tell them was that she had left the orchestra at the invitation to join a Montreal chamber group. As first violinist: an ambition he knew she had and he wanted to see fulfilled for her. But Canada. She had taken into consideration (that was her phrase) that there were not many such opportunities for her back in Africa.

With him. In his long late-night calls to her he completed, to himself, what she didn’t say.

She sent for her child; told him only after the child had left the country. Then she did not tell him that she was with someone other than her child, a new man, but he knew from her voice.

Ginnie came out with it to their father. Is she coming back?

When she gets suitable engagements here, of course. She’s made a position for herself in the world of music.

So he’s waiting for her, they decided, poor man. Why can’t he accept it’s over, inevitably, put the whole thing behind him, come back to ageing as a father, there’s a dignified alternative to this disastrous regression to adolescence.

May he survive.

Together and individually, they are determined in pursuit of him.

The best was the cold cheek. Just that. What alternative to that.

In the mirror in the bathroom, there was her body as she dried herself after the love-making bath together, towelling between her spread legs, and then across the back of her neck as beautifully as she bowed across the violin, steam sending trickles of her hair over her forehead. A mirror full of her. For me, old lover she knew how to love so well, so well, her old lover sixty-seven. What alternative.

Death is a blank mirror, emptied of all it has seen and shown.

Death waits, was waiting, but I took the plane to Cape Town, instead.