The Bradshaw Variations (13 page)

XVI

In a jug on the kitchen table there are yellow roses. Thomas put them there. They catch his eye every time he passes, a yellow sunburst in the shadowy depths of the downstairs room.

He tries to remember what month it is. The yellow colour of the roses makes him think of summer, but the surrounding light is grey and surrendered, as though it is ready at any moment to give in to darkness. He laughs aloud – it is funny, that he doesn’t know what month it is. He says the names of the months to himself. No one name means more to him than any other. For a second he is not even sure which part of time he is in, whether the incipient darkness is rising or ebbing, whether it is day that is to come or night. He looks at his watch; he remembers that it is Thursday, that it is January. He feels better. He has accomplished a small but necessary task, something to make himself more comfortable. The year is an event he is observing, not participating in, like an audience watching a play. He has made himself comfortable in the audience, comfortable in its lack of ambition, but occasionally he is seized by anxiety, torn unexpectedly out of himself, like a small unwary creature suddenly gripped in the talons of a predator. There is something defenceless about his position. There is a vulnerability that comes with the lack of participation. Anxiety can swoop down on him at any time and bear him away.

He decides to go running. He sees Alexa to school and then he runs away into the morning, running along the pavements, along the residential roads towards the park. He does this every day. At the end of a week his body feels prouder, more assertive. He is filled with a tension-like expectation that is never acknowledged or resolved, but passes into the expenditure of the next day’s run. He feels the tension, and he feels the relief of its expenditure. The roses turn brown around their yellow hearts.

*

One day Tonie returns to the house in the middle of the afternoon. There has been a fire in the computer rooms and the university buildings have been evacuated. She comes in with her bag full of files, charged with a dangerous, unspent energy.

Thomas is sitting at the piano. He is learning the C major fugue of
The Well-Tempered Clavier
. The prelude is easy, but the fugue is defeating him. He can play the left hand and he can play the right hand, but when he tries to play them together he encounters an absolute deficiency in himself. The problem is that the hands are equal. In every other piece Thomas has played, the right hand has been dominant: he has come to depend on the leadership of the right hand, to identify with it, as he might identify with the hero of a novel. Usually, the left hand is purely supportive, making no particular sense on its own. But in the fugue the left hand is autonomous.

‘What a sight,’ Tonie says, standing at the sitting-room door, laughing. Her laugh is full of hard, concealed shapes, like the files in her bag.

Thomas looks up. ‘I don’t know,’ he says. ‘I just can’t do it.’

She screws her face up, quizzical. ‘You don’t
have
to do it.’

‘I want to. Other people can.’

Without taking her jacket off, she begins to tidy up the room. It is true that Thomas is increasingly preoccupied by the mystery of other people’s abilities. He can hardly bring himself to listen any more to his Glenn Gould recordings, to his Clifford Curzon boxed set, to Feinberg’s indistinct, primordial account of Bach, so swamped does he become in the knowledge that these men are vastly more capable than himself. And it isn’t just music, either: the same feeling besieges him when he considers literature or painting, when he leafs through the photographs in his
Encyclopedia of World Art
, a feeling that is beyond jealousy, that is a sort of sulkiness. All these others, born just as he was, into the same world: they are all better, more capable, more exceptional than he is. Recently he took Alexa to the circus, and even the acrobat in his sordid spangled costume, even the hula-hoop girl in her greasepaint were more exceptional. The acrobat whirled around the half-empty tent on a rope, a force of pure plasticity. All his male stiffness was entirely subjugated: he could make his body do whatever he told it to. Yet Thomas cannot make his hands play the fugue. The gyrating hula-hoop girl span twenty silver rings around her casually outstretched foot, grinning with her painted mouth. She was an artist, in her way. She has something Thomas does not have, an ability.

How has it eluded him, art, when all these others have grasped it? What has he done wrong? He remembers the afternoons of his childhood, his mother there, his own determination to secure her approval and love, to get to her ahead of his brothers. And he succeeded. He studied the situation and turned it to his own advantage. It wasn’t particularly difficult. His brothers always seemed so distracted, so chaotic, their joys and satisfactions coming randomly, haphazardly, unplanned. Though all the same they came. When his mother cherished Howard or Leo it was for no reason that Thomas could identify. Thomas, thinking about his life, sees himself always grappling with a fixed creation, wrestling with it, turning it to his own advantage. Did he ever look at his mother, really look at her? Did he observe his brothers, people who were just as real as himself? He used to defend Leo against Howard, when they were children: he remembers deciding that this was the behaviour of a successful person, the defence of the weak against the strong, a kind of qualification, like a diploma. He remembers laying it at the feet of an unseen authority, his diploma. It didn’t make him like Howard less, or Leo more. It didn’t involve him personally. And his mother: the shape of her is all he remembers, the shape of what he wanted for himself. He would be unable to describe what she was like.

This is how art has eluded him, in the struggle to succeed at life. An artist, he supposes, dies to life, dies in that struggle, dies and is reborn. Tonie is moving around the room, bending and straightening. She too, he realises, knows what it is to create. She created Alexa: he remembers the way her old life died, went over the cliff and smashed itself on the rocks, unfinished; Alexa’s birth also the old Tonie’s death. And then something new struggling out of the wreckage, the new Tonie, this woman who stands here now in her work clothes, more alive than ever and full of dangerous energy.

‘Don’t do that,’ he says, watching her.

‘Someone has to do it,’ she says. ‘The place is a mess.’

It had occurred to him that they might go to bed, here in the afternoon. But it is clear that this is not a possibility. He sees that she is frustrated. She doesn’t want to be back at home, washed up on the domestic shore before her day has run its course. Her existence relies on the separation of one thing from another. She can never be whole again, having smashed herself on the rocks of creativity. It would drive her mad to find herself in bed with her husband when she would normally be at work. It isn’t that she thinks these things
ought
to be separate. It’s that they
are
separate, as the two halves of a broken plate are separate, as his right hand is separate from his left. But neither half can be anything on its own.

‘I was going to do it,’ Thomas says. ‘I was going to do it later.’

He looks at the room and sees its disorder. He sees that Tonie is wondering how he can live like this. She is looking at him as something totally separated from herself. It is possible that Tonie could betray him, betray him without conscience. The broken parts of her could neglect to correspond. They could go their different ways without a word.

‘I know,’ she says. She puts her hand to her forehead. ‘It just suddenly seems important. I don’t know why, but it does.’

He rises from the piano stool. He gathers up the music books that lie all around it on the floor and replaces them on their shelf. He collects the cups and plates – he has started having lunch up here, at the piano – and carries them down to the kitchen. There he finds more cups and plates and he gathers them, fetching and carrying, turning on the taps. Tonie appears: she has shed her jacket and rolled up her sleeves. She has an armful of things which she drops into the rubbish, one after another. Thomas finds dirty saucepans, roasting dishes, baking tins, and plunges them clanging into the foaming tumult of the sink. Tonie opens the cupboard and takes out the mop. Later he sees her washing down the shelves and doors. When he has finished the saucepans he cleans the cooker, involving himself more and more deeply in the intricacies of its plates and burners, losing himself in the black cavity of the oven. Presently, Olga returns. She comes down to the kitchen. She stands and stares.

‘What are you doing?’ she asks.

The next time Thomas looks, Olga has extracted the Hoover from the bowels of the understairs cupboard and is dismantling it with a screwdriver. She cleans the parts, reassembles it, revs it up. Thomas has moved on to the windows; Tonie is scrubbing the sills. The dishwasher is churning; the tap is dripping rhythmically into the polished sink. The thump and shriek of the Hoover recedes and comes back, recedes and comes back. Tonie dips and rinses her sponge in a bucket by her side, the water raw and slightly obscene-sounding, opening and closing around itself. His ears strain to order the noises. He hears the squeaking sound his cloth makes against the glass and he syncopates it, coming in on the Hoover’s off-beat. He feels the imminence of chaos. He feels it poised on the brink of dispersal, his creation; soon it will atomise into nothingness. There are footsteps, the sifting noise of a broom. The water closes on itself; the Hoover dies into silence. The end is coming – oh, the tension, the spurious tension of control! He understands that to create is to lose control, to become purely receptive. Yet how can he save what he has lost control of? His fingers fumble with the cloth and it falls to the floor. He bends to retrieve it; and it is there, crouching, that he hears Tonie empty the bucket, the suds and dirty water cascading into the drain, a long, low sound, perfectly measured. It gushes in his ear, the torrent; his tension is resolved. And then, coming up from the floorboards, the final vibration, the sound of Olga approaching. She has the withered yellow roses in her hands. Her footsteps grow louder, a last siege on the encroaching silence. She pauses; she waits. Then she thrusts them triumphantly into the bin, and slams shut the lid.

*

He makes things for Alexa to eat, things that she likes. He washes her hair. He polishes her school shoes and sets them on newspaper beside the door. He knows which days she needs to take her gym kit to school. He sits with her while she does her homework, and makes sure she gives it in on time. At night, when she changes into her pyjamas, he observes with an artist’s satisfaction the felicity of the white smocking against her skin, the exactitude of her inky brows and eyelashes, the sculptural rightness of her limbs. And the health of her hair and gums and fingernails, the acuity of her responses, even the sleep she takes, the restorative quality of its pause: it confirms him, reflects him, though she has her own existence. It because she has her own existence that the confirmation comes. He is forming her out of the substance of what she already is. He is guiding her to her own perfection. It would be possible to ruin Alexa, to neglect or destroy her. There is no other person over whom he has this power.

The house is orderly and clean.

XVII

At the beginning of February Tonie’s boss glances up from his desk and says,

‘The honeymoon period’s over now.’

It is a grey lightless afternoon and the darker grey interior of the building is a grid of monochrome squares and rectangles that form strange block-like avenues of perspective leading nowhere. The whole place is a maze of corridors and staircases, of anonymous rooms jigsawed with desks and metal filing cabinets and identical black-upholstered chairs. This cluttered rectilinear gloom signifies thought, intellect, impersonal endeavour. Tonie has noticed how the human form is elided by its geometry: here she seems only to see people in parts, a pair of legs in a stairwell, a back disappearing through a doorway, a profile glimpsed through a shatter-proof glass panel, bent over a desk.

‘The honeymoon period’s over now,’ Christopher says, silhouetted by the grey light of the institutional window. ‘At this point we need you to be functioning independently.’

‘All right,’ Tonie says, after a long pause.

Christopher’s office is more home-like than the others. As Head of School he has a slightly larger version of the cubes the rest of them occupy. He has lamps on low tables, cushions, a rug on the floor. Since September she has come here several times each week, assuming herself to be entering the territory of an ally and friend. She likes to sit on Christopher’s dove-grey sofa and consider the view, his orderly bookshelves, his framed Dutch prints. Now she wonders whether it is Christopher’s house that is neutral, impersonal, or whether it exists at all; whether this office in fact is all he is, a man in a room which despite its atmosphere of comfort is still only ten feet wide.

‘All right,’ she says.

‘I’m always available to answer questions,’ he says, ‘but my time is apportioned to favour the bottom end of the structure. I need to consider those younger, less experienced colleagues who have genuine reasons for requiring my help.’

Tonie is used to Christopher, used to his voice and appearance, to the reedy sound he makes, to the precision of his bachelor tastes, to the sight of his long, narrow form among other forms she knows. For years she has watched him go off to his lunchtime organ recitals at St John’s, his medieval recorder evenings, his private views. Yet she has never, until now, put all those things together. She has never added him up.

‘Fair enough,’ she says.

‘There simply isn’t the infrastructure here for members of the department to be carried. We don’t have the resources.’

‘I get it,’ she says.

Tonie has been associated with the English department for eight years. In that time she has seen people argue, flounce out of meetings, cry openly in corridors. She knows that emotion is a possibility here, as it is not elsewhere in the university or, indeed, the world. As a result the departmental discourse relies heavily on its bureaucratic origins. The grey walls pulse with rampant sensibility: only the rules stand in the way of a general outbreak of unconstrainable feeling. Now that Christopher has invoked this discourse, it would be perfectly acceptable for Tonie to shout at him, to weep, to storm back to her own cheerless office with its view of the car park; it is, perhaps, what Christopher expects and requires her to do.