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