The Drowned Giant

On the morning after the storm the body of a drowned giant was washed ashore on the beach five miles to the northwest of the city. The first news of its arrival was brought by a nearby farmer and subsequently confirmed by the local newspaper reporters and the police. Despite this the majority of people, myself among them, remained sceptical, but the return of more and more eye-witnesses attesting to the vast size of the giant was finally too much for our curiosity. The library where my colleagues and I were carrying out our research was almost deserted when we set off for the coast shortly after two o'clock, and throughout the day people continued to leave their offices and shops as accounts of the giant circulated around the city.

By the time we reached the dunes above the beach a substantial crowd had gathered, and we could see the body lying in the shallow water two hundred yards away. At first the estimates of its size seemed greatly exaggerated. It was then at low tide, and almost all the giant's body was exposed, but he appeared to be a little larger than a basking shark. He lay on his back with his arms at his sides, in an attitude of repose, as if asleep on the mirror of wet sand, the reflection of his blanched skin fading as the water receded. In the clear sunlight his body glistened like the white plumage of a sea-bird.

Puzzled by this spectacle, and dissatisfied with the matter-of-fact explanations of the crowd, my friends and I stepped down from the dunes on to the shingle. Everyone seemed reluctant to approach the giant, but half an hour later two fishermen in wading boots walked out across the sand. As their diminutive figures neared the recumbent body a sudden hubbub of conversation broke out among the spectators. The two men were completely dwarfed by the giant. Although his heels were partly submerged in the sand, the feet rose to at least twice the fishermen's height, and we immediately realized that this drowned leviathan had the mass and dimensions of the largest sperm whale.

Three fishing smacks had arrived on the scene and with keels raised remained a quarter of a mile off-shore, the crews watching from the bows. Their discretion deterred the spectators on the shore from wading out across the sand. Impatiently everyone stepped down from the dunes and waited on the shingle slopes, eager for a closer view. Around the margins of the figure the sand had been washed away, forming a hollow, as if the giant had fallen out of the sky. The two fishermen were standing between the immense plinths of the feet, waving to us like tourists among the columns of some water-lapped temple on the Nile. For a moment I feared that the giant was merely asleep and might suddenly stir and clap his heels together, but his glazed eyes stared skywards, unaware of the minuscule replicas of himself between his feet.

The fishermen then began a circuit of the corpse, strolling past the long white flanks of the legs. After a pause to examine the fingers of the supine hand, they disappeared from sight between the arm and chest, then re-emerged to survey the head, shielding their eyes as they gazed up at its Graecian profile. The shallow forehead, straight highbridged nose and curling lips reminded me of a Roman copy of Praxiteles, and the elegantly formed cartouches of the nostrils emphasized the resemblance to monumental sculpture.

Abruptly there was a shout from the crowd, and a hundred arms pointed towards the sea. With a start I saw that one of the fishermen had climbed on to the giant's chest and was now strolling about and signalling to the shore. There was a roar of surprise and triumph from the crowd, lost in a rushing avalanche of shingle as everyone surged forward across the sand.

As we approached the recumbent figure, which was lying in a pool of water the size of a field, our excited chatter fell away again, subdued by the huge physical dimensions of this moribund colossus. He was stretched out at a slight angle to the shore, his legs carried nearer the beach, and this foreshortening had disguised his true length. Despite the two fishermen standing on his abdomen, the crowd formed itself into a wide circle, groups of three or four people tentatively advancing towards the hands and feet.

My companions and I walked around the seaward side of the giant, whose hips and thorax towered above us like the hull of a stranded ship. His pearl-coloured skin, distended by immersion in salt water, masked the contours of the enormous muscles and tendons. We passed below the left knee, which was flexed slightly, threads of damp sea-weed clinging to its sides. Draped loosely across the midriff, and preserving a tenuous propriety, was a shawl of heavy open-weaved material, bleached to a pale yellow by the water. A strong odour of brine came from the garment as it steamed in the sun, mingled with the sweet but potent scent of the giant's skin.

We stopped by his shoulder and gazed up at the motionless profile. The lips were parted slightly, the open eye cloudy and occluded, as if injected with some blue milky liquid, but the delicate arches of the nostrils and eyebrows invested the face with an ornate charm that belied the brutish power of the chest and shoulders.

The ear was suspended in mid-air over our heads like a sculptured doorway. As I raised my hand to touch the pendulous lobe someone appeared over the edge of the forehead and shouted down at me. Startled by this apparition, I stepped back, and then saw that a group of youths had climbed up on to the face and were jostling each other in and out of the orbits.

People were now clambering all over the giant, whose reclining arms provided a double stairway. From the palms they walked along the forearms to the elbow and then crawled over the distended belly of the biceps to the flat promenade of the pectoral muscles which covered the upper half of the smooth hairless chest. From here they climbed up on to the face, hand over hand along the lips and nose, or forayed down the abdomen to meet others who had straddled the ankles and were patrolling the twin columns of the thighs.

We continued our circuit through the crowd, and stopped to examine the outstretched right hand. A small pool of water lay in the palm, like the residue of another world, now being kicked away by the people ascending the arm. I tried to read the palm-lines that grooved the skin, searching for some clue to the giant's character, but the distension of the tissues had almost obliterated them, carrying away all trace of the giant's identity and his last tragic predicament. The huge muscles and wrist-bones of the hand seemed to deny any sensitivity to their owner, but the delicate flexion of the fingers and the well-tended nails, each cut symmetrically to within six inches of the, quick, argued a certain refinement of temperament, illustrated in the Graecian features of the face, on which the townsfolk were now sitting like flies.

One youth was even standing, arms wavering at his sides, on the very tip of the nose, shouting down at his companions, but the face of the giant still retained its massive composure.

Returning to the shore, we sat down on the shingle, and watched the continuous stream of people arriving from the city. Some six or seven fishing boats had collected off-shore, and their crews waded in through the shallow water for a closer look at this enormous storm-catch. Later a party of police appeared and made a half-hearted attempt to cordon off the beach, but after walking up to the recumbent figure any such thoughts left their minds, and they went off together with bemused backward glances.

An hour later there were a thousand people present on the beach, at least two hundred of them standing or sitting on the giant, crowded along his arms and legs or circulating in a ceaseless mle across his chest and stomach. A large gang of youths occupied the head, toppling each other off the cheeks and sliding down the smooth planes of the jaw. Two or three straddled the nose, and another crawled into one of the nostrils, from which he emitted barking noises like a dog.

That afternoon the police returned, and cleared a way through the crowd for a party of scientific experts - authorities on gross anatomy and marine biology - from the university. The gang of youths and most of the people on the giant climbed down, leaving behind a few hardy spirits perched on the tips of the toes and on the forehead. The experts strode around the giant, heads nodding in vigorous consultation, preceded by the policemen who pushed back the press of spectators. When they reached the outstretched hand the senior officer offered to assist them up on to the palm, but the experts hastily demurred.

After they returned to the shore, the crowd once more climbed on to the giant, and was in full possession when we left at five o'clock, covering the arms and legs like a dense flock of gulls sitting on the corpse of a large fish.

I next visited the beach three days later. My friends at the library had returned to their work, and delegated to me the task of keeping the giant under observation and preparing a report. Perhaps they sensed my particular interest in the case, and it was certainly true that I was eager to return to the beach. There was nothing necrophilic about this, for to all intents the giant was still alive for me, indeed more alive than many of the people watching him. What I found so fascinating was partly his immense scale, the huge volumes of space occupied by his arms and legs, which seemed to confirm the identity of my own miniature limbs, but above all the mere categorical fact of his existence. Whatever else in our lives might be open to doubt, the giant, dead or alive, existed in an absolute sense, providing a glimpse into a world of similar absolutes of which we spectators on the beach were such imperfect and puny copies.

When I arrived at the beach the crowd was considerably smaller, and some two or three hundred people sat on the shingle, picnicking and watching the groups of visitors who walked out across the sand. The successive tides had carried the giant nearer the shore, swinging his head and shoulders towards the beach, so that he seemed doubly to gain in size, his huge body dwarfing the fishing boats beached beside his feet. The uneven contours of the beach had pushed his spine into a slight arch, expanding his chest and tilting back the head, forcing him into a more expressly heroic posture. The combined effects of sea-water and the tumefaction of the tissues had given the face a sleeker and less youthful look. Although the vast proportions of the features made it impossible to assess the age and character of the giant, on my previous visit his classically modelled mouth and nose suggested that he had been a young man of discreet and modest temper. Now, however, he appeared to be at least in early middle age. The puffy cheeks, thicker nose and temples and narrowing eyes gave him a look of well-fed maturity that even now hinted at a growing corruption to come.

This accelerated post-mortem development of the giant's character, as if the latent elements of his personality had gained sufficient momentum during his life to discharge themselves in a brief final resum, continued to fascinate me. It marked the beginning of the giant's surrender to that all-demanding system of time in which the rest of humanity finds itself, and of which, like the million twisted ripples of a fragmented whirlpool, our finite lives are the concluding products. I took up my position on the shingle directly opposite the giant's head, from where I could see the new arrivals and the children clambering over the legs and arms.

Among the morning's visitors were a number of men in leather jackets and cloth caps, who peered up critically at the giant with a professional eye, pacing out his dimensions and making rough calculations in the sand with spars of driftwood. I assumed them to be from the public works department and other municipal bodies, no doubt wondering how to dispose of this gargantuan piece of jetsam.

Several rather more smartly attired individuals, circus proprietors and the like, also appeared on the scene, and strolled slowly around the giant, hands in the pockets of their long overcoats, saying nothing to one another. Evidently its bulk was too great even for their matchless enterprise. After they had gone the children continued to run up and down the arms and legs, and the youths wrestled with each other over the supine face, the damp sand from their feet covering the white skin.

The following day I deliberately postponed my visit until the late afternoon, and when I arrived there were fewer than fifty or sixty people sitting on the shingle. The giant had been carried still closer to the shore, and was now little more than seventy-five yards away, his feet crushing the palisade of a rotting breakwater. The slope of the firmer sand tilted his body towards the sea, and the bruised face was averted in an almost conscious gesture. I sat down on a large metal winch which had been shackled to a concrete caisson above the shingle, and looked down at the recumbent figure.

His blanched skin had now lost its pearly translucence and was spattered with dirty sand which replaced that washed away by the night tide. Clumps of sea-weed filled the intervals between the fingers and a collection of litter and cuttle-bones lay in the crevices below the hips and knees. But despite this, and the continuous thickening of his features, the giant still retained his magnificent Homeric stature. The enormous breadth of the shoulders, and the huge columns of the arms and legs, still carried the figure into another dimension, and the giant seemed a more authentic image of one of the drowned Argonauts or heroes of the Odyssey than the conventional human-sized portrait previously in my mind.

I stepped down on to the sand, and walked between the pools of water towards the giant. Two small boys were sitting in the well of the ear, and at the far end a solitary youth stood perched high on one of the toes, surveying me as I approached. As I had hoped when delaying my visit, no one else paid any attention to me, and the people on the shore remained huddled beneath their coats.

The giant's supine right hand was covered with broken shells and sand, in which a score of footprints were visible. The rounded bulk of the hip towered above me, cutting off all sight of the sea. The sweetly acrid odour I had noticed before was now more pungent, and through the opaque skin I could see the serpentine coils of congealed bloodvessels. However repellent it seemed, this ceaseless metamorphosis, a visible life in death, alone permitted me to set foot on the corpse.

Using the jutting thumb as a stair-rail, I climbed up on to the palm and began my ascent. The skin was harder than I expected, barely yielding to my weight. Quickly I walked up the sloping forearm and the bulging balloon of the biceps. The face of the drowned giant loomed to my right, the cavernous nostrils and huge flanks of the cheeks like the cone of some freakish volcano.

Safely rounding the shoulder, I stepped out on to the broad promenade of the chest, across which the bony ridges of the ribcage lay like huge rafters. The white skin was dappled by the darkening bruises of countless footprints, in which the patterns of individual heel-marks were clearly visible. Someone had built a small sandcastle on the centre of the sternum, and I climbed on to this partly demolished structure to give myself a better view of the face.

The two children had now scaled the ear and were pulling themselves into the right orbit, whose blue globe, completely occluded by some milk-coloured fluid, gazed sightlessly past their miniature forms. Seen obliquely from below, the face was devoid of all grace and repose, the drawn mouth and raised chin propped up by its gigantic slings of muscles resembling the torn prow of a colossal wreck. For the first time I became aware of the extremity of this last physical agony of the giant, no less painful for his unawareness of the collapsing musculature and tissues. The absolute isolation of the ruined figure, cast like an abandoned ship upon the empty shore, almost out of sound of the waves, transformed his face into a mask of exhaustion and helplessness.

As I stepped forward, my foot sank into a trough of soft tissue, and a gust of fetid gas blew through an aperture between the ribs. Retreating from the fouled air, which hung like a cloud over my head, I turned towards the sea to clear my lungs. To my surprise I saw that the giant's left hand had been amputated.

I stared with bewilderment at the blackening stump, while the solitary youth reclining on his aerial perch a hundred feet away surveyed me with a sanguinary eye.

This was only the first of a sequence of depredations. I spent the following two days in the library, for some reason reluctant to visit the shore, aware that I had probably witnessed the approaching end of a magnificent illusion. When I next crossed the dunes and set foot on the shingle the giant was little more than twenty yards away, and with this close proximity to the rough pebbles all traces had vanished of the magic which once surrounded his distant wavewashed form. Despite his immense size, the bruises and dirt that covered his body made him appear merely human in scale, his vast dimensions only increasing his vulnerability.

His right hand and foot had been removed, dragged up the slope and trundled away by cart. After questioning the small group of people huddled by the breakwater, I gathered that a fertilizer company and a cattle food manufacturer were responsible.

The giant's remaining foot rose into the air, a steel hawzer fixed to the large toe, evidently in preparation for the following day. The surrounding beach had been disturbed by a score of workmen, and deep ruts marked the ground where the hands and foot had been hauled away. A dark brackish fluid leaked from the stumps, and stained the sand and the white cones of the cuttlefish. As I walked down the shingle I noticed that a number of jocular slogans, swastikas and other signs had been cut into the grey skin, as if the mutilation of this motionless colossus had released a sudden flood of repressed spite. The lobe of one of the ears was pierced by a spear of timber, and a small fire had burnt out in the centre of the chest, blackening the surrounding skin. The fine wood ash was still being scattered by the wind.

A foul smell enveloped the cadaver, the undisguisable signature of putrefaction, which had at last driven away the usual gathering of youths. I returned to the shingle and climbed up on to the winch. The giant's swollen cheeks had now almost closed his eyes, drawing the lips back in a monumental gape. The once straight Graecian nose had been twisted and flattened, stamped into the ballooning face by countless heels.

When I visited the beach the following day I found, almost with relief, that the head had been removed.

Some weeks elapsed before I made my next journey to the beach, and by then the human likeness I had noticed earlier had vanished again. On close inspection the recumbent thorax and abdomen were unmistakably manlike, but as each of the limbs was chopped off, first at the knee and elbow, and then at shoulder and thigh, the carcass resembled that of any headless sea-animal - whale or whale-shark. With this loss of identity, and the few traces of personality that had clung tenuously to the figure, the interest of the spectators expired, and the foreshore was deserted except for an elderly beachcomber and the watchman sitting in the doorway of the contractor's hut.

A loose wooden scaffolding had been erected around the carcass, from which a dozen ladders swung in the wind, and the surrounding sand was littered with coils of rope, long metal-handled knives and grappling irons, the pebbles oily with blood and pieces of bone and skin.

I nodded to the watchman, who regarded me dourly over his brazier of burning coke. The whole area was pervaded by the pungent smell of huge squares of blubber being simmered in a vat behind the hut.

Both the thigh-bones had been removed, with the assistance of a small crane draped in the gauze-like fabric which had once covered the waist of the giant, and the open sockets gaped like barn doors. The upper arms, collar bones and pudenda had likewise been dispatched. What remained of the skin over the thorax and abdomen had been marked out in parallel strips with a tar brush, and the first five or six sections had been pared away from the midriff, revealing the great arch of the rib-cage.

As I left a flock of gulls wheeled down from the sky and alighted on the beach, picking at the stained sand with ferocious cries.

Several months later, when the news of his arrival had been generally forgotten, various pieces of the body of the dismembered giant began to reappear all over the city. Most of these were bones, which the fertilizer manufacturers had found too difficult to crush, and their massive size, and the huge tendons and discs of cartilage attached to their joints, immediately identified them. For some reason, these disembodied fragments seemed better to convey the essence of the giant's original magnificence than the bloated appendages that had been subsequently amputated. As I looked across the road at the premises of the largest wholesale merchants in the meat market, I recognized the two enormous thighbones on either side of the doorway. They towered over the porters' heads like the threatening megaliths of some primitive druidical religion, and I had a sudden vision of the giant climbing to his knees upon these bare bones and striding away through the streets of the city, picking up the scattered fragments of himself on his return journey to the sea.

A few days later I saw the left humerus lying in the entrance to one of the shipyards (its twin for several years lay on the mud among the piles below the harbour's principal commercial wharf). In the same week the mummified right hand was exhibited on a carnival float during the annual pageant of the guilds.

The lower jaw, typically, found its way to the museum of natural history. The remainder of the skull has disappeared, but is probably still lurking in the waste grounds or private gardens of the city - quite recently, while sailing down the river, I noticed two ribs of the giant forming a decorative arch in a waterside garden, possibly confused with the jaw-bones of a whale. A large square of tanned and tattooed skin, the size of an indian blanket, forms a backcloth to the dolls and masks in a novelty shop near the amusement park, and I have no doubt that elsewhere in the city, in the hotels or golf clubs, the mummified nose or ears of the giant hang from the wall above a fireplace. As for the immense pizzle, this ends its days in the freak museum of a circus which travels up and down the north-west. This monumental apparatus, stunning in its proportions and sometime potency, occupies a complete booth to itself. The irony is that it is wrongly identified as that of a whale, and indeed most people, even those who first saw him cast up on the shore after the storm, now remember the giant, if at all, as a large sea beast.

The remainder of the skeleton, stripped of all flesh, still rests on the sea shore, the clutter of bleached ribs like the timbers of a derelict ship. The contractor's hut, the crane and the scaffolding have been removed, and the sand being driven into the bay along the coast has buried the pelvis and backbone. In the winter the high curved bones are deserted, battered by the breaking waves, but in the summer they provide an excellent perch for the sea-wearying gulls.

1964

The Reptile Enclosure

'They remind me of the Gadarene swine,' Mildred Peiham remarked.

Interrupting his scrutiny of the crowded beach below the cafeteria terrace, Roger Peiham glanced at his wife. 'Why do you say that?'

Mildred continued to read for a few moments, and then lowered her book. 'Well, don't they?' she asked rhetorically. 'They look like pigs.'

Peiham smiled weakly at this mild but characteristic display of misanthropy. He peered down at his own white knees protruding from his shorts and at his wife's plump arms and shoulders. 'I suppose we all do,' he temporized. However, there was little chance of Mildred's remark being overheard and resented. They were sitting at a corner table, with their backs to the hundreds of ice-cream eaters and cola-drinkers crammed elbow to elbow on the terrace. The dull hubbub of voices was overlaid by the endless commentaries broadcast over the transistor radios propped among the bottles, and by the distant sounds of the fairground behind the dunes.

A short drop below the terrace was the beach, covered by a mass of reclining figures which stretched from the water's edge up to the roadway behind the cafeteria and then away over the dunes. Not a single grain of sand was visible. Even at the tide-line, where a little slack water swilled weakly at a debris of old cigarette packets and other trash, a huddle of small children clung to the skirt of the beach, hiding the grey sand.

Gazing down at the beach again, Peiham realized that his wife's ungenerous judgment was no more than the truth. Everywhere bare haunches and shoulders jutted into the air, limbs lay in serpentine coils. Despite the sunlight and the considerable period of time they had spent on the beach, many of the people were still white-skinned, or at most a boiled pink, restlessly shifting in their little holes in a hopeless attempt to be comfortable.

Usually this spectacle of jostling, over-exposed flesh, with its unsavoury bouquet of stale suntan lotion and sweat looking along the beach as it swept out to the distant cape, Peiham could almost see the festering corona, sustained in the air by the babble often thousand transistor radios, reverberating like a swarm of flies - would have sent him hurtling along the first inland highway at seventy miles an hour. But for some reason Pelham's usual private distaste for the general public had evaporated. He felt strangely exhilarated by the presence of so many people (he had calculated that he could see over 50 thousand along the five-mile stretch of beach) and found himself unable to leave the terrace, although it was now 3 o'clock and neither he nor Mildred had eaten since breakfast. Once their corner seats were surrendered they would never regain them.

To himself he mused: 'The ice-cream eaters on Echo beach...' He played with the empty glass in front of him. Shreds of synthetic orange pulp clung to the sides, and a fly buzzed half-heartedly from one to another. The sea was flat and calm, an opaque grey disc, but a mile away a low surface mist lay over the water like vapour on a vat.

'You look hot, Roger. Why don't you go in for a swim?'

'I may. You know, it's a curious thing, but of all the people here, not one is swimming.'

Mildred nodded in a bored way. A large passive woman, she seemed content merely to sit in the sunlight and read. Yet it was she who had first suggested that they drive out to the coast, and for once had suppressed her usual grumbles when they ran into the first heavy traffic jams and were forced to abandon the car and complete the remaining two miles on foot. Pelham had not seen her walk like that for ten years.

'It is rather strange,' she said. 'But it's not particularly warm.'

'I don't agree.' Pelham was about to continue when he suddenly stood up and looked over the rail at the beach. Halfway down the slope, parallel with the promenade, a continuous stream of people moved slowly along an informal right-of-way, shouldering past each other with fresh bottles of cola, lotion and ice-cream.

'Roger, what's the matter?'

'Nothing... I thought I saw Sherrington.' Pelham searched the beach, the moment of recognition lost.

'You're always seeing Sherrington. That's the fourth time alone this afternoon. Do stop worrying.'

'I'm not worrying. I can't be certain, but I felt I saw him then.'

Reluctantly, Pelham sat down, edging his chair fractionally closer to the rail. Depite his mood of lethargy and vacuous boredom, an indefinable but distinct feeling of restlessness had preoccupied him all day. In some way associated with Sherrington's presence on the beach, this uneasiness had been increasing steadily. The chances of Sherrington - with whom he shared an office in the Physiology Department at the University actually choosing this section of the beach were remote, and Pelham was not even sure why he was so convinced that Sherrington was there at all. Perhaps these illusory glimpses - all the more unlikely in view of Sherrington's black beard and high severe face, his stooped long-legged walk - were simply projections of this underlying tension and his own peculiar dependence upon Sherrington.

However, this sense of uneasiness was not confined to himself. Although Mildred seemed immune, most of the people on the beach appeared to share this mood with Pelham. As the day progressed the continuous hubbub gave way to more sporadic chatter. Occasionally the noise would fall away altogether, and the great concourse, like an immense crowd waiting for the long-delayed start of some public spectacle, would sit up and stir impatiently. To Peiham, watching carefully from his vantage point over the beach, these ripples of restless activity, as everyone swayed forward in long undulations, were plainly indicated by the metallic glimmer of the thousands of portable radios moving in an oscillating wave. Each successive spasm, recurring at roughly half-hour intervals, seemed to take the crowd slightly nearer the sea.

Directly below the concrete edge of the terrace, among the mass of reclining figures, a large family group had formed a private enclosure. To one side of this, literally within reach of Pelham, the adolescent members of the family had dug their own nest, their sprawling angular bodies, in their damp abbreviated swimming suits, entwined in and out of each other like some curious annular animal. Well within earshot, despite the continuous background of noise from the beach and the distant fair-grounds, Pelham listened to their inane talk, following the thread of the radio commentaries as they switched aimlessly from one station to the next.

'They're about to launch another satellite,' he told Mildred. 'Echo XXII.'

'Why do they bother?' Mildred's flat blue eyes surveyed the distant haze over the water. 'I should have thought there were more than enough of them flying about already.'

'Well...'For a moment Pelham debated whether to pursue the meagre conversational possibilities of his wife's reply. Although she was married to a lecturer in the School of Physiology, her interest in scientific matters was limited to little more than a blanket condemnation of the entire sphere of activity. His own post at the University she regarded with painful tolerance, despising the untidy office, scruffy students and meaningless laboratory equipment. Pelham had never been able to discover exactly what calling she would have respected. Before their marriage she maintained what he later realized was a polite silence on the subject of his work; after eleven years this attitude had barely changed, although the exigencies of living on his meagre salary had forced her to take an interest in the subtle, complex and infinitely wearying game of promotional snakes and ladders.

As expected, her acerbic tongue had made them few friends, but by a curious paradox Pelham felt that he had benefited from the grudging respect this had brought her. Sometimes her waspish comments, delivered at the overlong sherry parties, always in a loud voice during some conversational silence (for example, she had described the elderly occupant of the Physiology chair as 'that gerontological freak' within some five feet of the Professor's wife) delighted Pelham by their mordant accuracy, but in general there was something frightening about her pitiless lack of sympathy for the rest of the human race. Her large bland face, with its prim, rosebud mouth, reminded Pelham of the description of the Mona Lisa as looking as if she had just dined off her husband. Mildred, however, did not even smile.

'Sherrington has a rather interesting theory about the satellites,' Pelham told her. 'I'd hoped we might see him so that he could explain it again. I think you'd be amused to hear it, Mildred. He's working on IRM's at present - '

'On what?' The group of people behind them had turned up the volume of their radio and the commentary, of the final countdown at Cape Kennedy, boomed into the air over their heads.

Peiham said: 'IRM's - innate releasing mechanisms. I've described them to you before, they're inherited reflexes - ' He stopped, watching his wife impatiently.

Mildred had turned on him the dead stare with which she surveyed the remainder of the people on the beach. Testily Pelham snapped: 'Mildred, I'm trying to explain Sherrington's theory about the satellites!'

Undeterred, Mildred shook her head. 'Roger, it's too noisy here, I can't possibly listen. And to Sherrington's theories less than to anyone else's.'

Almost imperceptibly, another wave of restless activity was sweeping along the beach. Perhaps in response to the final digital climax of the commentators at Cape Kennedy, people were sitting up and dusting the coarse sand from each other's backs. Pelham watched the sunlight flickering off the chromium radio sets and diamante sunglasses as the entire beach swayed and surged. The noise had fallen appreciably, letting through the sound of the wurlitzer at the funfair. Everywhere there was the same expectant stirring. To Pelham, his eyes half-closed in the glare, the beach seemed like an immense pit of seething white snakes.

Somewhere, a woman's voice shouted. Pelham sat forward, searching the rows of faces masked by sunglasses. There was a sharp edge to the air, an unpleasant and almost sinister implication of violence hidden below the orderly surface.

Gradually, however, the activity subsided. The great throng relaxed and reclined again. Greasily, the water lapped at the supine feet of the people lying by the edge of the sea. Propelled by one of the off-shore swells, a little slack air moved over the beach, carrying with it the sweet odour of sweat and suntan lotion. Averting his face, Pelham felt a spasm of nausea contract his gullet. Without doubt, he reflected, homo sapiens en masse presented a more unsavoury spectacle than almost any other species of animal. A corral of horses or steers conveyed an impression of powerful nervous grace, but this mass of articulated albino flesh sprawled on the beach resembled the diseased anatomical fantasy of a surrealist painter. Why had all these people congregated there? The weather reports that morning had not been especially propitious. Most of the announcements were devoted to the news of the imminent satellite launching, the last stage of the worldwide communications network which would now provide every square foot of the globe with a straight-line visual contact with one or other of the score of satellites in orbit. Perhaps the final sealing of this inescapable aerial canopy had prompted everyone to seek out the nearest beach and perform a symbolic act of self-exposure as a last gesture of surrender.

Uneasily, Pelham moved about in his chair, suddenly aware of the edge of the metal table cutting into his elbows. The cheap slatted seat was painfully uncomfortable, and his whole body seemed enclosed in an iron maiden of spikes and clamps. Again a curious premonition of some appalling act of violence stirred through his mind, and he looked up at the sky, almost expecting an airliner to plunge from the distant haze and disintegrate on the crowded beach in front of him.

To Mildred he remarked: 'It's remarkable how popular sunbathing can become. It was a major social problem in Australia before the second World War.'

Mildred's eyes flickered upwards from her book. 'There was probably nothing else to do.'

'That's just the point. As long as people are prepared to spend their entire time sprawled on a beach there's little hope of ever building up any other pastimes. Sunbathing is anti-social because it's an entirely passive pursuit.' He dropped his voice when he noticed the people sitting around him glancing over their shoulders, ears drawn to his high precise diction. 'On the other hand, it does bring people together. In the nude, or the near-nude, the shop-girl and the duchess are virtually indistinguishable.'

'Are they?'

Pelham shrugged. 'You know what I mean. But I think the psychological role of the beach is much more interesting. The tide-line is a particularly significant area, a penumbral zone that is both of the sea and above it, forever half-immersed in the great time-womb. If you accept the sea as an image of the unconscious, then this beachward urge might be seen as an attempt to escape from the existential role of ordinary life and return to the universal time-sea - , 'Roger, please!' Mildred looked away wearily. 'You sound like Charles Sherrington.'

Pelham stared out to sea again. Below him, a radio commentator announced the position and speed of the successfully launched satellite, and its pathway around the globe. Idly, Pelham calculated that it would take some fifteen minutes to reach them, almost exactly at half past three. Of course it would not be visible from the beach, although Sherrington's recent work on the perception of infra-red radiation suggested some of the infra-red light reflected from the sun might be perceived subliminally by their retinas.

Reflecting on the opportunities this offered to a commercial or political demagogue, Pelham listened to the radio on the sand below, when a long white arm reached out and switched it off. The possessor of the arm, a plump whiteskinned girl with the face of a placid madonna, her round cheeks framed by ringlets of black hair, rolled over on to her back, disengaging herself from her companions, and for a moment she and Peiham exchanged glances. He assumed that she had deliberately switched off the radio to prevent him hearing the commentary, and then realized that in fact the girl had been listening to his voice and hoped that he would resume his monologue.

Flattered, Peiham studied the girl's round serious face, and her mature but child-like figure stretched out almost as close to him, and as naked, as it would have been had they shared a bed. Her frank, adolescent but curiously tolerant expression barely changed, and Pelham turned away, unwilling to accept its implications, realizing with a pang the profound extent of his resignation to Mildred, and the now unbreachable insulation this provided against any new or real experience in his life. For ten years the thousand cautions and compromises accepted each day to make existence tolerable had steadily secreted their numbing anodynes, and what remained of his original personality, with all its possibilities, was embalmed like a specimen in a jar. Once he would have despised himself for accepting his situation so passively, but he was now beyond any real self-judgment, for no criteria were valid by which to assess himself, a state of gracelessness far more abject than that of the vulgar, stupid herd on the beach around him.

'Something's in the water.' Mildred pointed along the shore. 'Over there.'

Peiham followed her raised arm. Two hundred yards away a small crowd had gathered at the water's edge, the sluggish waves breaking at their feet as they watched some activity in the shallows. Many of the people had raised newspapers to shield their heads, and the older women in the group held their skirts between their knees.

'I can't see anything.' Peiham rubbed his chin, distracted by a bearded man on the edge of the promenade above him, a face not Sherrington's but remarkably like it. 'There seems to be no danger, anyway. Some unusual sea-fish may have been cast ashore.'

On the terrace, and below on the beach, everyone was waiting for something to happen, heads craned forward expectantly. As the radios were turned down, so that any sounds from the distant tableau might be heard, a wave of silence passed along the beach like an immense darkening cloud shutting off the sunlight. The almost complete absence of noise and movement, after the long hours of festering motion, seemed strange and uncanny, focusing an intense atmosphere of self-awareness upon the thousands of watching figures.

The group by the water's edge remained where they stood, even the small children staring placidly at whatever held the attention of their parents. For the first time a narrow section of the beach was visible, a clutter of radios and beach equipment half-buried in the sand like discarded metallic refuse. Gradually the new arrivals pressing down from the promenade occupied the empty places, a manoeuvre carried out without any reaction from the troupe by the tideline. To Pelham they seemed like a family of penitent pilgrims who had travelled some enormous distance and were now standing beside their sacred waters, waiting patiently for its revivifying powers to work their magic.

'What is going on?' Pelham asked, when after several minutes there was no indication of movement from the waterside group. He noticed that they formed a straight line, following the shore, rather than an arc. 'They're not watching anything at all.'

The off-shore haze was now only five hundred yards away, obscuring the contours of the huge swells. Completely opaque, the water looked like warm oil, a few wavelets now and then dissolving into greasy bubbles as they expired limply on the sand, intermingled with bits of refuse and old cigarette cartons. Nudging the shore like this, the sea resembled an enormous pelagic beast roused from its depths and blindly groping at the sand.

'Mildred, I'm going down to the water for a moment.' Pelham stood up. 'There's something curious - , He broke off, pointing to the beach on the other side of the terrace. 'Look! There's another group. What on earth - ?'

Again, as everyone watched, this second body of spectators formed by the water's edge seventy-five yards from the terrace. Altogether some two hundred people were silently assembling along the shore-line, gazing out across the sea in front of them. Peiham found himself cracking his knuckles, then clasped the rail with both hands, as much to restrain himself from joining them. Only the congestion on the beach held him back.

This time the interest of the crowd passed in a few moments, and the murmur of background noise resumed.

'Heaven knows what they're doing.' Mildred turned her back on the group. 'There are more of them over there. They must be waiting for something.'

Sure enough, half a dozen similar groups were now forming by the water's edge, at almost precise one hundred yard intervals. Pelham scanned the far ends of the bay for any signs of a motor boat. He glanced at his watch. It was nearly 3:30. 'They can't be waiting for anything,' he said, trying to control his nervousness. Below the table his feet twitched a restless tattoo, gripping for purchase on the sandy cement. 'The only thing expected is the satellite, and no one will see that anyway. There must be something in the water.' At the mention of the satellite he remembered Sherrington again. 'Mildred, don't you feel - , Before he could continue the man behind him stood up with a curious lurch, as if hoping to reach the rail, and tipped the sharp edge of his seat into Pelham's back. For a moment, as he struggled to steady the man, Pelham was enveloped in a rancid smell of sweat and stale beer. He saw the glazed focus in the other's eyes, his rough unshaved chin and open mouth like a muzzle, pointing with a sort of impulsive appetite towards the sea.

'The satellite!' Freeing himself Pelham craned upwards at the sky. A pale impassive blue, it was clear of both aircraft and birds - although they had seen gulls twenty miles inland that morning, as if a storm had been anticipated. As the glare stung his eyes, points of retinal light began to arc and swerve across the sky in epileptic orbits. One of these, however, apparently emerging from the western horizon, was moving steadily across the edge of his field of vision, boring dimly towards him.

Around them, people began to stand up, and chairs scraped and dragged across the floor. Several bottles toppled from one of the tables and smashed on the concrete.

'Mildred!'

Below them, in a huge disorganized mle extending as far as the eye could see, people were climbing slowly to their feet. The diffused murmur of the beach had given way to a more urgent, harsher sound, echoing overhead from either end of the bay. The whole beach seemed to writhe and stir with activity, the only motionless figures those of the people standing by the water. These now formed a continuous palisade along the shore, shutting off the sea. More and more people joined their ranks, and in places the line was nearly ten deep.

Everyone on the terrace was now standing. The crowds already on the beach were being driven forward by the pressure of new arrivals from the promenade, and the party below their table had been swept a further twenty yards towards the sea.

'Mildred, can you see Sherrington anywhere?' Confirming from her wristwatch that it was exactly 3:30, Pelham pulled her shoulder, trying to hold her attention. Mildred returned what was almost a vacant stare, an expression of glazed incomprehension. 'Mildred! We've got to get away from here!' Hoarsely, he shouted: 'Sherrington's convinced we can see some of the infra-red light shining from the satellites, they may form a pattern setting off IRM's laid down millions of years ago when other space vehicles were circling the earth. Mildred - !'

Helplessly, they were lifted from their seats and pressed against the rail. A huge concourse of people was moving down the beach, and soon the entire five-mile-long slope was packed with standing figures. No one was talking, and everywhere there was the same expression, self-immersed and preoccupied, like that on the faces of a crowd leaving a stadium. Behind them the great wheel of the fairground was rotating slowly, but the gondolas were empty, and Pelham looked back at the deserted funfair only a hundred yards from the multitude on the beach, its roundabouts revolving among the empty sideshows.

Quickly he helped Mildred over the edge of the rail, then jumped down on to the sand, hoping to work their way back to the promenade. As they stepped around the corner, however, the crowd advancing down the beach carried them back, tripping over the abandoned radios in the sand.

Still together, they found their footing when the pressure behind them ceased. Steadying himself, Pelham continued: '... Sherrington thinks Cro-Magnon Man was driven frantic by panic, like the Gadarene swine - most of the bone-beds have been found under lake shores. The reflex may be too strong - , He broke off.

The noise had suddenly subsided, as the immense congregation, now packing every available square foot of the beach, stood silently facing the water. Pelham turned towards the sea, where the haze, only fifty yards away, edged in great clouds towards the beach. The forward line of the crowd, their heads bowed slightly, stared passively at the gathering billows. The surface of the water glowed with an intense luminous light, vibrant and spectral, and the air over the beach, grey by comparison, made the lines of motionless figures loom like tombstones.

Obliquely in front of Pelham, twenty yards away in the front rank, stood a tall man with a quiet, meditative expression, his beard and high temples identifying him without doubt.

'Sherrington!' Pelham started to shout. Involuntarily he looked upwards to the sky, and felt a blinding speck of light singe his retinas.

In the background the music of the funfair revolved in the empty air.

Then, with a galvanic surge, everyone on the beach began to walk forward into the water.

1963

The Delta at Sunset

Each evening, when the dense powdery dusk lay over the creeks and drained mud-basins of the delta, the snakes would come out on to the beaches. Half-asleep on the wicker stretcher-chair below the awning of his tent, Charles Gifford watched their sinuous forms coiling and uncoiling as they wound their way up the slopes. In the opaque blue light the dusk swept like a fading searchlight over the damp beaches, and the interlocked bodies shone with an almost phosphorescent brilliance.

The nearest creeks were three hundred yards from the camp, but for some reason the appearance of the snakes always coincided with Gifford's recovery from his evening fever. As this receded, carrying with it the familiar diorama of reptilian phantoms, he would sit up in the stretcher-chair and find the snakes crawling across the beaches, almost as if they had materialized from his dreams. Involuntarily he would search the sand around the tent for any signs of their damp skins.

'The strange thing is they always come out at the same time,' Gifford said to the Indian head-boy who had emerged from the mess tent and was now covering him with a blanket. 'One minute there's nothing there, and the next thousands of them are swarming all over the mud.'

'You not cold, sir?' the Indian asked.

'Look at them now, before the light goes. It's really fantastic. There must be a sharply defined threshold - ' He tried to lift his pale, bearded face above the hillock formed by the surgical cradle over his foot, and snapped: 'All right, all right!'

'Doctor?' The head-boy, a thirty-year-old Indian named Mechippe, continued to straighten the cradle, his limpid eyes, set in a face of veined and weathered teak, watching Gifford.

'I said get out of the damned way!' Leaning weakly on one elbow, Gifford watched the last light fade across the winding causeways of the delta, taking with it a final image of the snakes. Each evening, as the heat mounted with the advancing summer, they came out in greater numbers, as if aware of the lengthening periods of his fever.

'Sir, I get more blanket for you?'

'No, for God's sake.' Gifford's thin shoulders shivered in the dusk air, but he ignored the discomfort. He looked down at his inert, corpse-like body below the blanket, examining it with far more detachment than he had felt for the unknown Indians dying in the makeshift WHO field hospital at Taxcol. At least there was a passive repose about the Indians, a sense of the still intact integrity of flesh and spirit, if anything reinforced by the failure of one of the partners. It was this paradigm of fatalism which Gifford would have liked to achieve - even the most wretched native, identifying himself with the irrevocable flux of nature, had bridged a greater span of years than the longest-lived European or American with his obsessive timeconsciousness, cramming so-called significant experiences into his life like a glutton. By contrast, Gifford realized, he himself had merely thrown aside his own body, divorcing it like some no longer useful partner in a functional business marriage. So marked a lack of loyalty depressed him.

He tapped his bony loins. 'It's not this, Mechippe, that ties us to mortality, but our confounded egos.' He smiled slyly at the head-boy. 'Louise would appreciate that, don't you think?'

The head-boy was watching a refuse fire being raised behind the mess tent. He looked down sharply at the supine figure on the stretcher-chair, his half-savage eyes glinting like arrow heads in the oily light of the burning brush. 'Sir? You want - ?'

'Forget it,' Gifford told him. 'Bring two whisky sodas. And some more chairs. Where's Mrs Gifford?'

He glanced up at Mechippe when he failed to reply. Briefly their eyes met, in an instant of absolute clarity. Fifteen years earlier, when Gifford had come to the delta with his first archaeological expedition, Mechippe had been one of the junior camp-followers. Now he was in the late middle age of the Indian, the notches on his cheeks lost in the deep hatchwork of lines and scars, wise in the tent-lore of the visitors.

'Miss' Gifford - resting,' he said cryptically. In an attempt to alter the tempo and direction of their dialogue, he added: 'I tell Mr Lowry, then bring whiskies and hot towel, Doctor.'

'Okay, Mechippe.' Lying back with an ironic smile, Gifford listened to the head-boy's footsteps move away softly through the sand. The muted sounds of the camp stirred around him - the cooling plash of water in the shower stall, the soft interchanges of the Indians, the whining of a desert dog waiting to approach the refuse dump - and he sank downwards into the thin tired body stretched out in front of him like a collection of bones in a carpet bag, rekindling the fading senses of touch and pressure in his limbs.

In the moonlight, the white beaches of the delta glistened like banks of luminous chalk, the snakes festering on the slope like the worshippers of a midnight sun.

Half an hour later they drank their whiskies together in the dark tinted air. Revived by Mechippe's massage, Charles Gifford sat upright in the stretcher-chair, gesturing with his glass. The whisky had momentarily cleared his brain; usually he was reluctant to discuss the snakes in his wife's presence, let alone Lowry's, but the marked increase in their numbers seemed important enough to mention. There was also the mildly malicious pleasure - less amusing now than it had been - of seeing Louise shudder at any mention of the snakes.

'What is so unusual,' he explained, 'is the way they emerge on to the banks at the same time. There must be a precise level of luminosity, an exact number of photons, to which they all respond - presumably an innate trigger.'

Dr Richard Lowry, Gifford's assistant and since his accident the acting leader of the expedition, watched Gifford uncomfortably from the edge of his canvas chair, rotating his glass below his long nose. He had been placed downwind from the loose bandages swaddling Gifford's foot (little revenges of this kind, however childish, alone sustained Gifford's interest in the people around him), and carefully averted his face as he asked: 'But why the sudden increase in numbers? A month ago there was barely a snake in sight?'

'Dick, please!' Louise Gifford turned an expression of martyred weariness on Lowry. 'Must we?'

'There's an obvious answer,' Gifford said to Lowry. 'During the summer the delta drains, and begins to look like the half-empty lagoons that were here 50 million years ago. The giant amphibians had died out, and the small reptiles were the dominant species. These snakes are probably carrying around what is virtually a coded internal landscape, a picture of the Paleocene as sharp as our own memories of New York and London.' He turned to his wife, the shadows cast by the distant refuse fire hollowing his cheeks. 'What's the matter, Louise? Don't say you can't remember New York and London?'

'I don't know whether I can or not.' She pushed a lock of fraying blonde hair off her forehead. 'I wish you wouldn't think about the snakes all the time.'

'Well, I'm beginning to understand them. I was always baffled by the way they'd appear at the same time. Besides, there's nothing else to do. I don't want to sit here staring at that damned Toltec ruin of yours.'

He gestured towards the low ridge of sandstone, its profile illuminated against the white moonlit clouds, which marked the margins of the alluvial bench half a mile from the camp. Before Gifford's accident their chairs had faced the ruined terrace city emerging from the thistles which covered the ridge. But Gifford had tired of staring all day at the crumbling galleries and colonnades where his wife and Lowry worked together. He told Mechippe to dismantle the tent and turn it through ninety degrees, so that he could watch the last light of the sunset fading over the western delta. The burning refuse fires they now faced provided at least a few wisps of motion. Gazing for hours across the endless creeks and mud-banks, whose winding outlines became more and more serpentine as the summer drought persisted and the level of the water table fell, he had one evening discovered the snakes.

'Surely it's simply a shortage of dissolved oxygen,' Lowry commented.

He noticed Gifford regarding him with an expression of critical distaste, and added: 'Jung believes the snake is primarily a symbol of the unconscious, and that its appearance always heralds a crisis in the psyche.'

'I suppose I accept that,' Charles Gifford said. With rather forced laughter he added, shaking his foot in the cradle: 'I have to. Don't I, Louise?' Before his wife, who was watching the fires with a distracted expression, could reply he went on: 'Though in fact I disagree with Jung. For me the snake is a symbol of transformation. Every evening at sunset the great lagoons of the Paleocene are re-created here, not only for the snakes but for you and I too, if we care to look. Not for nothing is the snake a symbol of wisdom.'

Richard Lowry frowned doubtfully into his glass. 'I'm not convinced, sir. It was primitive man who had to assimilate events in the external world to his own psyche.'

'Absolutely right,' Gifford rejoined. 'How else is nature meaningful, unless she illustrates some inner experience? The only real landscapes are the internal ones, or the external projections of them, such as this delta.' He passed his empty glass to his wife. 'Agree, Louise? Though perhaps you take a Freudian view of the snakes?'

This thin jibe, uttered with the cold humour which had become characteristic of Gifford4 brought their conversation to a halt. Restlessly, Lowry looked at his watch, eager to be away from Gifford and his pathetic boorishness. Gifford, a cold smirk on his lips, waited for Lowry to catch his eye; by a curious paradox his dislike of his assistant was encouraged by the latter's reluctance to retaliate, rather than by the still ambiguous but crystallizing relationship between Lowry and Louise. Lowry's meticulous neutrality and good manners seemed to Gifford an attempt to preserve a world on which Gifford had turned his back, that world where there were no snakes on the beaches and where events moved on a single plane of time like the blurred projection of a three-dimensional object by a defective camera obscura.

Lowry's politeness was also, of course, an attempt to shield himself and Louise from Gifford's waspish tongue. Like Hamlet taking advantage of his madness to insult and cross-examine anyone at will, Gifford often used the exhausted half-lucid interval after his fever subsided to make his more pointed comments. As he emerged from the penumbral shallows, the looming figures of his wife and assistant still surrounded by the rotating mandalas he saw in his dreams, he would give full rein to his tortured humour. That in this way he was helping his wife and Lowry towards an inevitable climax only encouraged Gifford.

His long farewell to Louise, protracted now for so many years, at last seemed feasible, even if only part of the greater goodbye, the vast leave-taking that Gifford was about to embark upon. The fifteen years of their marriage had been little more than a single frustrated farewell, a search for a means to an end which their own strengths of character had always prevented.

Looking up at Louise's sun-grazed but still handsome profile, at her fading blonde hair swept back off her angular shoulders, Gifford realized that his dislike of her was in no way personal, but merely part of the cordial distaste he felt for almost the entire human race. And even this deeply ingrained misanthropy was only a reflection of his own undying self-contempt. If there were few people whom he had ever liked, there were, equally, few moments during which he had ever liked himself. His entire life as an archaeologist, from his early adolescence when he had first collected fossil ammonites from a nearby limestone outcropping, was an explicit attempt to return to the past and discover the sources of his self-loathing.

'Do you think they'll send an aeroplane?' Louise asked after breakfast the next morning. 'There was a noise then...'

'I doubt it,' Lowry said. He gazed up at the empty sky. 'We didn't ask for one. The landing field at Taxcol is disused. During the summer the harbour drains and everyone moves up-coast.'

'There'll be a doctor, surely? Not everyone will have gone?'

'Yes, there's a doctor. There's one permanently attached to the port authority.'

'A drunken fool,' Gifford interjected. 'I refuse to let him touch me with his poxy hands. Forget about the doctor, Louise. Even if someone is prepared to come out here, how do you think he'll manage it?'

'But Charles - '

Gifford gestured irritably at the glistening mudbanks. 'The whole delta is draining like a dirty bath, no one is going to risk a stiff dose of malaria just to put a splint on my ankle. Anyway, that boy Mechippe sent is probably still hanging around here somewhere.'

'But Mechippe insisted he was reliable.' Louise looked down helplessly at her husband propped against the back of the stretcher-chair. 'Dick, I wish you could have gone with him. It's only fifty miles. You would have been there by now.'

Lowry nodded uneasily. 'Well, I didn't think... I'm sure everything will be all right. How is the leg, sir?'

'Just dandy.' Gifford had been staring out across the delta. He noticed Lowry peering down at him with a long puckered face. 'What's the matter, Richard? Does the smell offend you?' Suddenly exasperated, he snapped: 'Do me a favour and take a walk, dear chap.'

'What - ?' Lowry stared at him uncertainly. 'Of course, Doctor.'

Gifford watched Lowry's neatly groomed figure walk away stiffly among the tents. 'He's awfully correct, isn't he? But he doesn't know how to take an insult yet. I'll see that he gets plenty of practice.'

Louise slowly shook her head. 'Do you have to, Charles? Without him we'd be in rather a spot, you know. I don't think you're being very fair.'

'Fair?' Gifford repeated the word with a grimace. 'What are you talking about? For God's sake, Louise.'

'All right then,' his wife replied patiently. 'I don't think you should blame Richard for what's happened.'

'I don't. Is that what your dear Dick suggests? Now that this thing is beginning to smell he's trying to throw his guilt back on to me.'

'He is not - '

Gifford petulantly thumped the wicker elbow rest. 'He damned well is!' He gazed up darkly at his wife, his thin twisted mouth framed by the rim of beard. 'Don't worry, my dear, you will too by the time this thing is finished.'

'Charles, please..

'Who cares, anyway?' Gifford lay back weakly for a moment, and then, as he recovered, a curious feeling of lightheaded and almost euphoric calm coming over him, began again: 'Dr Richard Lowry. How he loves his doctorate. I wouldn't have had the nerve at his age. A third-rate PhD for work that I did for him, and he styles himself "Doctor".'

'So do you.'

'Don't be a fool. I can remember when at least two Chairs were offered to me.'

'But you couldn't degrade yourself by accepting them,' his wife commented, a trace of irony in her voice.

'No, I could not,' Gifford attested vehemently. 'Do you know what Cambridge is like, Louise? It's packed with Richard Lowiys! Besides, I had a far better idea. I married a rich wife. She was charming, beautiful, and in a slightly ambiguous way respected my moody brilliance, but above all she was rich.'

'How pleasant for you.'

'People who marry for money earn it. I really earned mine.'

'Thank you, Charles.'

Gifford chuckled to himself. 'One thing, Louise, you do know how to take an insult. It's a matter of breeding. I'm surprised you aren't more choosy over Lowry.'

'Choosy?' Louise laughed awkwardly. 'I hadn't realized that I'd chosen him. I think Richard is very obliging and helpful - as you knew when you made him your assistant, by the way.'

Gifford began to compose his reply, when a sudden chill enveloped his chest and shoulders. He pulled weakly at the blanket, an immense feeling of fatigue and inertia overtaking him. He looked up glassily at his wife, their bickering conversation forgotten. The sunlight had vanished, and a profound darkness lay over the face of the delta, illuminated for a brief interval by the seething outlines of thousands of snakes. Trying to capture the image in his eyes, he struggled forward against the incubus pressing upon his chest, and then slid backwards into a pit of nausea and giddiness.

'Louise... Quickly his wife's hands were on his own, her shoulder supporting his head. He vomited emptily, struggling with his contracting musculature like a snake trying to shed its skin. Dimly he heard his wife shout for someone and the cradle topple to the ground, dragging the bedclothes with it.

'Louise,' he whispered, 'one of these nights... I want you to take me down to the snakes.'

Now and then, during the afternoon, when the pain in his foot became acute, he would wake to find Louise sitting beside him. All the while he moved through ceaseless dreams, sinking from one plane of reverie to the next, the great mandalas guiding him downwards, enthroning him upon their luminous dials.

During the next few days the conversations with his wife were less frequent. As his condition deteriorated, Gifford felt able to do little more than stare out across the mud-flats, almost unaware of the movement and arguments around him. His wife and Mechippe formed a tenuous bridge with reality, but the true centre of his attention was the nexus of beaches on to which the snakes emerged in the evenings. This was a zone of complete timelessness, where at last he sensed the simultaneity of all time, the coexistence of all events in his past life.

The snakes now made their appearance half an hour earlier. Once he caught a glimpse of their motionless albino forms exposed on the slopes in the hot noon air. Their chalk-white skins and raised heads, in a reclining posture very like his own, made them seem immeasurably ancient, like the white sphinxes in the funeral corridors to the pharaonic tombs at Karnak.

Although his strength had ebbed markedly, the infection on his foot had spread only a few inches above the ankle, and Louise Gifford realized that her husband's deterioration was a symptom of a profound psychological malaise, the mal de passage induced by the potently atmospheric landscape and its evocation of the lagoon-world of the Paleocene. She suggested to Gifford during one of his lucid intervals that they move the camp half a mile across the plain into the shadow of the ridge, near the Toltec terrace city where she and Lowry carried out their archaeological work.

But Gifford had refused, reluctant to leave the snakes on the beach. For some reason he disliked the terrace city. This was not because it was there that he had inflicted on himself the wound which now threatened his life. That this was simply an unfortunate accident devoid of any special symbolism he accepted without qualification. But the enigmatic presence of the terrace city, with its crumbling galleries and internal courts encrusted by the giant thistles and wire moss, seemed a huge man-made artefact which militated against the super-real naturalism of the delta. However, the terrace city, like the delta, was moving backwards in time, the baroque tracery of the serpent deities along the friezes dissolving and being replaced by the intertwined tendrils of the moss-plants, the pseudo-organic forms made by man in the image of nature reverting to their original. Kept at a distance behind him, as a huge backdrop, the ancient Toltec ruin seemed to brood in the dust like a decaying mastodon, a dying mountain whose dark dream of the earth enveloped Gifford with its luminous presence.

'Do you feel well enough to move on?' Louise asked Gifford when they had received no word of Mechippe's messenger after a further week. She gazed down at him critically as he lay in the shade under the awning, his thin body almost invisible among the folds of the blankets and the monstrous tent over his leg, only the arrogant face with its stiffening beard reminding her of his identity. 'Perhaps if we met the search party halfway..

Gifford shook his head, his eyes moving off across the bleached plain to the almost drained channels of the delta. 'Which search party? There isn't a boat with a shallow enough draught between here and Taxcol.'

'Perhaps they'll send a helicopter. They could see us from the air.'

'Helicopter? You've got a bee in your bonnet, Louise. We'll stay here for another week or so.'

'But your leg,' his wife insisted. 'A doctor should - '

'How can I move? Jerked about on a stretcher, I'd be dead within five minutes.' He looked up wearily at his wife's pale sunburnt face, waiting for her to go away.

She hovered over him uncertainly. Fifty yards away, Richard Lowry sat in the open air outside his tent, watching her quietly. Involuntarily, before she could prevent herself, her hand moved to straighten her hair.

'Is Lowry there?' Gifford asked.

'Richard? Yes.' Louise hesitated. 'We'll be back for lunch. I'll change your dressing then.'

As she stepped from his field of vision Gifford lifted his chin slightly to examine the beaches obscured by the morning haze. The baked mud slopes glistened like hot concrete, and only a thin trickle of black fluid leaked slowly along the troughs. Here and there small islands fifty yards in diameter, shaped like perfect hemispheres, rose off the floors of the channels, imparting a curious geometric formality to the landscape. The whole area remained completely motionless, but Gifford lay patiently in his stretcher-chair, waiting for the snakes to come out on to the beaches.

When he noticed Mechippe serving lunch to him he realized that Lowry and Louise had not returned from the site.

'Take it away.' He pushed aside the bowl of condensed soup. 'Bring me whisky soda. Double.' He glanced sharply at the Indian. 'Where's Mrs Gifford?'

Mechippe steered the soup bowl back on to his tray. 'Miss' Gifford coming soon, sir. Sun very hot, she wait till afternoon.'

Gifford lay back for a moment, thinking of Louise and Richard Lowry, the image of them together touching the barest residue of emotion. Then he tried to wave away the haze with his hand.

'What's that - ?'

'Sir?'

'Damn it, I thought I saw one.' He shook his head slowly as the white form he had fleetingly glimpsed vanished among the opalescent slopes. 'Too early, though. Where's that whisky?'

'Coming, sir.'

Panting slightly after the exertion of sitting up, Gifford looked around restlessly at the clutter of tents. Diagonally behind him, emerging from the lengthening focus of his eyes, loomed the long ridges of the Toltec city. Somewhere among its spiral galleries and corridors were Louise and Richard Lowry. Looking down from one of the high terraces across the alluvial bench, the distant camp would seem like a few bleached husks, guarded by a dead man propped up in a chair.

'Darling, I'm awfully sorry. We tried to get back but I twisted my heel - ' Louise Gifford laughed lightly at this 'rather as you did, now that I come to think of it. Perhaps I'll be joining you here in a day or two. I'm so glad Mechippe looked after you and changed the dressing. How do you feel? You look a lot better.'

Gifford nodded drowsily. The afternoon fever had subsided but he felt drained and exhausted, his awareness of his wife's chattering presence only stimulated by the whisky he had been drinking slowly all day. 'It's been a day at the zoo,' he said, adding, with tired humour: 'At the reptile enclosure.'

'You and your snakes. Charles, you are a scream.' Louise paced around the stretcher-chair, downwind of the cradle, then withdrew to the lee-side. She waved to Richard Lowry, who was carrying some specimen trays into his tent. 'Dick, I suggest we shower and then join Charles for drinks.'

'Great idea,' Lowry called back. 'How is he?'

'Much better.' To Gifford she said: 'You don't mind, Charles? It will do you good to talk a little.'

Gifford gestured vaguely with his head. When his wife had gone to her tent he focused his eyes carefully on the beaches. There, in the evening light, the snakes festered and writhed, their long forms gliding in and out of each other, the whole darkening horizon locked together by their serpentine embrace. There were now literally tens of thousands of them, reaching beyond the margins of the beach across the open ground towards the camp. During the afternoon, at the height of his fever, he had tried to call to them, but his voice had been too weak.

Later, over their cocktails, Richard Lowry asked: 'How do you feel, sir?' When Gifford made no reply he said: 'I'm glad to hear the leg is better.'

'You know, Dick, I think it's psychological,' Louise remarked. 'As soon as you and I are out of the way Charles improves.' Her eyes caught Richard Lowry's and held them.

Lowry played with his glass, a faintly self-assured smile on his bland face. 'What about the messenger? Is there any news?'

'Have you heard anything, Charles? Perhaps someone will fly over in a couple of days.'

During this exchange of pleasantries, and those which followed on the subsequent days, Charles Gifford remained silent and withdrawn, sinking more deeply into the interior landscape emerging from the beaches of the delta. His wife and Richard Lowry sat with him in the evenings when they returned from the terrace city, but he was barely aware of their presence. By now they seemed to move in a peripheral world, players in a marginal melodrama. Now and then he would think about them, but the effort seemed to lack point. His wife's involvement with Lowry left him unperturbed; if anything, he felt grateful to Lowry for freeing him from Louise.

Once, two or three days later, when Lowry came to sit by him in the evening, Gifford roused himself and said dryly: 'I hear you found treasure in the terrace city.' But before Lowry could produce a reply he relapsed again into his vigil.

One night shortly afterwards, when he was woken in the early hours of the morning by a sudden spasm of pain in his foot, he saw his wife and Lowry walking through the powdery blue darkness by the latter's tent. For a fleeting moment their embracing figures were like the snakes coiled together on the beaches.

'Mechippe!'

'Doctor?'

'Mechippe!'

'I am here, sir.'

'Tonight, Mechippe,' Gifford told him, 'you sleep in my tent. Understand? I want you near me. Use my bed, if you want. Will you hear if I call?'

'Of course, sir. I hear you.' The head-boy's polished ebony face regarded Gifford circumspectly. He now tended Gifford with a care that indicated that the latter, however much a novice, had at last entered the world of absolute values, composed of the delta and the snakes, the brooding presence of the Toltec ruin and his dying leg.

After midnight, Gifford lay quietly in the stretcher-chair, watching the full moon rise over the luminous beaches. Like a Medusa's crown, thousands of the snakes had climbed the crests of the beaches and were spreading thickly across the margins of the plain, their white backs exposed to the moonlight.

'Mechippe.'

The head-boy had been squatting silently in the shadows. 'Dr Gifford?'

Gifford spoke in a low but clear voice. 'Crutches. Over there.' As the head-boy passed the two carved sticks Gifford tossed aside the blankets. Carefully he withdrew his leg from the cradle, then sat up and lifted it on to the ground. He leaned forward into the crutches and found his balance. The bandaged foot, like a white club, stuck out in front of him. 'Now. In the field-desk, right-hand drawer, there's my gun. Bring it to me.'

For once the head-boy hesitated. 'Gun, sir?'

'Smith & Wesson. It should be loaded, but there's a box of cartridges.'

Again the head-boy hesitated, his eyes roving to the two tents spaced in a line away from them, their entrances hooded by the dust canopies. The whole camp lay in silence, the light stirring of the wind muted by the still warm sand and the dark talcum-like air. 'Gun,' he said. 'Yes, sir.'

Easing himself slowly to his feet, Gifford paused uncertainly. His head swam with the exertion, but the huge anchor of his left foot held him to the ground. Taking the pistol, he gestured with it towards the delta.

'We're going to see the snakes, Mechippe. You help me. All right?'

Mechippe's eyes flashed in the moonlight. 'The snakes, sir?'

'Yes. You take me halfway there. Then you can come back. Don't worry, I'll be all right.'

Mechippe nodded slowly, his eyes looking out over the delta. 'I help you, doctor.'

Labouring slowly across the sand, Gifford steadied himself on the head-boy's arm. After a few steps he found his left leg too heavy to lift, and dragged the dead load through the soft sand.

'Christ, it's a long way.' They had covered twenty yards. By some optical freak the nearest snakes now seemed to be half a mile away, barely visible between the slight rises. 'Let's get on with it.'

They plodded on a further ten yards. The open mouth of Lowry's tent was on their left, the white bell of the mosquito net looming in the shadows like a sepulchre. Almost exhausted, Gifford tottered unsteadily, trying to focus his eyes through the tinted air.

There was a sudden flash and roar as the revolver discharged itself, cannoning out of his hand. He felt Mechippe's fingers stiffen on his arm, and heard someone emerge from Lowry's tent, a woman's startled cry of fear. A second figure, this time a man's, appeared and with a backward glance at Gifford darted away like a startled animal among the tents, racing head down towards the terrace city.

Annoyed by these interruptions, Gifford searched blindly for the revolver, struggling with the crutches. But the darkness condensed around him, and the sand came upwards to strike his face.

The next morning, as the tents were dismantled and packed away, Gifford felt too tired to look out across the delta. The snakes never appeared until the early afternoon, and the disappointment of failing to reach them the previous night had drained his energy.

When only his own tent remained of the camp, and the naked shower scaffoldings protruded from the ground like pieces of abstract sculpture marking a futuristic cairn, Louise came over to him.

'It's time for them to pack your tent.' Her tone was matter-of-fact but guarded. 'The boys are building a stretcher for you. You should be comfortable.'

Gifford gestured her away. 'I can't go. Leave Mechippe with me and take the others.'

'Charles, be practical for once.' Louise stood before him, her face composed. 'We can't stay here indefinitely, and you need treatment. It's obvious now that Mechippe's boy never reached Taxcol. Our supplies won't last for ever.'

'They don't have to last for ever.' Gifford's eyes, almost closed, surveyed the distant horizon like a pair of defective binoculars. 'Leave me one month's.'

'Charles - '

'For heaven's sake, Louise...'Wearily he let his head loll on the pillow. He noticed Richard Lowry supervising the stowage of the stores, the Indian boys moving around him like willing children. 'Why all the hurry? Can't you stay another week?'

'We can't, Charles.' She looked her husband straight in the face. 'Richard feels he must go. You understand. For your sake.'

'My sake?' Gifford shook his head. 'I don't give a damn about Lowry. Last night I was going out to look at the snakes.'

'Well...' Louise smoothed her bush shirt. 'This trip has been such a fiasco, Charles, there are many things that frighten me. I'll tell them to dismantle the tent when you're ready.'

'Louise.' With a last effort Gifford sat up. In a quiet voice, in order not to embarrass his wife by letting Richard Lowry hear him, he said: 'I went out to look at the snakes. You do understand that?'

'But Charles!' With a sudden burst of exasperation his wife snapped: 'Don't you realize, there are no snakes! Ask Mechippe, ask Richard Lowry or any of the boys! The entire river is as dry as a bone!'

Gifford turned to look at the white beaches of the delta. 'You and Lowry go. I'm sorry, Louise, but I couldn't stand the trip.'

'You must!' She gestured at the distant hills, at the terrace city and the delta. 'There's something wrong with this place, Charles, somehow it's convinced you that...'

Followed by a group of boys, Richard Lowry walked slowly towards them, signalling with his hands to Louise. She hesitated, then on an impulse waved him back and sat down beside Gifford. 'Charles, listen. I'll stay with you for another week as you ask, so that you can come to terms with these hallucinations, if you promise me that you'll leave then. Richard can go ahead on his own, he'll meet us in Taxcol with a doctor.' She lowered her voice, 'Charles, I'm sorry about Richard. I realize now...'

She leaned forward to see her husband's face. He lay in his seat in front of the solitary tent, the circle of boys watching him patiently from a distance. Ten miles away a solitary cloud drifted over one of the mesas, like a plume of smoke above a dormant but still active volcano.

'Charles.' She waited for her husband to speak, hoping that he would reprove and so perhaps even forgive her. But Charles Gifford was thinking only of the snakes on the beaches.

1964

Storm-Bird, Storm-Dreamer

At dawn the bodies of the dead birds shone in the damp light of the marsh, their grey plumage hanging in the still water like fallen clouds. Each morning when Crispin went out on to the deck of the picket ship he would see the birds lying in the creeks and waterways where they had died two months earlier, their wounds cleansed now by the slow current, and he would watch the white-haired woman who lived in the empty house below the cliff walking by the river. Along the narrow beach the huge birds, larger than condors, lay at her feet. As Crispin gazed at her from the bridge of the picket ship she moved among them, now and then stooping to pluck a feather from the outstretched wings. At the end of her walk, when she returned across the damp meadow to the empty house, her arms would be loaded with immense white plumes.

At first Crispin had felt an obscure sense of annoyance at the way this strange woman descended on to the beach and calmly plundered the plumage of the dead birds. Although many thousands of the creatures lay along the margins of the river and in the marshes around the inlet where the picket ship was moored, Crispin still maintained a proprietary attitude towards them. He himself, almost single-handedly, had been responsible for the slaughter of the birds in the last terrifying battles when they had come from their eyries along the North Sea and attacked the picket ship. Each of the immense white creatures - for the most part gulls and gannets, with a few fulmars and petrels - carried his bullet in its heart like a jewel.

As he watched the woman cross the overgrown lawn to her house Crispin remembered again the frantic hours before the birds' final hopeless attack. Hopeless it seemed now, when their bodies lay in a wet quilt over the cold Norfolk marshes, but then, only two months earlier, when the sky above the ship had been dark with their massing forms, it was Crispin who had given up hope.

The birds had been larger than men, with wing spans of twenty feet or more that shut out the sun. Crispin had raced like a madman across the rusty metal decks, dragging the ammunition cans in his torn arms from the armoury and loading them into the breeches of the machine-guns, while Quimby, the idiot youth from the farm at Long Reach whom Crispin had persuaded to be his gun loader, gibbered to himself on the foredeck, hopping about on his club foot as he tried to escape from the huge shadows sweeping across him. When the birds began their first dive, and the sky turned into a white scythe, Crispin had barely enough time to buckle himself into the shoulder harness of the turret.

Yet he had won, shooting the first wave down into the marshes as they soared towards him like a white armada, then turning to fire at the second group swooping in low across the river behind his back. The hull of the picket ship was still dented with the impacts their bodies had made as they struck the sides above the waterline. At the height of the battle the birds had been everywhere, wings like screaming crosses against the sky, their corpses crashing through the rigging on to the decks around him as he swung the heavy guns, firing from rail to rail. A dozen times Crispin had given up hope, cursing the men who had left him alone on this rusty hulk to face the giant birds, and who made him pay for Quimby out of his own pocket.

But then, when the battle had seemed to last for ever, when the sky was still full of birds and his ammunition had nearly gone, he noticed Quimby dancing on the corpses heaped on the deck, pitching them into the water with his two-pronged fork as they thudded around him.

Then Crisp in knew that he had won. When the firing slackened Quimby dragged up more ammunition, eager for killing, his face and deformed chest smeared with feathers and blood. Shouting himself now, with a fierce pride in his own courage and fear, Crispin had destroyed the remainder of the birds, shooting the stragglers, a few fledgling peregrines, as they fled towards the cliff. For an hour after the last of the birds had died, when the river and the creeks near the ship ran red with their blood, Crispin had sat in the turret, firing the guns at the sky that had dared attack him.

Later, when the excitement and pulse of the battle had passed, he realized that the only witness of his stand against this aerial armageddon had been a club-footed idiot to whom no one would ever listen. Of course, the white-haired woman had been there, hiding behind the shutters in her house, but Crispin had not noticed her until several hours had passed, when she began to walk among the corpses. To begin with, therefore, he had been glad to see the birds lying where they had fallen, their blurred forms eddying away in the cold water of the river and the marshes. He sent Quimby back to his farm, and watched the idiot dwarf punt his way down-river among the swollen corpses. Then, crossed bandoliers of machine-gun cartridges around his chest, Crispin took command of his bridge.

The woman's appearance on the scene he welcomed, glad someone else was there to share his triumph, and well aware that she must have noticed him patrolling the captain's walk of the picket ship. But after a single glance the woman never again looked at him. She seemed intent only on searching the beach and the meadow below her house.

On the third day after the battle she had come out on to the lawn with Quimby, and the dwarf spent the morning and afternoon clearing away the bodies of the birds that had fallen there. He heaped them on to a heavy wooden tumbril, then harnessed himself between the shafts and dragged them away to a pit near the farm. The following day he appeared again in a wooden skiff and punted the woman, standing alone in the bows like an aloof wraith, among the bodies of the birds floating in the water. Now and then Quimby turned one of the huge corpses over with his pole, as if searching for something among them - there were apocryphal stories, which many townsfolk believed, that the beaks of the birds carried tusks of ivory, but Crispin knew this to be nonsense.

These movements of the women puzzled Crispin, who felt that his conquest of the birds had also tamed the landscape around the picket ship and everything in it. Shortly afterwards, when the woman began to collect the wing feathers of the birds, he felt that she was in some way usurping a privilege reserved for him alone. Sooner or later the river voles, rats and other predators of the marshes would destroy the birds, but until then he resented anyone else looting this drowned treasure which he had won so hard. After the battle he had sent a short message in his crabbed handwriting to the district officer at the station twenty miles away, and until a reply came he preferred that the thousands of bodies should lie where they had fallen. As a conscripted member of the picket service he was not eligible for a bounty, but Crispin dimly hoped he might receive a medal or some sort of commendation.

The knowledge that the woman was his only witness, apart from the idiot Quimby, deterred Crispin from doing anything that might antagonize her. Also, the woman's odd behaviour made Crispin suspect that she too might be mad. He had never seen her at a shorter distance than the three hundred yards separating the picket ship from the bank below her house, but through the telescope mounted on the rail of the bridge he followed her along the beach, and saw more clearly the white hair and the ashen skin of her high face. Her arms were thin but strong, hands held at her waist as she moved about in a grey ankle-length robe. Her bedraggled appearance was that of someone unaware that she had lived alone for a long time.

For several hours Crispin watched her walking among the corpses. The tide cast a fresh freight on to the sand each day, but now that the bodies were decomposing their appearance, except at a distance, was devoid of any sentiment. The shallow inlet in which the picket ship was moored - the vessel was one of the hundreds of old coastal freighters hastily converted to duty when the first flocks of giant birds appeared two years earlier - faced the house across the river. Through the telescope Crispin could count the scores of pockmarks in the white stucco where spent bullets from his guns had lodged themselves.

At the end of her walk the woman had filled her arms with a garland of feathers. As Crispin watched, hands clasping the bandoliers across his chest, she went over to one of the birds, walking into the shallow water to peer into its halfsubmerged face. Then she plucked a single plume from its wing and added it to the collection in her arms.

Restlessly Crispin returned to the telescope. In the narrow eyepiece her swaying figure, almost hidden by the spray of white feathers, resembled that of some huge decorative bird, a white peacock. Perhaps in some bizarre way she imagined she was a bird?

In the wheelhouse Crispin fingered the signal pistol fastened to the wall. When she came out the next morning he could fire one of the flares over her head, warning her that the birds were his, subjects of his own transitory kingdom. The farmer, Hassell, who had come with Quimby for permission to burn some of the birds for use as fertilizer, had plainly acknowledged Crispin's moral rights over them.

Usually Crispin made a thorough inspection of the ship each morning, counting the ammunition cases and checking the gunnery mountings. The metal caissons were splitting the rusty decks. The whole ship was settling into the mud below. At high tide Crispin would listen to the water pouring through a thousand cracks and rivet holes like an army of silver-tongued rats.

This morning, however, his inspection was brief. After testing the turret on the bridge - there was always the chance of a few stragglers appearing from the nesting grounds along the abandoned coast - he went back to his telescope. The woman was somewhere behind the house, cutting down the remains of a small rose pergola. Now and then she would look up at the sky and at the cliff above, scanning the dark line of the escarpment as if waiting for one of the birds.

This reminder that he had overcome his own fears of the giant birds made Crispin realize why he resented the woman plucking their feathers. As their bodies and plumage began to dissolve he felt a growing need to preserve them. Often he found himself thinking of their great tragic faces as they swooped down upon him, in many ways more to be pitied than feared, victims of what the district officer had called a 'biological accident' - Crispin vaguely remembered him describing the new growth promoters used on the crops in East Anglia and the extraordinary and unforeseen effects on the bird life.

Five years earlier Crispin had been working in the fields as a labourer, unable to find anything better after his wasted years of military service. He remembered the first of the new sprays being applied to the wheat and fruit crops, and the tacky phosphorescent residue that made them glimmer in the moonlight, transforming the placid agricultural backwater into a strange landscape where the forces of some unseen nature were forever gathering themselves in readiness. The fields had been covered with the dead bodies of gulls and magpies whose mouths were clogged with this silvering gum. Crispin himself had saved many of the half-conscious birds, cleaning their beaks and feathers, and sending them off to their sailing grounds along the coast.

Three years later the birds had returned. The first giant cormorants and black-headed gulls had wing spans of ten or twelve feet, strong bodies and beaks that could slash a dog apart, Soaring low over the fields as Crispin drove his tractor under the empty skies, they seemed to be waiting for something.

The next autumn a second generation of even larger birds appeared, sparrows as fierce as eagles, gannets and gulls with the wing spans of condors. These immense creatures, with bodies as broad and powerful as a man's, flew out of the storms along the coast, killing the cattle in the fields and attacking the farmers and their families. Returning for some reason to the infected crops that had given them this wild spur to growth, they were the advance guard of an aerial armada of millions of birds that filled the skies over the country. Driven by hunger, they began to attack the human beings who were their only source of food.

Crispin had been too busy defending the farm where he lived to follow the course of the battle against the birds all over the world. The farm, only ten miles from the coast, had been besieged. After the dairy cattle had been slaughtered, the birds turned to the farm buildings. One night Crispin woke as a huge frigate bird, its shoulders wider than a door, had shattered the wooden shutters across his window and thrust itself into his room. Seizing his pitchfork, Crispin nailed it by the neck to the wall.

After the destruction of the farm, in which the owner, his family and three of the labourers died. Crispin volunteered to join the picket service. The district officer who headed the motorized militia column at first refused Crispin's offer of help. Surveying the small, ferret-like man with his beaked nose and the birthmark like a star below his left eye, hobbling in little more than a blood-streaked singlet across the wreck of the farmhouse, as the last of the birds wheeled away like giant crosses, the district officer had shaken his head, seeing in Crispin's eyes only the blind hunt for revenge.

However, when they counted the dead birds around the brick kiln where Crispin had made his stand, armed only with a scythe a head taller than himself, the officer had taken him on. He was given a rifle, and for half an hour they moved through the shattered fields near by, filled with the stripped skeletons of cattle and pigs, finishing off the wounded birds that lay there.

Finally, Crispin had come to the picket ship, a drab hulk rusting in a backwater of riverine creeks and marshes, where a dwarf punted his coracle among the dead birds and a mad woman bedecked herself on the beach with garlands of feathers.

For an hour Crispin paced round the ship, as the woman worked behind the house. At one point she appeared with a laundry basket filled with feathers and spread them out on a trestle table beside the rose pergola.

At the stern of the ship Crispin kicked open the galley door. He peered into the murky interior.

'Quimby! Are you there?'

This damp hovel was still maintained as a home from home by Quimby. The dwarf would pay sudden visits to Crispin, presumably in the hope of seeing further action against the birds.

When there was no reply Crispin shouldered his rifle and made for the gangway. Still eyeing the opposite shore, where a small fire was now sending a plume of grey smoke into the placid air, he tightened his bandoliers and stepped down the creaking gangway to the launch at the bottom.

The dead bodies of the birds were massed around the picket ship in a soggy raft. After trying to drive the launch through them Crispin stopped the outboard motor and seized the gaff. Many of the birds weighed as much as five hundred pounds, lying in the water with their wings interlocked, tangled up with the cables and rope tossed down from the decks. Crispin could barely push them apart with the gaff, and slowly forced the launch to the mouth of the inlet.

He remembered the district officer telling him that the birds were closely related to the reptiles - evidently this explained their blind ferocity and hatred of the mammals - but to Crispin their washed faces in the water looked more like those of drowned dolphins, almost manlike in their composed and individual expressions. As he made his way across the river past the drifting forms it seemed to him that he had been attacked by a race of winged men, driven on not by cruelty or blind instinct but by a sense of some unknown and irrevocable destiny. Along the opposite bank the silver forms of the birds lay among the trees and on the open patches of grass. As he sat in the launch on the water the landscape seemed to Crispin like the morning after some apocalyptic battle of the heavens, the corpses like those of fallen angels.

He moored the launch by the beach, pushing aside the dead birds lying in the shallows. For some reason a flock of pigeons, a few doves among them, had fallen at the water's edge. Their plump-breasted bodies, at least ten feet from head to tail, lay as if asleep on the damp sand, eyes closed in the warm sunlight. Holding his bandoliers to prevent them slipping off his shoulders, Crispin climbed the bank. Ahead lay a small meadow filled with corpses. He walked through them towards the house, now and then treading on the wing tips.

A wooden bridge crossed a ditch into the grounds of the house. Beside it, like a heraldic symbol pointing his way, reared the up-ended wing of a white eagle. The immense plumes with their exquisite modelling reminded him of monumental sculpture, and in the slightly darker light as he approached the cliff the apparent preservation of the birds' plumage made the meadow resemble a vast avian mortuary garden.

As he rounded the house the woman was standing by the trestle table, laying out more feathers to dry. To her left, beside the frame of the gazebo, was what Crispin at first assumed to be a bonfire of white feathers, piled on to a crude wooden framework she had built from the remains of the pergola. An air of dilapidation hung over the house most of the windows had been broken by the birds during their attacks over the past years, and the garden and yard were filled with litter.

The woman turned to face Crispin. To his surprise she gazed at him with a hard eye, unimpressed by the brigand-like appearance he presented with his cartridge bandoliers, rifle and scarred face. Through the telescope he had guessed her to be elderly, but in fact she was barely more than thirty years old, her white hair as thick and well groomed as the plumage of the dead birds in the fields around them. The rest of her, however, despite the strong figure and firm hands, was as neglected as the house. Her handsome face, devoid of all make-up, seemed to have been deliberately exposed to the cutting winter winds, and the long woollen robe she wore was stained with oil, its frayed hem revealing a pair of worn sandals.

Crispin came to a halt in front of her, for a moment wondering why he was visiting her at all. The few bales of feathers heaped on the pyre and drying on the trestle table seemed no challenge to his authority over the birds - the walk across the meadow had more than reminded him of that. Yet he was aware that something, perhaps their shared experience of the birds, bonded him and the young woman. The empty killing sky, the freighted fields silent in the sun, and the pyre beside them imposed a sense of a common past.

Laying the last of the feathers on the trestle, the woman said, 'They'll dry soon. The sun is warm today. Can you help me?'

Crispin moved forward uncertainly. 'How do you mean? Of course.'

The woman pointed to a section of the rose pergola that was still standing. A rusty saw was embedded in a small groove the woman had managed to cut in one of the uprights. 'Can you cut that down for me?'

Crispin followed her over to the pergola, unslinging his rifle. He pointed to the remains of a pine fence that had collapsed to one side of the old kitchen garden. 'You want wood? That'll burn better.'

'No - I need this frame. It's got to be strong.' She hesitated as Crispin continued to fiddle with his rifle, her voice more defensive. 'Can you do it? The little dwarf couldn't come today. He usually helps me.'

Crispin raised a hand to silence her. 'I'll help you.' He leaned his rifle against the pergola and took hold of the saw, after a few strokes freed it from its groove and made a clean start.

'Thank you.' As he worked the woman stood beside him, looking down with a friendly smile as the cartridge bandoliers began to flap rhythmically to the motion of his arm and chest.

Crispin stopped, reluctant to shed the bandoliers of machine-gun bullets, the badge of his authority. He glanced in the direction of the picket ship, and the woman, taking her cue, said, 'You're the captain? I've seen you on the bridge.'

'Well...' Crispin had never heard himself described as the vessel's captain, but the title seemed to carry a certain status. He nodded modestly. 'Crispin,' he said by way of introduction. 'Captain Crispin. Glad to help you.'

'I'm Catherine York.' Holding her white hair to her neck with one hand, the woman smiled again. She pointed to the rusting hulk. 'It's a fine ship.'

Crispin worked away at the saw, wondering whether she was missing the point. When he carried the frame over to the pyre and laid it at the base of the feathers he replaced his bandoliers with calculated effect. The woman appeared not to notice, but a moment later, when she glanced up at the sky, he raised his rifle and went up to her.

'Did you see one? Don't worry, I'll get it.' He tried to follow her eyes as they swept across the sky after some invisible object that seemed to vanish beyond the cliff, but she turned away and began to adjust the feathers mechanically. Crispin gestured at the fields around them, feeling his pulse beat again at the prospect and fear of battle. 'I shot all these..

'What? I'm sorry, what did you say?' The woman looked around. She appeared to have lost interest in Crispin and was vaguely waiting for him to leave.

'Do you want more wood?' Crispin asked. 'I can get some.'

'I have enough.' She touched the feathers on the trestle, then thanked Crispin and walked off into the house, closing the hall door on its rusty hinges.

Crispin made his way across the lawn and through the meadow. The birds lay around him as before, but the memory, however fleeting, of the woman's sympathetic smile made him ignore them. He set off in the launch, pushing away the floating birds with brusque motions of the gaff. The picket ship sat at its moorings, the soggy raft of grey corpses around it. For once the rusting hulk depressed Crispin.

As he climbed the gangway he saw Quimby's small figure on the bridge, wild eyes roving about at the sky. Crispin had expressly forbidden the dwarf to be near the steering helm, though there was little likelihood of the picket ship going anywhere. Irritably he shouted at Quimby to get off the ship.

The dwarf leaped down the threadbare network of ratlines to the deck. He scurried over to Crispin.

'Crisp!' he shouted in his hoarse whisper. 'They saw one! Coming in from the coast! Hassell told me to warn you.'

Crispin stopped. Heart pounding, he scanned the sky out of the sides of his eyes, at the same time keeping a close watch on the dwarf. 'When?'

'Yesterday.' The dwarf wriggled one shoulder, as if trying to dislodge a stray memory. 'Or was it this morning? Anyway, it's coming. Are you ready, Crisp?'

Crispin walked past, one hand firmly on the breech of his rifle. 'I'm always ready,' he rejoined. 'What about you?' He jerked a finger at the house. 'You should have been with the woman. Catherine York. I had to help her. She said she didn't want to see you again.'

'What?' The dwarf scurried about, hands dancing along the rusty rail.

He gave up with an elaborate shrug. 'Ah, she's a strange one. Lost her man, you know, Crisp. And her baby.'

Crispin paused at the foot of the bridge companionway. 'Is that right? How did it happen?'

'A dove killed the man, pulled him to pieces on the roof, then took the baby. A tame bird, mark you.' He nodded when Crispin looked at him sceptically. 'That's it. He was another strange one, that York. Kept this big dove on a chain.'

Crispin climbed on to the bridge and stared across the river at the house. After musing to himself for five minutes he kicked Quimby off the ship, and then spent half an hour checking the gunnery installation. The reported sighting of one of the birds he discounted - no doubt a few strays were still flitting about, searching for their flocks - but the vulnerability of the woman across the river reminded him to take every precaution. Near the house she would be relatively safe, but in the open, during her walks along the beach, she would be an all too easy prey.

It was this undefined feeling of responsibility towards Catherine York that prompted him, later that afternoon, to take the launch out again. A quarter of a mile down-river he moored the craft by a large open meadow, directly below the flight path of the birds as they had flown in to attack the picket ship. Here, on the cool green turf, the dying birds had fallen most thickly. A recent fall of rain concealed the odour of the immense gulls and fulmars lying across each other like angels. In the past Crispin had always moved with pride among this white harvest he had reaped from the sky, but now he hurried down the winding aisles between the birds, a wicker basket under his arm, intent only on his errand.

When he reached the higher ground in the centre of the meadow he placed the basket on the carcass of a dead falcon and began to pluck the feathers from the wings and breasts of the birds lying about him. Despite the rain, the plumage was almost dry. Crispin worked steadily for half an hour, tearing out the feathers with his hands, then carried the basketfuls of plumes down to the launch. As he scurried about the meadow his bent head and shoulders were barely visible above the corpses of the birds.

By the time he set off in the launch the small craft was loaded from bow to stern with the bright plumes. Crispin stood in the steering well, peering over his cargo as he drove up-river. He moored the boat on the beach below the woman's house. A thin trail of smoke rose from the fire, and he could hear Mrs York chopping more kindling.

Crispin walked through the shallow water around the boat, selecting the choicest of the plumes and arranging them around the basket - a falcon's brilliant tail feathers, the mother-of-pearl plumes of a fulmar, the brown breast feathers of an eider. Shouldering the basket, he set off towards the house.

Catherine York was moving the trestle closer to the fire, straightening the plumes as the smoke drifted past them. More feathers had been added to the pyre built on to the frame of the pergola. The outer ones had been woven together to form a firm rim.

Crispin put the basket down in front of her, then stood back. 'Mrs York, I brought these. I thought you might use them.'

The woman glanced obliquely at the sky, then shook her head as if puzzled. Crispin suddenly wondered if she recognized him. 'What are they?'

'Feathers. For over there.' Crispin pointed at the pyre. 'They're the best I could find.'

Catherine York knelt down, her skirt hiding the scuffed sandals. She touched the coloured plumes as if recalling their original owners. 'They are beautiful. Thank you, captain.' She stood up. 'I'd like to keep them, but I need only this kind.'

Crispin followed her hand as she pointed to the white feathers on the trestle. With a curse, he slapped the breech of the rifle.

'Doves! They're all doves! I should have noticed!' He picked up the basket. 'I'll get you some.'

'Crispin...' Catherine York took his arm. Her troubled eyes wandered about his face, as if hoping to find some kindly way of warning him off. 'I have enough, thank you. It's nearly finished now.'

Crispin hesitated, waiting for himself to say something to this beautiful white-haired woman whose hands and robe were covered with the soft down of the doves. Then he picked up the basket and made his way back to the launch.

As he sailed across the river to the ship he moved up and down the launch, casting the cargo of feathers on to the water. Behind him, the soft plumes formed a wake.

That night, as Crispin lay in his rusty bunk in the captain's cabin, his dreams of the giant birds who filled the moonlit skies of his sleep were broken by the faint ripple of the air in the rigging overhead, the muffled hoot of an aerial voice calling to itself. Waking, Crispin lay still with his head against the metal stanchion, listening to the faint whoop and swerve around the mast.

Crispin leaped from the bunk. He seized his rifle and raced barefoot up the companionway to the bridge. As he stepped on to the deck, sliding the barrel of the rifle into the air, he caught a last glimpse against the moonlit night of a huge white bird flying away across the river.

Crispin rushed to the rail, trying to steady the rifle enough to get in a shot at the bird. He gave up as it passed beyond his range, its outline masked by the cliff. Once warned, the bird would never return to the ship. A stray, no doubt it was hoping to nest among the masts and rigging.

Shortly before dawn, after a ceaseless watch from the rail, Crispin set off across the river in the launch. Over-excited, he was convinced he had seen it circling above the house. Perhaps it had seen Catherine York asleep through one of the shattered windows. The muffled echo of the engine beat across the water, broken by the floating forms of the dead birds. Crispin crouched forward with the rifle and drove the launch on to the beach. He ran through the darkened meadow, where the corpses lay like silver shadows. He darted into the cobbled yard and knelt by the kitchen door, trying to catch the sounds of the sleeping woman in the room above.

For an hour, as the dawn lifted over the cliff, Crispin prowled around the house. There were no signs of the bird, but at last he came across the mound of feathers mounted on the pergola frame. Peering into the soft grey bowl, he realized that he had caught the dove in the very act of building a nest.

Careful not to waken the woman sleeping above him beyond the cracked panes, he destroyed the nest. With his rifle butt he stove in the sides, then knocked a hole through the woven bottom. Then, happy that he had saved Catherine York from the nightmare of walking from her house the next morning and seeing the bird waiting to attack her from its perch on this stolen nest, Crispin set off through the gathering light and returned to the ship.

For the next two days, despite his vigil on the bridge, Crispin saw no more of the dove. Catherine York remained within the house, unaware of her escape. At night, Crispin would patrol her house. The changing weather, and the first taste of the winter to come, had unsettled the landscape, and during the day Crispin spent more time upon the bridge, uneager to look out on the marshes that surrounded the ship.

On the night of the storm, Crispin saw the bird again. All afternoon the dark clouds had come in from the sea along the river basin, and by evening the cliff beyond the house was hidden by the rain. Crispin was in the bridge-house, listening to the bulkheads groaning as the ship was driven farther into the mud by the wind.

Lightning flickered across the river, lighting the thousands of corpses in the meadows. Crispin leaned on the helm, gazing at the gaunt reflection of himself in the darkened glass, when a huge white face, beaked like his own, swam into his image. As he stared at this apparition, a pair of immense white wings seemed to unfurl themselves from his shoulders. Then this lost dove, illuminated in a flicker of lightning, rose into the gusting wind around the mast, its wings weaving themselves among the steel cables.

It was still hovering there, trying to find shelter from the rain, when Crispin stepped on to the deck and shot it through the heart.

At first light Crispin left the bridge-house and climbed on to the roof. The dead bird hung, its wings outstretched, in a clutter of steel coils beside the lookout's nest. Its mournful face gaped down at Crispin, its expression barely changed since it loomed out of his own reflection at the height of the storm. Now, as the flat wind faded across the water, Crispin watched the house below the cliff. Against the dark vegetation of the meadows and marshes the bird hung like a white cross, and he waited for Catherine York to come to a window, afraid that a sudden gust might topple the dove to the deck.

When Quimby arrived in his coracle two hours later, eager to see the bird, Crispin sent him up the mast to secure the dove to the cross-tree. Dancing about beneath the bird, the dwarf seemed mesmerized by Crispin, doing whatever the latter told him.

'Fire a shot at her, Crisp!' he exhorted Crispin, who stood disconsolately by the rail. 'Over the house, that'll bring her out!'

'Do you think so?' Crispin raised the rifle, ejecting the cartridge whose bullet had destroyed the bird. He watched the bright shell tumble down into the feathery water below. 'I don't know... it might frighten her. I'll go over there.'

'That's the way, Crisp...' The dwarf scuttled about. 'Bring her back here - I'll tidy it up for you.'

'Maybe I will.'

As he berthed the launch on the beach Crispin looked back at the picket ship, reassuring himself that the dead dove was clearly visible in the distance. In the morning sunlight the plumage shone like snow against the rusting masts.

When he neared the house he saw Catherine York standing in the doorway, her wind-blown hair hiding her face, watching him approach with stern eyes.

He was ten yards from her when she stepped into the house and half closed the door. Crispin began to run, and she leaned out and shouted angrily: 'Go away! Go back to the ship and those dead birds you love so much!'

'Miss Catherine...' Crispin stammered to a halt by the door. 'I saved you... Mrs York!'

'Saved? Save the birds, captain!'

Crispin tried to speak, but she slammed the door. He walked back through the meadow and punted across the river to the picket ship, unaware of Quimby's insane moon eyes staring down at him from the rail.

'Crisp... What's the matter?' For once the dwarf was gentle. 'What happened?'

Crispin shook his head. He gazed up at the dead bird, struggling to find some solution to the woman's last retort. 'Quimby,' he said in a quiet voice to the dwarf, 'Quimby, she thinks she's a bird.'

During the next week this conviction grew in Crispin's bewildered mind, as did his obsession with the dead bird. Looming over him like an immense murdered angel, the dove's eyes seemed to follow him about the ship, reminding him of when it had first appeared, almost from within his own face, in the mirror-glass of the bridgehouse.

It was this sense of identity with the bird that was to spur Crispin to his final stratagem.

Climbing the mast, he secured himself to the lookout's nest, and with a hacksaw cut away the steel cables tangled around the dove's body. In the gathering wind the great white form of the bird swayed and dipped, its fallen wings almost knocking Crispin from his perch. At intervals the rain beat across them, but the drops helped to wash away the blood on the bird's breast and the chips of rust from the hacksaw. At last Crispin lowered the bird to the deck, then lashed it to the hatch cover behind the funnel.

Exhausted, he slept until the next day. At dawn, armed with a machete, he began to eviscerate the bird.

Three days later, Crispin stood on the cliff above the house, the picket ship far below him across the river. The hollow carcass of the dove which he wore over his head and shoulders seemed little heavier than a pillow. In the brief spell of warm sunlight he lifted the outstretched wings, feeling their buoyancy and the cutting flow of air through the feathers. A few stronger gusts moved across the crest of the ridge, almost lifting him into the wind, and he stepped closer to the small oak which hid him from the house below.

Against the trunk rested his rifle and bandoliers. Crispin lowered the wings and gazed up at the sky, making certain for the last time that no stray hawk or peregrine was about. The effectiveness of the disguise had exceeded all his hopes. Kneeling on the ground, the wings furled at his sides and the hollowed head of the bird lowered over his face, he felt he completely resembled the dove.

Below him the ground sloped towards the house. From the deck of the picket ship the cliff face had seemed almost vertical, but in fact the ground shelved downwards at a steady but gentle gradient. With luck he might even manage to be airborne for a few steps. However, for most of the way to the house he intended simply to run downhill.

As he waited for Catherine York to appear he freed his right arm from the metal clamp he had fastened to the wing bone of the bird. He reached out to set the safety catch on his rifle. By divesting himself of the weapon and his bandoliers, and assuming the disguise of the bird, he had, as he understood, accepted the insane logic of the woman's mind. Yet the symbolic flight he was about to perform would free not only Catherine York, but himself as well, from the spell of the birds.

A door opened in the house, a broken pane of glass catching the sunlight. Crispin stood up behind the oak, his hands bracing themselves on the wings. Catherine York appeared, carrying something across the yard. She paused by the rebuilt nest, her white hair lifting in the breeze, and adjusted some of the feathers.

Stepping from behind the tree, Crispin walked forward down the slope. Ten yards ahead he reached a patch of worn turf. He began to run, the wings flapping unevenly at his sides. As he gained speed his feet raced across the ground. Suddenly the wings steadied as they gained their purchase on the updraught, and he found himself able to glide, the air rushing past his face.

He was a hundred yards from the house when the woman noticed him. A few moments later, when she had brought her shotgun from the kitchen, Crispin was too busy trying to control the speeding glider in which he had become a confused but jubilant passenger. His voice cried out as he soared across the falling ground, feet leaping in ten-yard strides, the smell of the bird's blood and plumage filling his lungs.

He reached the perimeter of the meadow that ringed the house, crossing the hedge fifteen feet above the ground. He was holding with one hand to the soaring carcass of the dove, his head half-lost inside the skull, when the woman fired twice at him. The first charge went through the tail, but the second shot hit him in the chest, down into the soft grass of the meadow among the dead birds.

Half an hour later, when she saw that Crispin had died, Catherine York walked forward to the twisted carcass of the dove and began to pluck away the choicest plumes, carrying them back to the nest which she was building again for the great bird that would come one day and bring back her son.

1966

The Screen Game

Every afternoon during the summer at Ciraquito we play the screen game. After lunch today, when the arcades and caf terraces were empty and everyone was lying asleep indoors, three of us drove out in Raymond Mayo's Lincoln along the road to Vermilion Sands.

The season had ended, and already the desert had begun to move in again for the summer, drifting against the yellowing shutters of the cigarette kiosks, surrounding the town with immense banks of luminous ash. Along the horizon the flat-topped mesas rose into the sky like the painted cones of a volcano jungle. The beach-houses had been empty for weeks, and abandoned sand-yachts stood in the centre of the lakes, embalmed in the opaque heat. Only the highway showed any signs of activity, the motion sculpture of concrete ribbon unfolding across the landscape.

Twenty miles from Ciraquito, where the highway forks to Red Beach and Vermilion Sands, we turned on to the remains of an old gravel track that ran away among the sand reefs. Only a year earlier this had been a well-kept private road, but the ornamental gateway lay collapsed to one side, and the guardhouse was a nesting place for scorpions and sand-rays.

Few people ever ventured far up the road. Continuous rock slides disturbed the area, and large sections of the surface had slipped away into the reefs. In addition a curious but unmistakable atmosphere of menace hung over the entire zone, marking it off from the remainder of the desert. The hanging galleries of the reefs were more convoluted and sinister, like the tortured demons of medieval cathedrals. Massive towers of obsidian reared over the roadway like stone gallows, their cornices streaked with iron-red dust. The light seemed duller, unlike the rest of the desert, occasionally flaring into a sepulchral glow as if some subterranean fire-cloud had boiled to the surface of the rocks. The surrounding peaks and spires shut out the desert plain, and the only sounds were the echoes of the engine growling among the hills and the piercing cries of the sand-rays wheeling over the open mouths of the reefs like hieratic birds.

For half a mile we followed the road as it wound like a petrified snake above the reefs, and our conversation became more sporadic and fell away entirely, resuming only when we began our descent through a shallow valley. A few abstract sculptures stood by the roadside. Once these were sonic, responding to the slipstream of a passing car with a series of warning vibratos, but now the Lincoln passed them unrecognized.

Abruptly, around a steep bend, the reefs and peaks vanished, and the wide expanse of an inland sand-lake lay before us, the great summer house of Lagoon West on its shore. Fragments of light haze hung over the dunes like untethered clouds. The tyres cut softly through the cerise sand, and soon we were overrunning what appeared to be the edge of an immense chessboard of black and white marble squares. More statues appeared, some buried to their heads, others toppled from their plinths by the drifting dunes.

Looking out at them this afternoon, I felt, not for the first time, that the whole landscape was compounded of illusion, the hulks of fabulous dreams drifting across it like derelict galleons. As we followed the road towards the lake, the huge wreck of Lagoon West passed us slowly on our left. Its terraces and balconies were deserted, and the once marble-white surface was streaked and lifeless. Staircases ended abruptly in midflight, and the floors hung like sagging marquees.

In the centre of the terrace the screens stood where we had left them the previous afternoon, their zodiacal emblems flashing like serpents. We walked across to them through the hot sunlight. For the next hour we played the screen game, pushing the screens along their intricate pathways, advancing and retreating across the smooth marble floor.

No one watched us, but once, fleetingly, I thought I saw a tall figure in a blue cape hidden in the shadows of a second-floor balcony.

'Emerelda!'

On a sudden impulse I shouted to her, but almost without moving she had vanished among the hibiscus and bougainvillaea. As her name echoed away among the dunes I knew that we had made our last attempt to lure her from the balcony.

'Paul.' Twenty yards away, Raymond and Tony had reached the car. 'Paul, we're leaving.'

Turning my back to them, I looked up at the great bleached hulk of Lagoon West leaning into the sunlight. Somewhere, along the shore of the sand-lake, music was playing faintly, echoing among the exposed quartz veins. A few isolated chords at first, the fragments hung on the afternoon air, the sustained tremolos suspended above my head like the humming of invisible insects.

As the phrases coalesced, I remembered when we had first played the screen game at Lagoon West. I remembered the last tragic battle with the jewelled insects, and I remembered Emerelda Garland...

I first saw Emerelda Garland the previous summer, shortly after the film company arrived in Ciraquito and was invited by Charles Van Stratten to use the locations at Lagoon West. The company, Orpheus Productions, Inc. - known to the aficionados of the caf terraces such as Raymond Mayo and Tony Sapphire as the 'ebb tide of the new wave' - was one of those experimental units whose output is destined for a single rapturous showing at the Cannes Film Festival, and who rely for their financial backing on the generosity of the many millionaire dilettantes who apparently feel a compulsive need to cast themselves in the role of Lorenzo de Medici.

Not that there was anything amateurish about the equipment and technical resources of Orpheus Productions. The fleet of location trucks and recording studios which descended on Ciraquito on one of those empty August afternoons looked like the entire D-Day task force, and even the more conservative estimates of the budget for Aphrodite 80, the film we helped to make at Lagoon West, amounted to at least twice the gross national product of a Central American republic. What was amateurish was the indifference to normal commercial restraints, and the unswerving dedication to the highest aesthetic standards.

All this, of course, was made possible by the largesse of Charles Van Stratten. To begin with, when we were first co-opted into Aphrodite 80, some of us were inclined to be amused by Charles's naive attempts to produce a masterpiece, but later we all realized that there was something touching about Charles-'s earnestness. None of us, however, was aware of the private tragedy which drove him on through the heat and dust of that summer at Lagoon West, and the grim nemesis waiting behind the canvas floats and stage props.

At the time he became the sole owner of Orpheus Productions, Charles Van Stratten had recently celebrated his fortieth birthday, but to all intents he was still a quiet and serious undergraduate. A scion of one of the world's wealthiest banking families, in his early twenties he had twice been briefly married, first to a Neapolitan countess, and then to a Hollywood starlet, but the most influential figure in Charles's life was his mother. This domineering harridan, who sat like an immense ormolu spider in her sombre Edwardian mansion on Park Avenue, surrounded by dark galleries filled with Rubens and Rembrandt, had been widowed shortly after Charles's birth, and obviously regarded Charles as providence's substitute for her husband. Cunningly manipulating a web of trust funds and residuary legacies, she ruthlessly eliminated both Charles's wives (the second committed suicide in a Venetian gondola, the first eloped with his analyst), and then herself died in circumstances of some mystery at the summerhouse at Lagoon West.

Despite the immense publicity attached to the Van Stratten family, little was ever known about the old dowager's death - officially she tripped over a second-floor balcony - and Charles retired completely from the limelight of international celebrity for the next five years. Now and then he would emerge briefly at the Venice Biennale, or serve as co-sponsor of some cultural foundation, but otherwise he retreated into the vacuum left by his mother's death. Rumour had it - at least in Ciraquito - that Charles himself had been responsible for her quietus, as if revenging (how long overdue!) the tragedy of Oedipus, when the dowager, scenting the prospect of a third liaison, had descended like Jocasta upon Lagoon West and caught Charles and his paramour in flagrante.

Much as I liked the story, the first glimpse of Charles Van Stratten dispelled the possibility. Five years after his mother's death, Charles still behaved as if she were watching his every movement through tripod-mounted opera glasses on some distant balcony. His youthful figure was a little more portly, but his handsome aristocratic face, its strong jaw belied by an indefinable weakness around the mouth, seemed somehow daunted and indecisive, as if he lacked complete conviction in his own identity.

Shortly after the arrival in Ciraquito of Orpheus Productions, the property manager visited the cafs in the artists' quarters, canvassing for scenic designers. Like most of the painters in Ciraquito and Vermilion Sands, I was passing through one of my longer creative pauses. I had stayed on in the town after the season ended, idling away the long, empty afternoons under the awning at the Caf Fresco, and was already showing symptoms of beach fatigue irreversible boredom and inertia. The prospect of actual work seemed almost a novelty.

'Aphrodite 80,' Raymond Mayo explained when he returned to our table after a kerb-side discussion. 'The whole thing reeks of integrity they want local artists to paint the flats, large abstract designs for the desert backgrounds. They'll pay a dollar per square foot.'

'That's rather mean,' I commented.

'The property manager apologized, but Van Stratten is a millionaire - money means nothing to him. If it's any consolation, Raphael and Michelangelo were paid a smaller rate for the Sistine Chapel.'

'Van Stratten has a bigger budget,' Tony Sapphire reminded him. 'Besides, the modern painter is a more complex type, his integrity needs to be buttressed by substantial assurances. Is Paul a painter in the tradition of Leonardo and Larry Rivers, or a cut-price dauber?'

Moodily we watched the distant figure of the property manager move from caf to caf.

'How many square feet do they want?' I asked.

'About a Million,' Raymond said.

Later that afternoon, as we turned off the Red Beach road and were waved on past the guardhouse to Lagoon West, we could hear the sonic sculptures high among the reefs echoing and hooting to the cavalcade of cars speeding over the hills. Droves of startled rays scattered in the air like clouds of exploding soot, their frantic cries lost among the spires and reefs. Preoccupied by the prospect of our vast fees - I had hastily sworn in Tony and Raymond as my assistants - we barely noticed the strange landscape we were crossing, the great gargoyles of red basalt that uncoiled themselves into the air like the spires of demented cathedrals. From the Red Beach - Vermilion Sands highway - the hills seemed permanently veiled by the sand haze, and Lagoon West, although given a brief notoriety by the death of Mrs Van Stratten, remained isolated and unknown. From the beach-houses on the southern shore of the sand-lake two miles away, the distant terraces and tiered balconies of the summer-house could just be seen across the fused sand, jutting into the cerise evening sky like a stack of dominoes. There was no access to the house along the beach. Quartz veins cut deep fissures into the surface, the reefs of ragged sandstone reared into the air like the rusting skeletons of forgotten ships.

The whole of Lagoon West was a continuous slide area. Periodically a soft boom would disturb the morning silence as one of the galleries of compacted sand, its intricate grottoes and colonnades like an inverted baroque palace, would suddenly dissolve and avalanche gently into the internal precipice below. Most years Charles Van Stratten was away in Europe, and the house was believed to be empty. The only sound the occupants of the beach villas would hear was the faint music of the sonic sculptures carried across the lake by the thermal rollers.

It was to this landscape, with its imperceptible transition between the real and the superreal, that Charles Van Stratten had brought the camera crews and location vans of Orpheus Productions, Inc. As the Lincoln joined the column of cars moving towards the summer-house, we could see the great canvas hoardings, at least two hundred yards wide and thirty feet high, which a team of construction workers was erecting among the reefs a quarter of a mile from the house. Decorated with abstract symbols, these would serve as backdrops to the action, and form a fragmentary labyrinth winding in and out of the hills and dunes.

One of the large terraces below the summer-house served as a parking lot, and we made our way through the unloading crews to where a group of men in crocodile-skin slacks and raffia shirts - then the uniform of avant-garde film men - were gathered around a heavily jowled man like a perspiring bear who was holding a stack of script boards under one arm and gesticulating wildly with the other. This was Orson Kanin, director of Aphrodite 80 and co-owner with Charles Van Stratten of Orpheus Productions. Sometime enfant terrible of the futurist cinema, but now a portly barrel-stomached fifty, Kanin had made his reputation some twenty years earlier with Blind Orpheus, a neo-Freudian, horror-film version of the Greek legend. According to Kanin's interpretation, Orpheus deliberately breaks the taboo and looks Eurydice in the face because he wants to be rid of her; in a famous nightmare sequence which projects his unconscious loathing, he becomes increasingly aware of something cold and strange about his resurrected wife, and finds that she is a disintegrating corpse.

As we joined the periphery of the group, a characteristic Kanin script conference was in full swing, a non-stop pantomime of dramatized incidents from the imaginary script, anecdotes, salary promises and bad puns, all delivered in a rich fruity baritone. Sitting on the balustrade beside Kanin was a handsome, youthful man with a sensitive face whom I recognized to be Charles Van Stratten. Now and then, sotto voce, he would interject some comment that would be noted by one of the secretaries and incorporated into Kanin's monologue.

As the conference proceeded I gathered that they would begin to shoot the film in some three weeks' time, and that it would be performed entirely without script. Kanin only seemed perturbed by the fact that no one had yet been found to play the Aphrodite of Aphrodite 80 but Charles Van Stratten interposed here to assure Kanin that he himself would provide the actress.

At this eyebrows were raised knowingly. 'Of course,' Raymond murmured. 'Droit de seigneur. I wonder who the next Mrs Van Stratten is?'

But Charles Van Stratten seemed unaware of these snide undertones. Catching sight of me, he excused himself and came over to us.

'Paul Golding?' He took my hand in a soft but warm grip. We had never met but I presumed he recognized me from the photographs in the art reviews. 'Kanin told me you'd agreed to do the scenery. It's wonderfully encouraging.' He spoke in a light, pleasant voice absolutely without affectation. 'There's so much confusion here it's a relief to know that at least the scenic designs will be first-class.' Before I could demur he took my arm and began to walk away along the terrace towards the hoardings in the distance. 'Let's get some air. Kanin will keep this up for a couple of hours at least.'

Leaving Raymond and Tony, I followed him across the huge marble squares.

'Kanin keeps worrying about his leading actress,' he went on. 'Kanin always marries his latest protg - he claims it's the only way he can make them respond fully to his direction, but I suspect there's an old-fashioned puritan lurking within the cavalier. This time he's going to be disappointed, though not by the actress, may I add. The Aphrodite I have in mind will outshine Mios's.'

'The film sounds rather ambitious,' I commented, 'but I'm sure Kanin is equal to it.'

'Of course he is. He's very nearly a genius, and that should be good enough.' He paused for a moment, hands in the pockets of his dove-grey suit, before translating himself like a chess piece along a diagonal square. 'It's a fascinating subject, you know. The title is misleading, a box-office concession. The film is really Kanin's final examination of the Orpheus legend. The whole question of the illusions which exist in any relationship to make it workable, and of the barriers we willingly accept to hide ourselves from each other. How much reality can we stand?'

We reached one of the huge hoardings that stretched away among the reefs. Jutting upwards from the spires and grottoes, it seemed to shut off half the sky, and already I felt the atmosphere of shifting illusion and reality that enclosed the whole of Lagoon West, the subtle displacement of time and space. The great hoardings seemed to be both barriers and corridors. Leading away radially from the house and breaking up the landscape, of which they revealed sudden unrelated glimpses, they introduced a curiously appealing element of uncertainty into the placid afternoon, an impression reinforced by the emptiness and enigmatic presence of the summer-house.

Returning to Kanin's conference, we followed the edge of the terrace. Here the sand had drifted over the balustrade which divided the public sector of the grounds from the private. Looking up at the lines of balconies on the south face, I noticed someone standing in the shadows below one of the awnings.

Something flickered brightly from the ground at my feet. Momentarily reflecting the full disc of the sun, like a polished node of sapphire or quartz, the light flashed among the dust, then seemed to dart sideways below the balustrade.

'My God, a scorpion!' I pointed to the insect crouching away from us, the red scythe of its tail beckoning slowly. I assumed that the thickened chitin of the headpiece was reflecting the light, and then saw that a small faceted stone had been set into the skull. As it edged forward into the light, the jewel burned n the sun like an incandescent crystal.

Charles Van Stratten stepped past me. Almost pushing me aside, he glanced towards the shuttered balconies. He feinted deftly with one foot at the scorpion, and before the insect could recover had stamped it into the dust.

'Right, Paul,' he said in a firm voice. 'I think your suggested designs are excellent. You've caught the spirit of the whole thing exactly, as I knew you would.' Buttoning his jacket he made off towards the film unit, barely pausing to scrape the damp husk of the crushed carapace from his shoe.

I caught up with him. 'That scorpion was jewelled,' I said. 'There was a diamond, or zircon, inset in the head.'

He waved impatiently and then took a pair of large sunglasses from his breast pocket. Masked, his face seemed harder and more autocratic, reminding me of our true relationship.

'An illusion, Paul,' he said. 'Some of the insects here are dangerous. You must be more careful.' His point made, he relaxed and flashed me his most winning smile.

Rejoining Tony and Raymond, I watched Charles Van Stratten walk off through the technicians and stores staff. His stride was noticeably more purposive, and he brushed aside an assistant producer without bothering to turn his head.

'Well, Paul.' Raymond greeted me expansively. 'There's no script, no star, no film in the cameras, and no one has the faintest idea what he's supposed to be doing. But there are a million square feet of murals waiting to be painted. It all seems perfectly straightforward.'

I looked back across the terrace to where we had seen the scorpion. 'I suppose it is,' I said.

Somewhere in the dust a jewel glittered brightly.

Two days later I saw another of the jewelled insects.

Suppressing my doubts about Charles Van Stratten, I was busy preparing my designs for the hoardings. Although Raymond's first estimate of a million square feet was exaggerated - less than a tenth of this would be needed - the amount of work and materials required was substantial. In effect I was about to do nothing less than repaint the entire desert.

Each morning I went out to Lagoon West and worked among the reefs, adapting the designs to the contours and colours of the terrain. Most of the time I was alone in the hot sun. After the initial frenzy of activity Orpheus Productions had lost momentum. Kanin had gone off to a film festival at Red Beach and most of the assistant producers and writers had retired to the swimming pool at the Hotel Neptune in Vermilion Sands. Those who remained behind at Lagoon West were now sitting half asleep under the coloured umbrellas erected around the mobile cocktail bar.

The only sign of movement came from Charles Van Stratten, roving tirelessly in his white suit among the reefs and sand spires. Now and then I would hear one of the sonic sculptures on the upper balconies of the summer-house change its note, and turn to see him standing beside it. His sonic profile evoked a strange, soft sequence of chords, interwoven by sharper, almost plaintive notes that drifted away across the still afternoon air towards the labyrinth of great hoardings that now surrounded the summer-house. All day he would wander among them, pacing out the perimeters and diagonals as if trying to square the circle of some private enigma, the director of a Wagnerian psychodrama that would involve us all in its cathartic unfolding.

Shortly after noon, when an intense pall of yellow light lay over the desert, dissolving the colours in its glazed mantle, I sat down on the balustrade, waiting for the meridian to pass. The sand-lake shimmered in the thermal gradients like an immense pool of sluggish wax. A few yards away something flickered in the bright sand, a familiar flare of light. Shielding my eyes, I found the source, the diminutive Promethean bearer of this brilliant corona. The spider, a Black Widow, approached on its stilted legs, a blaze of staccato signals pouring from its crown. It stopped and pivoted, revealing the large sapphire inset into its head.

More points of light flickered. Within a moment the entire terrace sparkled with jewelled light. Quickly I counted a score of the insects turquoised scorpions, a purple mantis with a giant topaz like a tiered crown, and more than a dozen spiders, pinpoints of emerald and sapphire light lancing from their heads.

Above them, hidden in the shadows among the bougainvillaea on her balcony, a tall white-faced figure in a blue gown looked down at me.

I stepped over the balustrade, carefully avoiding the motionless insects.

Separated from the remainder of the terrace by the west wing of the summer-house, I had entered a new zone, where the bonelike pillars of the loggia, the glimmering surface of the sand-lake, and the jewelled insects enclosed me in a sudden empty limbo.

For a few moments I stood below the balcony from which the insects had emerged, still watched by this strange sybilline figure presiding over her private world. I felt that I had strayed across the margins of a dream, on to an internal landscape of the psyche projected upon the sun-filled terraces around me.

But before I could call to her, footsteps grated softly in the loggia. A dark-haired man of about fifty, with a closed, expressionless face, stood among the columns, his black suit neatly buttoned. He looked down at me with the impassive eyes of a funeral director.

The shutters withdrew upon the balcony, and the jewelled insects returned from their foray. Surrounding me, their brilliant crowns glittered with diamond hardness.

Each afternoon, as I returned from the reefs with my sketch pad, I would see the jewelled insects moving in the sunlight beside the lake, while their blue-robed mistress, the haunted Venus of Lagoon West, watched them from her balcony. Despite the frequency of her appearances, Charles Van Stratten made no attempt to explain her presence. His elaborate preparations for the filming of Aphrodite 80 almost complete, he became more and more preoccupied.

An outline scenario had been agreed on. To my surprise the first scene was to be played on the lake terrace, and would take the form of a shadow ballet, for which I painted a series of screens to be moved about like chess pieces. Each was about twelve feet high, a large canvas mounted on a wooden trestle, representing one of the zodiac signs. Like the protagonist of The Cabinet of Dr Caligari, trapped in a labyrinth of tilting walls, the Orphic hero of Aphrodite 80 would appear searching for his lost Eurydice among the shifting time stations.

So the screen game, which we were to play tirelessly on so many occasions, made its appearance. As I completed the last of the screens and watched a group of extras perform the first movements of the game under Charles Van Stratten's directions, I began to realize the extent to which we were all supporting players in a gigantic charade of Charles's devising.

Its real object soon became apparent.

The summer-house was deserted when I drove out to Lagoon West the next weekend, an immense canopy of silence hanging over the lake and the surrounding hills. The twelve screens stood on the terrace above the beach, their vivid, heraldic designs melting into blurred pools of turquoise and carmine which bled away in horizontal layers across the air. Someone had rearranged the screens to form a narrow spiral corridor. As I straightened them, the train of a white gown disappeared with a startled flourish among the shadows within.

Guessing the probable identity of this pale and nervous intruder, I stepped quietly into the corridor. I pushed back one of the screens, a large Scorpio in royal purple, and suddenly found myself in the centre of the maze, little more than an arm's length from the strange figure I had seen on the balcony. For a moment she failed to notice me. Her exquisite white face, like a marble mask, veined by a faint shadow of violet that seemed like a delicate interior rosework, was raised to the canopy of sunlight which cut across the upper edges of the screens. She wore a long beach-robe, with a flared hood that enclosed her head like a protective bower.

One of the jewelled insects nestled on a fold above her neck. There was a curious glac immobility about her face, investing the white skin with an almost sepulchral quality, the soft down which covered it like grave's dust.

'Who - ?' Startled, she stepped back. The insects scattered at her feet, winking on the floor like a jewelled carpet. She stared at me in surprise, drawing the hood of her gown around her face like an exotic flower withdrawing into its foliage. Conscious of the protective circle of insects, she lifted her chin and composed herself.

'I'm sorry to interrupt you,' I said. 'I didn't realize there was anyone here. I'm flattered that you like the screens.'

The autocratic chin lowered fractionally, and her head, with its swirl of blue hair, emerged from the hood. 'You painted these?' she confirmed. 'I thought they were Dr Gruber's...' She broke off, tired or bored by the effort of translating her thoughts into speech.

'They're for Charles Van Stratten's film,' I explained. 'Aphrodite 80. The film about Orpheus he's making here.' I added: 'You must ask him to give you a part. You'd be a great adornment.'

'A film?' Her voice cut across mine. 'Listen. Are you sure they are for this film? It's important that I know - '

'Quite sure.' Already I was beginning to find her exhausting. Talking to her was like walking across a floor composed of blocks of varying heights, an analogy reinforced by the squares of the terrace, into which her presence had let another random dimension. 'They're going to film one of the scenes here. Of course,' I volunteered when she greeted this news with a frown, 'you're free to play with the screens. In fact, if you like, I'll paint some for you.'

'Will you?' From the speed of the response I could see that I had at last penetrated to the centre of her attention. 'Can you start today? Paint as many as you can, just like these. Don't change the designs.' She gazed around at the zodiacal symbols looming from the shadows like the murals painted in dust and blood on the walls of a Toltec funeral corridor. 'They're wonderfully alive, sometimes I think they're even more real than Dr Gruber. Though - 'here she faltered '- I don't know how I'll pay you. You see, they don't give me any money.' She smiled at me like an anxious child, then brightened suddenly. She knelt down and picked one of the jewelled scorpions from the floor. 'Would you like one of these?' The flickering insect, with its brilliant ruby crown, tottered unsteadily on her white palm.

Footsteps approached, the firm rap of leather on marble. 'They may be rehearsing today,' I said. 'Why don't you watch? I'll take you on a tour of the sets.'

As I started to pull back the screens I felt the long fingers of her hand on my arm. A mood of acute agitation had come over her.

'Relax,' I said. 'I'll tell them to go away. Don't worry, they won't spoil your game.'

'No! Listen, please!' The insects scattered and darted as the outer circle of screens was pulled back. In a few seconds the whole world of illusion was dismantled and exposed to the hot sunlight.

Behind the Scorpio appeared the watchful face of the dark-suited man. A smile played like a snake on his lips.

'Ah, Miss Emerelda,' he greeted her in a purring voice. 'I think you should come indoors. The afternoon heat is intense and you tire very easily.'

The insects retreated from his black patent shoes. Looking into his eyes, I caught a glimpse of deep reserves of patience, like that of an experienced nurse used to the fractious moods and uncertainties of a chronic invalid.

'Not now,' Emerelda insisted. 'I'll come in a few moments.'

'I've just been describing the screens,' I explained.

'So I gather, Mr Golding,' he rejoined evenly. 'Miss Emerelda,' he called.

For a moment they appeared to have reached deadlock. Emerelda, the jewelled insects at her feet, stood beside me, her hand on my arm, while her guardian waited, the same thin smile on his lips. More footsteps approached. The remaining screens were pushed back and the plump, well-talcumed figure of Charles Van Stratten appeared, his urbane voice raised in greeting.

'What's this - a story conference?' he asked jocularly. He broke off when he saw Emerelda and her guardian. 'Dr Gruber? What's going - Emerelda my dear?'

Smoothly, Dr Gruber interjected. 'Good afternoon, sir. Miss Garland is about to return to her room.'

'Good, good,' Charles exclaimed. For the first time I had known him he seemed unsure of himself. He made a tentative approach to Emerelda, who was staring at him fixedly. She drew her robe around her and stepped quickly through the screens. Charles moved forwards, uncertain whether to follow her.

'Thank you, doctor,' he muttered. There was a flash of patent leather heels, and Charles and I were alone among the screens. On the floor at our feet was a single jewelled mantis. Without thinking, Charles bent down to pick it up, but the insect snapped at him. He withdrew his fingers with a wan smile, as if accepting the finality of Emerelda's departure.

Recognizing me with an effort, Charles pulled himself together. 'Well, Paul, I'm glad you and Emerelda were getting on so well. I knew you'd make an excellent job of the screens.'

We walked out into the sunlight. After a pause he said, 'That is Emerelda Garland; she's lived here since mother died. It was a tragic experience, Dr Gruber thinks she may never recover.'

'He's her doctor?'

Charles nodded. 'One of the best I could find. For some reason Emerelda feels herself responsible for mother's death. She's refused to leave here.'

I pointed to the screens. 'Do you think they help?'

'Of course. Why do you suppose we're here at all?' He lowered his voice, although Lagoon West was deserted. 'Don't tell Kanin yet, but you've just met the star of Aphrodite 80.'

'What?' Incredulously, I stopped. 'Emerelda? Do you mean that she's going to play - ?'

'Eurydice.' Charles nodded. 'Who better?'

'But Charles, she's...' I searched for a discreet term.

'That's exactly the point. Believe me, Paul,' - here Charles smiled at me with an expression of surprising canniness 'this film is not as abstract as Kanin thinks. In fact, its sole purpose is therapeutic. You see, Emerelda was once a minor film actress, I'm convinced the camera crews and sets will help to carry her back to the past, to the period before her appalling shock. It's the only way left, a sort of total psychodrama. The choice of theme, the Orpheus legend and its associations, fit the situation exactly I see myself as a latter-day Orpheus trying to rescue my Eurydice from Dr Gruber's hell.' He smiled bleakly, as if aware of the slenderness of the analogy and its faint hopes. 'Emerelda's withdrawn completely into her private world, spends all her time inlaying these insects with her jewels. With luck the screens will lead her out into the rest of this synthetic landscape. After all, if she knows that everything around her is unreal she'll cease to fear it.'

'But can't you simply move her physically from Lagoon West?' I asked. 'Perhaps Gruber is the wrong doctor for her. I can't understand why you've kept her here all these years.'

'I haven't kept her, Paul,' he said earnestly. 'She's clung to this place and its nightmare memories. Now she even refuses to let me come near her.'

We parted and he walked away among the deserted dunes. In the background the great hoardings I had designed shut out the distant reefs and mesas. Huge blocks of colour had been sprayed on to the designs, superimposing a new landscape upon the desert. The geometric forms loomed and wavered in the haze, like the shifting symbols of a beckoning dream.

As I watched Charles disappear, I felt a sudden sense of pity for his subtle but naive determination. Wondering whether to warn him of his almost certain failure, I rubbed the raw bruises on my arm. While she started at him, Emerelda's fingers had clasped my arm with unmistakable fierceness, her sharp nails locked together like a clamp of daggers.

So, each afternoon, we began to play the screen game, moving the zodiacal emblems to and fro across the terrace. As I sat on the balustrade and watched Emerelda Garland's first tentative approaches, I wondered how far all of us were becoming ensnared by Charles Van Stratten, by the painted desert and the sculpture singing from the aerial terraces of the summer-house. Into all this Emerelda Garland had now emerged, like a beautiful but nervous wraith. First she would slip among the screens as they gathered below her balcony, and then, hidden behind the large Virgo at their centre, would move across the floor towards the lake, enclosed by the shifting pattern of screens.

Once I left my seat beside Charles and joined the game. Gradually I manoeuvred my screen, , a small Sagittarius, into the centre of the maze where I found Emerelda in a narrow shifting cubicle, swaying from side to side as if entranced by the rhythm of the game, the insects scattered at her feet. When I approached she clasped my hand and ran away down a corridor, her gown falling loosely around her bare shoulders. As the screens once more reached the summerhouse, she gathered her train in one hand and disappeared among the columns of the loggia.

Walking back to Charles, I found a jewelled mantis nestling like a brooch on the lapel of my jacket, its crown of amethyst melting in the fading sunlight.

'She's coming out, Paul,' Charles said. 'Already she's accepted the screens, soon she'll be able to leave them.' He frowned at the jewelled mantis on my palm. 'A present from Emerelda. Rather twoedged, I think, those stings are dangerous. Still, she's grateful to you, Paul, as I am. Now I know that only the artist can create an absolute reality. Perhaps you should paint a few more screens.'

'Gladly, Charles, if you're sure that..

But Charles merely nodded to himself and walked away towards the film crew.

During the next days I painted several new screens, duplicating the zodiacal emblems, so that each afternoon the game became progressively slower and more intricate, the thirty screens forming a multiple labyrinth. For a few minutes, at the climax of the game, I would find Emerelda in the dark centre with the screens jostling and tilting around her, the sculpture on the roof hooting in the narrow interval of open sky.

'Why don't you join the game?' I asked Charles. After his earlier elation he was becoming impatient. Each evening as he drove back to Ciraquito the plume of dust behind his speeding Maserati would rise progressively higher into the pale air. He had lost interest in Aphrodite 80. Fortunately Kanin had found that the painted desert of Lagoon West could not be reproduced by any existing colour process, and the film was now being shot from models in a rented studio at Red Beach. 'Perhaps if Emerelda saw you in the maze...'

'No, no.' Charles shook his head categorically, then stood up and paced about. 'Paul, I'm less sure of this now.'

Unknown to him, I had painted a dozen more screens. Early that morning I had hidden them among the others on the terrace.

Three nights later, tired of conducting my courtship of Emerelda Garland within a painted maze, I drove out to Lagoon West, climbing through the darkened hills whose contorted forms reared in the swinging headlamps like the smoke clouds of some sunken hell. In the distance, beside the lake, the angular terraces of the summer-house hung in the grey opaque air, as if suspended by invisible wires from the indigo clouds which stretched like velvet towards the few faint lights along the beach two miles away.

The sculptures on the upper balconies were almost silent, and I moved past them carefully, drawing only a few muted chords from them, the faint sounds carried from one statue to the next to the roof of the summer-house and then lost on the midnight air.

From the loggia I looked down at the labyrinth of screens, and at the jewelled insects scattered across the terrace, sparkling on the dark marble like the reflection of a star field.

I found Emerelda Garland among the screens, her white face an oval halo in the shadows, almost naked in a silk gown like a veil of moonlight. She was leaning against a huge Taurus with her pale arms outstretched at her sides, like Europa supplicant before the bull, the luminous spectres of the zodiac guard surrounding her. Without moving her head, she watched me approach and take her hands. Her blue hair swirled in the dark wind as we moved through the screens and crossed the staircase into the summer-house. The expression on her face, whose porcelain planes reflected the turquoise light of her eyes, was one of almost terrifying calm, as if she were moving through some inner dreamscape of the psyche with the confidence of a sleepwalker. My arm around her waist, I guided her up the steps to her suite, realizing that I was less her lover than the architect of her fantasies. For a moment the ambiguous nature of my role, and the questionable morality of abducting a beautiful but insane woman, made me hesitate.

We had reached the inner balcony which ringed the central hall of the summer-house. Below us a large sonicsculpture emitted a tense nervous pulse, as if roused from its midnight silence by my hesitant step.

'Wait!' I pulled Emerelda back from the next flight of stairs, rousing her from her self-hypnotic torpor. 'Up there!'

A silent figure in a dark suit stood at the rail outside the door of Emerelda's suite, the downward inclination of his head clearly perceptible.

'Oh, my God!' With both hands Emerelda clung tightly to my arm, her smooth face seized by a rictus of horror and anticipation. 'She's there for heaven's sake, Paul, take me - '

'It's Gruber!' I snapped. 'Dr Gruber! Emerelda!'

As we recrossed the entrance the train of Emerelda's gown drew a discordant wail from the statue. In the moonlight the insects still flickered like a carpet of diamonds. I held her shoulders, trying to revive her.

'Emerelda! We'll leave here - take you away from Lagoon West and this insane place.' I pointed to my car, parked by the beach among the dunes. 'We'll go to Vermilion Sands or Red Beach, you'll be able to forget Dr Gruber for ever.'

We hurried towards the car, Emerelda's gown gathering up the insects as we swept past them. I heard her short cry in the moonlight and she tore away from me. I stumbled among the flickering insects. From my knees I saw her disappear into the screens.

For the next ten minutes, as I watched from the darkness by the beach, the jewelled insects moved towards her across the terrace, their last light fading like a vanishing night river.

I walked back to my car, and a quiet, white-suited figure appeared among the dunes and waited for me in the cool amber air, hands deep in his jacket pockets.

'You're a better painter than you know,' Charles said when I took my seat behind the wheel. 'On the last two nights she has made the same escape from me.'

He stared reflectively from the window as we drove back to Ciraquito, the sculptures in the canyon keening behind us like banshees.

The next afternoon, as I guessed, Charles Van Stratten at last played the screen game. He arrived shortly after the game had begun, walking through the throng of extras and cameramen near the car park, hands still thrust deep into the pockets of his white suit as if his sudden appearance among the dunes the previous night and his present arrival were continuous in time. He stopped by the balustrade on the opposite side of the terrace, where I sat with Tony Sapphire and Raymond Mayo, and stared pensively at the slow shuttling movements of the game, his grey eyes hidden below their blond brows.

By now there were so many screens in the game - over forty (I had secretly added more in an attempt to save Emerelda) - that most of the movement was confined to the centre of the group, as if emphasizing the selfimmolated nature of the ritual. What had begun as a pleasant divertimento, a picturesque introduction to Aphrodite 80, had degenerated into a macabre charade, transforming the terrace into the exercise area of a nightmare.

Discouraged or bored by the slowness of the game, one by one the extras taking part began to drop out, sitting down on the balustrade beside Charles. Eventually only Emerelda was left - in my mind I could see her gliding in and out of the nexus of corridors, protected by the zodiacal deities I had painted - and now and then one of the screens in the centre would tilt slightly.

'You've designed a wonderful trap for her, Paul,' Raymond Mayo mused. 'A cardboard asylum.'

'It was Van Stratten's suggestion. We thought they might help her.'

Somewhere, down by the beach, a sculpture had begun to play, and its plaintive voice echoed over our heads. Several of the older sculptures whose sonic cores had corroded had been broken up and left on the beach, where they had taken root again. When the heat gradients roused them to life they would emit a brief strangled music, fractured parodies of their former song.

'Paul!' Tony Sapphire pointed across the terrace. 'What's going on? There's something - '

Fifty yards from us, Charles Van Stratten had stepped over the balustrade, and now stood out on one of the black marble squares, hands loosely at his sides, like a single chess piece opposing the massed array of the screens. Everyone else had gone, and the three of us were now alone with Charles and the hidden occupant of the screens.

The harsh song of the rogue sculpture still pierced the air. Two miles away, through the haze which partly obscured the distant shore, the beach-houses jutted among the dunes, and the fused surface of the lake, in which so many objects were embedded, seams of jade and obsidian, was like a segment of embalmed time, from which the music of the sculpture was a slowly expiring leak. The heat over the vermilion surface was like molten quartz, stirring sluggishly to reveal the distant mesas and reefs.

The haze cleared and the spires of the sand reefs seemed to loom forward, their red barbs clawing towards us through the air. The light drove through the opaque surface of the lake, illuminating its fossilized veins, and the threnody of the dying sculpture lifted to a climax.

'Emerelda!'

As we stood up, roused by his shout, Charles Van Stratten was running across the terrace. 'Emerelda!'

Before we could move he began to pull back the screens. toppling them backwards on to the ground. Within a few moments the terrace was a mle of tearing canvas and collapsing trestles, the huge emblems flung left and right out of his path like disintegrating floats at the end of a carnival.

Only when the original nucleus of half a dozen screens was left did he pause, hands on hips.

'Emerelda!' he shouted thickly.

Raymond turned to me. 'Paul, stop him, for heaven's sake!'

Striding forward, Charles pulled back the last of the screens. We had a sudden glimpse of Emerelda Garland retreating from the inrush of sunlight, her white gown flared around her like the broken wings of some enormous bird. Then, with an explosive flash, a brilliant vortex of light erupted from the floor at Emerelda's feet, a cloud of jewelled spiders and scorpions rose through the air and engulfed Charles Van Stratten.

Hands raised helplessly to shield his head, he raced across the terrace, the armada of jewelled insects pursuing him, spinning and diving on to his head. Just before he disappeared among the dunes by the beach, we saw him for a last terrifying moment, clawing helplessly at the jewelled helmet stitched into his face and shoulders. His voice rang out, a sustained cry on the note of the dying sculptures, lost on the stinging flight of the insects.

We found him among the sculptures, face downwards in the hot sand, the fabric of his white suit lacerated by a hundred punctures. Around him were scattered the jewels and crushed bodies of the insects he had killed, their knotted legs and mandibles like abstract ideograms, the sapphires and zircons dissolving in the light.

His swollen hands were filled with the jewels. The cloud of insects returned to the summer-house, where Dr Gruber's blacksuited figure was silhouetted against the sky, poised on the white ledge like some minatory bird of nightmare. The only sounds came from the sculptures, which had picked up Charles Van Stratten's last cry and incorporated it into their own selfrequiem.

'..."She... killed"...' Raymond stopped, shaking his head in amazement. 'Paul, can you hear them, the words are unmistakable.'

Stepping through the metal barbs of the sculpture, I knelt beside Charles, watching as one of the jewelled scorpions crawled from below his chin and scuttled away across the sand.

'Not him,' I said. 'What he was shouting was "She killed - Mrs Van Stratten." The old dowager, his mother. That's the real clue to this fantastic menage. Last night, when we saw Gruber by the rail outside her room - I realize now that was where the old harridan was standing when Emerelda pushed her. For years Charles kept her alone with her guilt here, probably afraid that he might be incriminated if the truth emerged - perhaps he was more responsible than we imagine. What he failed to realize was that Emerelda had lived so long with her guilt that she'd confused it with the person of Charles himself. Killing him was her only release - '

I broke off to find that Raymond and Tony had gone and were already half way back to the terrace. There was the distant sound of raised voices as members of the film company approached, and whistles shrilled above the exhaust of cars.

The bulky figure of Kanin came through the dunes, flanked by a trio of assistant producers. Their incredulous faces gaped at the prostrate body. The voices of the sculptures faded for the last time, carrying with them into the depths of the fossil lake the final plaintive cry of Charles Van Stratten.

A year later, after Orpheus Productions had left Lagoon West and the scandal surrounding Charles's death had subsided, we drove out again to the summer-house. It was one of those dull featureless afternoons when the desert is without lustre, the distant hills illuminated by brief flashes of light, and the great summer-house seemed drab and lifeless. The servants and Dr Gruber had left, and the estate was beginning to run down. Sand covered long stretches of the roadway, and the dunes rolled across the open terraces, toppling the sculptures. These were silent now, and the sepulchral emptiness was only broken by the hidden presence of Emerelda Garland.

We found the screens where they had been left, and on an impulse spent the first afternoon digging them out of the sand. Those that had rotted in the sunlight we burned in a pyre on the beach, and perhaps the ascending plumes of purple and carmine smoke first brought our presence to Emerelda. The next afternoon, as we played the screen game, I was conscious of her watching us, and saw a gleam of her blue gown among the shadows.

However, although we played each afternoon throughout the summer, she never joined us, despite the new screens I painted and added to the group. Only on the night I visited Lagoon West alone did she come down, but I could hear the voices of the sculptures calling again and fled at the sight of her white face.

By some acoustic freak, the dead sculptures along the beach had revived themselves, and once again I heard the faint haunted echoes of Charles Van Stratten's last cry before he was killed by the jewelled insects. All over the deserted summer-house the low refrain was taken up by the statues, echoing through the empty galleries and across the moonlit terraces, carried away to the mouths of the sand reefs, the last dark music of the painted night.

1963

The Day of Forever

At Columbine Sept Heures it was always dusk. Here Halliday's beautiful neighbour, Gabrielle Szabo, walked through the evening, her silk robe stirring the fine sand into cerise clouds. From the balcony of the empty hotel near the artists' colony, Halliday would look out over the drained river at the unmoving shadows across the desert floor, the twilight of Africa, endless and unbroken, that beckoned to him with the promise of his lost dreams. The dark dunes, their crests touched by the spectral light, receded like the waves of a midnight sea.

Despite the almost static light, fixed at this unending dusk, the drained bed of the river seemed to flow with colours. As the sand spilled from the banks, uncovering. the veins of quartz and the concrete caissons of the embankment, the evening would flare briefly, illuminated from within like a lava sea. Beyond the dunes the spires of old water towers and the half-completed apartment blocks near the Roman ruins at Leptis Magna emerged from the darkness. To the south, as Halliday followed the winding course of the river, the darkness gave way to the deep indigo tracts of the irrigation project, the lines of canals forming an exquisite bonelike gridwork.

This continuous transformation, whose colours were as strange as the bizarre paintings hung from the walls of his suite, seemed to Halliday to reveal the hidden perspectives of the landscape, and of the time whose hands were almost frozen on the dozen clocks standing on the mantelpiece and tables. The clocks, set to the imperceptible time of the forever day, he had brought with him to North Africa in the hope that here, in the psychic zero of the desert, they might somehow spring to life. The dead clocks that stared down from the municipal towers and hotels of the deserted towns were the unique flora of the desert, the unused keys that would turn the way into his dreams.

With this hope, three months earlier he had come to Columbine Sept Heures. The suffix, attached to the names of all cities and towns - there were London 6 p.m. and Saigon Midnight - indicated their positions on the Earth's almost stationary perimeter, the time of the endless day where the no longer rotating planet had marooned them. For five years Halliday had been living in the international settlement at Trondheim in Norway, a zone of eternal snow and ice, of pine forests whose arbours, fed by the unsetting sun, rose even higher around the fringes of the towns, shutting them into their own isolation. This world of Nordic gloom had exposed all Halliday's latent difficulties with time and with his dreams. The difficulty of sleeping, even in a darkened room, disturbed everyone - there was the sense of time wasted and yet time unpassed as the sun hung stationary in the sky - but Halliday in particular found himself obsessed by his broken dreams. Time and again he would wake with an image before his eyes of the moonlit squares and classical faades of an ancient Mediterranean town, and of a woman who walked through colonnades in a world without shadows.

This warm night world he could find only by moving south. Two hundred miles to the east of Trondheim the dusk line was a corridor of freezing wind and ice, stretching on into the Russian steppe, where abandoned cities lay under the glaciers like closed jewels. By contrast, in Africa the night air was still warm. On the west of the dusk line was the boiling desert of the Sahara, the sand seas fused into lakes of glass, but along the narrow band of the terminator a few people lived in the old tourist towns.

It was here, at Columbine Sept Heures, an abandoned town beside the drained river five miles from Leptis Magna, that he first saw Gabrielle Szabo walking towards him as if out of his dreams. Here, too, he met Leonora Sully, the fey unconcerned painter of bizarre fantasies, and Dr Richard Mallory, who tried to help Halliday and bring back his dreams to him.

Why Leonora was at Columbine Sept Heures Halliday could understand, but sometimes he suspected that Dr Mallory's motives were as ambiguous as his own. The tall aloof physician, eyes forever hidden behind the dark glasses that seemed to emphasize his closed inner life, spent most of his time sitting in the white-domed auditorium of the School of Fine Arts, playing through the Bartok and Webern quartets left behind in the albums.

This music was the first sound Halliday heard when he arrived at the desert town. In the abandoned car park near the quay at Tripoli he found a new Peugeot left behind by a French refinery technician and set off south along the seven o'clock line, passing through the dusty towns and the half-buried silver skeletons of the refineries near the drained river. To the west the desert burned in a haze of gold under the unmoving sun. Rippled by the thermal waves, the metal vanes of the waterwheels by the empty irrigation systems seemed to revolve in the hot air, swerving toward him.

To the east the margins of the river were etched against the dark horizon, the ridges of exposed limestone like the forestage of the twilight world. Halliday turned toward the river, the light fading as he moved eastward, and followed the old metal road that ran near the bank. The centre of the channel, where white rocks jutted from the drifts of pebbles, lay like the spine of an ancient saurian.

A few miles from the coast he found Columbine Sept Heures. Four tourist hotels, their curtain walls like dead mirrors, stood among the dunes that drifted through the streets and overran the chalets and swimming pools near the Fine Arts School. The road disappeared from sight outside the Oasis Hotel. Halliday left the car and walked up the steps to the dust-filled lobby. The sand lay in lacelike patterns across the tiled floor, silting against the pastel-coloured elevator doors and the dead palms by the restaurant.

Halliday walked up the stairway to the mezzanine, and stood by the cracked plateglass window beyond the tables. Already half submerged by the sand, what remained of the town seemed displaced by the fractured glass into another set of dimensions, as if space itself were compensating for the landscape's loss of time by forcing itself into this bizarre warp.

Already decided that he would stay in the hotel, Halliday went out to search for water and whatever food supplies had been left behind. The streets were deserted, choked with the sand advancing toward the drained river. At intervals the clouded windows of a Citro'n or Peugeot emerged from the dunes. Stepping along their roofs, Halliday entered the drive of the Fine Arts School. Against the cerise pall of the dusk, the angular building rose into the air like a white bird.

In the students' gallery hung the fading reproductions of a dozen schools of painting, for the most part images of worlds without meaning. However, grouped together in a small alcove Halliday found the surrealists Delvaux, Chirico and Ernst. These strange landscapes, inspired by dreams that his own could no longer echo, filled Halliday with a profound sense of nostalgia. One above all, Delvaux's The Echo', which depicted a naked Junoesque woman walking among immaculate ruins under a midnight sky, reminded him of his own recurrent fantasy. The infinite longing contained in the picture, the synthetic time created by the receding images of the woman, belonged to the landscape of his unseen night. Halliday found an old portfolio on the floor below one of the trestles and began to strip the paintings from the walls.

As he walked across the roof to the outside stairway above the auditorium music was playing below him. Halliday searched the faces of the empty hotels, whose curtain walls lifted into the sunset air. Beyond the Fine Arts School the chalets of the students' quarter were grouped around two drained swimming pools.

Reaching the auditorium, he peered through the glass doors across the rows of empty seats. In the centre of the front row a man in a white suit and sunglasses was sitting with his back to Halliday. Whether he was actually listening to the music Halliday could not tell, but when the record ended three or four minutes later he stood up and climbed onto the stage. He switched off the stereogram and then strolled over to Halliday, his high face with its slightly inquisitorial look hidden behind the dark glasses.

'I'm Mallory - Dr Mallory.' He held out a strong but oblique hand. Are you staying here?'

The question seemed to contain a complete understanding of Halliday's motives. Putting down his portfolio, Halliday introduced himself. 'I'm at the Oasis. I arrived this evening.'

Realizing that the remark was meaningless, Halliday laughed, but Mallory was already smiling.

'This evening? I think we can take that for granted.' When Halliday raised his wrist to reveal the old 24-hour Rolex he still wore, Mallory nodded, straightening his sunglasses as if looking at Halliday more closely. 'You still have one, do you? What is the time, by the way?'

Halliday glanced at the Rolex. It was one of four he had brought with him, carefully synchronized with the master 24-hour clock still running at Greenwich Observatory, recording the vanished time of the oncerevolving earth. 'Nearly 7.30. That would be right. Isn't this Columbine Sept Heures?'

'True enough. A neat coincidence. However, the dusk line is advancing; I'd say it was a little later here. Still, I think we can take the point.' Mallory stepped down from the stage, where his tall figure had stood over Halliday like a white gallows. 'Seven-thirty, old time - and new. You'll have to stay at Columbine. It's not often one finds the dimensions locking like that.' He glanced at the portfolio. 'You're at the Oasis. Why there?'

'It's empty.'

'Cogent. But so is everything else here. Even so, I know what you mean, I stayed there myself when I first came to Columbine. It's damned hot.'

'I'll be on the dusk side.'

Mallory inclined his head in a small bow, as if acknowledging Halliday's seriousness. He went over to the stereogram and disconnected a motor car battery on the floor beside it. He placed the heavy unit in a canvas carryall and gave Halliday one of the handles. 'You can help me. I have a small generator at my chalet. It's difficult to recharge, but good batteries are becoming scarce.'

As they walked out into the sunlight Halliday said, 'You can have the battery in my car.'

Mallory stopped. 'That's kind of you, Halliday. But are you sure you won't want it? There are other places than Columbine.'

'Perhaps. But I take it there's enough food for us all here.' Halliday gestured with his wristwatch. 'Anyway, the time is right. Or both times, I suppose.'

'And as many spaces as you want, Halliday. Not all of them around you. Why have you come here?'

'I don't know yet. I was living at Trondheim; I couldn't sleep there. If I can sleep again, perhaps I can dream.'

He started to explain himself but Mallory raised a hand to silence him. 'Why do you think we're all here, Halliday? Out of Africa, dreams walk. You must meet Leonora. She'll like you.'

They walked past the empty chalets, the first of the swimming pools on their right. In the sand on the bottom someone had traced out a huge zodiac pattern, decorated with shells and pieces of fractured tile.

They approached the next pool. A sand dune had inundated one of the chalets and spilled into the basin, but a small area of the terrace had been cleared. Below an awning a young woman with white hair sat on a metal chair in front of an easel. Her jeans and the man's shirt she wore were streaked with paint, but her intelligent face, set above a strong jaw, seemed composed and alert. She looked up as Dr Mallory and Halliday lowered the battery to the ground.

'I've brought a pupil for you, Leonora.' Mallory beckoned Halliday over. 'He's staying at the Oasis - on the dusk side.'

The young woman gestured Halliday towards a reclining chair beside the easel. He placed the portfolio against the back rest. 'They're for my room at the hotel,' he explained. 'I'm not a painter.'

'Of course. May I look at them?' Without waiting she began to leaf through the reproductions, nodding to herself at each one. Halliday glanced at the half-completed painting on the easel, a landscape across which bizarre figures moved in a strange procession, archbishops wearing fantastic mitres. He looked up at Mallory, who gave him a wry nod.

'Interesting, Halliday?'

'Of course. What about your dreams, doctor? Where do you keep them?'

Mallory made no reply, gazing down at Halliday with his dark sealed eyes. With a laugh, dispelling the slight tension between the two men, Leonora sat down on the chair beside Halliday.

'Richard won't tell us that, Mr Halliday. When we find his dreams we'll no longer need our own.'

This remark Halliday was to repeat to himself often over the subsequent months. In many ways Halliday's presence in the town seemed a key to all their roles. The white-suited physician, moving about silently through the sandfilled streets, seemed like the spectre of the forgotten noon, reborn at dusk to drift like his music between the empty hotels. Even at their first meeting, when Halliday sat beside Leonora, making a few automatic remarks but conscious only of her hips and shoulder touching his own, he sensed that Mallory, whatever his reasons for being in Columbine, had adjusted himself all too completely to the ambiguous world of the dusk line. For Mallory, Columbine Sept Heures and the desert had already become part of the inner landscapes that Halliday and Leonora Sully still had to find in their paintings.

However, during his first weeks in the town by the drained river Halliday thought more of Leonora and of settling himself in the hotel. Using the 24-hour Rolex, he still tried to sleep at 'midnight', waking (or more exactly, conceding the fact of his insomnia) seven hours later. Then, at the start of his 'morning', he would make a tour of the paintings hung on the walls of the seventh-floor suite, and go out into the town, searching the hotel kitchens and pantries for supplies of water and canned food. At this time - an arbitrary interval he imposed on the neutral landscape - he would keep his back to the eastern sky, avoiding the dark night that reached from the desert across the drained river. To the west the brilliant sand beneath the over-heated sun shivered like the last dawn of the world.

At these moments Dr Mallory and Leonora seemed at their most tired, as if their bodies were still aware of the rhythms of the former 24-hour day. Both of them slept at random intervals - often Halliday would visit Leonora's chalet and find her asleep on the reclining chair by the pool, her face covered by the veil of white hair, shielded from the sun by the painting on her easel. These strange fantasies, with their images of bishops and cardinals moving in procession across ornamental landscapes, were her only activity.

By contrast, Mallory would vanish like a white vampire into his chalet, then emerge, refreshed in some way, a few hours later. After the first weeks Halliday came to terms with Mallory, and the two men would listen to the Webern quartets in the auditorium or play chess near Leonora beside the empty swimming pool. Halliday tried to discover how Leonora and Mallory had come to the town, but neither would answer his questions. He gathered only that they had arrived separately in Africa several years earlier and had been moving westward from town to town as the terminator crossed the continent.

On occasion, Mallory would go off into the desert on some unspecified errand, and then Halliday would see Leonora alone. Together they would walk along the bed of the drained river, or dance to the recordings of Masai chants in the anthropology library. Halliday's growing dependence on Leonora was tempered by the knowledge that he had come to Africa to seek, not this white-haired young woman with her amiable eyes, but the night-walking lamia within his own mind. As if aware of this, Leonora remained always detached, smiling at Halliday across the strange paintings on her easel.

This pleasant mnage a trois was to last for three months. During this time the dusk line advanced another half mile toward Columbine Sept Heures, and at last Mallory and Leonora decided to move to a small refinery town ten miles to the west. Halliday half expected Leonora to stay with him at Columbine, but she left with Mallory in the Peugeot. Sitting in the back seat, she waited as Mallory played the last Bartok quartet in the auditorium before disconnecting the battery and carrying it back to the car.

Curiously, it was Mallory who tried to persuade Halliday to leave with them. Unlike Leonora, the still unresolved elements in his relationship with Halliday made him wish to keep in touch with the younger man.

'Halliday, you'll find it difficult staying on here.' Mallory pointed across the river to the pall of darkness that hung like an immense wave over the town. Already the colours of the walls and streets had changed to the deep cyclamen of dusk. 'The night is coming. Do you realize what that means?'

'Of course, doctor. I've waited for it.'

'But, Halliday...' Mallory searched for a phrase. His tall figure, eyes hidden as ever by the dark glasses, looked up at Halliday across the steps of the hotel. 'You aren't an owl, or some damned desert cat. You've got to come to terms with this thing in the daylight.'

Giving up, Mallory went back to the car. He waved as they set off, reversing onto one of the dunes in a cloud of pink dust, but Halliday made no reply. He was watching Leonora Sully in the back seat with her canvas and easels, the stack of bizarre paintings that were echoes of her unseen dreams.

Whatever his feelings for Leonora, they were soon forgotten with his discovery a month later of a second beautiful neighbour at Columbine Sept Heures.

Half a mile to the north-east of Columbine, across the drained river, was an empty colonial mansion, once occupied by the manager of the refinery at the mouth of the river. As Halliday sat on his balcony on the seventh floor of the Oasis Hotel, trying to detect the imperceptible progress of the terminator, while the antique clocks around him ticked mechanically through the minutes and hours of their false days, he would notice the white faades of the house illuminated briefly in the reflected light of the sandstorms. Its terraces were covered with dust, and the columns of the loggia beside the swimming pool had toppled into the basin. Although only four hundred yards to the east of the hotel, the empty shell of the house seemed already within the approaching night.

Shortly before one of his attempts to sleep Halliday saw the headlamps of a car moving around the house. Its beams revealed a solitary figure who walked slowly up and down the terrace. Abandoning any pretence at sleep, Halliday climbed to the roof of the hotel, ten storeys above, and lay down on the suicide sill. A chauffeur was unloading suitcases from the car. The figure on the terrace, a tall woman in a black robe, walked with the random, uncertain movements of someone barely aware of what she was doing. After a few minutes the chauffeur took the woman by the arm, as if waking her from some kind of sleep.

Halliday watched from the roof, waiting for them to reappear. The strange tranceljke movements of this beautiful woman - already her dark hair and the pale nimbus of her face drifting like a lantern on the incoming dusk convinced him that she was the dark lamia of all his dreams - reminded Halliday of his own first strolls across the dunes to the river, the testing of ground unknown but familiar from his sleep.

When he went down to his suite he lay on the brocaded settee in the sitting room, surrounded by the landscapes of Delvaux and Ernst, and fell suddenly into a deep slumber. There he saw his first true dreams, of classical ruins under a midnight sky, where moonlit figures moved past each other in a city of the dead.

The dreams were to recur each time Halliday slept. He would wake on the settee by the picture window, the darkening floor of the desert below, aware of the dissolving boundaries between his inner and outer worlds. Already two of the clocks below the mantelpiece mirror had stopped. With their end he would at last be free of his former notions of time.

At the end of this week Halliday discovered that the woman slept at the same intervals as he did, going out to look at the desert as Halliday stepped onto his balcony. Although his solitary figure stood out clearly against the dawn sky behind the hotel the woman seemed not to notice him. Halliday watched the chauffeur drive the white Mercedes into the town. In his dark uniform he moved past the fading walls of the Fine Arts School like a shadow without form.

Halliday went down into the street and walked towards the dusk. Crossing the river, a drained Rubicon dividing his passive world at Columbine Sept Heures from the reality of the coming night, Halliday climbed the opposite bank past the wrecks of old cars and gasoline drums illuminated in the crepuscular light. As he neared the house the woman was walking among the sand-covered statuary in the garden, the crystals lying on the stone faces like the condensation of immense epochs of time.

Halliday hesitated by the low wall that encircled the house, waiting for the woman to look towards him. Her pale face, its high forehead rising above the dark glasses in some ways reminded him of Dr Mallory, the same screen that concealed a potent inner life. The fading light lingered among the angular planes of her temples as she searched the town for any signs of the Mercedes.

She was sitting in one of the chairs on the terrace when Halliday reached her, hands folded in the pockets of the silk robe so that only her pale face, with its marred beauty - the sunglasses seemed to shut it off like some inward night was exposed to him.

Halliday stood by the glass-topped table, uncertain how to introduce himself. 'I'm staying at the Oasis - at Columbine Sept Heures,' he began. 'I saw you from the balcony.' He pointed to the distant tower of the hotel, its cerise faade raised against the dimming air.

'A neighbour?' The woman nodded at this. 'Thank you for calling on me. I'm Gabrielle Szabo. Are there many of you?'

'No - they've gone. There were only two of them anyway, a doctor and a young woman painter, Leonora Sully - the landscape here suited her.'

'Of course. A doctor, though?' The woman had taken her hands from her robe. They lay in her lap like a pair of fragile doves. 'What was he doing here?'

'Nothing.' Halliday wondered whether to sit down, but the woman made no attempt to offer him the other chair, as if she expected him to drift away as suddenly as he had arrived. 'Now and then he helped me with my dreams.'

'Dreams?' She turned her head towards him, the light revealing the slightly hollowed contours above her eyes. 'Are there dreams at Columbine Sept Heures, Mr - '

'Halliday. There are dreams now. The night is coming.'

The woman nodded, raising her face to the violet-hued dusk. 'I can feel it on my face - like a black sun. What do you dream about, Mr Halliday?'

Halliday almost blurted out the truth but with a shrug he said, 'This and that. An old ruined town - you know, full of classical monuments. Anyway, I did last night...' He smiled at this. 'I still have some of the old clocks left. The others have stopped.'

Along the river a plume of gilded dust lifted from the road. The white Mercedes sped towards them.

'Have you been to Leptis Magna, Mr Halliday?'

'The Roman town? It's by the coast, five miles from here. If you like, I'll go with you.'

'A good idea. This doctor you mentioned, Mr Halliday - where has he gone? My chauffeur... needs some treatment.'

Halliday hesitated. Something about the woman's voice suggested that she might easily lose interest in him. Not wanting to compete with Mallory again, he answered, 'To the north, I think; to the coast. He was leaving Africa. Is it urgent?'

Before she could reply Halliday was aware of the dark figure of the chauffeur, buttoned within his black uniform, standing a few yards behind him. Only a moment earlier the car had been a hundred yards down the road, but with an effort Halliday accepted this quantal jump in time. The chauffeur's small face, with its sharp eyes and tight mouth, regarded Halliday without comment.

'Gaston, this is Mr Halliday. He's staying at one of the hotels at Columbine Sept Heures. Perhaps you could give him a lift to the river crossing.'

Halliday was about to accept, but the chauffeur made no response to the suggestion. Halliday felt himself shiver in the cooler air moving toward the river out of the dusk. He bowed to Gabrielle Szabo and walked off past the chauffeur. As he stopped, about to remind her of the trip to Leptis Magna, he heard her say, 'Gaston, there was a doctor here.'

The meaning of this oblique remark remained hidden from Halliday as he watched the house from the roof of the Oasis Hotel. Gabrielle Szabo sat on the terrace in the dusk, while the chauffeur made his foraging journeys to Columbine and the refineries along the river. Once Halliday came across him as he rounded a corner near the Fine Arts School, but the man merely nodded and trudged on with his jerrican of water. Halliday postponed a further visit to the house. Whatever her motives for being there, and whoever she was, Gabrielle Szabo had brought him the dreams that Columbine Sept Heures and his long journey south had failed to provide. Besides, the presence of the woman, turning some key in his mind, was all he required. Rewinding his clocks, he found that he slept for eight or nine hours of the nights he set himself.

However, a week later he found himself again failing to sleep. Deciding to visit his neighbour, he went out across the river, walking into the dusk that lay ever deeper across the sand. As he reached the house the white Mercedes was setting off along the road to the coast. In the back Gabrielle Szabo sat close to the open window, the dark wind drawing her black hair into the slipstream.

Halliday waited as the car came towards him, slowing as the driver recognized him. Gaston's head leaned back, his tight mouth framing Halliday's name. Expecting the car to stop, Halliday stepped out into the road.

'Gabrielle... Miss Szabo - , She leaned forward, and the white car accelerated and swerved around him, the cerise dust cutting his eyes as he watched the woman's masked face borne away from him.

Halliday returned to the hotel and climbed to the roof, but the car had disappeared into the darkness of the north-east, its wake fading into the dusk. He went down to his suite and paced around the paintings. The last of the clocks had almost run down. Carefully he wound each one, glad for the moment to be free of Gabrielle Szabo and the dark dream she had drawn across the desert.

When the clocks were going again he went down to the basement. For ten minutes he moved from car to car, stepping in and out of the Cadillacs and Citro'ns. None of the cars would start, but in the service bay he found a Honda motorcycle, and after filling the tank managed to kick the engine into life. As he set off from Columbine the sounds of the exhaust reverberated off the walls around him, but a mile from the town, when he stopped to adjust the carburettor, the town seemed to have been abandoned for years, his own presence obliterated as quickly as his shadow.

He drove westward, the dawn rising to meet him. Its colours lightened, the ambiguous contours of the dusk giving way to the clear outlines of the dunes along the horizon, the isolated watertowers standing like welcoming beacons.

Losing his way when the road disappeared into the sand sea, Halliday drove the motorcycle across the open desert. A mile to the west he came to the edge of an old wadi. He tried to drive the cycle down the bank, then lost his balance and sprawled onto his back as the machine leapt away and somersaulted among the rocks. Halliday trudged across the floor of the wadi to the opposite bank. Ahead of him, its silver gantries and tank farms shining in the dawn light, was an abandoned refinery and the white roofs of the near-by staff settlement.

As he walked between the lines of chalets, past the empty swimming pools that seemed to cover all Africa, he saw the Peugeot parked below one of the ports. Sitting with her easel was Leonora Sully, a tall man in a white suit beside her. At first Halliday failed to recognize him, although the man rose and waved to him. The outline of his head and high forehead was familiar, but the eyes seemed unrelated to the rest of his face. Then Halliday recognized Dr Mallory and realized that, for the first time, he was seeing him without his sunglasses.

'Halliday... my dear chap.' Mallory stepped around the drained pool to greet him, adjusting the silk scarf in the neck of his shirt. 'We thought you'd come one day...' He turned to Leonora, who was smiling at Halliday. 'To tell you the truth we were beginning to get a little worried about him, weren't we, Leonora?'

'Halliday...' Leonora took his arm and steered him round to face the sun. 'What's happened - you're so pale!'

'He's been sleeping, Leonora. Can't you see that, my dear?' Mallorys'led down at Halliday. 'Columbine Sept Heures is beyond the dusk line now. Halliday, you have the face of a dreamer.'

Halliday nodded. 'It's good to leave the dusk, Leonora. The dreams weren't worth searching for.' When she looked away Halliday turned to Mallory. The doctor's eyes disturbed him. The white skin in the orbits seemed to isolate them, as if the level gaze was coming from a concealed face. Something warned him that the absence of the sunglasses marked a change in Mallory whose significance he had not yet grasped.

Avoiding the eyes, Halliday pointed to the empty easel. 'You're not painting, Leonora.'

'I don't need to, Halliday. You see...' She turned to take Mallory's hand. 'We have our own dreams now. They come to us across the desert like jewelled birds..

Halliday watched them as they stood together. Then Mallory stepped forward, his white eyes like spectres. 'Halliday, of course it's good to see you... you'd probably like to stay here - '

Halliday shook his head. 'I came for my car,' he said in a controlled voice. He pointed to the Peugeot. 'Can I take it?'

'My dear chap, naturally. But where are - ' Mallory pointed warningly to the western horizon, where the sun burned in an immense pall. 'The west is on fire, you can't go there.'

Halliday began to walk toward the car. 'I'm going to the coast.' Over his shoulder, he added, 'Gabrielle Szabo is there.'

This time, as he fled towards the night, Halliday was thinking of the white house across the river, sinking into the last light of the desert. He followed the road that ran north-east from the refinery, and found a disused pontoon bridge that crossed the wadi. The distant spires of Columbine Sept Heures were touched by the last light of sunset.

The streets of the town were deserted, his own footsteps in the sand already drowned by the wind. He went up to his suite in the hotel. Gabrielle Szabo's house stood isolated on the far shore. Holding one of the clocks, its hands turning slowly within the ormolu case, Halliday saw the chauffeur bring the Mercedes into the drive. A moment later Gabrielle Szabo appeared, a black wraith in the dusk, and the car set off toward the north-east.

Halliday walked around the paintings in the suite, gazing at their landscapes in the dim light. He gathered his clocks together and carried them onto the balcony, then hurled them down one by one onto the terrace below. Their shattered faces, the white dials like Mallory's eyes, looked up at him with unmoving hands.

Half a mile from Leptis Magna he could hear the sea washing on the beaches through the darkness, the onshore winds whipping at the crests of the dunes in the moonlight. The ruined columns of the Roman city rose beside the single tourist hotel that shut out the last rays of the sun. Halliday stopped the car by the hotel, and walked past the derelict kiosks at the outskirts of the town. The tall arcades of the forum loomed ahead, the rebuilt statues of Olympian deities standing on their pedestals above him.

Halliday climbed onto one of the arches, then scanned the dark avenues for any sign of the Mercedes. Uneager to venture into the centre of the town, he went back to his car, then entered the hotel and climbed to the roof.

By the sea, where the antique theatre had been dug from the dunes, he could see the white rectangle of the Mercedes parked on the bluff. Below the proscenium, on the flat semi-circle of the stage, the dark figure of Gabrielle Szabo moved to and fro among the shadows of the statues.

Watching her, and thinking of Delvaux's 'Echo', with its triplicated nymph walking naked among the classical pavilions of a midnight city, Halliday wondered whether he had fallen asleep on the warm concrete roof. Between his dreams and the ancient city below there seemed no boundary, and the moonlit phantoms of his mind moved freely between the inner and outer landscapes, as in turn the dark-eyed woman from the house by the drained river had crossed the frontiers of his psyche, bringing with her a final relief from time.

Leaving the hotel, Halliday followed the street through the empty town, and reached the rim of the amphitheatre. As he watched, Gabrielle Szabo came walking through the antique streets, the fleeting light between the columns illuminating her white face. Halliday moved down the stone steps to the stage, aware of the chauffeur watching him from the cliff beside the car. The woman moved towards Halliday, her hips swaying slowly from side to side.

Ten feet from him she stopped, her raised hands testing the darkness. Halliday stepped forward, doubting if she could see him at all behind the sunglasses she still wore. At the sound of his footsteps she flinched back, looking up towards the chauffeur, but Halliday took her hand.

'Miss Szabo. I saw you walking here.'

The woman held his hands in suddenly strong fingers. Behind the glasses her face was a white mask. 'Mr Halliday - ' She felt his wrists, as if relieved to see him. 'I thought you would come. Tell me, how long have you been here?'

'Weeks - or months, I can't remember. I dreamed of this city before I came to Africa. Miss Szabo, I used to see you walking here among these ruins.'

She nodded, taking his arm. Together they moved off among the columns. Between the shadowy pillars of the balustrade was the sea, the white caps of the waves rolling towards the beach.

'Gabrielle... why are you here? Why did you come to Africa?'

She gathered the silk robe in one hand as they moved down a stairway to the terrace below. She leaned closely against Halliday, her fingers clasping his arm, walking so stiffly that Halliday wondered if she were drunk. 'Why? Perhaps to see the same dreams, it's possible.'

Halliday was about to speak when he noticed the footsteps of the chauffeur following them down the stairway. Looking around, and for one moment distracted from Gabrielle's swaying body against his own, he became aware of a pungent smell coming from the vent of one of the old Roman cloacas below them. The top of the brick-lined sewer had fallen in, and the basin was partly covered by the waves swilling in across the beach.

Halliday stopped. He tried to point below but the woman was holding his wrist in a steel grip. 'Down there! Can you see?'

Pulling his hand away, he pointed to the basin of the sewer, where a dozen half-submerged forms lay heaped together. Bludgeoned by the sea and wet sand, the corpses were only recognizable by the back-and-forth movements of their arms and legs in the shifting water.

'For God's sake - Gabrielle, who are they?'

'Poor devils...' Gabrielle Szabo turned away, as Halliday stared over the edge at the basin ten feet below. 'The evacuation - there were riots. They've been here for months.'

Halliday knelt down, wondering how long it would take the corpses whether Arab or European he had no means of telling - to be swept out to sea. His dreams of Leptis Magna had not included these melancholy denizens of the sewers. Suddenly he shouted again.

'Months? Not that one!'

He pointed again to the body of a man in a white suit lying to one side farther up the sewer. His long legs were covered by the foam and water, but his chest and arms were exposed. Across the face was the silk scarf he had seen Mallory wearing at their last meeting.

'Mallory!' Halliday stood up, as the black-suited figure of the chauffeur stepped onto a ledge twenty feet above. Halliday went over to Gabrielle Szabo, who was standing by the step, apparently gazing out to sea. 'That's Dr Mallory! He lived with me at Columbine Sept Heures! How did he Gabrielle, you knew he was here!'

Halliday seized her hands, in his anger jerked her forward, knocking off her glasses. As she fell to her knees, scrambling helplessly for them, Halliday held her shoulders. 'Gabrielle! Gabrielle, you're - , 'Halliday!' Her head lowered, she held his fingers and pressed them into her orbits. 'Mallory, he did it - we knew he'd follow you here. He was my doctor once, I've waited for years..

Halliday pushed her away, his feet crushing the sunglasses on the floor. He looked down at the white-suited figure washed by the waves, wondering what nightmare was hidden behind the scarf over its face, and sprinted along the terrace past the auditorium, then raced away through the dark streets.

As he reached the Peugeot the black-suited chauffeur was only twenty yards behind. Halliday started the motor and swung the car away through the dust. In the rear mirror he saw the chauffeur stop and draw a pistol from his belt. As he fired the bullet shattered the windshield. Halliday swerved into one of the kiosks, then regained control and set off with his head down, the cold night air blowing fragments of frosted glass into his face.

Two miles from Leptis, when there was no sight of the Mercedes in pursuit, he stopped and knocked out the windshield. As he drove on westward the air grew warmer, the rising dawn lifting in front of him with its promise of light and time.

1966

Time of Passage

Sunlight spilled among the flowers and tombstones, turning the cemetery into a bright garden of sculpture. Like two large gaunt crows, the gravediggers leaned on their spades between the marble angels, their shadows arching across the smooth white flank of one of the recent graves.

The gilt lettering was still fresh and untarnished.

JAMES FALKMAN 1963-1901 'The End is but the Beginning'

Leisurely they began to pare back the crisp turf, then dismantled the headstone and swathed it in a canvas sheet, laying it behind the graves in the next aisle. Biddle, the older of the two, a lean man in a black waistcoat, pointed to the cemetery gates, where the first mourning party approached.

'They're here. Let's get our backs into it.'

The younger man, Biddle's son, watched the small procession winding through the graves. His nostrils scented the sweet broken earth. 'They're always early,' he murmured reflectively. 'It's a strange thing, you never see them come on time.'

A clock tolled from the chapel among the cypresses. Working swiftly, they scooped out the soft earth, piling it into a neat cone at the grave's head. A few minutes later, when the sexton arrived with the principal mourners, the polished teak of the coffin was exposed, and Biddle jumped down on to the lid and scraped away the damp earth clinging to its brass rim.

The ceremony was brief and the twenty mourners, led by Falkman's sister, a tall white-haired woman with a narrow autocratic face, leaning on her husband's arm, soon returned to the chapel. Biddle gestured to his son. They jerked the coffin out of the ground and loaded it on to a cart, strapping it down under the harness. Then they heaped the earth back into the grave and relaid the squares of turf.

As they pushed the cart back to the chapel the sunlight shone brightly among the thinning graves.

Forty-eight hours later the coffin arrived at James Falkman's large grey-stoned house on the upper slopes of Mortmere Park. The high-walled avenue was almost deserted and few people saw the hearse enter the tree-lined drive. The blinds were drawn over the windows, and huge wreaths rested among the furniture in the hail where Falkman lay motionless in his coffin on a mahogany table. Veiled by the dim light, his square strong-jawed face seemed composed and unblemished, a short lock of hair over his forehead making his expression less severe than his sister's.

A solitary beam of sunlight, finding its way through the dark sycamores which guarded the house, slowly traversed the room as the morning progressed, and shone for a few minutes upon Falkman's open eyes. Even after the beam had moved away a faint glimmer of light still remained in the pupils, like the reflection of a star glimpsed in the bottom of a dark well.

All day, helped by two of her friends, sharp-faced women in long black coats, Falkman's sister moved quietly about the house. Her quick deft hands shook the dust from the velvet curtains in the library, wound up the miniature Louis XV clock on the study desk, and reset the great barometer on the staircase. None of the women spoke to each other, but within a few hours the house was transformed, the dark wood in the hall gleaming as the first callers were admitted.

'Mr and Mrs Montefiore...'

'Mr and Mrs Caldwell..

'Miss Evelyn Jermyn and Miss Elizabeth..

'Mr Samuel Banbury...'

One by one nodding in acknowledgement as they were announced, the callers trooped into the hail and paused over the coffin, examining Falkman's face with discreet interest, then passed into the dining room where they were presented with a glass of port and a tray of sweetmeats. Most of them were elderly, over-dressed in the warm spring weather, one or two obviously ill at ease in the great oak-panelled house, and all unmistakably revealed the same air of hushed expectancy.

The following morning Falkman was lifted from his coffin and carried upstairs to the bedroom overlooking the drive. The winding sheet was removed from his frail body dressed in a pair of thick woollen pyjamas. He lay quietly between the cold sheets, his grey face sightless and reposed, unaware of his sister crying softly on the high-backed chair beside him. Only when Dr Markham called and put his hand on her shoulder did she contain herself, relieved to have given way to her feelings.

Almost as if this were a signal, Falkman opened his eyes. For a moment they wavered uncertainly, the pupils weak and watery. Then he gazed up at his sister's tear-marked face, his head motionless on the pillow. As she and the doctor leaned forward Falkman smiled fleetingly, his lips parting across his teeth in an expression of immense patience and understanding. Then apparently exhausted he lapsed into a deep sleep.

After securing the blinds over the windows, his sister and the doctor stepped from the room. Below, the doors closed quietly into the drive, and the house became silent. Gradually the sounds of Falkman's breathing grew more steady and filled the bedroom, overlaid by the swaying of the dark trees outside.

So James Falkman made his arrival. For the next week he lay quietly in his bedroom, his strength increasing hourly, and managed to eat his first meals prepared by his sister. She sat in the blackwood chair, her mourning habit exchanged for a grey woollen dress, examining him critically.

'Now James, you'll have to get a better appetite than that. Your poor body is completely wasted.'

Falkman pushed away the tray and let his long slim hands fall across his chest. He smiled amiably at his sister. 'Careful, Betty, or you'll turn me into a milk pudding.'

His sister briskly straightened the eiderdown. 'If you don't like my cooking, James, you can fend for yourself.'

A faint chuckle slipped between Falkman's lips. 'Thank you for telling me, Betty, I fully intend to.'

He lay back, smiling weakly to himself as his sister stalked out with the tray. Teasing her did him almost as much good as the meals she prepared, and he felt the blood reaching down into his cold feet. His face was still grey and flaccid, and he conserved his strength carefully, only his eyes moving as he watched the ravens alighting on the window ledge.

Gradually, as his conversations with his sister became more frequent, Falkman gained sufficient strength to sit up. He began to take a fuller interest in the world around him, watching the people in the avenue through the french windows and disputing his sister's commentary on them.

'There's Sam Banbury again,' she remarked testily as a small leprechaunlike old man hobbled past. 'Off to the Swan as usual. When's he going to get a job, I'd like to know.'

'Be more charitable, Betty. Sam's a very sensible fellow. I'd rather go to the pub than have a job.'

His sister snorted sceptically, her assessment of Falkman's character apparently at variance with this statement. 'You've got one of the finest houses in Mortmere Park,' she told him. 'I think you should be more careful with people like Sam Banbury. He's not in your class, James.'

Falkman smiled patiently at his sister. 'We're all in the same class, or have you been here so long you've forgotten, Betty.'

'We all forget,' she told him soberly. 'You will too, James. It's sad, but we're in this world now, and we must concern ourselves with it. If the church can keep the memory alive for us, so much the better. As you'll find out though, the majority of folk remember nothing. Perhaps it's a good thing.'

She grudgingly admitted the first visitors, fussing about so that Falkman could barely exchange a word with them. In fact, the visits tired him, and he could do little more than pass a few formal pleasantries. Even when Sam Banbury brought him a pipe and tobacco pouch he had to muster all his energy to thank him and had none left to prevent his sister from making off with them.

Only when the Reverend Matthews called did Falkman manage to summon together his strength, for half an hour spoke earnestly to the parson, who listened with rapt attention, interjecting a few eager questions. When the Reverend left he seemed refreshed and confident, and strode down the stairs with a gay smile at Falkman's sister.

Within three weeks Falkman was out of bed, and managed to hobble downstairs and inspect the house and garden. His sister protested, dogging his slow painful footsteps with sharp reminders of his feebleness, but Falkman ignored her. He found his way to the conservatory, and leaned against one of the ornamental columns, his nervous fingers feeling the leaves of the miniature trees, the scent of flowers flushing his face. Outside, in the grounds, he examined everything around him, as if comparing it with some Elysian paradise in his mind.

He was walking back to the house when he twisted his ankle sharply in the crazy paving. Before he could cry for help he had fallen headlong across the hard stone.

'James Falkman will you never listen?' his sister protested, as she helped him across the terrace. 'I warned you to stay in bed!'

Reaching the lounge, Falkman sat down thankfully in an armchair, reassembling his stunned limbs. 'Quiet, Betty, do you mind,' he admonished his sister when his breath returned. 'I'm still here, and I'm perfectly well.'

He had stated no more than the truth. After the accident he began to recover spectacularly, his progress toward complete health accelerating without a break, as if the tumble had freed him from the lingering fatigue and discomfort of the previous weeks. His step became brisk and lively, his complexion brightened, a soft pink glow filling out his cheeks, and he moved busily around the house.

A month afterwards his sister returned to her own home, acknowledging his ability to look after himself, and her place was taken by the housekeeper. After reestablishing himself in the house, Falkman became increasingly interested in the world outside. He hired a comfortable car and chauffeur, and spent most of the winter afternoons and evenings at his club; soon he found himself the centre of a wide circle of acquaintances. He became the chairman of a number of charitable committees, where his good humour, tolerance and shrewd judgement made him well respected. He now held himself erect, his grey hair sprouting luxuriantly, here and there touched by black flecks, jaw jutting firmly from sun-tanned cheeks.

Every Sunday he attended the morning and evening services at his church, where he owned a private pew, and was somewhat saddened to see that only the older people formed the congregation. However, he himself found that the picture painted by the liturgy became increasingly detached from his own memories as the latter faded, too soon became a meaningless charade that he could accept only by an act of faith.

A few years later, when he became increasingly restless, he decided to accept the offer of a partnership in a leading firm of stockbrokers.

Many of his acquaintances at the club were also finding jobs, forsaking the placid routines of smoking room and conservatory garden. Harold Caldwell, one of his closest friends, was appointed Professor of History at the university, and Sam Banbury became manager of the Swan Hotel.

The ceremony on Falkman's first day at the stock exchange was dignified and impressive. Three junior men also joining the firm were introduced to the assembled staff by the senior partner, Mr Montefiore, and each presented with a gold watch to symbolize the years he would spend with the firm. Falkman received an embossed silver cigar case and was loudly applauded.

For the next five years Falkman threw himself wholeheartedly into his work, growing more extrovert and aggressive as his appetite for the material pleasures of life increased. He became a keen golfer; then, as the exercise strengthened his physique, played his first games of tennis. An influential member of the business community, his days passed in a pleasant round of conferences and dinner parties. He no longer attended the church, but instead spent his Sundays escorting the more attractive of his lady acquaintances to the race tracks and regattas.

He found it all the more surprising, therefore when a persistent mood of dejection began to haunt him. Although without any apparent source, this deepened slowly, and he found himself reluctant to leave his house in the evenings. He resigned from his committees and no longer visited his club. At the stock exchange he felt permanently distracted, and would stand for hours by the window, staring down at the traffic.

Finally, when his grasp of the business began to slip, Mr Montefiore suggested that he go on indefinite leave.

For a week Falkman listlessly paced around the huge empty house. Sam Banbury frequently called to see him, but Falkman's sense of grief was beyond any help. He drew the blinds over the windows and changed into a black tie and suit, sat blankly' in the darkened library.

At last, when his depression had reached its lowest ebb, he went to the cemetery to collect his wife.

After the congregation had dispersed, Falkman paused outside the vestry to tip the gravedigger, Biddle, and compliment him on his young son, a cherubic three-year-old who was playing among the headstones. Then he rode back to Mortmere Park in the car following the hearse, the remainder of the cortege behind him.

'A grand turnout, James,' his sister told him approvingly. 'Twenty cars altogether, not including the private ones.'

Falkman thanked her, his eyes examining his sister with critical detachment. In the fifteen years he had known her she had coarsened perceptibly, her voice roughening and her gestures becoming broader. A distinct social gap had always separated them, a division which Falkman had accepted charitably, but it was now widening markedly. Her husband's business had recently begun to fail, and her thoughts had turned almost exclusively to the subjects of money and social prestige.

As Falkman congratulated himself on his good sense and success, a curious premonition, indistinct but nonetheless disturbing, stirred through his mind.

Like Falkman himself fifteen years earlier, his wife first lay in her coffin in the hall, the heavy wreaths transforming it into a dark olive-green bower. Behind the lowered blinds the air was dim and stifled, and with her rich red hair flaring off her forehead, and her broad cheeks and full lips, his wife seemed to Falkman like some sleeping enchantress in a magical arbour. He gripped the silver foot rail of the coffin and stared at her mindlessly, aware of his sister shepherding the guests to the port and whisky. He traced with his eyes the exquisite dips and hollows around his wife's neck and chin, the white skin sweeping smoothly to her strong shoulders. The next day, when she was carried upstairs, her presence filled the bedroom. All afternoon he sat beside her, waiting patiently for her to wake.

Shortly after five o'clock, in the few minutes of light left before the dusk descended, when the air hung motionlessly under the trees in the garden, a faint echo of life moved across her face. Her eyes cleared and then focused on the ceiling.

Breathlessly, Falkman leaned forward and took one of her cold hands. Far within, the pulse sounded faintly.

'Marion,' he whispered.

Her head inclined slightly, lips parting in a weak smile. For several moments she gazed serenely at her husband.

'Hello, Jamie.'

His wife's arrival completely rejuvenated Falkman. A devoted husband, he was soon completely immersed in their life together. As she recovered from the long illness after her arrival, Falkman entered the prime of his life. His grey hair became sleek and black, his face grew thicker, the chin firmer and stronger. He returned to the stock exchange, taking up his job with renewed interest.

He and Marion made a handsome couple. At intervals they would visit the cemetery and join in the service celebrating the arrival of another of their friends, but these became less frequent. Other parties continually visited the cemetery, thinning the ranks of graves, and large areas had reverted to open lawn as the coffins were withdrawn and the tombstones removed. The firm of undertakers near the cemetery which was responsible for notifying mourning relatives closed down and was sold. Finally, after the gravedigger, Biddle, recovered his own wife from the last of the graves the cemetery was converted into a children's playground.

The years of their marriage were Falkman's happiest. With each successive summer Marion became slimmer and more youthful, her red hair a brilliant diadem that stood out among the crowds in the street when she came to see him. They would walk home arm in arm, in the summer evening pause among the willows by the river to embrace each other like lovers.

Indeed, their happiness became such a byword among their friends that over two hundred guests attended the church ceremony celebrating the long years of their marriage. As they knelt together at the altar before the priest Marion seemed to Falkman like a demure rose.

This was the last night they were to spend together. Over the years Falkman had become less interested in his work at the stock exchange, and the arrival of older and more serious men had resulted in a series of demotions for him. Many of his friends were facing similar problems. Harold Caldwell had been forced to resign his professorship and was now a junior lecturer, taking postgraduate courses to familiarize himself with the great body of new work that had been done in the previous thirty years. Sam Banbury was a waiter at the Swan Hotel.

Marion went to live with her parents, and the Falkmans' apartment, to which they had moved some years earlier after the house was closed and sold, was let to new tenants. Falkman, whose tastes had become simpler as the years passed, took a room in a hostel for young men, but he and Marion saw each other every evening. He felt increasingly restless, half conscious that his life was moving towards an inescapable focus, and often thought of giving up his job.

Marion remonstrated with him. 'But you'll lose everything you've worked for, Jamie. All those years.'

Falkman shrugged, chewing on a stem of grass as they lay in the park during one of their lunch hours. Marion was now a salesgirl in a department store.

'Perhaps, but I resent being demoted. Even Montefiore is leaving. His grandfather has just been appointed chairman.' He rolled bver and put his head in her lap. 'It's so dull in that stuffy office, with all those pious old men. I'm not satisfied with it any longer.'

Marion smiled affectionately at his na•vet and enthusiasm. Falkman was now more handsome than she had ever remembered him, his sun-tanned face almost unlined.

'It's been wonderful together, Marion,' he told her on the eve of their thirtieth anniversary. 'How lucky we've been never to have a child. Do you realize that some people even have three or four? It's absolutely tragic.'

'It comes to us all, though, Jamie,' she reminded him. 'Some people say it's a very beautiful and noble experience, having a child.'

All evening he and Marion wandered round the town together, Falkman's desire for her quickened by her increasing demureness. Since she had gone to live with her parents Marion had become almost too shy to take his hand.

Then he lost her.

Walking through the market in the town centre, they were joined by two of Marion's friends, Elizabeth and Evelyn Jermyn.

'There's Sam Banbury,' Evelyn pointed out as a firework crackled from a stall on the other side of the market. 'Playing the fool as usual.' She and her sister clucked disapprovingly. Tight-mouthed and stern, they wore dark serge coats buttoned to their necks.

Distracted by Sam, Falkman wandered off a few steps, suddenly found that the three girls had walked away. Darting through the crowd, he tried to catch up with them, briefly glimpsed Marion's red hair.

He fought his way through the stalls, almost knocking over a barrow of vegetables and shouted at Sam Banbury: 'Sam! Have you seen Marion?'

Banbury pocketed his crackers and helped him to scan the crowd. For an hour they searched. Finally Sam gave up and went home, leaving Falkman to hang about the cobbled square under the dim lights when the market closed, wandering among the tinsel and litter as the stall holders packed up for home.

'Excuse me, have you seen a girl here? A girl with red hair?'

'Please, she was here this afternoon.'

'A girl..

'... called..

Stunned, he realized that he had forgotten her name.

Shortly afterwards, Falkman gave up his job and went to live with his parents. Their small red-brick house was on the opposite side of the town; between the crowded chimney pots he could sometimes see the distant slopes of Mortmere Park. His life now began a less carefree phase, as most of his energy went into helping his mother and looking after his sister Betty. By comparison with his own house his parents' home was bleak and uncomfortable, altogether alien to everything Falkman had previously known. Although kind and respectable people, his parents' lives were circumscribed by their lack of success or education. They had no interest in music or the theatre, and Falkman found his mind beginning to dull and coarsen.

His father was openly critical of him for leaving his job, but the hostility between them gradually subsided as he more and more began to dominate Falkman, restricting his freedom and reducing his pocket money, even warning him not to play with certain of his friends. In fact, going to live with his parents had taken Falkman into an entirely new world.

By the time he began to go to school Falkman had completely forgotten\\ his past life, his memories of Marion and the great house where they had lived surrounded by servants altogether obliterated.

During his first term at school he was in a class with the older boys, whom the teachers treated as equals, but like his parents they began to extend their influence over him as the years passed. At times Falkman rebelled against this attempt to suppress his own personality, but at last they entirely dominated him, controlling his activities and moulding his thoughts and speech. The whole process of education, he dimly realized, was designed to prepare him for the strange twilight world of his earliest childhood. It deliberately eliminated every trace of sophistication, breaking down, with its constant repetitions and brain-splitting exercises, all his knowledge of language and mathematics, substituting for them a collection of meaningless rhymes, and chants, and out of this constructing an artificial world of total infantilism.

At last, when the process of education had reduced him almost to the stage of an inarticulate infant, his parents intervened by removing him from the school, and the final years of his life were spent at home.

'Mama, can I sleep with you?'

Mrs Falkman looked down at the serious-faced little boy who leaned his head on her pillow. Affectionately she pinched his square jaw and then touched her husband's shoulder as he stirred. Despite the years between father and son, their two bodies were almost identical, with the same broad shoulders and broad heads, the same thick hair.

'Not today, Jamie, but soon perhaps, one day.'

The child watched his mother with wide eyes, wondering why she should be crying to herself, guessing that perhaps he had touched upon one of the taboos that had exercised such a potent fascination for all the boys at school, the mystery of their ultimate destination that remained carefully shrouded by their parents and which they themselves were no longer able to grasp.

By now he was beginning to experience the first difficulties in both walking and feeding himself. He tottered about clumsily, his small piping voice tripping over his tongue. Steadily his vocabulary diminished until he knew only his mother's name. When he could no longer stand upright she would carry him in her arms, feeding him like an elderly invalid. His mind clouded, a few constants of warmth and hunger drifting through it hazily. As long as he could, he clung to his mother.

Shortly afterward, Falkman and his mother visited the lying-in hospital for several weeks. On her return Mrs Falkman remained in bed for a few days, but gradually she began to move about more freely, slowly shedding the additional weight accumulated during her confinement.

Some nine months after she returned from the hospital, a period during which she and her husband thought continually of their son, the tragedy of his approaching death, a symbol of their own imminent separation, bringing them closer together, they went away on their honeymoon.

1964

The Gioconda of the Twilight Noon

'Those confounded gulls!' Richard Maitland complained to his wife. 'Can't you drive them away?'

Judith hovered behind the wheelchair, her hands glancing around his bandaged eyes like nervous doves. She peered across the lawn to the river bank. 'Try not to think about them, darling. They're just sitting there.'

'Just? That's the trouble!' Maitland raised his cane and struck the air vigorously. 'I can feel them all out there, watching me!'

They had taken his mother's house for his convalescence, partly on the assumption that the rich store of visual memories would in some way compensate for Maitland's temporary blindness - a trivial eye injury had become infected, eventually requiring surgery and a month's bandaged darkness. However, they had failed to reckon with the huge extension of his other senses. The house was five miles from the coast, but at low tide a flock of the greedy estuarine birds would fly up the river and alight on the exposed mud fifty yards from where Maitland sat in his wheelchair in the centre of the lawn. Judith could barely hear the gulls, but to Maitland their ravenous pecking filled the warm air like the cries of some savage Dionysian chorus. He had a vivid image of the wet banks streaming with the blood of thousands of dismembered fish.

Fretting impotently to himself, he listened as their voices suddenly fell away. Then, with a sharp sound like tearing cloth, the entire flock rose into the air. Maitland sat up stiffly in the wheelchair, the cane clasped like a cudgel in his right hand, half-expecting the gulls to swerve down on to the placid lawn, their fierce beaks tearing at the bandages over his eyes.

As if to conjure them away, he chanted aloud: 'The nightingales are singing near The Convent of the Sacred Heart, And sang within the bloody wood When Agamemnon cried aloud...!'

During the fortnight since his return from the hospital Judith had read most of the early Eliot aloud to him. The flock of unseen gulls seemed to come straight out of that grim archaic landscape.

The birds settled again, and Judith took a few hesitant steps across the lawn, her dim form interrupting the even circle of light within his eyes.

'They sound like a shoal of piranha,' he said with a forced laugh. 'What are they doing - stripping a bull?'

'Nothing, dear, as far as I can see...' Judith's voice dipped on this last word. Even though Maitland's blindness was only temporary - in fact, by twisting the bandages he could see a blurred but coherent image of the garden with its willows screening the river - she still treated him to all the traditional circumlocutions, hedging him with the elaborate taboos erected by the seeing to hide them from the blind. The only real cripples, Maitland reflected, were the perfect in limb.

'Dick, I have to drive into town to collect the groceries. You'll be all right for half an hour?'

'Of course. Just sound the horn when you come back.'

The task of looking after the rambling country house single-handed Maitland's widowed mother was on a steamer cruise in the Mediterranean - limited the time Judith could spend with him. Fortunately his long familiarity with the house saved her from having to guide him around it. A few rope hand-rails and one or two buffers of cotton wool taped to dangerous table corners had been enough. Indeed, once upstairs Maitland moved about the winding corridors and dark back staircases with more ease than Judith, and certainly with far more willingness - often in the evening she would go in search of Maitland and be startled to see her blind husband step soundlessly from a doorway two or three feet from her as he wandered among the old attics and dusty lofts. His rapt expression, as he hunted some memory of childhood, reminded her in a curious way of his mother, a tall, handsome woman whose bland smile always seemed to conceal some potent private world.

To begin with, when Maitland had chafed under the bandages, Judith had spent all morning and afternoon reading the newspapers aloud to him, then a volume of poems and even, heroically, the start of a novel, Moby Dick. Within a few days, however, Maitland had come to terms with his blindness, and the constant need for some sort of external stimulation faded. He discovered what every blind person soon finds out - that its external optical input is only part of the mind's immense visual activity. He had expected to be plunged into a profound Stygian darkness, but instead his brain was filled with a ceaseless play of light and colour. At times, as he lay back in the morning sunlight, he would see exquisite revolving patterns of orange light, like huge solar discs. These would gradually recede to brilliant pinpoints, shining above a veiled landscape across which dim forms moved like animals over an African veldt at dusk.

At other times forgotten memories would impinge themselves on this screen, what he assumed to be visual relics of his childhood long buried in his mind.

It was these images, with all their tantalizing associations, that most intrigued Maitland. By letting his mind drift into reverie he could almost summon them at will, watching passively as these elusive landscapes materialized like visiting spectres before his inner eye. One in particular, composed of fleeting glimpses of steep cliffs, a dark corridor of mirrors and a tall, high-gabled house within a wall, recurred persistently, although its unrelated details owed nothing to his memory. Maitland tried to explore it, fixing the blue cliffs or the tall house in his mind and waiting for their associations to gather. But the noise of the gulls and Judith's to and fro movements across the garden distracted him.

"Bye, darling! See you later!'

Maitland raised his cane in reply. He listened to the car move off down the drive, its departure subtly altering the auditory profile of the house. Wasps buzzed among the ivy below the kitchen windows, hovering over the oil stains in the gravel. A line of trees swayed in the warm air, muffling Judith's last surge of acceleration. For once the gulls were silent. Usually this would have roused Maitland's suspicions, but he lay back, turning the wheels of the chair so that he faced the sun.

Thinking of nothing, he watched the aureoles of light mushroom soundlessly within his mind. Occasionally the shifting of the willows or the sounds of a bee bumping around the glass water jug on the table beside him would end the sequence. This extreme sensitivity to the faintest noise or movement reminded him of the hypersensitivity of epileptics, or of rabies victims in their grim terminal convulsions. It was almost as if the barriers between the deepest levels of the nervous system and the external world had been removed, those muffling layers of blood and bone, reflex and convention...

With a barely perceptible pause in his breathing, Maitland relaxed carefully in the chair. Projected on to the screen within his mind was the image he had glimpsed before, of a rocky coastline whose dark cliffs loomed through an offshore mist. The whole scene was drab and colourless. Overhead low clouds reflected the pewter surface of the water. As the mist cleared he moved nearer the shore, and watched the waves breaking on the rocks. The plumes of foam searched like white serpents among the pools and crevices for the caves that ran deep into the base of the cliff.

Desolate and unfrequented, the coast reminded Maitland only of the cold shores of Tierra del Fuego and the ships' graveyards of Cape Horn, rather than of any memories of his own. Yet the cliffs drew nearer, rising into the air above him, as if their identity reflected some image deep within Maitland's mind.

Still separated from them by the interval of grey water, Maitland followed the shoreline, until the cliffs divided at the mouth of a small estuary. Instantly the light cleared. The water within the estuary glowed with an almost spectral vibrancy. The blue rocks of the surrounding cliffs, penetrated by small grottoes and caverns, emitted a soft prismatic light, as if illuminated by some subterranean lantern.

Holding this scene before him, Maitland searched the shores of the estuary. The caverns were deserted, but as he neared them the luminous archways began to reflect the light like a hall of mirrors. At the same time he found himself entering the dark, high-gabled house he had seen previously, and which had now superimposed itself on his dream. Somewhere within it, masked by the mirrors, a tall, green-robed figure watched him, receding through the caves and groynes A motor-car horn sounded, a gay succession of toots. The gravel grating beneath its tyres, a car swung into the drive.

'Judith here, darling,' his wife called. 'Everything all right?'

Cursing under his breath, Maitland fumbled for his cane. The image of the dark coast and the estuary with its spectral caves had gone. Like a blind worm, he turned his blunted head at the unfamiliar sounds and shapes in the garden.

'Are you all right?' Judith's footsteps crossed the lawn. 'What's the matter, you're all hunched up - have those birds been annoying you?'

'No, leave them.' Maitland lowered his cane, realizing that although not visibly present in his inward vision, the gulls had played an oblique role in its creation. The foam-white seabirds, hunters of the albatross With an effort he said: 'I was asleep.'

Judith knelt down and took his hands. 'I'm sorry. I'll ask one of the men to build a scarecrow. That should - '

'No!' Maitland pulled his hands away. 'They're not worrying me at all.' Levelling his voice, he said: 'Did you see anyone in the town?'

'Dr Phillips. He said you should be able to take off the bandages in about ten days.'

'Good. There's no hurry, though. I want the job done properly.'

After Judith had walked back to the house Maitland tried to return to his reverie, but the image remained sealed behind the screen of his consciousness.

At breakfast the next morning Judith read him the mail.

'There's a postcard from your mother. They're near Malta, somewhere called Gozo.'

'Give it to me.' Maitland felt the card in his hands. 'Gozo - that was Calypso's island. She kept Ulysses there for seven years, promised him eternal youth if he'd stay with her forever.'

'I'm not surprised.' Judith inclined the card towards her. 'If we could spare the time, you and I should go there for a holiday. Wine-dark seas, a sky like heaven, blue rocks. Bliss.'

'Blue?'

'Yes. I suppose it's the bad printing. They can't really be like that.'

'They are, actually.' Still holding the card, Maitland went out into the garden, feeling his way along the string guiderail. As he settled himself in the wheelchair he reflected that there were other correspondences in the graphic arts. The same blue rocks and spectral grottos could be seen in Leonardo's Virgin of the Rocks, one of the most forbidding and most enigmatic of his paintings. The madonna sitting on a bare ledge by the water beneath the dark overhang of the cavern's mouth was like the presiding spirit of some enchanted marine realm, waiting for those cast on to the rocky shores of this world's end. As in so many of Leonardo's paintings, all its unique longings and terrors were to be found in the landscape in the background. Here, through an archway among the rocks, could be seen the crystal blue cliffs that Maitland had glimpsed in his reverie.

'Shall I read it out to you?' Judith had crossed the lawn.

'What?'

'Your mother's postcard. You're holding it in your hand.'

'Sorry. Please do.'

As he listened to the brief message, Maitland waited for Judith to return to the house. When she had gone he sat quietly for a few minutes. The distant sounds of the river came to him through the trees, and the faint cry of gulls swooping on to the banks further down the estuary.

This time, almost as if recognizing Maitland's need, the vision came to him quickly. He passed the dark cliffs, and the waves vaulting into the cave mouths, and then entered the twilight world of the grottoes beside the river. Outside, through the stone galleries, he could see the surface of the water glittering like a sheet of prisms, the soft blue light reflected in the vitreous mirrors which formed the cavern walls. At the same time he sensed that he was entering the high-gabled house, whose surrounding wall was the cliff face he had seen from the sea. The rock-like vaults of the house glowed with the olive-black colours of the marine deeps, and curtains of old lace-work hung from the doors and windows like ancient nets.

A staircase ran through the grotto, its familiar turnings leading to the inner reaches of the cavern. Looking upwards, he saw the green-robed figure watching him from an archway. Her face was hidden from him, veiled by the light reflected off the damp mirrors on the walls. Impelled forward up the steps, Maitland reached towards her, and for an instant the face of the figure cleared.

'Judith!' Rocking forward in his chair, Maitland searched helplessly for the water jug on the table, his left hand drumming at his forehead in an attempt to drive away the vision and its terrifying lamia.

'Richard! What is it?'

He heard his wife's hurried footsteps across the lawn, and then felt her hands steadying his own.

'Darling, what on earth's going on? You're pouring with perspiration!'

That afternoon, when he was left alone again, Maitland approached the dark labyrinth more cautiously. At low tide the gulls returned to the mud flats below the garden, and their archaic cries carried his mind back into its deeps like mortuary birds bearing away the body of Tristan. Guarding himself and his own fears, he moved slowly through the luminous chambers of the subterranean house, averting his eyes from the green-robed enchantress who watched him from the staircase.

Later, when Judith brought his tea to him on a tray, he ate carefully, talking to her in measured tones.

'What did you see in your nightmare?' she asked.

'A house of mirrors under the sea, and a deep cavern,' he told her. 'I could see everything, but in a strange way, like the dreams of people who have been blind for a long time.'

Throughout the afternoon and evening he returned to the grotto at intervals, moving circumspectly through the outer chambers, always aware of the robed figure waiting for him in the doorway to its innermost sanctum.

The next morning Dr Phillips called to change his dressing.

'Excellent, excellent,' he commented, holding his torch in one hand as he retaped Maitland's eyelids to his cheeks. 'Another week and you'll be out of this for good. At least you know what it's like for the blind.'

'One can envy them,' Maitland said.

'Really?'

'They see with an inner eye, you know. In a sense everything there is more real.'

'That's a point of view.' Dr Phillips replaced the bandages. He drew the curtains. 'What have you seen with yours?'

Maitland made no reply. Dr Phillips had examined him in the darkened study, but the thin torch beam and the few needles of light around the curtains had filled his brain like arc lights. He waited for the glare to subside, realizing that his inner world, the grotto, the house of mirrors and the enchantress, had been burned out of his mind by the sunlight.

'They're hypnagogic images,' Dr Phillips remarked, fastening his bag.

'You've been living in an unusual zone, sitting around doing nothing but with your optic nerves alert, a no-man's land between sleep and consciousness. I'd expect all sorts of strange things.'

After he had gone Maitland said to the unseen walls, his lips whispering below the bandages: 'Doctor, give me back my eyes.'

It took him two full days to recover from this brief interval of external sight. Laboriously, rock by rock, he re-explored the hidden coastline, willing himself through the enveloping sea-mists, searching for the lost estuary.

At last the luminous beaches appeared again.

'I think I'd better sleep alone tonight,' he told Judith. 'I'll use mother's room.'

'Of course, Richard. What's the matter?'

'I suppose I'm restless. I'm not getting much exercise and there are only three days to go. I don't want to disturb you.'

He found his own way into his mother's bedroom, glimpsed only occasionally during the years since his marriage. The high bed, the deep rustle of silks and the echoes of forgotten scents carried him back to his earliest childhood. He lay awake all night, listening to the sounds of the river reflected off the cut-glass ornaments over the fireplace.

At dawn, when the gulls flew up from the estuary, he visited the blue grottoes again, and the tall house in the cliff. Knowing its tenant now, the green-robed watcher on the staircase, he decided to wait for the morning light. Her beckoning eyes, the pale lantern of her smile, floated before him.

However, after breakfast Dr Phillips returned.

'Right,' he told Maitland briskly, leading him in from the lawn. 'Let's have those bandages off.'

'For the last time, Doctor?' Judith asked. 'Are you sure?'

'Certainly. We don't want this to go on for ever, do we?' He steered Maitland into the study. 'Sit down here, Richard. You draw the curtains, Judith.'

Maitland stood up, feeling for the desk. 'But you said it would take three more days, Doctor.'

'I dare say. But I didn't want you to get over-excited. What's the matter? You're hovering about there like an old woman. Don't you want to see again?'

'See?' Maitland repeated numbly. 'Of course.' He subsided limply into a chair as Dr Phillips' hands unfastened the bandages. A profound sense of loss had come over him. 'Doctor, could I put it off for - '

'Nonsense. You can see perfectly. Don't worry, I'm not going to fling back the curtains. It'll be a full day before you can see freely. I'll give you a set of filters to wear. Anyway, these dressings let through more light than you imagine.'

At eleven o'clock the next morning, his eyes shielded only by a pair of sunglasses, Maitland walked out on to the lawn. Judith stood on the terrace, and watched him make his way around the wheelchair. When he reached the willows she called: 'All right, darling? Can you see me?'

Without replying, Maitland looked back at the house. He removed the sunglasses and threw them aside on to the grass. He gazed through the trees at the estuary, at the blue surface of the water stretching to the opposite bank. Hundreds of the gulls stood by the water, their heads turned in profile to reveal the full curve of their beaks. He looked over his shoulder at the high-gabled house, recognizing the one he had seen in his dream. Everything about it, like the bright river which slid past him, seemed dead.

Suddenly the gulls rose into the air, their cries drowning the sounds of Judith's voice as she called again from the terrace. In a dense spiral, gathering itself off the ground like an immense scythe, the gulls wheeled into the air over his head and swirled over the house.

Quickly Maitland pushed back the branches of the willows and walked down on to the bank.

***

A moment later, Judith heard his shout above the cries of the gulls. The sound came half i pain and half in triumph, and she ran down to the trees uncertain whether he had injured himself or disovered something pleasing.

Then she saw him standing on the bank, his head raised to the sunlight, the bright carmine on his cheeks and hands, an eager, unrepentant Oedipus.

1964

The Impossible Man

At low tide, their eggs buried at last in the broken sand below the dunes, the turtles began their return journey to the sea. To Conrad Foster, watching beside his uncle from the balustrade along the beach road, there seemed little more than fifty yards to the safety of the slack water. The turtles laboured on, their dark humps hidden among the orange crates and the drifts of kelp washed up from the sea. Conrad pointed to the flock of gulls resting on the submerged sandbank in the mouth of the estuary. The birds had been staring out to sea, as if uninterested in the deserted shoreline where the old man and the boy waited by the rail, but at this small movement of Conrad's a dozen white heads turned together.

'They've seen them...' Conrad let his arm fall to the rail. 'Uncle Theodore, do you think - ?'

His uncle gestured with the stick at a car moving along the road a quarter of a mile away. 'It could have been the car.' He took his pipe from his mouth as a cry came from the sandbank. The first flight of gulls rose into the air and began to turn like a scythe towards the shore. 'Here they come.'

The turtles had emerged from the shelter of the debris by the tideline. They advanced across the sheet of damp sand that sloped down to the sea, the screams of the gulls tearing at the air over their heads.

Involuntarily Conrad moved away towards the row of chalets and the deserted tea garden on the outskirts of the town. His uncle held his arm. The turtles were being picked from the shallow water and dropped on the sand, then dismembered by a dozen beaks.

Within barely a minute of their arrival the birds began to rise from the beach. Conrad and his uncle had not been the only spectators of the gulls' brief feast. A small party of some dozen men stepped down from their vantage point among the dunes and moved along the sand, driving the last of the birds away from the turtles. The men were all elderly, well into their sixties and seventies, and wore singlets and cotton trousers rolled to their knees. Each carried a canvas bag and a wooden gaff tipped by a steel blade. As they picked up the shells they cleaned them with swift, practised movements and dropped them into their bags. The wet sand was streaked with blood, and soon the old men's bare feet and arms were covered with the bright stains.

'I dare say you're ready to move.' Uncle Theodore looked up at the sky, following the gulls back to the estuary. 'Your aunt will have something waiting for us.'

Conrad was watching the old men. As they passed, one of them raised his ruby-tipped gaff in greeting. 'Who are they?' he asked as his uncle acknowledged the salute.

'Shell collectors - they come here in the season. These shells fetch a good price.'

They set off towards the town, Uncle Theodore moving at a slow pace with his stick. As he waited Conrad glanced back along the beach. For some reason the sight of the old men streaked with the blood of the slaughtered turtles was more disturbing than the viciousness of the seagulls. Then he remembered that he himself had probably set off the birds.

The sounds of a truck overlaid the fading cries of the gulls as they settled themselves on the sandbank. The old men had gone, and the incoming tide was beginning to wash the stained sand. They reached the crossing by the first of the chalets. Conrad steered his uncle to the traffic island in the centre of the road. As they waited for the truck to pass he said, 'Uncle, did you notice the birds never touched the sand?'

The truck roared past them, its high pantechnicon blocking off the sky. Conrad took his uncle's arm and moved forward. The old man plodded on, rooting his stick in the sandy tarmac. Then he flinched back, the pipe falling from his mouth as he shouted at the sports car swerving towards them out of the dust behind the truck. Conrad caught a glimpse of the driver's white knuckles on the rim of the steering wheel, a frozen face behind the windshield as the car, running down its own brakes, began to slide sideways across the road. Conrad started to push the old man back but the car was on them, bursting across the traffic island in a roar of dust.

The hospital was almost empty. During the first days Conrad was glad to lie motionlessly in the deserted ward, watching the patterns of light reflected on to the ceiling from the flowers on the window-sill, listening to the few sounds from the orderly room beyond the swing doors. At intervals the nurse would come and look at him. Once, when she bent down to straighten the cradle over his legs, he noticed that she was not a young woman but even older than his aunt, despite her slim figure and the purple rinse in her hair. In fact, all the nurses and orderlies who tended him in the empty ward were elderly, and obviously regarded Conrad more as a child than a youth of seventeen, treating him to a mindless and amiable banter as they moved about the ward.

Later, when the pain from his amputated leg roused him from this placid second sleep, Nurse Sadie at last began to look at his face. She told him that his aunt had come to visit him each day after the accident, and that she would return the following afternoon.

'... Theodore - Uncle Theodore...?' Conrad tried to sit up but an invisible leg, as dead and heavy as a mastodon's, anchored him to the bed. 'Mr Foster... my uncle. Did the car...?'

'Missed him by yards, dear. Or let's say inches.' Nurse Sadie touched his forehead with a hand like a cool bird. 'Only a scratch on his wrist where the windshield cut it. My, the glass we took out of you, though, you looked as if you'd jumped through a greenhouse!'

Conrad moved his head away from her fingers. He searched the rows of empty beds in the ward. 'Where is he? Here...?'

'At home. Your aunt's looking after him, he'll be right as rain.'

Conrad lay back, waiting for Nurse Sadie to go away so that he could be alone with the pain in his vanished leg. Above him the surgical cradle loomed like a white mountain. Strangely, the news that Uncle Theodore had escaped almost unscathed from the accident left Conrad without any sense of relief. Since the age of five, when the deaths of his parents in an air disaster had left him an orphan, his relationship with his aunt and uncle had been, if anything, even closer than that he would have had with his mother and father, their affection and loyalties more conscious and constant. Yet he found himself thinking not of his uncle, nor of himself, but of the approaching car. With its sharp fins and trim it had swerved towards them like the gulls swooping on the turtles, moving with the same rush of violence. Lying in the bed with the cradle over him Conrad remembered the turtles labouring across the wet sand under their heavy carapaces, and the old men waiting for them among the dunes.

Outside, the fountains played among the gardens of the empty hospital, and the elderly nurses walked in pairs to and fro along the shaded pathways.

The next day, before his aunt's visit, two doctors came to see Conrad. The older of the two, Dr Nathan, was a slim grey-haired man with hands as gentle as Nurse Sadie's. Conrad had seen him before, and remembered him from the first confused hours of his admission to the hospital. A faint half-smile always hung about Dr Nathan's mouth, like the ghost of some forgotten pleasantry.

The other physician, Dr Knight, was considerably younger, and by comparison seemed almost the same age as Conrad. His strong, squarejawed face looked down at Conrad with a kind of jocular hostility. He reached for Conrad's wrist as if about to jerk the youth from his bed on to the floor.

'So this is young Foster?' He peered into Conrad's eyes. 'Well, Conrad, I won't ask how you're feeling.'

'No...' Conrad nodded uncertainly.

'No, what?' Dr Knight smiled at Nathan, who was hovering at the foot of the bed like an aged flamingo in a dried-up pool. 'I thought Dr Nathan was looking after you very well.' When Conrad murmured something, shy of inviting another retort, Dr Knight sped on: 'Isn't he? Still, I'm more interested in your future, Conrad. This is where I take over from Dr Nathan, so from now on you can blame me for everything that goes wrong.'

He pulled up a metal chair and straddled it, flicking out the tails of his white coat with a flourish. 'Not that anything will. Well?'

Conrad listened to Dr Nathan's feet tapping the polished floor. He cleared his throat. 'Where is everyone else?'

'You've noticed?' Dr Knight glanced across at his colleague. 'Still, you could hardly fail to.' He stared through the window at the empty grounds of the hospital. 'It's true, there is hardly anyone here.'

'A compliment to us, Conrad, don't you think?' Dr Nathan approached the bed again. The smile that hovered around his lips seemed to belong to another face.

'Yeesss...' Dr Knight drawled. 'Of course, no one will have explained to you, Conrad, but this isn't a hospital in quite the usual sense.'

'What - ?' Conrad began to sit up, dragging at the cradle over his leg. 'What do you mean?'

Dr Knight raised his hands. 'Don't misinterpret me, Conrad. Of course this is a hospital, an advanced surgical unit, in fact, but it's also something more than a hospital, as I intend to explain.'

Conrad watched Dr Nathan. The older physician was gazing out of the window, apparently at the fountains, but for once his face was blank, the smile absent.

'In what way?' Conrad asked guardedly. 'Is it something to do with me?'

Dr Knight spread his hands in an ambiguous gesture. 'In a sense, yes. But we'll talk about this tomorrow. We've taxed you enough for the present.'

He stood up, his eyes still examining Conrad, and placed his hands on the cradle. 'We've a lot of work to do on this leg, Conrad. In the end, when we've finished, you'll be pleasantly surprised at what we can achieve here. In return, perhaps you can help us - we hope so, don't we, Dr Nathan?'

Dr Nathan's smile, like a returning wraith, hovered once again about his thin lips. 'I'm sure Conrad will be only too keen.'

As they reached the door Conrad called them back.

'What is it, Conrad?' Dr Knight waited by the next bed.

'The driver - the man in the car. What happened to him? Is he here?'

'As a matter of fact he is, but...' Dr Knight hesitated, then seemed to change course. 'To be honest, Conrad, you won't be able to see him. I know the accident was almost certainly his fault - '

'No!' Conrad shook his head. 'I don't want to blame him... we stepped out behind the truck. Is he here?'

'The car hit the steel pylon on the traffic island, then went on through the sea wall. The driver was killed on the beach. He wasn't much older than you, Conrad, in a way he may have been trying to save you and your uncle.'

Conrad nodded, remembering the white face like a scream behind the windshield.

Dr Knight turned towards the door. Almost sotto voce he added: 'And you'll see, Conrad, he can still help you.'

At three o'clock that afternoon Conrad's uncle appeared. Seated in a wheelchair, and pushed by his wife and Nurse Sadie, he waved cheerily to Conrad with his free hand as he entered the ward. For once, however, the sight of Uncle Theodore failed to raise Conrad's spirits. He had been looking forward to the visit, but his uncle had aged ten years since the accident and the sight of these three elderly people, one of them partially crippled, coming towards him with their smiling faces only reminded him of his isolation in the hospital.

As he listened to his uncle, Conrad realized that this isolation was merely a more extreme version of his own position, and that of all young people, outside the walls of the hospital. As a child Conrad had known few friends of his own age, for the single reason that children were almost as rare as centenarians had been a hundred years earlier. He had been born into a middle-aged world, one moreover where middle age itself was for ever moving, like the horizons of a receding universe, farther and farther from its original starting point. His aunt and uncle, both of them nearly sixty, represented the median line. Beyond them was the immense super-annuated army of the elderly, filling the shops and streets of the seaside town, their slow rhythms and hesitant walk overlaying everything like a grey veil.

By contrast, Dr Knight's self-confidence and casual air, however brusque and aggressive, quickened Conrad's pulse.

Towards the end of the visit, when his aunt had strolled to the end of the ward with Nurse Sadie to view the fountains, Conrad said to his uncle, 'Dr Knight told me he could do something for my leg.'

'I'm sure he can, Conrad.' Uncle Theodore smiled encouragingly, but his eyes watched Conrad without moving. 'These surgeons are clever men; it's amazing what they can do.'

'And your hand, Uncle?' Conrad pointed to the dressing that covered his uncle's left forearm. The hint of irony in his uncle's voice reminded him of Dr Knight's studied ambiguities. Already he sensed that people were taking sides around him.

'This hand?' His uncle shrugged. 'It's done me for nearly sixty years, a missing finger won't stop me filling my pipe.' Before Conrad could speak he went on: 'But that leg of yours is a different matter, you'll have to decide for yourself what to have done with it.'

Just before he left he whispered to Conrad, 'Rest yourself well, lad. You may have to run before you can walk.'

Two days later, promptly at nine o'clock, Dr Knight came to see Conrad. Brisk as ever, he came to the point immediately.

'Now, Conrad,' he began, replacing the cradle after his inspection, 'it's a month since your last stroll by the beach, time to get you out of here and back on your own feet again. What do you say?'

'Feet?' Conrad repeated. He managed a slight laugh. 'Do you mean that as a figure of speech?'

'No, I mean it literally.' Dr Knight drew up a chair. 'Tell me, Conrad, have you ever heard of restorative surgery? It may have been mentioned at school.'

'In biology - transplanting kidneys and that sort of thing. Older people have it done. Is that what you're going to do to my leg?'

'Whoa! Hold your horses. Let's get a few things straight first. As you say, restorative surgery goes back about fifty years, when the first kidney grafts were made, though for years before that corneal grafting was commonplace. If you accept that blood is a tissue the principle is even older - you had a massive blood transfusion after the accident, and later when Dr Nathan amputated the crushed knee and shinbone. Nothing surprising about that, is there?'

Conrad waited before answering. For once Dr Knight's tone had become defensive, as if he were already, by some sort of extrapolation, asking the questions to which he feared Conrad might subsequently object.

'No,' Conrad replied. 'Nothing at all.'

'Obviously, why should there be? Though it's worth bearing in mind that many people have refused to accept blood transfusions, even though it meant certain death. Apart from their religious objections, many of them felt that the foreign blood polluted their own bodies.' Dr Knight leaned back, scowling to himself. 'One can see their point of view, but remember that our bodies are almost completely composed of alien materials. We don't stop eating, do we, just to preserve our own absolute identity?' Dr Knight laughed here. 'That would be egotism run riot. Don't you agree?'

When Dr Knight glanced at him, as if waiting for an answer, Conrad said, 'More or less.'

'Good. And, of course, in the past most people have taken your point of view. The substitution of a healthy kidney for a diseased one doesn't in any way diminish your own integrity, particularly if your life is saved. What counts is your own continuing identity. By their very structure the individual parts of the body serve a larger physiological whole, and the human consciousness is great enough to provide any sense of unity.

'Now, no one ever seriously disputed this, and fifty years ago a number of brave men and women, many of them physicians, voluntarily gave their healthy organs to others who needed them. Sadly, all these efforts failed after a few weeks as a result of the so-called immunity reaction. The host body, even though it was dying, still fought against the graft as it would against any alien organism.'

Conrad shook his head. 'I thought they'd solved this immunity problem.'

'In time, yes - it was a question of biochemistry rather than any fault in the surgical techniques used. Eventually the way became clear, and every year tens of thousands of lives were saved - people with degenerative diseases of the liver, kidneys, alimentary tract, even portions of the heart and nervous system, were given transplanted organs. The main problem was where to obtain them - you may be willing to donate a kidney, but you can't give away your liver or the mitral valve in your heart. Luckily a great number of people willed their organs posthumously - in fact, it's now a condition of admission to a public hospital that in the event of death any parts of one's body may be used in restorative surgery. Originally the only organs that were banked were those of the thorax and abdomen, but today we have reserves of literally every tissue in the human body, so that whatever the surgeon requires is available, whether it's a complete lung or a few square centimetres of some specialized epithelium.'

As Dr Knight sat back Conrad pointed at the ward around him. 'This hospital... this is where it happens?'

'Exactly, Conrad. This is one of the hundreds of institutes we have today devoted to restorative surgery. As you'll understand, only a small percentage of the patients who come here are cases such as yours. The greatest application of restorative surgery has been for geriatric purposes, that is, for prolonging life in the aged.'

Dr Knight nodded deliberately as Conrad sat up. 'Now you'll understand, Conrad, why there have always been so many elderly people in the world around you. The reason is simple - by means of restorative surgery we've been able to give people who would normally die in their sixties and seventies a second span of life. The average life span has risen from sixty-five half a century ago to something close to ninety-five.'

'Doctor... the driver of the car. I don't know his name. You said he could still help me.'

'I meant what I said, Conrad. One of the problems of restorative surgery is that of supply. In the case of the elderly it's straightforward, if anything there's an excess of replacement materials over the demand. Apart from a few generalized degenerative conditions, most elderly people are faced with the failure of perhaps no more than one organ, and every fatality provides a reserve of tissues that will keep twenty others alive for as many years. However, in the case of the young, particularly in your age group, the demand exceeds supply a hundred-fold. Tell me, Conrad, quite apart from the driver of the car, how do you feel in principle about undergoing restorative surgery?'

Conrad looked down at the bedclothes. Despite the cradle, the asymmetry of his limbs was too obvious to miss. 'It's hard to say. I suppose 'The choice is yours, Conrad. Either you wear a prosthetic limb - a metal support that will give you endless discomfort for the rest of your life, and prevent you from running and swimming, from all the normal movements of a young man - or else you have a leg of flesh and blood and bone.'

Conrad hesitated. Everything Dr Knight had said tallied with all he had heard over the years about restorative surgery the subject was not taboo, but seldom discussed, particularly in the presence of children. Yet he was sure that this elaborate rsum was the prologue to some far more difficult decision he would have to take. 'When do you do this tomorrow?'

'Good God, no!' Dr Knight laughed involuntarily, then let his voice roll on, dispelling the tension between them. 'Not for about two months, it's a tremendously complex piece of work. We've got to identify and tag all the nerve endings and tendons, then prepare an elaborate bone graft. For at least a month you'll be wearing an artificial limb believe me, by the end you'll be looking forward to getting back on a real leg. Now, Conrad, can I assume that in general you're quite willing? We need both your permission and your uncle's.'

'I think so. I'd like to talk to Uncle Theodore. Still, I know I haven't really got any choice.'

'Sensible man.' Dr Knight held out his hand. As Conrad reached to take it he realized that Dr Knight was deliberately showing him a faint hairline scar that ran around the base of his thumb and then disappeared inside the palm. The thumb seemed wholly part of the hand, and yet detached from it.

'That's right,' Dr Knight told him. 'A small example of restorative surgery. Done while I was a student. I lost the top joint after infecting it in the dissecting room. The entire thumb was replaced. It's served me well; I couldn't really have taken up surgery without it.' Dr Knight traced the faint scar across his palm for Conrad. 'There are slight differences of course, the articulation for one thing - this one is a little more dexterous than my own used to be, and the nail is a different shape, but otherwise it feels like me. There's also a certain altruistic pleasure that one is keeping alive part of another human being.'

'Dr Knight - the driver of the car. You want to give me his leg?'

'That's true, Conrad. I should have to tell you, anyway, the patient must agree to the donor - people are naturally hesitant about being grafted to part of a criminal or psychopath. As I explained, for someone of your age it's not easy to find the appropriate donor...'

'But, Doctor - ' For once Dr Knight's reasoning bewildered Conrad. 'There must be someone else. It's not that I feel any grudge against him, but... There's some other reason, isn't there?'

Dr Knight nodded after a pause. He walked away from the bed, and for a moment Conrad wondered if he was about to abandon the entire case. Then he turned on his heel and pointed through the window.

'Conrad, while you've been here has it occurred to you to wonder why this hospital is empty?'

Conrad gestured at the distant walls. 'Perhaps it's too large. How many patients can it take?'

'Over two thousand. It is large, but fifteen years ago, before I came here, it was barely big enough to deal with the influx of patients. Most of them were geriatric cases - men and women in their seventies and eighties who were having one or more vital organs replaced. There were immense waiting lists, many of the patients were trying to pay hugely inflated fees - bribes, if you like - to get in.'

'Where have they all gone?'

'An interesting question - the answer in part explains why you're here, Conrad, and why we're taking a special interest in your case. You see, Conrad, about ten or twelve years ago hospital boards all over the country noticed that admission rates were starting to fall off. To begin with they were relieved, but the decline has gone on each year, until now the rate of admission is down to about one per cent of the previous intake. And most of these patients are surgeons and physicians, or members of the nursing staff.'

'But, Doctor - if they're not coming here...' Conrad found himself thinking of his aunt and uncle. 'If they won't come here that means they're choosing to...'

Dr Knight nodded. 'Exactly, Conrad. They're choosing to die.'

A week later, when his uncle came to see him again, Conrad explained to him Dr Knight's proposition. They sat together on the terrace outside the ward, looking out over the fountains at the deserted hospital. His uncle still wore a surgical mitten over his hand, but otherwise had recovered from the accident. He listened silently to Conrad.

'None of the old people are coming any more, they're lying at home when they fall ill and... waiting for the end. Dr Knight says there's no reason why in many cases restorative surgery shouldn't prolong life more or less indefinitely.'

'A sort of life. How does he think you can help them, Conrad?'

'Well, he believes that they need an example to follow, a symbol if you like. Someone like myself who's been badly hurt in an accident right at the start of his life might make them accept the real benefits of restorative surgery.'

'The two cases are hardly similar,' his uncle mused. 'However... How do you feel about it?'

'Dr Knight's been completely frank. He's told me about those early cases where people who'd had new organs and limbs literally fell apart when the seams failed. I suppose he's right. Life should be preserved you'd help a dying man if you found him on the pavement, why not in some other case? Because cancer or bronchitis are less dramatic - '

'I understand, Conrad.' His uncle raised a hand. 'But why does he think older people are refusing surgery?'

'He admits he doesn't know. He feels that as the average age of the population rises there's a tendency for the old people to dominate society and set its mood. Instead of having a majority of younger people around them they see only the aged like themselves. The one way of escape is death.'

'It's a theory. One thing - he wants to give you the leg of the driver who hit us. That seems a strange touch. A little ghoulish.'

'No, it's the whole point - he's trying to say that once the leg is grafted it becomes part of me.' Conrad pointed to his uncle's mitten. 'Uncle Theodore, that hand. You lost two of the fingers. Dr Knight told me. Are you going to have them restored?'

His uncle laughed. 'Are you trying to make me your first convert, Conrad?'

Two months later Conrad re-entered the hospital to undergo the restorative surgery for which he had been waiting during his convalescence. On the previous day he accompanied his uncle on a short visit to friends who lived in the retirement hostels to the north-west of the town. These pleasant single-storey buildings in the chalet style, built by the municipal authority and let out to their occupants at a low rent, constituted a considerable fraction of the town's area. In the three weeks he had been ambulant Conrad seemed to have visited every one. The artificial limb with which he had been fitted was far from comfortable, but at Dr Knight's request his uncle had taken Conrad to all the acquaintances he knew.

Although the purpose of these visits was to identify Conrad to as many of the elderly residents as possible before he returned to the hospital the main effort at conversion would come later, when the new limb was in place - Conrad had already begun to doubt whether Dr Knight's plan would succeed. Far from arousing any hostility, Conrad's presence elicited nothing but sympathy and goodwill from the aged occupants of the residential hostels and bungalows. Wherever he went the old people would come down to their gates and talk to him, wishing him well with his operation. At times, as he acknowledged the smiles and greetings of the grey-haired men and women watching on all sides from their balconies and gardens, it seemed to Conrad that he was the only young person in the entire town.

'Uncle, how do you explain the paradox?' he asked as they limped along together on their rounds, Conrad supporting his weight on two stout walking sticks. 'They want me to have a new leg but they won't go to the hospital themselves.'

'But you're young, Conrad, a mere child to them. You're having returned to you something that is your right: the ability to walk and run and dance. Your life isn't being prolonged beyond its natural span.'

'Natural span?' Conrad repeated the phrase wearily. He rubbed the harness of his leg beneath his trousers. 'In some parts of the world the natural life span is still little more than forty. Isn't it relative?'

'Not entirely, Conrad. Not beyond a certain point.' Although he had faithfully guided Conrad about the town, his uncle seemed reluctant to pursue the argument.

They reached the entrance to one of the residential estates. One of the town's many undertakers had opened a new office, and in the shadows behind the leaded windows Conrad could see a prayer-book on a mahogany stand and discreet photographs of hearses and mausoleums. However veiled, the proximity of the office to the retirement homes disturbed Conrad as much as if a line of freshly primed coffins had been laid out along the pavement ready for inspection.

His uncle merely shrugged when Conrad mentioned this. 'The old take a realistic view of things, Conrad. They don't fear or sentimentalize death in quite the way the younger people do. In fact, they have a very lively interest in the matter.'

As they stopped outside one of the chalets he took Conrad's arm. 'A word of warning here, Conrad. I don't want to shock you, but you're about to meet a man who intends to put his opposition to Dr Knight into practice. Perhaps he'll tell you more in a few minutes than I or Dr Knight could in ten years. His name is Matthews, by the way, Dr James Matthews.'

'Doctor?' Conrad repeated. 'Do you mean a doctor of medicine?'

'Exactly. One of the few. Still, let's wait until you meet him.'

They approached the chalet, a modest two-roomed dwelling with a small untended garden dominated by a tall cypress. The door opened as soon as they touched the bell. An elderly nun in the uniform of a nursing order let them in with a brief greeting. A second nun, her sleeves rolled, crossed the passage to the kitchen with a porcelain pail. Despite their efforts, there was an unpleasant smell in the house which the lavish use of disinfectant failed to conceal.

'Mr Foster, would you mind waiting a few minutes. Good morning, Conrad.'

They waited in the dingy sitting room. Conrad studied the framed photographs over the rolltop desk. One was of a birdlike, grey-haired woman, whom he took to be the deceased Mrs Matthews. The other was an old matriculation portrait of a group of students.

Eventually they were shown into the small rear bedroom. The second of the two nuns had covered the equipment on the bedside table with a sheet. She straightened the coverlet on the bed and then went out into the hall.

Resting on his sticks, Conrad stood behind his uncle as the latter peered down at the occupant of the bed. The acid odour was more pungent and seemed to emanate directly from the bed. When his uncle beckoned him forward, Conrad at first failed to find the shrunken face of the man in the bed. The grey cheeks and hair had already merged into the unstarched sheets covered by the shadows from the curtained windows.

'James, this is Elizabeth's boy, Conrad.' His uncle pulled up a wooden chair. He motioned to Conrad to sit down. 'Dr Matthews, Conrad.'

Conrad murmured something, aware of the blue eyes that had turned to look at him. What surprised him most about the dying occupant of the bed was his comparative youth. Although in his middle sixties, Dr Matthews was twenty years younger than the majority of the tenants in the estate.

'He's grown into quite a lad, don't you think, James?' Uncle Theodore remarked.

Dr Matthews nodded, as if only half interested in their visit. His eyes were on the dark cypress in the garden. 'He has,' he said at last.

Conrad waited uncomfortably. The walk had tired him, and his thigh seemed raw again. He wondered if they would be able to call for a taxi from the house.

Dr Matthews turned his head. He seemed to be able to look at Conrad and his uncle with a blue eye on each of them. 'Who have you got for the boy?' he asked in a sharper voice. 'Nathan is still there, I believe 'One of the younger men, James. You probably won't know him, but he's a good fellow. Knight.'

'Knight?' The name was repeated with only a faint hint of comment. 'And when does the boy go in?'

'Tomorrow. Don't you, Conrad?'

Conrad was about to speak when he noticed that a faint simpering was coming from the man in the bed. Suddenly exhausted by this bizarre scene, and under the impression that the dying physician's macabre humour was directed at himself, Conrad rose in his chair, rattling his sticks together. 'Uncle, could I wait outside...?'

'My boy - ' Dr Matthews had freed his right hand from the bed. 'I was laughing at your uncle, not at you. He always had a great sense of humour. Or none at all. Which is it, Theo?'

'I see nothing funny, James. Are you saying I shouldn't have brought him here?'

Dr Matthews lay back. 'Not at all - I was there at his beginning, let him be here for my end...' He looked at Conrad again. 'I wish you the best, Conrad. No doubt you wonder why I don't accompany you to the hospital.'

'Well, I...' Conrad began, but his uncle held his shoulder.

'James, it's time for us to be leaving. I think we can take the matter as understood.'

'Obviously we can't.' Dr Matthews raised a hand again, frowning at the slight noise. 'I'll only be a moment, Theo, but if I don't tell him no one will, certainly not Dr Knight. Now, Conrad, you're seventeen?'

When Conrad nodded Dr Matthews went on: 'At that age, if I remember, life seems to stretch on for ever. One is probably living as close to eternity as is possible. As you get older, though, you find more and more that everything worthwhile has finite bounds, by and large those of time - from ordinary things to the most important ones, your marriage, children and so on, even life itself. The hard lines drawn around things give them their identity. Nothing is brighter than the diamond.'

'James, you've had enough - '

'Quiet, Theo.' Dr Matthews raised his head, almost managing to sit up. 'Perhaps, Conrad, you would explain to Dr Knight that it is just because we value our lives so much that we refuse to diminish them. There are a thousand hard lines drawn between you and me, Conrad, differences of age, character and experience, differences of time. You have to earn these distinctions for yourself. You can't borrow them from anyone else, least of all from the dead.'

Conrad looked round as the door opened. The older of the nuns stood in the hall outside. She nodded to his uncle. Conrad settled his limb for the journey home, waiting for Uncle Theodore to make his goodbyes to Dr Matthews. As the nun stepped towards the bed he saw on the train of her starched gown a streak of blood.

Outside they plodded together past the undertakers, Conrad heaving himself along on his sticks. As the old people in the gardens waved to them Uncle Theodore said, 'I'm sorry he seemed to laugh at you, Conrad. It wasn't meant.'

'Was he there when I was born?'

'He attended your mother. I thought it only right that you should see him before he died. Why he thought it so funny I can't understand.'

Almost six months later to the day, Conrad Foster walked down towards the beach road and the sea. In the sunlight he could see the high dunes above the beach, and beyond them the gulls sitting out on the submerged sandbank in the mouth'of the estuary. The traffic along the beach road was busier than he remembered from his previous visit, and the sand picked up by the wheels of the speeding cars and trucks drifted in clouds across the fields.

Conrad moved at a good pace along the road, testing his new leg to the full. During the past four months the bonds had consolidated themselves with the minimum of pain, and the leg was, if anything, stronger and more resilient than his own had ever been. At times, when he walked along without thinking, it seemed to stride ahead with a will of its own.

Yet despite its good service, and the fulfilment of all that Dr Knight had promised him for it, Conrad had failed to accept the leg. The thin hairline of the surgical scar that circled his thigh above the knee was a frontier that separated the two more absolutely than any physical barrier. As Dr Matthews had stated, its presence seemed to diminish him, in some way subtracting rather than adding to his own sense of identity. This feeling had grown with each week and month as the leg itself recovered its strength. At night they would lie together like silent partners in an uneasy marriage.

In the first month after his recovery Conrad had agreed to help Dr Knight and the hospital authorities in the second stage of their campaign to persuade the elderly to undergo restorative surgery rather than throw away their lives, but after Dr Matthew's death Conrad decided to take no further part in the scheme. Unlike Dr Knight, he realized that there was no real means of persuasion, and that only those on their deathbeds, such as Dr Matthews, were prepared to argue the matter at all. The others simply smiled and waved from their quiet gardens.

In addition, Conrad knew that his own growing uncertainty over the new limb would soon be obvious to their sharp eyes. A large scar now disfigured the skin above the shin-bone, and the reasons were plain. Injuring it while using his uncle's lawnmower, he had deliberately let the wound fester, as if this act of self-mutilation might symbolize the amputation of the limb. However, it seemed only to thrive on this blood letting.

A hundred yards away was the junction with the beach road, the fine sand lifting off the surface in the light breeze. A quarter of a mile away a line of vehicles approached at speed, the drivers of the cars at the rear trying to overtake two heavy trucks. Far away, in the estuary, there was a faint cry from the sea. Although tired, Conrad found himself breaking into a run. Somewhere a familiar conjunction of events was guiding him back towards the place of his accident.

As he reached the corner the first of the trucks was drawing close to him, the driver flashing his headlamps as Conrad hovered on the kerb, eager to get back to the pedestrian island with its freshly painted pylon.

Above the noise he saw the gulls rising into the air above the beach, and heard their harsh cries as the white sword drew itself across the sky. As it swept down over the beach the old men with their metal-tipped gaffs were moving from the road to their hiding-place among the dunes.

The truck thudded past him, the grey dust stinging his face as the slipstream whipped across it. A heavy saloon car rolled by, overtaking the truck and the other cars pressing behind it. The gulls began to dive and scream across the beach, and Conrad darted through the dust into the centre of the road and ran forward into the cars as they swerved towards him.

1966