Sunday at the Cross Bones. John Walsh

share of every day the Lord sends in working for the betterment of my fellow creatures, should be so cruelly accused of failing in my duty …’ He shakes his head, like he’s trying to get my words out of his ears. ‘Would you like to suggest, in the few minutes that remain before I go to address the village congregation on matters of Heaven and Hell, where my sin of omission lies?’

      All I can think to say is, ‘You’re never here,’ and ‘You never talk to me, not properly any more, and you never take me out the way people take their wives out, not even to see the pierrots at the Hunstanton Empire.’ But it sounds so foolish and trivial and clingy. I know exactly what he’s going to say, because he always brings up St Matthew: ‘Need I remind you of the ocean of want that surges all around us? It is laid down in the Gospel of St Matthew: “For I was an hungred and ye gave me meat: I was thirsty and ye gave me drink: I was a stranger and ye took me in …”’ I try to stop him around this part, because his voice takes on a bleating quality, and I know how it is going to end, but he is unstoppable: ‘“Naked, and ye clothed me; I was sick and ye visited me; I was in prison and ye came unto me.” Now my dear,’ (this is how he goes on, it drives me crazy) ‘nowhere in St Matthew, to the best of my recollection, can be found the words, “I was a touch bored at home and ye came and took me to a dinner dance in Holt.” You may search the Gospels for a month without finding the words, “I was restless and bored from spending all day gossiping with Mrs Reynolds, and ye took me to see Mr Coward in Private Lives at the Phoenix Theatre.” I must be at my work, my darling, among the genuinely conflicted and truly wretched. But that is not to say I cannot listen to your aches and woes with a sympathetic ear. Perhaps after lunch we might discuss what is troubling you.’

      You see the real trouble, Oona? I have to make an appointment to see my own husband. And that casual mention of the theatre, he knows how it cuts me to the quick. It reminds me what a stage-struck pair we were when young, him on the boards with the comic monologues, me with the lovely singing voice. I was a mezzo of course.

      Did I ever tell you of the first day we met, at the Oxford Playhouse? I was part of Miss Horniman’s company of Abbey Singers, and we were visiting the students from the University Drama Society. Some of us were invited to tea with the president, Sir Reginald Kennedy-Cox, and there to welcome the Irish songbirds was Harold. He stood out, not because he was tall or handsome, but because he was older than the rest of the students, properly grown-up at twenty-three or twenty-four, and he’d seen life and was a proper actor. He’d performed at the Wigmore Hall and had lived off his stage earnings to pay for his time at college. People spoke of him with respect, they called him the ‘Holy Actor’ as though it was amazing to find a theology student able to stand up onstage and declaim comic monologues about young boys being eaten by lions at the zoo. I liked him because all the evenings spent onstage had given him a very easy manner. His voice was low, never harsh nor quarrelsome, quite deep and musical, it sort of flowed along but slowly, a river of chocolate. Of course he was ‘theatrical’, but not in the way people use the word to say someone’s false and untrue, he was theatrical as a way of putting a point across. He’d fix you with his intense brown eyes, and tell you about the poor boys in the East End of London he was trying to help by setting up a club where they could get warm food and play games at nights instead of fighting. He argued the case for giving every street child a proper education and start in life and training and an apprenticeship so they wouldn’t need handouts from grand ladies such as myself, and he argued with such passionate eloquence, I was won over to the cause, to him and to his big brown eyes. As he got to the climax of his speech, I looked down and found his hand had been gripping my forearm for so long, I’d lost any feeling in it. You could have jabbed a pin into me and it wouldn’t have hurt. ‘Why, Mr Davidson,’ I said, ‘you have become quite carried away.’ Harold clutched my little white hand in his and impetuously kissed it, with the ardour of a desert sheikh. ‘I am sorry to have spoken with such heat,’ he said, ‘and sorry to feel your hand so cold. But perhaps something of what I have said has penetrated into your heart, my dear Miss Saurin.’ And of course it had, for I never knew anybody could so arouse an audience as Harold, with that voice reverberating like the throb of an Underground train. I began to fall for him at that moment, Oona, though of course there was no question of anything happening, with him being so poor and my father expecting great things for me and the Cartwright boy in Castle Lambert. But it started then all right.

      Dear me, Oona, how I’ve rattled on again. No time for proper news, except to say the major has been up to even worse tricks. Apart from his public attempts to wrest the churchwardenship from poor Mr Reynolds, he’s taken to drinking in the middle of the day and making a scene in the church. On Wednesday, he shambled in and made a scene at the war memorial in the porch, complaining about the presence in the list of someone he hadn’t liked or who was unworthy, and someone else whose name should have been there but wasn’t. Mostly I just walk away from any such dispute, but this time I caught such a waft of whisky off the major’s breath I had to ask him to leave. He swayed about and glared at me with such desperate eyes, I was scared for my life. That man is capable of anything. But, please God, Harold will deal with him, should he ever get home from ministering to the hungred, thirsty, naked, ill and imprisoned.

      My love to you,

      Mimi xx

      Journals of Harold Davidson London 21 August 1930

      Emily Murray’s breasts are a miracle of nature. Though she is lying on her back, they do not loll towards her armpits but poke upwards like proud hills, like Sheba’s mountains in King Solomon’s Mines, and draw the hand to them as if the first impulse of mankind were not shelter, food, drink or conquest but the impulse to stroke and caress this firm softness, these astounding hills.

      Her skin is white as milk, save on her forearms and the V of her throat, which have been burnished by sunlight. I believe it is called a Farmer’s Tan, the product, not of Côte d’Azur beaches, but of working in the open air under the summer’s rays with sleeves rolled up and top shirt-button undone. The tanned flesh of a working girl, as she was when I found her, and as I persuaded her not to be for a moment longer; a working girl when she resumed the calling merely two weeks ago despite all my efforts, and a working girl as she remained until yesterday.

      Her eyes are closed, but her lips are set in a charming pout, the face of a young woman sure of getting her way. Her teeth were always a joy to behold, so tiny and regular but for the two in front, which stuck out in a small, enchanting overbite, to rest on the soft cushion of her lower lip. Below her ribcage, the skin is taut as a sand tarpaulin, a soft down of hair making a golden meadow of her abdomen. The pudenda are neatly hidden behind a tangle of dark curls, surprisingly black and springy when her hair was always so fair and smooth. I gaze at this secret jungle, musing on Shakespeare’s lines on his mistress’s body – ‘If snow be white, why then, her breasts are dun; / If hairs be wires, black wires grow on her head’ – and thinking, Why, these are genuine wires – the electrical circuits of Emily’s secret self, masked by her street finery, her hair dye and the stews of north London where her dismal journey took her. Here, in this jungle of wires lies the truth. Maybe the wires could be likened to a telephone exchange, a seemingly incoherent Gordian knot of flex and string which nonetheless connects disparate parts of the self, the conscience to the hand, the brain to the soul …

      It’s no good. All sermons have deserted me. To wring metaphors from every corner of experience is second nature to me; yet even I cannot elaborate a seam of instruction from the dark pubic hairs of a dead blonde woman.

      My poor Emily. Only four days after my encounter with the dismal sisterhood in Islington, I am here, called upon by the authorities, to identify her body. The ladies of Halberd Street, those oily-faced wretches, gave my name as her next of kin, in order to save themselves from implication in a police inquiry.

      I asked the mortuary sergeant the reason for her death. He hummed and hawed and muttered about Exposure and how she was found sleeping on a park bench in Highbury Fields. I pointed out that it was August, and the weather not unseasonably cold. He countered by saying that, while living in an overcrowded tenement building, she had been bitten during the night by the dreadful bug known as the Cimex lectularius, which brought her arm up in pustules and turned her blood septic. A night or two