The Map of Time. Felix J. Palma

as though God had resolved to compensate for his lack of creativity, that wild, two-headed creature split into two distinct halves. Andrew turned into a pensive, taciturn young man, while Charles went on perfecting the frivolous behaviour of his adolescence. This change did not alter their friendship, which was rooted in kinship. Far from driving them apart, the unexpected divergence made them complement one another. Charles’s devil-may-care attitude found its counterpart in the refined melancholy of his cousin, for whom such a whimsical approach to life was no longer satisfying.

      Charles observed with a wry smile Andrew’s attempts to give his life some meaning, wandering around in disillusionment, waiting for a flash of inspiration that never came. Andrew, in turn, was amused by his cousin’s insistence on behaving like a brash, shallow youth, even though some of his gestures and opinions betrayed disappointment similar to his own. Charles lived intensely, as though he could not get enough of life’s pleasures, while Andrew could sit alone for hours, watching a rose wilt in his hands.

      The month of August when it all happened, they had both just turned eighteen, and although neither showed any sign of settling down, they sensed this life of leisure could not go on much longer, that soon their parents would lose patience with their unproductive indolence and find them positions in one of the family firms. In the meantime, though, they were enjoying seeing how much longer they could get away with it. Charles was already going to the office occasionally to attend to minor business, but Andrew preferred to wait until his boredom became so unbearable that taking care of family business would seem a relief rather than a prison sentence. After all, his older brother Anthony had already fulfilled their father’s expectations sufficiently in this respect to allow the illustrious William Harrington to consent to his second son pursuing his career of black sheep for a couple more years, provided he did not stray from his sight.

      But Andrew had strayed. He had strayed a long way. And now he intended to stray even further, until he disappeared completely, beyond all redemption.

      But let us not be sidetracked by melodrama. Let us carry on with our story. Andrew had dropped in at the Winslow mansion that August afternoon so that he and Charles could arrange a Sunday outing with the charming Keller sisters. As usual, they would take them to a little grassy knoll carpeted with flowers near the Serpentine, in Hyde Park, where they invariably mounted their amorous offensives. But Charles was still sleeping, so the butler showed Andrew into the library. He did not mind waiting there until his cousin got up; he felt at ease surrounded by the books that filled the large, bright room with their peculiar musty smell.

      Andrew’s father prided himself on having built up a decent library, yet his cousin’s collection contained more than just obscure volumes on politics and other equally dull subjects. Here, Andrew could find the classics and adventure stories by authors such as Verne and Salgari, but still more interesting to him was a strange, rather picturesque type of literature many considered frivolous: novels in which the authors had let their imaginations run wild, regardless of how implausible or often downright absurd the outcome. Like all discerning readers, Charles appreciated Homer’s Odyssey and his Iliad, but his real enjoyment came from immersing himself in the crazy world of Batracomiomachia, the blind poet’s satire on his own work in an epic tale about a battle between mice and frogs. Andrew recalled a few books written in a similar style, which his cousin had lent him; one called True Tales by Luciano de Samósata, which recounted a series of fabulous voyages in a flying ship that takes the hero up to the sun and even through the belly of a giant whale; another called The Man in the Moon by Francis Godwin, the first novel ever to describe an interplanetary voyage. It told of a Spaniard named Domingo Gonzalez who travels to the moon in a machine drawn by a flock of wild geese.

      These flights of fancy reminded Andrew of pop guns or firecrackers, all sound and fury yet he understood, or thought he did, why his cousin was so passionate about them. Somehow this literary genre, which most people condemned, acted as a sort of counterbalance to Charles’s soul; it was the ballast that prevented him from lurching into seriousness or melancholy, unlike Andrew, to whom everything seemed so achingly profound, imbued with the absurd solemnity that the transience of existence conferred upon even the smallest act.

      However, that afternoon, Andrew did not have time to look at any book. He did not even manage to cross the room to the bookshelves because the loveliest girl he had ever seen stopped him in his tracks. He stood staring at her, bemused, as time seemed to congeal, to stand still. Finally he managed to approach the portrait slowly to take a closer look. The woman was wearing a black velvet toque and a flowery scarf knotted at the neck. Andrew had to admit she was by no means conventionally beautiful: her nose was disproportionately large for her face, her eyes too close together and her reddish hair looked damaged, yet at the same time she possessed a charm as unmistakable as it was elusive. He was unsure exactly what about her captivated him. Perhaps it was the contrast between her fragile appearance and the strength that radiated from her gaze; a gaze he had never seen in any of his conquests. It was wild, determined, and retained a glimmer of youthful innocence, as if every day the woman was forced to confront the ugliness of life, and yet, curled up in her bed at night, still believed it a regrettable figment of her imagination, a bad dream that would dissolve and give way to a more pleasant reality. It was the gaze of a person who yearns for something and refuses to believe it will never be hers, because hope is all she has left.

      ‘A charming creature, isn’t she?’ Charles’s voice came from behind him.

      Andrew jumped. He had been so absorbed in the portrait he had not heard his cousin come in. He nodded as Charles walked over to the drinks cabinet. He himself could not have found a better way to describe the emotions the portrait had stirred in him, the desire to protect her mixed with the admiration he could only compare – rather reluctantly, owing to the inappropriateness of the metaphor – to that which he felt for cats.

      ‘It was my birthday present to my father,’ Charles explained, pouring brandy. ‘It’s only been hanging there a few days.’

      ‘Who is she?’ asked Andrew. ‘I don’t remember seeing her at any of Lady Holland or Lord B rough ton’s parties.’

      ‘At those parties?’ Charles laughed. ‘I’m beginning to think the artist is gifted. He’s taken you in as well.’

      ‘What do you mean?’ asked Andrew, accepting the glass his cousin was holding out to him.

      ‘Surely you don’t think I gave it to my father because of its artistic merit? Does it look like a painting worthy of my consideration, cousin?’ Charles grabbed his arm, forcing him to move a few steps closer to the portrait. ‘Take a good look. Notice the brushwork: utterly devoid of talent. The painter is no more than an amusing disciple of Degas. Where the Parisian is gentle, he is starkly sombre.’

      Andrew did not understand enough about painting to discuss it with his cousin, and all he really wanted to know was the sitter’s identity, so he nodded gravely, giving his cousin to understand he agreed with his view that the artist would do better to devote himself to repairing bicycles. Charles smiled, amused by his cousin’s refusal to converse about painting – it would have given Charles a chance to air his knowledge – and declared: ‘I had another reason for giving it to him, dear cousin.’

      He drained his glass slowly, and gazed at the picture, shaking his head with satisfaction.

      ‘And what reason was that, Charles?’ Andrew asked, becoming impatient.

      ‘The private enjoyment I get from knowing that my father, who looks down on the lower classes, has the portrait of a common prostitute hanging in his library.’

      His words made Andrew reel. ‘A p-p-prostitute?’ he stammered.

      ‘Yes, cousin,’ replied Charles, beaming with content. ‘But not a high-class whore from the brothels in Russell Square, or even one of the tarts who ply their trade in the park on Vincent Street, but a dirty, foul-smelling draggletail from Whitechapel upon whose ravaged loins the wretched of the earth alleviate their misery for a few meagre pennies.’

      Andrew took a swig of brandy. There was no denying that his cousin’s revelation had shocked him, as it would anybody who saw the portrait, but he also