The Calligrapher. Edward Docx

a matter as it may at first seem. (Au sujet de: I must mention that my explorations in the magnificent garden world of tea came to an end two or three years ago when I at last beheld the regal splendour of Darjeeling. In my youth, I laboured on the pungent terraces of Assam – distracted, perhaps, by a certain brutal charm – until, in my middle twenties, I found myself quietly seduced by the more aromatic company offered by a passing Russian Caravan – still my favourite blend. Eventually, after further wanderings in both China and Ceylon, I pledged myself to lifelong service of the true Queen. Of course, in my Lady Darjeeling’s realm there are many mansions and it took me a few months of delicate experimentation to discover which of these was to be my chosen dwelling place. In the end, I settled on Jungpana, the tea garden of all tea gardens, and thereafter I have served only the first flush from the upper slopes thereof – uniquely supplied, I should add, by the excellent Tea Flowery on Neugasse in Heidelberg.) No no no – making a cup of tea is by no means quick or straightforward. As with so much in life, it has become principally a matter of protracted disguise. Annette, for example, having lived in London for three years, was quite understandably more familiar with the muddy sludge of a mashed-in-the-mug teabag – that nameless mixture of grit, sand and wood chip so beloved of the curmudgeonly Britisher – and did not expect her tea to contain any trace of actual tea leaves at all. Consequently, my task was to arrange matters covertly by abandoning my usual methods of infusion in favour of stewing the ill-fated Jungpana to buggery before straining it from my treasured pot and into a mug, whereupon (tears gently welling) I added the required milk and sugar. In this way, I hoped she would not notice anything suspect and the unflustered mood of the morning would be preserved. I even went so far as to take a little milk myself.

      My efforts to try to make everyone feel more at ease must have worked reasonably well because, after we had both gone about our separate ablutions, we enjoyed a mock-formal breakfast during which she called me Mr Jackson and I had to call her Miss Krazcek. This lasted a pleasant hour or so but then she had to leave; she was due, she said, to meet someone (her boyfriend, I guessed) for lunch. We kissed at the top of my stairs – two friends – and then she was gone.

      It was one of those mornings during which the light is forever changing – as though they are testing the switches in heaven. Absolutely fucking useless for calligraphers. Especially shagged out ones. So I returned to my bed.

      

      Not until nearly two, after a scrupulous assault on both bathroom and kitchenette, as I was crossing the hall (eating a pear as it happens), did I realize that the telephone wasn’t ringing.

      For a second or two, I simply stared at it. In all the excitement, I had completely forgotten about the Lucy situation. Could it be that I was saved?

      Warily, I edged towards the little table.

      First I checked that the receiver was properly down. (It was.)

      Then I lifted it up to check that the line was connected. (It was.)

      And finally, I dialled the test number to check that the ringer was sounding. (It was.)

      Hallelujah!

      And thank Christ for that.

      

      I admit: I thought I was in the clear.

      The city summer lay ahead: sunglasses, suntans, sexiness. Arms not sleeves. Legs not trousers. A better life. Or so I hoped.

      But pucker-faced fate had other ideas. That very same afternoon events took an unexpected turn. The ratchet wound up by Lucy and sprung by Cécile now began to unravel its ropes in directions that no sane man could ever have predicted. That same afternoon everything changed and became blind and dazed and confounded and difficult to comprehend or process or even to believe. That same afternoon I fell apart.

      By three, the light had steadied and it was reasonably hot – the first really warm day of the year. (Summer and winter are the world’s new superpowers, oppressing spring and autumn and running them as miniature puppet states.) I entered my studio and was soon relishing my labours. I had the window open a little and was grateful for a mild breeze. I remember that I was beginning my first draft of ‘Air and Angels’ and almost daring to think that I might be happy. I didn’t even mind the early wasp which came buzzing by, flying into the room for a brief turn before heading back out to the garden below.

      I am not sure what the time was exactly when I decided to change the sketching paper for a proper skin of parchment in order to make a start on the opening lines – ‘Twice or thrice have I loved thee, / Before I knew thy face or name’ – but it was no later than four-thirty, and probably nearer to four.

      Professional calligraphers are divided along ethical, artistic and financial lines as to the medium they prefer to work with. But as far as I am concerned, on a commission like this, there can be no alternative to parchment. Not only is it a joy to write upon, but it is also the nearest one can get to authenticity. Strictly speaking, vellum (made from calf skin) is what the likes of Flamel would have used, but aside from being hideously expensive (which is not to say that parchment is in any sense ‘cheap’), vellum is totally unacceptable to your average American media baron, seeking to impress his latest water-and-wilted-spinach-only woman. (And yet, though parchment is made from sheepskin, somehow, perversely, it seems problem-free; perhaps the word itself carries sufficient cultural resonance to disable scruples and exonerate all involved from guilt. {Inconsistency at every turn.} Or perhaps it’s just that Gus Wesley, like most people, simply doesn’t realize what parchment is made of.) In any case, modern preparations tend to leave the vellum sheets too stiff, too dry or too oily; and even parchment takes a good deal of extra private preparation to revive consistency after all the chemicals they treat it with. (Skins are washed in baths of lime and water, scraped and stretched; whiting is then added to them before they are scraped again and dried under tension. Tough going by anyone’s standards – dead or not.) If, as is most often the case, the skin is still a little greasy, the diligent calligrapher will first rub powdered pumice over the surface with the flat of his hand, then French chalk, then wet-and-dry paper to ‘raise the nap’. And after all of that, when he has finally set the sheet upon his board, he will apply silk to the surface in a last and loving effort to ensure that it is as free from residual grain and as receptive to his ink as possible.

      It was sometime around four then that I got up from my stool to fetch some parchment from the stack by the door. I remember feeling its texture between my finger and thumb as I came back across the studio. I put the parchment down on the board, loosely, without fastening it. Then I reached up for the pumice, which I keep on a shelf, above and to the left of the window. I do not know why, but as I did so I happened to glance out, down, into the garden. And there she was. There she was.

      

      It must have been her hair that first drew my eye – shoulder-length, tousled, amber-gold, light-attracting, light-catching, light-seducing.

      For a minute, maybe longer, I did not move. I stood, with my arm raised to the shelf, craning my head. But the half-open frame was hindering my line of sight. So, very gently, I bent to undo the catch and push open the window as far as it would go. Then I knelt on my stool and leaned out over the ledge.

      Lying on her front on the grass, just beyond the chestnut tree’s shade, was a sun-shot vision of a woman so divine as to call vowed men from their cloisters. Propped up on her elbows, her shoulder blades slightly raised, her head between her hands, she was wearing an aqua-blue cotton sundress. She was reading something – something too wide and spread out to be a newspaper or a magazine, a map perhaps – which she had weighted down with her sandals and a brown paper bag. Lazily, she kicked her legs behind her back. I could not see her face but her limbs were bare, sun-burnished and so perfectly in proportion to the rest of her body that even Michelangelo would have had to alter them for fear of his viewer’s disbelief. She raised her head, spat, and then waited a moment before reaching into the bag again and taking out another cherry. She appeared to be having some sort of a competition with herself to see how far she could shoot the stones.

      Unreservedly, I confess, I was spellbound: pure unadulterated desire. Mainline. Cardiac.

      I can’t tell