A Change of Climate. Hilary Mantel

inhabitant was a woman with a shopping basket over her arm and a pug dog on a lead. She nodded to Emma and walked on, huddling into the shadow of the Abbey’s wall.

      Emma went up the path to the church. It was a building put up in the 1930s, and its exterior, disappointingly plain, hid its dim papistical contents: devotional candles blinking, sad-eyed virgins pouting in gold frames. She asked herself, what would my father have said, what would my father have said to a bauble-shop like this? Matthew Eldred seemed very far away, very old and dead and gone. Not so Felix. Alone in her cottage in Foulsham, she still listened for the sound of his key in the lock.

      Emma lurked about towards the back of the church, away from the altar. Finally she sat down on a chair at the end of a row. She gave herself permission for tears, but she was not able to cry. Like her sister-in-law Anna, she had trained herself out of it. The thought of Felix lay like a stone inside her chest. Outside, some sort of building work seemed to be going on; she could hear the monotonous thump of hammers and the whirring of drills. In my family, she thought, we practise restraint and the keeping of secrets, and the thoughts we respect are unvoiced thoughts; even Felix, an open secret, was a secret of a kind. But our secrets do not keep us. They worry at us; they wear us away, from the inside out.

      On the back wall were wooden plaques, names and dates: thanks given, intentions stated. Thanks for preservation in a motor accident, 1932. For reunion of husband and wife, after prayer at the shrine, 1934. Success in an examination, Thanks, 1935. What minute considerations we expect God to entertain, Emma thought. Thanks for a happy death, prayed for at the Holy House. Who put that here, and how did they know it was happy? Some plaques gave nothing away. Upon these the visitor might exercise imagination: Prayers Answered.

      Near these plaques, the water from the Holy Well was made available in buckets. Pilgrims might help themselves, by dipping with assorted vessels; a table, stacked up with prayer books, held also the abandoned top of a Thermos flask, some paper cups of the kind tea machines dispense, and some beakers of moulded plastic, each one frilly at the rim, as if it had been gnawed. Emma thought the arrangements unsanitary. She went out, her gloves in her hand.

      In the porch was a vast book, well-thumbed, its pages ruled into columns. A notice promised ALL WHOSE NAMES ARE INSCRIBED IN THIS BOOK WILL BE PRAYED FOR AT THE SHRINE.

      Emma took her pen out of her pocket, turned to a clean page and wrote down the date. She did not put Felix’s name in the book. because she believed that energy should be directed towards the living, not the dead. She did not put her own name, because she believed she would manage well enough. But she wrote the names of her brother and his wife:

      RALPH ELDRED

      ANNA ELDRED

      Beneath she wrote:

      KATHERINE ELDRED

      then hesitated, and skipped one line, before

      JULIAN ELDRED

      ROBERT ELDRED

      REBECCA ELDRED

      It was half dark when Emma left the porch. Between the church and the road there was no pavement; she crept uphill by the high wall, protected only by heaven’s benevolence from the cars behind her. Eddies of sleet swirled in a huddle of stone and flint, slapping at window glass and melting underfoot. Sitting in an almost empty café, her hands around a mug of hot chocolate, she thought of that other frozen afternoon, when Ralph’s curly head emerged up the staircase of the Holt tea-room, and dipped under the beam, and swivelled, gaze focusing…If Ralph had not come upon them that particular day, his sensibilities skinned by the cold, he would have continued in his obstinate and peculiar ignorance; when Felix died, they would have stood at his graveside as two old family friends, and Ralph would have given her not a word of sympathy except that due between decent people when a contemporary has quit the scene. And that, she thought, would have suited me.

      Lines of poetry ran through Emma’s head. Auden, she thought. She was pleased at being able to identify it, because she was not a literary woman. They were insistent lines, stuffed with a crude menace.

      The glacier knocks in the cupboard, The desert sighs in the bed, And the crack in the tea-cup opens A lane to the land of the dead.

      Emma shared the café with one be-skirted cleric, who was reading the Daily Telegraph. An oil stove popped and hissed at her back. She thought again of crying, but she was afraid the man might put his newspaper down and try to console her. Instead she buttoned her coat, and braced herself for the twilight and cold, the drive home to Foulsham. I hardly know what I am any more she thought: a Good Soul, or a Sad Case.

      O look, look in the mirror, O look in your distress; Life remains a blessing Although you cannot bless.

       THREE

      Kit sleeps, blanketed in heat. She rolls on to her back. Her lips move. What is she saying? Mama, mama: milk, milk, milk. Her wrist pushes her hair back from her forehead. She turns over again. The sheet creases beneath her, damp from her body. An institutional counterpane slides to the floor.

      Kit’s hand clenches and unclenches – fat baby fist. The air is too hot to breathe. Soon Felicia will come, in her blue scarf, and lift her out of the mist of mosquito nets.

      Her eyes open to an expanse of white wall. She turns her eyes, and sees the polished floor and the fallen bedcover, and her own bare arm dangling from the sheets, like someone else’s limb. It is 7.30, a dirty London morning, traffic building up. There is a hint of spring in the air.

      In her dream, she has been to Africa.

      She sits up slowly, pulling the top sheet across her breasts, as if someone had come into the room. She is in her term-time lodging, a women’s hall of residence. Her little gold watch ticks away on top of a pile of textbooks. Her jeans and warm plaid shirt are folded on a chair. Outside in the corridor her fellow residents are going in and out of bathrooms in their towelling robes, their hair in various arrangements of turbans and pins. They stop to exchange words, to say that the central heating is ridiculous, it is like being in the tropics, a complaint will definitely have to be made. Lavatories flush. From the basement drifts the aroma of breakfasts seething on a range, pallid scraps of bacon, mushrooms stewed black. Toast hardens in its racks.

      In Norfolk, at the Red House, her mother Anna dreams of a cell. She feels against her bare legs the rasp of a prison blanket, and under her hand the metal of a prison bedstead. A woman’s voice tells her, ‘The colonel has refused your request for a mirror.’ Anna wakes.

      The room is cold. Ralph has pulled the blankets over his head. She sits up, massages her temples with her fingertips. With little circular motions, as if it were vanishing cream, she rubs the dream away. She forgets it. Forgetting is an art like other arts. It needs dedication and practice.

      As for Kit – she washes and dresses and goes down the big carved staircase, down the corridors smelling of parsnips and polish. On her way from breakfast she plucks a letter out of the pigeonhole marked ‘E’.

      The letter is from her father. Ralph is a good correspondent – whereas in other families, as she knows, fathers never put pen to paper. She slides the letter into the pocket of her jeans, to read at lunchtime over her salad roll and yoghurt; jogs out across the dappled dampness of Russell Square, towards the Tube and the Thames and an airless lecture room.

      Her dream trails after her, contaminating her day.

      Julian, with no reason to wake, sleeps till half-past eight. Bright letters float from a summer sky, and form themselves into nonsense words. It is his usual dream; deprived of the terror it once held, it still carries its component of frustration.

      Emma does not dream. She has taken to insomnia, walking the rooms of her cottage in the small hours, the hours of deep rural silence. She does not draw the curtains; outside her cottage a street light burns, and shines on her medical books in their orderly shelves, and the washing-up she has left in the sink.

      Ralph