Nutshell(2)

For Claude is a man who prefers to repeat himself. A man of riffs. On shaking hands with a stranger – I’ve heard this twice – he’ll say, ‘Claude, as in Debussy.’ How wrong he is. This is Claude as in property developer who composes nothing, invents nothing. He enjoys a thought, speaks it aloud, then later has it again, and – why not? – says it again. Vibrating the air a second time with this thought is integral to his pleasure. He knows you know he’s repeating himself. What he can’t know is that you don’t enjoy it the way he does. This, I’ve learned from a Reith lecture, is what is known as a problem of reference.

Here’s an example both of Claude’s discourse and of how I gather information. He and my mother have arranged by telephone (I hear both sides) to meet in the evening. Discounting me, as they tend to – a candlelit dinner for two. How do I know about the lighting? Because when the hour comes and they are shown to their seats I hear my mother complain. The candles are lit at every table but ours.

There follows in sequence Claude’s irritated gasp, an imperious snapping of dry fingers, the kind of obsequious murmur that emanates, so I would guess, from a waiter bent at the waist, the rasp of a lighter. It’s theirs, a candlelit dinner. All they lack is the food. But they have the weighty menus on their laps – I feel the bottom edge of Trudy’s across the small of my back. Now I must listen again to Claude’s set piece on menu terms, as if he’s the first ever to spot these unimportant absurdities. He lingers on ‘pan-fried’. What is pan but a deceitful benediction on the vulgar and unhealthy fried? Where else might one fry his scallops with chilli and lime juice? In an egg timer? Before moving on, he repeats some of this with a variation of emphasis. Then, his second favourite, an American import, ‘steel-cut’. I’m silently mouthing his exposition even before he’s begun when a slight tilt in my vertical orientation tells me that my mother is leaning forwards to place a restraining finger on his wrist and say, sweetly, divertingly, ‘Choose the wine, darling. Something splendid.’

I like to share a glass with my mother. You may never have experienced, or you will have forgotten, a good burgundy (her favourite) or a good Sancerre (also her favourite) decanted through a healthy placenta. Even before the wine arrives – tonight, a Jean-Max Roger Sancerre – at the sound of a drawn cork, I feel it on my face like the caress of a summer breeze. I know that alcohol will lower my intelligence. It lowers everybody’s intelligence. But oh, a joyous, blushful Pinot Noir, or a gooseberried Sauvignon, sets me turning and tumbling across my secret sea, reeling off the walls of my castle, the bouncy castle that is my home. Or so it did when I had more space. Now I take my pleasures sedately, and by the second glass my speculations bloom with that licence whose name is poetry. My thoughts unspool in well-sprung pentameters, end-stopped and run-on lines in pleasing variation. But she never takes a third, and it wounds me.

‘I have to think of baby,’ I hear her say as she covers her glass with a priggish hand. That’s when I have it in mind to reach for my oily cord, as one might a velvet rope in a well-staffed country house, and pull sharply for service. What ho! Another round here for us friends!

But no, she restrains herself for love of me. And I love her – how could I not? The mother I have yet to meet, whom I know only from the inside. Not enough! I long for her external self. Surfaces are everything. I know her hair is ‘straw fair’, that it tumbles in ‘coins of wild curls’ to her ‘shoulders the white of apple flesh’, because my father has read aloud to her his poem about it in my presence. Claude too has referred to her hair in less inventive terms. When she’s in the mood, she’ll make tight braids to wind around her head, in the style, my father says, of Yulia Tymoshenko. I also know that my mother’s eyes are green, that her nose is a ‘pearly button’, that she wishes she had more of one, that separately both men adore it as it is and have tried to reassure her. She’s been told many times that she’s beautiful, but she remains sceptical, which confers on her an innocent power over men, so my father told her one afternoon in the library. She replied that if this was true, it was a power she’d never looked for and didn’t want. This was an unusual conversation for them and I listened intently. My father, whose name is John, said that if he had such a power over her or women in general, he couldn’t imagine giving it up. I guessed, from the sympathetic wave motion which briefly lifted my ear from the wall, that my mother had emphatically shrugged, as if to say, So men are different. Who cares? Besides, she told him out loud, whatever power she was supposed to have was only what men conferred in their fantasies. Then the phone rang, my father walked away to take the call, and this rare and interesting conversation about those that have power was never resumed.

But back to my mother, my untrue Trudy, whose apple-flesh arms and breasts and green regard I long for, whose inexplicable need for Claude pre-dates my first awareness, my primal is, and who often speaks to him, and he to her, in pillow whispers, restaurant whispers, kitchen whispers, as if both suspect that wombs have ears.

I used to think that their discretion was no more than ordinary, amorous intimacy. But now I’m certain. They airily bypass their vocal cords because they’re planning a dreadful event. Should it go wrong, I’ve heard them say, their lives will be ruined. They believe that if they’re to proceed, they should act quickly, and soon. They tell each other to be calm and patient, remind each other of the cost of their plan’s miscarriage, that there are several stages, that each must interlock, that if any single one fails, then all must fail ‘like old-fashioned Christmas tree lights’ – this impenetrable simile from Claude, who rarely says anything obscure. What they intend sickens and frightens them, and they can never speak of it directly. Instead, wrapped in whispers are ellipses, euphemisms, mumbled aporia followed by throat-clearing and a brisk change of subject.