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The Complete Short Stories: Volume 2
Adam Thirlwell

J. G. Ballard


The second in a two volume collection of acclaimed short stories by the author of Empire of the Sun, Crash, Cocaine Nights and Super-Cannes.JG Ballard is firmly established as one of Britain’s most highly regarded and influential novelists. However, during his long career he was also a prolific writer of short stories, many of which show the germination of ideas he used in his longer fiction.This, the second book in a two-volume collection, offers a platform from which to view Ballard’s other works. Almost all of his novels had their seeds in short stories and this collection provides an extraordinary opportunity to trace the development of one of Britain’s most visionary writers.















Copyright (#ulink_f393f82d-7609-5e6b-8d5d-a552139ebe7b)


Fourth Estate

An imprint of HarperCollinsPublishers Ltd

77–85 Fulham Palace Road

London W6 8JB

4thestate.co.uk (http://www.4thestate.co.uk)

This edition published by Fourth Estate in 2014

First published in Great Britain by Flamingo in 2001

This collection copyright В© J. G. Ballard 2001

Most of the stories in this book previously appeared in the following collections:

The Terminal Beach В© J. G. Ballard 1964; The Disaster Area В© J. G. Ballard 1967; The Day of Forever В© J. G. Ballard 1967; The Atrocity Exhibition В© J. G. Ballard 1969; Vermilion Sands В© J. G. Ballard 1971; Low-Flying Aircraft В© J. G. Ballard 1976; The Venus Hunters В© J. G. Ballard 1980; Myths of the Near Future В© J. G. Ballard 1982; War Fever В© J. G. Ballard 1990

The following stories have not previously appeared in a collection of J. G. Ballard’s stories:

�The Recognition’ © J. G. Ballard 1967; �A Guide to Virtual Death’ © J. G. Ballard 1992; �The Message from Mars’ © J. G. Ballard 1992; �Report from an Obscure Planet’ © J. G. Ballard 1992

The right of J. G. Ballard to be identified as the author of this work has been asserted by him in accordance with the Copyright, Design and Patents Act 1988.

Introduction В© Adam Thirlwell 2014

Interview В© Travis Elborough 2004

A catalogue record for this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Cover by Stanley Donwood

Ebook Edition В© APRIL 2014 ISBN: 9780007513611

Version: 2014-08-28




Contents


Cover (#u16712e67-cf76-5d9c-bb9e-2040f14f0542)

Title Page (#u343e0081-3d5d-58b3-9c9b-2839f3baedd3)

Copyright (#ulink_c85ed4f4-0bb8-5cea-91aa-13da94b667e0)

Author’s Note (#ulink_c2fe4912-3c27-55da-aeb9-bec6f338fcef)

Introduction by Adam Thirlwell (#ulink_58e35866-e12b-5e9f-b210-7a0aa25d8135)

Prisoner of the Coral Deep (#ulink_c8971b6f-bbfe-5924-9042-61a0dd9b39a0)

The Lost Leonardo (#ulink_203d53e5-5c30-537a-ab50-251e21f6b828)

The Terminal Beach (#ulink_6fae66b3-290a-567f-ac8a-191e7433e694)

The Illuminated Man (#ulink_96379211-ce2c-5995-85a6-7935f039549f)

The Delta at Sunset (#ulink_13f35669-56ab-5e03-96d7-9f5aa530b0ac)

The Drowned Giant (#ulink_db6de3cc-3507-5b50-9ce8-c0fa3ef116ee)

The Gioconda of the Twilight Noon (#ulink_076a7d38-7eb2-5809-8c1d-cb4c7031d595)

The Volcano Dances (#ulink_2f6b46a2-f53c-5bcc-9030-822f900eebfa)

The Beach Murders (#ulink_4223a7fe-edc9-5c1c-97ff-5fd45345db6e)

The Day of Forever (#ulink_d05bd8e2-4d3f-5664-9900-e0188eb03e03)

The Impossible Man (#ulink_4e062d9b-b7b3-5fe6-a5d6-62aff3d888a6)

Storm-Bird, Storm-Dreamer (#ulink_6e263cd2-5f82-55c3-9c5d-5d9f4e0c572f)

Tomorrow is a Million Years (#ulink_5b112d26-7d81-5a38-8339-47257becfecb)

The Assassination of John Fitzgerald Kennedy Considered as a Downhill Motor Race (#ulink_a7561dff-32ac-5718-8347-2fda2934fb15)

Cry Hope, Cry Fury! (#ulink_3b76e18b-5a31-50e0-8c34-52b5e6911f45)

The Recognition (#ulink_94a62b27-7e86-5959-aacc-4cf03e97df24)

The Cloud-Sculptors of Coral D (#ulink_65b58060-4dab-5594-8050-d4b717e00191)

Why I Want to Fuck Ronald Reagan (#ulink_4c0808d4-ad75-53a0-8eac-b67c2e62492c)

The Dead Astronaut (#ulink_0c8a1ee1-be92-5097-bef6-5be418e3d9fe)

The Comsat Angels (#ulink_0ba95fd2-73e7-51b4-83ec-dd303dc4e2a4)

The Killing Ground (#ulink_02acb72c-e80c-5fae-bc86-ba38cf945038)

A Place and a Time to Die (#ulink_4b4ab870-8768-5712-a336-bf770fe38c40)

Say Goodbye to the Wind (#ulink_cdf8dd44-f060-5bf0-a83f-c29b66ef72b6)

The Greatest Television Show on Earth (#ulink_a931cb9f-aa8a-5bd7-9485-4f16baa8514d)

My Dream of Flying to Wake Island (#ulink_0fbf7d82-d754-5521-b73e-8137ebc4078d)

The Air Disaster (#ulink_1728ce90-b7d6-572a-85c6-43c07a03bee0)

Low-Flying Aircraft (#ulink_344b4e9e-a648-5a9d-ba81-d4dea95d721f)

The Life and Death of God (#ulink_7eff9346-a272-5df1-bb32-7c39abcf6454)

Notes Towards a Mental Breakdown (#ulink_25d9fd38-7967-5020-9b94-f3e621b050a9)

The 60 Minute Zoom (#ulink_518049ed-a196-5e00-9551-7e50a4f4dd8a)

The Smile (#ulink_783da9e5-710e-5cc0-9d0b-075eee04481b)

The Dead Time (#ulink_2cdfe042-4c16-5353-921a-2d899bffbbe7)

The Index (#ulink_abea3919-50a4-5f34-a2f1-97053e915900)

The Intensive Care Unit (#ulink_fdf964e3-919c-53f2-875d-735ebc811b42)

Theatre of War (#ulink_c5e3f5de-76d8-5248-97cf-b2dcb17a90e4)

Having a Wonderful Time (#ulink_ef05717e-9f80-5e44-8127-4ebe4f8630f3)

One Afternoon at Utah Beach (#ulink_4b160d54-c116-5bcd-96c1-22166666e92c)

Zodiac 2000 (#ulink_2bb19009-7050-5d30-9c0d-b189ff314709)

Motel Architecture (#ulink_c3591451-3077-5c24-9eee-7b41b1392d56)

A Host of Furious Fancies (#ulink_a3e7a2c2-d452-5bfc-af26-d0a53d3aeae7)

News from the Sun (#ulink_8be5f0a2-f045-522d-9270-6b4dc58f9baa)

Memories of the Space Age (#ulink_1b1ac457-fa9d-5f2c-9e9e-3014a0730be9)

Myths of the Near Future (#ulink_c2fd04c4-7597-58a2-b6a7-f8f190c8ca02)

Report on an Unidentified Space Station (#ulink_706da9c6-7244-5347-8c70-b5fe426b0dd1)

The Object of the Attack (#ulink_8b399b07-46ac-5625-896b-91991eff7ec5)

Answers to a Questionnaire (#ulink_2397eef4-6f15-581f-baf9-33869b849dac)

The Man Who Walked on the Moon (#ulink_452083b5-8d6a-5771-bf0f-f03f52a124a8)

The Secret History of World War 3 (#ulink_5b882a05-70e6-504c-82d1-10e2867d2a64)

Love in a Colder Climate (#ulink_a7182ed6-767c-554e-a2dd-caa589e0dd67)

The Enormous Space (#ulink_7777879a-e2fd-54c3-a6ae-f5ab419e803a)

The Largest Theme Park in the World (#ulink_8803352a-2c37-5561-ab45-648689d75bf8)

War Fever (#ulink_fccee87b-5d34-5f72-b0ca-65758fbeb4a9)

Dream Cargoes (#ulink_9c8f60fa-60fb-560f-a66e-da6dca2bd39a)

A Guide to Virtual Death (#ulink_0959c155-2969-54a4-acff-89839f677936)

The Message from Mars (#ulink_9d8b023c-1334-550f-9908-b6a0cafcfcbc)

Report from an Obscure Planet (#ulink_4503bdfe-8221-5452-b3dd-b1f2e4e6ec33)

Interview with J. G. Ballard (#ulink_2023dd63-bdb0-5bf8-a27f-f2f052b7f743)

About the Author (#ulink_0f5ad3dd-56ea-56a4-911f-a2c3920aed0d)

By the Same Author (#ulink_1e140ab1-d3b6-5f55-9f25-35d640da64c5)

About the Publisher




Author’s Note (#ulink_cc89948a-23b0-5f45-ad05-b44a79c7b4b6)


Short stories are the loose change in the treasury of fiction, easily ignored beside the wealth of novels available, an over-valued currency that often turns out to be counterfeit. At its best, in Borges, Ray Bradbury and Edgar Allan Poe, the short story is coined from precious metal, a glint of gold that will glow for ever in the deep purse of your imagination.

Short stories have always been important to me. I like their snapshot quality, their ability to focus intensely on a single subject. They’re also a useful way of trying out the ideas later developed at novel length. Almost all my novels were first hinted at in short stories, and readers of The Crystal World, Crash and Empire of the Sun will find their seeds germinating somewhere in this collection.

When I started writing, fifty years ago, short stories were immensely popular with readers, and some newspapers printed a new short story every day. Sadly, I think that people at present have lost the knack of reading short stories, a response perhaps to the baggy and long-winded narratives of television serials. Young writers, myself included, have always seen their first novels as a kind of virility test, but so many novels published today would have been better if they had been recast as short stories. Curiously, there are many perfect short stories, but no perfect novels.

The short story still survives, especially in science fiction, which makes the most of its closeness to the folk tale and the parable. Many of the stories in this collection were first published in science fiction magazines, though readers at the time loudly complained that they weren’t science fiction at all.

But I was interested in the real future that I could see approaching, and less in the invented future that science fiction preferred. The future, needless to say, is a dangerous area to enter, heavily mined and with a tendency to turn and bite your ankles as you stride forward. A correspondent recently pointed out to me that the poetry-writing computers in Vermilion Sands are powered by valves. And why don’t all those sleek people living in the future have PCs and pagers?

I could only reply that Vermilion Sands isn’t set in the future at all, but in a kind of visionary present – a description that fits the stories in this book and almost everything else I have written. But oh for a steam-powered computer and a wind-driven television set. Now, there’s an idea for a short story …

J.G. Ballard, 2001





Introduction BY ADAM THIRLWELL (#ulink_dbc62fd4-1a1d-5fad-963c-ebb4e80b89d5)

1


There is no single way of talking about the collected stories of J. G. Ballard. They are so various that no one reading will contain them. When talking about this giant oeuvre, it’s better to borrow terms from geology, and other sciences of natural phenomena; better to talk of strata, or of eras.

And a preliminary summary of these epochs in one paragraph might go something like this …

First there is the era of what might be called, for useful shorthand, science fiction: where the nature of Nature has undergone sinister changes, and become strangely technological. In these stories, many of which take place in a warped version of Palm Springs, the reader will find sonic sculptures, and singing flowers, among other curiosities. In the second era, the modulations Ballard enjoyed performing on the natural world became grander: now these modulations affected the deep conditions of being: his material became time and space. In the third era, his imagination became more and more apocalyptic, replete with visions of environmental disaster. And all these eras were ones of dense and hectic composition – the 750 pages of this complete edition’s first half move only from 1956 to 1964. Its second half, of equal length, takes in the greater time span of 1964 to 1992. And it was somewhere in the late 1960s that a new and final era emerged: where the cosmic alterations now took place in an atmosphere of late modernity – computerised finance, terror, dictator politics, and flat pornography. It was this landscape that formed the last and longest era of Ballard’s stories – a shiny, dilapidated vista of motels, space voyages, assassination attempts.

In other words, Ballard’s stories constitute a corpus that is unlike anything else in twentieth-century British fiction. This corpus is unique.




2


Interviewed by George MacBeth in 1967, Ballard tried to define the difference between his fiction and that of his contemporaries. �The great bulk of fiction still being written,’ he observed, �is retrospective in character. It’s concerned with the origins of experience, behaviour, development of character over a great span of years. It interprets the present in terms of the past, and it uses a narrative technique, by and large the linear narrative, in which events are shown in more-or-less chronological sequence, which is suited to it.’ Whereas, he then continued: �when one turns to the present – and what I feel I’ve done in these pieces of mine is to rediscover the present for myself – I feel that one needs a nonlinear technique, simply because our lives today are not conducted in linear terms. They are much more quantified; a stream of random events is taking place.’

It has a charming grandeur, this giant theory, but I’m not sure it’s precisely right. Or at least, it may be right, but it’s only a tentative sketch. The diligent reader also needs to consider some sober literary history.

For these stories in no way follow one dominant strand of the short story: the realist ironic tradition of Chekhov and Maupassant. Instead, these are stories of the high imaginary, and fantastical. The best short stories, Ballard once noted, were those of �Borges, Ray Bradbury and Edgar Allen Poe’. And his own stories, similarly, feature universes stretched beyond their normal limits. But to name this tradition is not quite a solution, either. Italo Calvino once wrote an essay on fantastic literature, and he offered the following definition of its underlying philosophy:

The problem of the reality of what we see – both extraordinary things, which may be just hallucinations projected by our mind, and ordinary things, which perhaps conceal beneath the most banal appearances a second nature that is more disturbing, mysterious, terrifying – is the essence of this literature of the fantastic, whose most powerful effects lie in this hovering between irreconcilable levels of reality.

And at once, the diligent reader has a problem. Maybe for Edgar Allen Poe, sure, this might be a workable definition. But it in no way helps when considering Ballard’s inventions.

At which point, this ideal reader should maybe pause: and consider a particular example.




3


One of Ballard’s greatest stories is called �The Voices of Time’. Its manner is not the manner of the usual avant-garde. Its early pages contain dialogue that is notable for its strained formality. (�“What are you doing with yourself, Robert?” he asked. “Are you still going over to Whitby’s lab?”�) Judged on its stylistics, the mode seems to be the usual mode of a certain deadbeat realism. (�He smiled sympathetically at Powers across the desk, wondering what to say to him.’) And yet the reader looking for the usual story and backstory will soon find the conventional fictional perspectives subtly altered. Some names are strange – like Kaldren, and Coma. While the backstory that is hinted at – and this is one of Ballard’s constant techniques – is vast with inexplicability: not just isolated details (�the derelict gold-panning equipment abandoned over eighty years ago’), but also the blank precision of the vocabulary, the strange �camera towers’ and �glass polyhedrons’ of this landscape, and the intricacy of the scientific terms, which go way beyond the usual assumptions of a reader’s everyday knowledge: �the protein lattices in the genes were building up energy in the way that any vibrating membrane accumulates energy when it resonates …’

It is a future that could also be a present – everything is scrambled – and the reason for this confusion is the meaning of the story. Its surface plot seems to be about the strange discoveries which Whitby, a biologist, has been making in the field of silent gene activation. His colleague, Powers, is dying – and in the time he has left he is trying to think through the implications of Whitby’s experiments, where an organism’s latent future comes to life. And the answer seems to be contained in an odd undertaking of Whitby’s in the summer before his suicide: �the strange grooves the biologist had cut, apparently at random, all over the floor of the empty swimming pool. An inch deep and twenty feet long, interlocking to form an elaborate ideogram like a Chinese character Eventually, Powers decides to build a version of Whitby’s diagram, in concrete, in the middle of a salt lake. When it is finished, it is revealed as a �mandala’ – a miniature diagram of the universe. And Powers walks out to its centre. �Above him he could hear the stars, a million cosmic voices that crowded the sky from one horizon to the next, a true canopy of time.’

For this story’s theme is entropy. And therefore its perspective is not just the entropy of the human body, but also of the dying stars, and the dying planet. Which is why the story’s unwobbling pivot is this strange mandala. As Powers dies, �the image of the mandala, like a cosmic clock, remained fixed before his eyes …’




4


No wonder Ballard felt he was beyond the usual retrospective psychology! In his list of favourite books, there are predictable literary precursors – the short stories of Hemingway, Alice in Wonderland, Naked Lunch – but two items stand out for their strange abstraction: recordings of cockpit conversations retrieved from the black boxes of airplanes; and the Los Angeles Yellow Pages. The LA Yellow Pages, he once wrote, was the only book he had ever stolen – and then he added: �What is interesting about the LA Yellow Pages is the picture it gives of real life in Los Angeles, so different from the glitzy world of film premieres, stars and directors. There are more psychiatrists listed than plumbers, and more dating bureaus than doctors, and more poodle parlours than vets. Like the classified advertisements in newspapers, which provide a picture of the readership, the Yellow Pages of any great city reveals its true underside. The Los Angeles Yellow Pages is richer in human incident than all the novels of Balzac.’

What is a character? Or what is a motivation? The usual human motivations still exist in Ballard’s stories, but only nostalgically – in the background, like herms or hilltop cities in the old landscapes. And the reason for this relegation was a phenomenon which Ballard named the Death of Affect – the twentieth century had invented such large atrocities, not only Hiroshima and the Holocaust, but also the virtual worlds of computers and high finance, that the old human categories were no longer relevant. To argue over the rightness of such a theory is not the point. The point is that it allowed Ballard to invent fictions of a startling originality. In his strangely formal prose, he described what character might look like when all the traditional formalities had disappeared.

Rather than subjects, Ballard has a system of recurring tropes. And so in �The Voices of Time’, the reader will discover reworked versions of previous stories: an obsession with sound and soundwaves that is also present in �Venus Smiles’, or �The Sound Sweep’; the new planets of �The Waiting Grounds’; the sleeplessness of �Manhole 69’. But in each case, the tropes are rearranged to create a new original. You can call this system mythic, but I think the truth is stranger. It might be more precise to say: the basis of previous fiction was the isolated self, and its various particularities of politesse and ego, whereas in Ballard’s fiction the protagonists turn out to be much larger entities – the impossible and ignored coercions of society, or the environment. For this is, according to Ballard’s redefinition, how the contemporary self now lives: always blurring into a herd, or crowd. And that’s why comparing him to Borges or Kafka or Poe is not quite useful. The texture of his writing is much more deliberately contemporary than theirs – and therefore is always grainy with a faint satirical tone. Famously he claimed that he was not writing about the future but about the �visionary present’ – and it is the urgency of that present moment which makes his metaphysical writing so disturbing. If he resembles anyone, I sometimes think, it is the great visionary Jules Verne. In both writers, the chic and the modern – submarines, space ships, X-rays, gene theory – is revealed to be glowing with a much larger, more sinister significance.

Every writer of fiction invents the places they describe, whether ostensibly real or not. �It had taken me some forty years to invent Russia and Western Europe,’ wrote Nabokov in his afterword to Lolita, �and now I was faced by the task of inventing America.’ And Ballard is one of the great inventors of places in fiction. This ferocious analyst of the totalitarian was one of the experts in fiction’s own totalitarian nature: the way it so easily can dictate its own terms. Imperiously, Ballard invents unexplained acronyms, or distorts vocabulary – a technique already baroquely visible in the first story collected here, �Prima Belladonna’: �Before he came to Vermilion Sands he’d been a curator at the Kew Conservatoire where the first choro-flora had been bred …’

But his success at this place-invention is so striking because he is always, simultaneously, describing our own habitat. He is a writer of collective motivation, collective character, precisely because existence in the twentieth century was in the process of transforming itself into larger atmospheres: not just the general conditions of nature, but also the pervading clouds of advertising, stock exchanges, computerised reality. He is the great describer of the lawning of our era – the embankments and swathes of abstract space that compose our giant suburbs. Such everyday abstraction, the absence of particulars, is Ballard’s chosen locale – whether it is incarnated in a concrete beachfront with palmettos, an extra planet, or the laboratories of future technological advances.

Although I think it’s also important to point out that, for all the international roaming of his fiction, from the Apartamentos California to Cannes, the true location is always, somehow, Britain. Just think, even, of �The Voices of Time’: that entropy is cosmic, sure, but it is also the entropy that Ballard discovered in the postwar suburbs of a dying empire. Britain, in fact, was the most modern country on earth, precisely because it was the world-leader in entropy – and therefore also the leader in ressentiment, rancour, sadness, twilight, concrete. Dystopia! You only needed to look around you: among the flyovers and multi-storey car parks in the rain.

In his later stories, this strange form of visionary politics became more and more pronounced, culminating in the late novels, beyond the chronology of this collection: his studies of financial hyper-reality in Cocaine Nights and Super-Cannes, then the bourgeois darknesses of Millennium People and Kingdom Come. And it came with a technical shift. The interest in vocabulary formation that had marked his early stories gradually became a more overt interest in the general culture’s linguistic deformations. Ballard became the impresario of official registers: a story could be a simple exercise in style – like the punk brilliance of �Why I Want to Fuck Ronald Reagan’, which he wrote in 1968, soon after Reagan became Governor of California. The story is a carnival of vocabularies – the medical, the psychoanalytic, the opinion poll – gleefully stuffed with impermissible fantasy: �Multiple-track cine-films were constructed of “Reagan” in intercourse during (a) campaign speeches, (b) rear-end auto-collisions with one and three-year-old model changes, (c) with rear-exhaust assemblies, (d) with Vietnamese child-atrocity victims.’

With that kind of shock tactic, Ballard offered new possibilities to the short story: beyond the intricate psychology of the Chekhovian mode.




5


For instead, Ballard’s subject was the system: physically, the vast urban spaces and their freeways, and mentally the vast interior landscapes of psychosis and neurosis. In his Ronald Reagan extravaganza, Ballard first perceived how the era’s separate preoccupations converged, and were even mutually complicit: the virtual worlds of cinema, of politics, of analysis, were all forms of the same violence. And that’s why his late style is so tonally acrobatic. Each closed system was revealed as a version of another.

One of his last stories, �The Object of the Attack’, was written in 1984. As always, it has its patina of genre fiction (�Events are moving on apace.’). But in this story of an assassination attempt, the reader can observe all Ballard’s obsessions reacting with each other, as inside some miniature and hyper-modern laboratory: the outward tone – British, and bourgeois – encloses violent energies, where the Royal Family, the American Presidency and Space Travel are ways of encoding a manic form of pathology.

But then, why not? A mandala is an image of the world, so in a way every story is a mandala, too. Which would mean, according to the terms of Ballard’s fiction, that every story is therefore also a cosmic clock – counting down the minutes to the final catastrophe.

London,2014




PRISONER OF THE CORAL DEEP (#ulink_8be3d421-2e63-59a9-831d-8e3907b9af30)


I found the shell at low tide, lying in a rock-pool near the cave, its huge mother-of-pearl spiral shining through the clear water like a Fabergé gem. During the storm I had taken shelter in the mouth of the cave, watching the grey waves hurl themselves towards me like exhausted saurians, and the shell lay at my feet almost as a token of the sea’s regret.

The storm was still rumbling along the cliffs in the distance, and I was wary of leaving the cave. All morning I had been walking along this deserted stretch of the Dorset coast. I had entered a series of enclosed bays from which there were no pathways to the cliffs above. Quarried by the sea, the limestone bluffs were disturbed by continuous rock-slides, and the beaches were littered by huge slabs of pockmarked stone. Almost certainly there would be further falls after the storm. I stepped cautiously from my shelter, peering up at the high cliffs. Even the wheeling gulls crying to each other seemed reluctant to alight on their crumbling cornices.

Below me, the seashell lay in its pool, apparently magnified by the lens of water. It was fully twelve inches long, the corrugated shell radiating into five huge spurs. A fossil gastropod, which had once basked in the warm Cambrian seas five hundred million years earlier, it had presumably been torn loose by the waves from one of the limestone boulders.

Impressed by its size, I decided to take it home to my wife as a memento of my holiday – needing a complete change of scene after an unprecedentedly busy term at school, I had been packed off to the coast for a week. I stepped into the pool and lifted the shell from the water, and then turned to retrace my steps along the coast.

To my surprise, I was being watched by a solitary figure on the limestone ledge twenty yards behind me, a tall raven-haired woman in a sea-blue gown that reached to her feet. She stood motionlessly among the rock-pools, like a Pre-Raphaelite vision of the dark-eyed Madonna of some primitive fisher community, looking down at me with meditative eyes veiled by the drifting spray. Her dark hair, parted in the centre of her low forehead, fell like a shawl to her shoulders and enclosed her calm but somewhat melancholy face.

I stared at her soundlessly, and then made a tentative gesture with the seashell. The ragged cliffs and the steep sea and sky seemed to enclose us with a sense of absolute remoteness, as if the rocky beach and our chance encounter had been transported to the bleak shores of Tierra del Fuego on the far tip of the world’s end. Against the damp cliffs her blue robe glowed with an almost spectral vibrancy, matched only by the brilliant pearl of the shell in my hands. I assumed that she lived in an isolated house somewhere above the cliffs – the storm had ended only ten minutes earlier, and there appeared to be no other shelter – and that a hidden pathway ran down among the fissures in the limestone.

I climbed up to the ledge and walked across to her. I had gone on holiday specifically to escape from other people, but after the storm and my walk along the abandoned coast, I was glad to talk to someone. Although she showed no response to my smile, the woman’s dark eyes watched me without hostility, as if she were waiting for me to approach her.

At our feet the sea hissed, the waves running like serpents between the rocks.

�The storm certainly came up suddenly,’ I commented. �I managed to shelter in the cave.’ I pointed to the cliff top two hundred feet above us. �You must have a magnificent view of the sea. Do you live up there?’

Her white skin was like ancient pearl. �I live by the sea,’ she said. Her voice had a curiously deep timbre, as if heard under water. She was at least six inches taller than myself, although I am by no means a short man. �You have a beautiful shell,’ she remarked.

I weighed it in one hand. �Impressive, isn’t it? A fossil snail – far older than this limestone, you know. I’ll probably give it to my wife, though it should go to the Natural History Museum.’

�Why not leave it on the beach where it belongs?’ she said. �The sea is its home.’

�Not this sea,’ I rejoined. �The Cambrian oceans where this snail swam vanished millions of years ago.’ I detached a thread of fucus clinging to one of the spurs and let it fall away on the air. �I’m not sure why, but fossils fascinate me – they’re like time capsules; if only one could unwind this spiral it would probably play back to us a picture of all the landscapes it’s ever seen – the great oceans of the Carboniferous, the warm shallow seas of the Trias …’

�Would you like to go back to them?’ There was a note of curiosity in her voice, as if my comments had intrigued her. �Would you prefer them to this time?’

�Hardly. I suppose it’s just the nostalgia of one’s unconscious memory. Perhaps you understand what I mean – the sea is like memory. However lost or forgotten, everything in its exists for ever …’ Her lips moved in what seemed to be the beginnings of a smile. �Or does the idea seem strange?’

�Not at all.’

She watched me pensively. Her robe was woven from some bright thread of blue silver, almost like the hard brilliant scales of pelagic fish.

Her eyes turned to the sea. The tide had begun to come in, and already the pool where I found the shell was covered by the water. The first waves were breaking into the mouth of the cave, and the ledge we stood on would soon be surrounded. I glanced over my shoulder for any signs of the cliff path.

�It’s getting stormy again,’ I said. �The Atlantic is rather bad-tempered and unpredictable – as you’d expect from an ancient sea. Once it was part of a great ocean called –’

�Poseidon.’

I turned to look at her.

�You knew?’

�Of course.’ She regarded me tolerantly. �You’re a schoolmaster. So this is what you teach your pupils, to remember the sea and go back to the past?’

I laughed at myself, amused at being caught out by her. �I’m sorry. One of the teacher’s occupational hazards is that he can never resist a chance to pass on knowledge.’

�Memory and the sea?’ She shook her head sagely. �You deal in magic, not knowledge. Tell me about your shell.’

The water lifted towards us among the rocks. To my left a giant’s causeway of toppled pillars led to the safety of the upper beach. I debated whether to leave; the climb up the cliff face, even if the path were well cut, would take at least half an hour, especially if I had to assist my companion. Apparently indifferent to the sea, she watched the waves writhing at our feet, like reptiles in a pit. Around us the great cliffs seemed to sink downward into the water.

�Perhaps I should let the shell speak for itself,’ I demurred. My wife was less tolerant of my tendency to bore. I lifted the shell to my ear and listened to the whispering trumpet.

The helix reflected the swishing of the waves, the contours of the shell in some way magnifying the sounds, so that they echoed with the darker murmur of deep water. Around me the breakers fell among the rocks with a rhythmic roar and sigh, but from the shell poured an extraordinary confusion of sounds, and I seemed to be listening not merely to the waves breaking on the shore below me but to an immense ocean lapping all the beaches of the world. I could hear the roar and whistle of giant rollers, shingle singing in the undertow, storms and typhonic winds boiling the sea into a maelstrom. Then abruptly the scene seemed to shift, and I heard the calm measures of a different sea, a steaming shallow lagoon through whose surface vast ferns protruded, where half-submerged leviathans lay like sandbanks under a benign sun …

My companion was watching me, her high face lifted to catch the leaping spray. �Did you hear the sea?’

I pressed the shell to my ear. Again I heard the sounds of ancient water, this time of an immense storm in progress, a titanic struggle against the collapsing isthmuses of a sinking continent. I could hear the growling of gigantic saurians, the cries of reptile birds diving from high cliffs on to their prey below, their ungainly wings unshackling as they fell.

Astonished, I squeezed the shell in my hands, feeling the hard calcareous spines as if they might spring open the shell’s secret.

The woman still watched me. By some freak of the fading light she appeared to have grown in height, her shoulders almost overtopping my head.

�I … can’t hear anything,’ I said uncertainly.

�Listen to it!’ she admonished me. �That shell has heard the seas of all time, every wave has left its echo there.’

The first foam splashed across my feet, staining the dried straps of my sandals. A narrowing causeway of rocks still led back to the beach. The cave had vanished, its mouth spewing bubbles as the waves briefly receded.

I pointed to the cliff. �Is there a path? A way down to the sea?’

�To the sea? Of course!’ The wind lifted the train of her robe, and I saw her bare feet, seaweed wreathed around her toes. �Now listen to the shell. The sea is waking for you.’

I raised the shell with both hands. This time I closed my eyes, and as the sounds of the ancient wind and water echoed in my ears I saw a sudden image of the lonely bay millions of years earlier. High cliffs of white shale reached to the sky, and huge reptiles sidled along the coarse beaches, baying at the grotesque armoured fish which lunged at them from the shallows. Volcanic cones ringed the horizon, their red vents staining the sky.

�What can you hear?’ my companion asked me insistently, evidently disappointed. �The sea and the wind?’

�I hear nothing,’ I said thickly. �Only a whispering.’

The noise erupted from the shell’s mouth, the harsh bellows of the saurians competing with the sea. Suddenly I heard another sound above this babel, a thin cry that seemed to come from the cave in which I had sheltered. Searching the image in my mind, I could see the cave mouth set into the cliff above the heads of the jostling reptiles.

�Wait!’ I waved the woman away, ignoring the waves that sluiced across my feet. As the sea receded, I pressed my ear to the conch, and heard again the faint human cry, a stricken plea for rescue –

�Can you hear the sea now?’ The woman reached to take the shell from me.

I held to it tightly and shouted above the waves. �Not this sea! My God, I heard a man crying!’

For a moment she hesitated, uncertain what to make of this unexpected remark. �A man? Who, tell me! Give it to me! It was only a drowned sailor!’

Again I snatched the shell away from her. Listening, I could still hear the voice calling, now and then lost in the roar of the reptiles. A sailor, yes, but a mariner from the distant future, marooned millions of years ago in this cave on the edge of a Triassic sea, guarded by this strange naiad of the deep who even now guided me to the waves.

She had moved to the edge of the rock, the strands of her hair shimmering across her face in the wind. With a hand she beckoned me towards her.

For the last time I lifted the shell to my ear, and for the last time heard that faint plaintive cry, lost on the reeling air.

�H-h-e-e-lp!’

Closing my eyes, I let the image of the ancient shore fill my mind, for a fleeting instant saw a small white face watching from the cave mouth. Whoever he was, had he despaired of returning to his own age, selected a beautiful shell and cast it into the sea below, hoping that one day someone would hear his voice and return to save him?

�Come! It’s time to leave!’ Although she was a dozen feet from me, her outstretched hands seemed almost to touch mine. The water raced around her robe, swirling it into strange liquid patterns. Her face watched me like that of some monstrous fish.

�No!’

With sudden fury I stepped away from her, then turned and hurled the great shell far out into the deep water beyond her reach. As it vanished into the steep waves I heard a flurry of heavy robes, almost like the beating of leathery wings.

The woman had gone. Quickly I leapt on to the nearest rock of the causeway, slipped into the shallows between two waves and then clambered to safety. Only when I had reached the shelter of the cliffs did I look back.

On the ledge where she had stood a large lizard watched me with empty eyes.

1964




THE LOST LEONARDO (#ulink_c6075ab4-284e-5b6c-81d1-b54ef64d6193)


The disappearance – or, to put it less euphemistically – the theft of the Crucifixion by Leonardo da Vinci from the Museum of the Louvre in Paris, discovered on the morning of April 19, 1965, caused a scandal of unprecedented proportions. A decade of major art thefts, such as those of Goya’s Duke of Wellington from the National Gallery, London, and collections of impressionists from the homes of millionaires in the South of France and California, as well as the obviously inflated prices paid in the auction rooms of Bond Street and the Rue de Rivoli, might have been expected to accustom the general public to the loss of yet another over-publicized masterpiece, but in fact the news of its disappearance was received by the world with genuine consternation and outrage. From all over the globe thousands of telegrams poured in daily at the Quai d’Orsay and the Louvre, the French consulates at Bogota and Guatemala City were stoned, and the panache and finesse of press attaches at every embassy from Buenos Aires to Bangkok were strained to their not inconsiderable limits.

I myself reached Paris over twenty-four hours after what was being called �the great Leonardo scandal’ had taken place, and the atmosphere of bewilderment and indignation was palpable. All the way from Orly Airport the newspaper headlines on the kiosks blazoned the same story.

As the Continental Daily Mail put it succinctly:

LEONARDO’S CRUCIFIXION STOLEN

ВЈ5 Million Masterpiece Vanishes from Louvre

Official Paris, by all accounts, was in uproar. The hapless director of the Louvre had been recalled from a Unesco conference in Brasilia and was now on the carpet at the Elysée Palace, reporting personally to the President, the Deuxieme Bureau had been alerted, and at least three ministers without portfolio had been appointed, their political futures staked to the recovery of the painting. As the President himself had remarked at his press conference the previous afternoon, the theft of a Leonardo was an affair not only for France, but for the entire world, and in a passionate plea he enjoined everyone to help effect its speedy return (despite the emotionally charged atmosphere, cynical observers noticed that this was the first crisis of his career when the Great Man did not conclude his peroration with �Vive La France’).

My own feelings, despite my professional involvement with the fine arts – I was, and am, a director of Northeby’s, the world-famous Bond Street auctioneers – by and large coincided with those of the general public. As the taxi passed the Tuileries Gardens I looked out at the crude half-tone illustrations of da Vinci’s effulgent masterpiece reproduced in the newspapers, recalling the immense splendour of the painting, with its unparalleled composition and handling of chiaroscuro, its unsurpassed technique, which together had launched the High Renaissance and provided a beacon for the sculptors, painters and architects of the Baroque.

Despite the two million reproductions of the painting sold each year, not to mention the countless pastiches and inferior imitations, the subject matter of the painting still retained its majestic power. Completed two years after da Vinci’s Virgin and St Anne, also in the Louvre, it was not only one of the few Leonardos to have survived intact the thousand eager hands of the retouchers of four centuries, but was the only painting by the master, apart from the dissolving and barely visible Last Supper, in which he handled a composition with a large landscape and a huge gallery of supporting figures.

It was this latter factor, perhaps, which gave the painting its terrifying, hallucinatory power. The enigmatic, almost ambivalent expression on the face of the dying Christ, the hooded serpentine eyes of the Madonna and Magdalene, these characteristic signatures of Leonardo became more than mere mannerisms when set against the huge spiral concourse of attendant figures that seemed to swirl up into the distant sky across the Place of Bones, transforming the whole image of the crucifixion into an apocalyptic vision of the resurrection and judgment of mankind. From this single canvas had come the great frescoes of Michelangelo and Raphael in the Sistine Chapel, the entire schools of Tintoretto and Veronese. That someone should have the audacity to steal it was a tragic comment on mankind’s respect for its greatest monuments.

And yet, I wondered as we arrived at the offices of Galleries Normande et Cie in the Madeleine, had the painting really been stolen at all? Its size, some 15 feet by 18 feet, and weight – it had been transferred from the original canvas to an oak panel – precluded a single fanatic or psychopath, and no gang of professional art thieves would waste their time stealing a painting for which there would be no market. Could it be, perhaps, that the French government was hoping to distract attention from some other impending event, though nothing less than the re-introduction of the monarchy and the coronation of the Bourbon Pretender in Notre Dame would have required such an elaborate smoke-screen.

At the first opportunity I raised my doubts with Georg de Stael, the director of Galleries Normande with whom I was staying during my visit. Ostensibly I had come to Paris to attend a conference that afternoon of art dealers and gallery directors who had also suffered from thefts of major works of art, but to any outsider our mood of elation and high spirits would have suggested some other motive. This, of course, would have been correct. Whenever a large stone is cast into the turbid waters of international art, people such as myself and Georg de Stael immediately take up our positions on the bank, watching for any unusual ripple or malodorous bubble. Without doubt the theft of the Leonardo would reveal a good deal more than the identity of some crackpot cat burglar. All the darker fish would now be swimming frantically for cover, and a salutary blow had been struck at the official establishment of senior museum curators and directors.

Such feelings of revenge obviously animated Georg as he moved with dapper, light-footed ease around his desk to greet me. His blue silk summer suit, well in advance of the season, glittered like his smooth brilliantined hair, his svelte rapacious features breaking into a smile of roguish charm.

�My dear Charles, I assure you, categorically, the confounded picture has actually gone –’ Georg shot out three inches of elegant chalk-blue cuff and snapped his hands together �– puff! For once everyone is speaking the truth. What is even more remarkable, the painting was genuine.’

�I don’t know whether I’m glad to hear that or not,’ I admitted. �But it’s certainly more than you can say for most of the Louvre – and the National Gallery.’

�Agreed.’ Georg straddled his desk, his patent leather shoes twinkling in the light. �I had hoped that this catastrophe might induce the authorities to make a clean breast of some of their so-called treasures, in an attempt, as it were to dispel some of the magic surrounding the Leonardo. But they are in a complete fuddle.’

For a moment we both contemplated what such a sequence of admissions would do to the art markets of the world – the prices of anything even remotely genuine would soar – as well as to the popular image of Renaissance painting as something sacrosanct and unparalleled. However, this was not to gainsay the genius of the stolen Leonardo.

�Tell me, Georg,’ I asked. �Who stole it?’ I assumed he knew.

For the first time in many years Georg seemed at a loss for an answer. He shrugged helplessly. �My dear Charles, I just do not know. It’s a complete mystery. Everyone is as baffled as you are.’

�In that case it must be an inside job.’

�Definitely not. The present crowd at the Louvre are beyond reproach.’ He tapped the telephone. �This morning I was speaking to some of our more dubious contacts – Antweiler in Messina and Kolenskya in Beirut – and they are both mystified. In fact they’re convinced that either the whole thing is a put-up affair by the present regime, or else the Kremlin itself is involved.’

�The Kremlin?’ I echoed incredulously. At the invocation of this name the atmosphere heightened, and for the next half an hour we spoke in whispers.

The conference that afternoon, at the Palais de Chaillot, offered no further clues. Chief Detective-Inspector Carnot, a massive gloomy man in a faded blue suit, took the chair, flanked by other agents of the Deuxieme Bureau. All of them looked tired and dispirited; by now they were having to check up on some dozen false alarms each hour. Behind them, like a hostile jury, sat a sober-faced group of investigators from Lloyds of London and Morgan Guaranty Trust of New York. By contrast, the two hundred dealers and agents sitting on the gilt chairs below the platform presented an animated scene, chattering away in a dozen languages and flying a score of speculative kites.

After a brief resumГ©, delivered in a voice of sepulchral resignation, Inspector Carnot introduced a burly Dutchman next to him, Superintendent Jurgens of the Interpol bureau at The Hague, and then called on M. Auguste Pecard, assistant director of the Louvre, for a detailed description of the theft. This merely confirmed that the security arrangements at the Louvre were first-class and that it was absolutely impossible for the painting to have been stolen. I could see that Pecard was still not entirely convinced that it had gone.

�… the pressure panels in the floor surrounding the painting have not been disturbed, nor have the two infra-red beams across its face been broken. Gentlemen, I assure you it is impossible to remove the painting without first dismantling the bronze frame. This alone weighs eight hundred pounds and is bolted into the wall behind it. But the electric alarm circuit which flows through the bolts was not interrupted …’

I was looking up at the two life-size photographs of the front and reverse faces of the painting fastened to the screens behind the dais. The latter showed the back of the oak panel with its six aluminium ribs, contact points for the circuit and a mass of chalked graffiti enscribed over the years by the museum laboratories. The photographs had been taken the last time the picture was removed for cleaning, and after a brief bout of questioning it transpired that this had been completed only two days before the theft.

At this news the atmosphere of the conference changed. The hundred private conversations ceased, coloured silk handkerchiefs were returned to their breast pockets.

I nudged Georg de Stael. �So that explains it.’ Obviously the painting had disappeared during its period in the laboratory, where the security arrangements would be less than fool-proof. �It was not stolen from the gallery at all.’

The hubbub around us had re-started. Two hundred noses once again were lifted to scent the trail. So the painting had been stolen, and was somewhere at large in the world. The rewards to the discoverer, if not the Legion of Honour or a Knighthood, then at least complete freedom from all income tax and foreign exchange investigations, hovered like a spectre before us.

On the way back, however, Georg stared sombrely through the window of the taxi.

�The painting was stolen from the gallery,’ he said to me pensively. �I saw it there myself just twelve hours before it vanished.’ He took my arm and held it tightly. �We’ll find it, Charles, for the glory of Northeby’s and the Galleries Normande. But, my God, the man who stole it was a thief out of this world!’

So began the quest for the missing Leonardo. I returned to London the next morning, but Georg and I were in regular contact by telephone. Initially, like all the others on its trail, we merely listened, ears to the ground for an unfamiliar foot-fall. In the crowded auction rooms and galleries we waited for the indiscreet word, for the give-away clue. Business, of course, was buoyant; every museum and private owner with a third-rate Rubens or Raphael had now moved up a rung. With luck the renewed market activity would uncover some distant accomplice of the thief, or a previous substitute for the Leonardo – perhaps a pastiche Mona Lisa by one of Verrocchio’s pupils – would be jettisoned by the thief and appear on one of the shadier markets. If the hunt for the vanished painting was conducted as loudly as ever in the outside world, within the trade all was quiet and watchful.

In fact, too quiet. By rights something should have materialized, some faint clue should have appeared on the fine filters of the galleries and auction rooms. But nothing was heard. As the wave of activity launched by the displaced Leonardo rolled past and business resumed its former tempo, inevitably the painting became just another on the list of lost masterpieces.

Only Georg de Stael seemed able to maintain his interest in the search. Now and then he would put through a call to London, requesting some obscure piece of information about an anonymous buyer of a Titian or Rembrandt in the late 18th century, or the history of some damaged copy by a pupil of Rubens or Raphael. He seemed particularly interested in works known to have been damaged and subsequently restored, information with which many private owners are naturally jealous of parting.

Consequently, when he called to see me in London some four months after the disappearance of the Leonardo, it was not in a purely jocular sense that I asked: �Well, Georg, do you know who stole it yet?’

Unclipping a large briefcase, Georg smiled at me darkly. �Would it surprise you if I said “yes”? As a matter of fact, I don’t know, but I have an idea, a hypothesis, shall we say. I thought you might be interested to hear it.’

�Of course, Georg,’ I said, adding reprovingly: �So this is what you’ve been up to.’

He raised a thin forefinger to silence me. Below the veneer of easy charm I noticed a new mood of seriousness, a cutting of conversational corners. �First, Charles, before you laugh me out of your office, let’s say that I consider my theory completely fantastic and implausible, and yet –’ he shrugged deprecatingly �– it seems to be the only one possible. To prove it I need your help.’ �Given before asked. But what is this theory? I can’t wait to hear.’

He hesitated, apparently uncertain whether to expose his idea, and then began to empty the briefcase, taking out a series of looseleaf files which he placed in a row facing him along the desk. These contained what appeared to be photographic reproductions of a number of paintings, areas within them marked with white ink. Several of the photographs were enlargements of details, all of a high-faced, goatee-bearded man in mediaeval costume.

Georg inverted six of the larger plates so that I could see them. �You recognize these, of course?’

I nodded. With the exception of one, Rubens’ Pieta in the Hermitage Museum at Leningrad, I had seen the originals of them all within the previous five years. The others were the missing Leonardo Crucifixion, the Crucifixions by Veronese, Goya and Holbein, and that by Poussin, entitled The Place of Golgotha. All were in public museums – the Louvre, San Stefano in Venice, the Prado and the Ryksmuseum, Amsterdam – and all were familiar, well-authenticated masterworks, centrepieces, apart from the Poussin, of major national collections. �It’s reassuring to see them. I trust they’re all in good hands. Or are they next on the mysterious thief’s shopping list?’

Georg shook his head. �No, I don’t think he’s very interested in these. Though he keeps a watching brief over them.’ Again I noticed the marked change in Georg’s manner, the reflective private humour. �Do you notice anything else?’

I compared the photographs again. �They’re all crucifixions. Authentic, except perhaps in minor details. They were all easel paintings.’ I shrugged.

�They all, at some time, have been stolen.’ Georg moved quickly from right to left. �The Poussin from the Chateau Loire collection in 1822, the Goya in 1806 from the Monte Cassino monastery, by Napoleon, the Veronese from the Prado in 1891, the Leonardo four months ago as we know, and the Holbein in 1943, looted for the Herman Goering collection.’

�Interesting,’ I commented. �But few masterworks haven’t been stolen at some time. I hope this isn’t a key point in your theory.’

�No, but in conjunction with another factor it gains in significance. Now.’ He handed the Leonardo reproduction to me. �Anything unusual there?’ When I shook my head at the familiar image he picked up another photograph of the missing painting. �What about that one?’

The photographs had been taken from slightly different perspectives, but otherwise seemed identical. �They are both of the original Crucifixion,’ Georg explained, �taken in the Louvre within a month of its disappearance.’

�I give up,’ I admitted. �They seem the same. No – wait a minute!’ I pulled the table light nearer and bent over the plates, as Georg nodded. �They’re slightly different. What is going on?’

Quickly, figure by figure, I compared the photographs, within a few moments seized on the minute disparity. In almost every particular the pictures were identical, but one figure out of the score or more on the crowded field had been altered. On the left, where the procession wound its way up the hillside towards the three crosses, the face of one of the bystanders had been completely repainted. Although, in the centre of the painting, the Christ hung from the cross some hours after the crucifixion, by a sort of spatio-temporal perspective – a common device in all Renaissance painting for overcoming the static nature of the single canvas – the receding procession carried the action backwards through time, so that one followed the invisible presence of the Christ on his painful last ascent of Golgotha.

The figure whose face had been repainted formed part of the crowd on the lower slopes. A tall powerfully built man in a black robe, he had obviously been the subject of special care by Leonardo, who had invested him with the magnificent physique and serpentine grace usually reserved for his depiction of angels. Looking at the photograph in my left hand, the original unretouched version, I realized that Leonardo had indeed intended the figure to represent an angel of death, or rather, one of those agents of the unconscious, terrifying in their enigmatic calm, in their brooding ambivalence, who seem to preside in his paintings over all man’s deepest fears and longings, like the grey-faced statues that stare down from the midnight cornices of the necropolis at Pompeii.

All this, so typical of Leonardo and his curious vision, seemed to be summed up by the face of this tall angelic figure. Turned almost in profile over the left shoulder, the face looked up towards the cross, a faint flicker of pity investing the grey saturnine features. A high forehead, slightly flared at the temples, rose above the handsome semitic nose and mouth. A trace of a smile, of compassionate resignation and understanding, hung about the lips, providing a solitary source of light which illuminated the remainder of the face partly obscured by the shadows of the thundering sky.

In the photograph on my right, however, all this had been altered completely. The whole character of this angelic figure had been replaced by a new conception. The superficial likeness remained, but the face had lost its expression of tragic compassion. The later artist had reversed its posture altogether, and the head was turned away from the cross and over the right shoulder towards the earthly city of Jerusalem whose spectral towers rose like a city of Miltonic hell in the blue dusk. While the other bystanders followed the ascending Christ as if helpless to assist him, the expression on the face of the black-robed figure was arrogant and critical, the tension of the averted neck muscles indicating that he had swung his head away almost in disgust from the spectacle before him.

�What is this?’ I asked, pointing to the latter photograph. �Some lost pupil’s copy? I can’t see why –’

Georg leaned forward and tapped the print. �That is the original Leonardo. Don’t you understand, Charles? The version on your left which you were admiring for so many minutes was superimposed by some unknown retoucher, only a few years after da Vinci’s death.’ He smiled at my scepticism. �Believe me, it’s true. The figure concerned is only a minor part of the composition, no one had seriously examined it before, as the rest of the painting is without doubt original. These additions were discovered five months ago shortly after the painting was removed for cleaning. The infra-red examination revealed the completely intact profile below.’

He passed two more photographs to me, both large-scale details of the head, in which the contrasts of characterization were even more obvious. �As you can see from the brush-work in the shading, the retouching was done by a right-handed artist, whereas we know, of course, that da Vinci was left-handed.’

�Well …’ I shrugged. �It seems strange. But if what you say is correct, why on earth was such a small detail altered? The whole conception of the character is different.’

�An interesting question,’ Georg said ambiguously. �Incidentally, the figure is that of Ahasuerus, the Wandering Jew.’ He pointed to the man’s feet. �He’s always conventionally represented by the crossed sandal-straps of the Essene Sect, to which Jesus himself may have belonged.’

I picked up the photographs again. �The Wandering Jew,’ I repeated softly. �How curious. The man who taunted Christ to move faster and was condemned to rove the surface of the earth until the Second Coming. It’s almost as if the retoucher were an apologist for him, superimposing this expression of tragic pity over Leonardo’s representation. There’s an idea for you, Georg. You know how courtiers and wealthy merchants who gathered at painters’ studios were informally incorporated into their paintings – perhaps Ahasuerus would move around, posing as himself, driven by a sort of guilt compulsion, then later steal the paintings and revise them. Now there is a theory.’

I looked across at Georg, waiting for him to reply. He was nodding slowly, eyes watching mine in unspoken agreement, all trace of humour absent. �Georg!’ I exclaimed. �Are you serious? Do you mean –’

He interrupted me gently but forcefully. �Charles, just give me a few more minutes to explain. I warned you that my theory was fantastic.’ Before I could protest he passed me another photograph. �The Veronese Crucifixion. See anyone you recognize? On the bottom left.’

I raised the photograph to the light. �You’re right. The late Venetian treatment is different, far more pagan, but it’s quite obvious. You know, Georg, it’s a remarkable likeness.’

�Agreed. But it’s not only the likeness. Look at the pose and characterization.’

Identified again by his black robes and crossed sandal-straps, the figure of Ahasuerus stood among the throng on the crowded canvas. The unusual feature was not so much that the pose was again that of the retouched Leonardo, with Ahasuerus now looking with an expression of deep compassion at the dying Christ – an altogether meaningless interpretation – but the remarkable likeness between the two faces, almost as if they had been painted from the same model. The beard was perhaps a little fuller, in the Venetian manner, but the planes of the face, the flaring of the temples, the handsome coarseness of the mouth and jaw, the wise resignation in the eyes, that of some well-travelled physician witnessing an act of barbaric beauty and power, all these were exactly echoed from the Leonardo.

I gestured helplessly. �It’s an amazing coincidence.’

Georg nodded. �Another is that this painting, like the Leonardo, was stolen shortly after being extensively cleaned. When it was recovered in Florence two years later it was slightly damaged, and no further attempts were made to restore the painting.’ Georg paused. �Do you see my point, Charles?’

�More or less. I take it you suspect that if the Veronese were now cleaned a rather different version of Ahasuerus would be found. Veronese’s original depiction.’

�Exactly. After all, the present treatment makes no sense. If you’re still sceptical, look at these others.’

Standing up, we began to go through the remainder of the photographs. In each of the others, the Poussin, Holbein, Goya and Rubens, the same figure was to be found, the same dark saturnine face regarding the cross with an expression of compassionate understanding. In view of the very different styles of the artists, the degree of similarity was remarkable. In each, as well, the pose was meaningless, the characterization completely at odds with the legendary role of Ahasuerus.

By now the intensity of Georg’s conviction was communicating itself to me physically. He drummed the desk with the palm of one hand. �In each case, Charles, all six paintings were stolen shortly after they had been cleaned – even the Holbein was looted from the Herman Goering collection by some renegade SS after being repaired by concentration camp inmates. As you yourself said, it’s almost as if the thief was unwilling for the world to see the true image of Ahasuerus’s character exposed and deliberately painted in these apologies.’

�But Georg, you’re making a large assumption there. Can you prove that in each case, apart from the Leonardo, there is an original version below the present one?’

�Not yet. Naturally galleries are reluctant to give anyone the opportunity to show that their works are not entirely genuine. I know all this is still hypothesis, but what other explanation can you find?’

Shaking my head, I went over to the window, letting the noise and movement of Bond Street cut through Georg’s heady speculations. �Are you seriously suggesting, Georg, that the black-robed figure of Ahasuerus is promenading somewhere on those pavements below us now, and that all through the centuries he’s been stealing and retouching paintings that represent him spurning Jesus? The idea’s ludicrous!’

�No more ludicrous than the theft of the painting. Everyone agrees it could not have been stolen by anyone bounded by the laws of the physical universe.’

For a moment we stared at each other across the desk. �All right,’ I temporized, not wishing to offend him. The intensity of his idee fixe had alarmed me. �But isn’t our best plan simply to sit back and wait for the Leonardo to turn up again?’

�Not necessarily. Most of the stolen paintings remained lost for ten or twenty years. Perhaps the effort of stepping outside the bounds of space and time exhausts him, or perhaps the sight of the original paintings terrifies him so –’ He broke off as I began to come forward towards him. �Look, Charles, it is fantastic, but there’s a slim chance it may be true. This is where I need your help. It’s obvious this man must be a great patron of the arts, drawn by an irresistible compulsion, by unassuageable feelings of guilt, towards those artists painting crucifixions. We must begin to watch the sale rooms and galleries. That face, those black eyes and that haunted profile – sooner or later we’ll see him, searching for another Crucifixion or Pieta. Cast your mind back, do you recognize that face?’

I looked down at the carpet, the image of the dark-eyed wanderer before me. Go quicker, he had taunted Jesus as he passed bearing the cross towards Golgotha, and Jesus had replied: I go, but thou shalt wait until I return. I was about to say �no’, but something restrained me, some reflex pause of recognition stirred through my mind. That handsome Levantine profile, in a different costume, of course, a smart dark-striped lounge suit, gold-topped cane and spats, bidding through an agent …

�You have seen him?’ Georg came over to me. �Charles, I think I have too.’

I gestured him away. �I’m not sure, Georg, but … I almost wonder.’ Curiously it was the retouched portrait of Ahasuerus, rather than Leonardo’s original, which seemed more real, closer to the face I felt sure I had actually seen. Suddenly I pivoted on my heel. �Confound it, Georg, do you realize that if this incredible idea of yours is true this man must have spoken to Leonardo? To Michelangelo, and Titian and Rembrandt?’

Georg nodded. �And someone else too,’ he added pensively.

For the next month, after Georg’s return to Paris, I spent less time in my office and more in the sale rooms, watching for that familiar profile which something convinced me I had seen before. But for this undeniable conviction I would have dismissed Georg’s hypothesis as obsessive fantasy. I made a few tactful enquiries of my assistants, and to my annoyance two of them also vaguely remembered such a person. After this I found myself unable to drive George de Stael’s fancies from my mind. No further news was heard of the missing Leonardo – the complete absence of any clues mystified the police and the art world alike.

Consequently, it was with an immense feeling of relief, as much as of excitement, that I received five weeks later the following telegram:

CHARLES. COME IMMEDIATELY. I HAVE SEEN HIM.

GEORG DE STAEL.

This time, as my taxi carried me from Orly Airport to the Madeleine, it was no idle amusement that made me watch the Tuileries Gardens for any sight of a tall man in a black slouch hat sneaking through the trees with a rolled-up canvas under his arm. Was Georg de Stael finally and irretrievably out of his mind, or had he in fact seen the phantom Ahasuerus?

When he greeted me at the doorway of Normande et Cie his handshake was as firm as ever, his face composed and relaxed. In his office he sat back and regarded me quizzically over the tips of his fingers, evidently so sure of himself that he could let his news bide its time.

�He’s here, Charles,’ he said at last. �In Paris, staying at the Ritz. He’s been attending the sales here of 19th and 20th century masters. With luck you’ll see him this afternoon.’

For once my incredulity returned, but before I could stutter my objections Georg silenced me.

�He’s just as we expected, Charles. Tall and powerfully built, with a kind of statuesque grace, the sort of man who moves easily among the rich and nobility. Leonardo and Holbein caught him exactly, that strange haunted intensity about his eyes, the wind of deserts and great ravines.’

�When did you first see him?’

�Yesterday afternoon. We had almost completed the 19th century sales when a small Van Gogh – an inferior copy by the painter of The Good Samaritan – came up. One of those painted during his last madness, full of turbulent spirals, the figures like tormented beasts. For some reason the Samaritan’s face reminded me of Ahasuerus. Just then I looked up across the crowded auction room.’ Georg sat forward. �To my amazement there he was, sitting not three feet away in the front row of seats, staring me straight in the face. I could hardly take my eyes off him. As soon as the bidding started he came in hard, going up in two thousands of francs.’

�He took the painting?’

�No. Luckily I still had my wits about me. Obviously I had to be sure he was the right man. Previously his appearances have been solely as Ahasuerus, but few painters today are doing crucifixions in the bel canto style, and he may have tried to redress the balance of guilt by appearing in other roles, the Samaritan for example. He was left alone at 15,000 – actually the reserve was only ten – so I leaned over and had the painting withdrawn. I was sure he would come back today if he was Ahasuerus, and I needed twenty-four hours to get hold of you and the police. Two of Carnot’s men will be here this afternoon. I told them some vague story and they’ll be unobtrusive. Anyway, naturally there was the devil’s own row when this little Van Gogh was withdrawn. Everyone here thought I’d gone mad. Our dark-faced friend leapt up and demanded the reason, so I had to say that I suspected the authenticity of the painting and was protecting the reputation of the gallery, but if satisfied would put it up the next day.’

�Clever of you,’ I commented.

Georg inclined his head. �I thought so too. It was a neat trap. Immediately he launched into a passionate defence of the painting – normally a man with his obvious experience of sale rooms would have damned it out of hand – bringing up all sorts of details about Vincent’s third-rate pigments, the back of the canvas and so on. The back of the canvas, note, what the sitter would most remember about a painting. I said I was more or less convinced, and he promised to be back today. He left his address in case any difficulty came up.’ Georg took a silver-embossed card from his pocket and read out: �“Count Enrique Danilewicz, Villa d’Est, Cadaques, Costa Brava.”’ Across the card was enscribed: �Ritz Hotel, Paris.’

�Cadaques,’ I repeated. �Dali is nearby there, at Port Lligat. Another coincidence.’

�Perhaps more than a coincidence. Guess what the Catalan master is at present executing for the new Cathedral of St Joseph at San Diego? One of his greatest commissions to date. Exactly! A crucifixion. Our friend Ahasuerus is once more doing his rounds.’

Georg pulled a leather-bound pad from his centre drawer. �Now listen to this. I’ve been doing some research on the identity of the models for Ahasuerus – usually some petty princeling or merchant-king. The Leonardo is untraceable. He kept open house, beggars and goats wandered through his studio at will, anyone could have got in and posed. But the others were more select. The Ahasuerus in the Holbein was posed by a Sir Henry Daniels, a leading banker and friend of Henry VIII. In the Veronese by a member of the Council of Ten, none other than the Doge-to-be, Enri Danieli – we’ve both stayed in the hotel of that name in Venice. In the Rubens by Baron Henrik Nielson, Danish Ambassador to Amsterdam, and in the Goya by a certain Enrico Da Nella, financier and great patron of the Prado. While in the Poussin by the famous dilettante, Henri, Duc de Nile.’

Georg closed the note-book with a flourish. I said: �It’s certainly remarkable.’

�You don’t exaggerate. Danilewicz, Daniels, Danieli, Da Nella, de Nile and Nielson. Alias Ahasuerus. You know, Charles, I’m a little frightened, but I think we have the missing Leonardo within our grasp.’

Nothing was more disappointing, therefore, than the failure of our quarry to appear that afternoon.

The transfer of the Van Gogh from the previous day’s sales had fortunately given it a high lot number, after some three dozen 20th century paintings. As the bids for the Kandinskys and Legers came in, I sat on the podium behind Georg, surveying the elegant assembly below. In such an international gathering, of American connoisseurs, English press lords, French and Italian aristocracy, coloured by a generous sprinkling of ladies of the demi-monde, the presence of even the remarkable figure Georg had described would not have been over-conspicuous. However, as we moved steadily down the catalogue, and the flashing of the photographers’ bulbs became more and more wearisome, I began to wonder whether he would appear at all. His seat in the front row remained reserved for him, and I waited impatiently for this fugitive through time and space to materialize and make his magnificent entry promptly as the Van Gogh was announced.

As it transpired, both the seat and the painting remained untaken. Put off by Georg’s doubts as to its authenticity, the painting failed to reach its reserve, and as the last sales closed we were left alone on the podium, our bait untaken.

�He must have smelled a rat,’ Georg whispered, after the attendants had confirmed that Count Danilewicz was not present in any of the other sale-rooms. A moment later a telephone call to the Ritz established that he had vacated his suite and left Paris for the south.

�No doubt he’s expert at sidestepping such traps. What now?’ I asked.

�Cadaques.’

�Georg! Are you insane?’

�Not at all. There’s only a chance, but we must take it! Inspector Carnot will find a plane. I’ll invent some fantasy to please him. Come on, Charles, I’m convinced we’ll find the Leonardo in his villa.’

We arrived at Barcelona, Carnot in tow, with Superintendent Jurgens of Interpol to smooth our way through customs, and three hours later set off in a posse of police cars for Cadaques. The fast ride along that fantastic coast line, with its monstrous rocks like giant sleeping reptiles and the glazed light over the embalmed sea, reminiscent of all Dali’s timeless beaches, was a fitting prelude to the final chapter. The air bled diamonds around us, sparkling off the immense spires of rock, the huge lunar ramparts suddenly giving way to placid bays of luminous water.

The Villa d’Est stood on a promontory a thousand feet above the town, its high walls and shuttered moorish windows glistening in the sunlight like white quartz. The great black doors, like the vaults of a cathedral, were sealed, and a continuous ringing of the bell brought no reply. At this a prolonged wrangle ensued between Jurgens and the local police, who were torn between their reluctance to offend an important local dignitary – Count Danilewicz had evidently founded a dozen scholarships for promising local artists – and their eagerness to partake in the discovery of the missing Leonardo.

Impatient of all this, Georg and I borrowed a car and chauffeur and set off for Port Lligat, promising the Inspector that we would return in time for the commercial airliner which was due to land at Barcelona from Paris some two hours later, presumably carrying Count Danilewicz. �No doubt, however,’ Georg remarked softly as we moved off, �he travels by other transport.’

What excuse we would make to penetrate the private menage of Spain’s most distinguished painter I had not decided, though the possibility of simultaneous one-man shows at Northeby’s and Galleries Normande might have appeased him. As we drove down the final approach to the familiar tiered white villa by the water’s edge, a large limousine was coming towards us, bearing away a recent guest.

Our two cars passed at a point where the effective width of the road was narrowed by a nexus of pot-holes, and for a moment the heavy saloons wallowed side by side in the dust like two groaning mastodons.

Suddenly, Georg clenched my elbow and pointed through the window.

�Charles! There he is!’

Lowering my window as the drivers cursed each other, I looked out into the dim cabin of the adjacent car. Sitting in the back seat, his head raised to the noise, was a huge Rasputin-like figure in a black pin-stripe suit, his white cuffs and gold tie-pin glinting in the shadows, gloved hands crossed in front of him over an ivory-handled cane. As we edged past I caught a glimpse of his great saturnine head, whose living features matched and corroborated exactly those which I had seen reproduced by so many hands upon so many canvases. The dark eyes glowed with an intense lustre, the black eyebrows rearing from his high forehead like wings, the sharp curve of the beard carrying the sweep of his strong jaw forward into the air like a spear.

Elegantly suited though he was, his whole presence radiated a tremendous restless energy, a powerful charisma that seemed to extend beyond the confines of the car. For a moment we exchanged glances, separated from each other by only two or three feet. He was staring beyond me, however, at some distant landmark, some invisible hill-crest forever silhouetted against the horizon, and I saw in his eyes that expression of irredeemable remorse, of almost hallucinatory despair, untouched by self-pity or any conceivable extenuation, that one imagines on the faces of the damned.

�Stop him!’ Georg shouted into the noise. �Charles, warn him!’

Our car edged upwards out of the final rut, and I shouted through the engine fumes:

�Ahasuerus! Ahasuerus!’

His wild eyes swung back, and he rose forward in his seat, a black arm on the window ledge, like some immense half-crippled angel about to take flight. Then the two cars surged apart, and we were separated from the limousine by a tornado of dust. Enchanted from the placid air, for ten minutes the squall seethed backwards and forwards across us.

By the time it subsided and we had managed to reverse, the great limousine had vanished.

They found the Leonardo in the Villa d’Est, propped against the wall in its great gilt frame in the dining-room. To everyone’s surprise the house was found to be completely empty, though two manservants who had been given the day off testified that when they left it that morning it had been lavishly furnished as usual. However, as Georg de Stael remarked, no doubt the vanished tenant had his own means of transport.

The painting had suffered no damage, though the first cursory glance confirmed that a skilled hand had been at work on a small portion. The face of the black-robed figure once again looked upwards to the cross, a hint of hope, perhaps even of redemption, in its wistful gaze. The brush-work had dried, but Georg reported to me that the thin layer of varnish was still tacky.

On our feted and triumphant return to Paris, Georg and I recommended that in view of the hazards already suffered by the painting no further attempts should be made to clean or restore it, and with a grateful sigh the director and staff of the Louvre sealed it back into its wall. The painting may not be entirely by the hand of Leonardo da Vinci, but we feel that the few additions have earned their place.

No further news was heard of Count Danilewicz, but Georg recently told me that a Professor Henrico Daniella was reported to have been appointed director of the Museum of Pan-Christian Art at Santiago. His attempts to communicate with Professor Daniella had failed, but he gathered that the Museum was extremely anxious to build up a large collection of paintings of the Cross.

1964





THE TERMINAL BEACH (#ulink_f8fbfcc0-3463-549f-bf96-d7c8fe0c109c)


At night, as he lay asleep on the floor of the ruined bunker, Traven heard the waves breaking along the shore of the lagoon, like the sounds of giant aircraft warming up at the ends of their runways. This memory of the great night raids against the Japanese mainland had filled his first months on the island with images of burning bombers falling through the air around him. Later, with the attacks of beri-beri, the nightmare passed and the waves began to remind him of the deep Atlantic rollers on the beach at Dakar, where he had been born, and of watching from the window in the evenings for his parents to drive home along the corniche road from the airport. Overcome by this long-forgotten memory, he woke uncertainly from the bed of old magazines on which he slept and went out to the dunes that screened the lagoon.

Through the cold night air he could see the abandoned Superfortresses lying among the palms beyond the perimeter of the emergency landing field three hundred yards away. Traven walked through the dark sand, already forgetting where the shore lay, although the atoll was little more than half a mile in width. Above him, along the crests of the dunes, the tall palms leaned into the dim air like the symbols of a cryptic alphabet. The landscape of the island was covered by strange ciphers.

Giving up the attempt to find the beach, Traven stumbled into a set of tracks left years earlier by a large caterpillar vehicle. The heat released by the weapons tests had fused the sand, and the double line of fossil imprints, uncovered by the evening air, wound its serpentine way among the hollows like the footfalls of an ancient saurian.

Too weak to walk any further, Traven sat down between the tracks. Hoping that they might lead him to the beach, he began to excavate the wedge-shaped grooves from a drift into which they disappeared. He returned to the bunker shortly before dawn, and slept through the hot silences of the following noon.




The Blocks


As usual on these enervating afternoons, when not even a breath of on-shore breeze disturbed the dust, Traven sat in the shadow of one of the blocks, lost somewhere within the centre of the maze. His back resting against the rough concrete surface, he gazed with a phlegmatic eye down the surrounding aisles and at the line of doors facing him. Each afternoon he left his cell in the abandoned camera bunker among the dunes and walked down into the blocks. For the first half an hour he restricted himself to the perimeter aisle, now and then trying one of the doors with the rusty key in his pocket – found among the litter of smashed bottles and cans in the isthmus of sand separating the testing ground from the air-strip – and then inevitably, with a sort of drugged stride, he set off into the centre of the blocks, breaking into a run and darting in and out of the corridors, as if trying to flush some invisible opponent from his hiding place. Soon he would be completely lost. Whatever his efforts to return to the perimeter, he always found himself once more in the centre.

Eventually he would abandon the task, and sit down in the dust, watching the shadows emerge from their crevices at the foot of the blocks. For some reason he invariably arranged to be trapped when the sun was at zenith – on Eniwetok, the thermonuclear noon.

One question in particular intrigued him: �What sort of people would inhabit this minimal concrete city?’




The Synthetic Landscape


�This island is a state of mind,’ Osborne, one of the scientists working in the old submarine pens, was later to remark to Traven. The truth of this became obvious to Traven within two or three weeks of his arrival. Despite the sand and the few anaemic palms, the entire landscape of the island was synthetic, a man-made artefact with all the associations of a vast system of derelict concrete motorways. Since the moratorium on atomic tests, the island had been abandoned by the Atomic Energy Commission, and the wilderness of weapons aisles, towers and blockhouses ruled out any attempt to return it to its natural state. (There were also stronger unconscious motives, Traven recognized: if primitive man felt the need to assimilate events in the external world to his own psyche, 20th century man had reversed this process; by this Cartesian yardstick, the island at least existed, in a sense true of few other places.)

But apart from a few scientific workers, no one yet felt any wish to visit the former testing ground, and the naval patrol boat anchored in the lagoon had been withdrawn three years before Traven’s arrival. Its ruined appearance, and the associations of the island with the period of the Cold War – what Traven had christened �The Pre-Third’ – were profoundly depressing, an Auschwitz of the soul whose mausoleums contained the mass graves of the still undead. With the Russo-American détente this nightmarish chapter of history had been gladly forgotten.




The Pre-Third


The actual and potential destructiveness of the atomic bomb plays straight into the hands of the Unconscious. The most cursory study of the dream-life and fantasies of the insane shows that ideas of world-destruction are latent in the unconscious mind … Nagasaki destroyed by the magic of science is the nearest man has yet approached to the realization of dreams that even during the safe immobility of sleep are accustomed to develop into nightmares of anxiety.

Glover: �War, Sadism and Pacifism’

The Pre-Third: the period was characterized in Traven’s mind above all by its moral and psychological inversions, by its sense of the whole of history, and in particular of the immediate future – the two decades, 1945–65 – suspended from the quivering volcano’s lip of World War III. Even the death of his wife and six-year-old son in a motor accident seemed only part of this immense synthesis of the historical and psychic zero, the frantic highways where each morning they met their deaths the advance causeways to the global armageddon.




Third Beach


He had come ashore at midnight, after a hazardous search for an opening in the reef. The small motorboat he had hired from an Australian pearl-diver at Charlotte Island subsided into the shallows, its hull torn by the sharp coral. Exhausted, Traven walked through the darkness among the dunes, where the dim outlines of bunkers and concrete towers loomed between the palms.

He woke the next morning into bright sunlight, lying halfway down the slope of a wide concrete beach. This ringed an empty reservoir or target basin some two hundred feet in diameter, part of a system of artificial lakes built down the centre of the atoll. Leaves and dust choked the exit grilles, and a pool of warm water two feet deep lay below him, reflecting a distant line of palms.

Traven sat up and took stock of himself. This brief inventory, which merely confirmed his physical identity, was limited to little more than his thin body in its frayed cotton garments. In the context of the surrounding terrain, however, even this collection of tatters seemed to possess a unique vitality. The desolation and emptiness of the island, and the absence of any local fauna, were emphasized by the huge sculptural forms of the target basins set into its surface. Separated from each other by narrow isthmuses, the lakes stretched away along the curve of the atoll. On either side, sometimes shaded by the few palms that had gained a precarious purchase in the cracked cement, were roadways, camera towers and isolated blockhouses, together forming a continuous concrete cap upon the island, a functional, megalithic architecture as grey and minatory (and apparently as ancient, in its projection into, and from, time future) as any of Assyria and Babylon.

The series of weapons tests had fused the sand in layers, and the pseudo-geological strata condensed the brief epochs, microseconds in duration, of thermonuclear time. Typically the island inverted the geologist’s maxim, �The key to the past lies in the present.’ Here, the key to the present lay in the future. This island was a fossil of time future, its bunkers and blockhouses illustrating the principle that the fossil record of life was one of armour and the exoskeleton.

Traven knelt in the warm pool, and splashed his shirt and trousers. The reflection revealed the watery image of gaunt shoulders and bearded face. He had come to the island with no supplies other than a small bar of chocolate, assuming that in some way the island would provide its own sustenance. Perhaps, too, he had identified the need for food with a forward motion in time, and that with his return to the past, or at most into a zone of non-time, this need would be eliminated. The privations of the previous six months, during his journey across the Pacific, had already reduced his always thin body to that of a migrant beggar, held together by little more than the preoccupied gaze in his eye. Yet this emaciation, by stripping away the superfluities of the flesh, revealed an inner sinewy toughness, an economy and directness of movement.

For several hours Traven wandered about, inspecting one bunker after another for a convenient place to sleep. He crossed the remains of a small landing field, next to a dump where a dozen B-29s lay across one another like dead reptile birds.




The Corpses


Once he entered a small street of metal shacks, containing a cafeteria, recreation rooms and shower stalls. A wrecked juke-box lay half-buried in the sand behind the cafeteria, its selection of records still in their rack.

Further along, flung into a small target lake fifty yards from the shacks, were the bodies of what at first he thought were the former inhabitants of this ghost town – a dozen life-size plastic models. Their half-melted faces, contorted into bleary grimaces, gazed up at him from the jumble of legs and torsoes.

On either side of him, muffled by the dunes, came the sounds of waves, the great rollers on the seaward side breaking over the reefs, and on to the beaches within the lagoon. However, he avoided the sea, hesitating before any rise or dune that might take him within its sight. Everywhere the camera towers offered him a convenient aerial view of the confused topography of the island, but he avoided their rusting ladders.

Traven soon realized that however random the blockhouses and towers might seem, their common focus dominated the landscape and gave to it a unique perspective. As he noticed when he sat down to rest in the window slit of one of the bunkers, all these observation posts occupied positions on a series of concentric perimeters, moving in tightening arcs towards the inmost sanctuary. This ultimate circle, below ground zero, remained hidden beyond a line of dunes a quarter of a mile to the west.




The Terminal Bunker


After sleeping for a few nights in the open, Traven returned to the concrete beach where he had woken on his first morning on the island, and made his home – if the term could be applied to that damp crumbling hovel – in a camera bunker fifty yards from the target lakes. The dark chamber between the thick canted walls, tomb-like though it might seem, gave him a sense of physical reassurance. Outside, the sand drifted against the sides, half-burying the narrow doorway, as if crystallizing the immense epoch of time that had elapsed since the bunker’s construction. The narrow rectangles of the five camera slits, their shapes and positions determined by the instruments, studded the west wall like runic ideograms. Variations on these ciphers decorated the walls of the other bunkers, the unique signature of the island. In the mornings, if Traven was awake, he would always find the sun divided into its five emblematic beacons.

Most of the time the chamber was filled only by a damp gloomy light. In the control tower at the landing field Traven found a collection of discarded magazines, and used these to make a bed. One day, lying in the bunker shortly after the first attack of beri-beri, he pulled out a magazine pressing into his back and found inside it a full-page photograph of a six-year-old girl. This blonde-haired child, with her composed expression and self-immersed eyes, filled him with a thousand painful memories of his son. He pinned the page to the wall and for days gazed at it through his reveries.

For the first few weeks Traven made little attempt to leave the bunker, and postponed any further exploration of the island. The symbolic journey through its inner circles set its own times of arrival and departure. He evolved no routine for himself. All sense of time soon vanished, and his life became completely existential, an absolute break separating one moment from the next like two quantal events. Too weak to forage for food, he lived on the old ration packs he found in the wrecked Superfortresses. Without any implement, it took him all day to open the cans. His physical decline continued, but he watched his spindling legs and arms with indifference.

By now he had forgotten the existence of the sea and vaguely assumed the atoll to be part of some continuous continental table. A hundred yards to the north and south of the bunker a line of dunes, topped by the palisade of enigmatic palms, screened the lagoon and sea, and the faint muffled drumming of the waves at night had fused with his memories of war and childhood. To the east was the emergency landing strip and the abandoned aircraft. In the afternoon light their shifting rectilinear shadows made them appear to writhe and pivot. In front of the bunker, where he would sit, was the system of target lakes, the shallow basins extending across the atoll.

Above him, the five apertures looked out upon this scene like the tutelary symbols of a futuristic myth.




The Lakes and the Spectres


The lakes had been designed to reveal any radiobiological changes in a selected range of fauna, but the specimens had long since bloomed into grotesque parodies of themselves and been destroyed.

Sometimes in the evenings, when a sepulchral light lay over the concrete bunkers and causeways, and the basins seemed like ornamental lakes in a city of deserted mausoleums, abandoned even by the dead, he would see the spectres of his wife and son standing on the opposite bank. Their solitary figures appeared to have been watching him for hours. Although they never moved, Traven was sure they were beckoning to him. Roused from his reverie, he would stumble forward across the dark sand to the edge of the lake and wade through the water, shouting soundlessly at the two figures as they moved away hand in hand among the lakes and disappeared across the distant causeways.

Shivering with cold, Traven would return to the bunker and lie on the bed of old magazines, waiting for their return. The image of their faces, the pale lantern of his wife’s cheeks, floated on the river of his memory.




The Blocks (II)


It was not until he discovered the blocks that Traven realized he would never leave the island.

At this stage, some two months after his arrival, Traven had exhausted his small cache of food, and the symptoms of beri-beri had become more acute. The numbness in his hands and feet, and the gradual loss of strength, continued. Only by an immense effort, and the knowledge that the inner sanctum of the island still lay unexplored, did he manage to leave the palliasse of magazines and make his way from the bunker.

As he sat in the drift of sand by the doorway that evening, he noticed a light shining through the palms far into the distance around the atoll. Confusing this with the image of his wife and son, and visualizing them waiting for him at some warm hearth among the dunes, Traven set off towards the light. Within a hundred yards he lost his sense of direction. He blundered about for several hours on the edges of the landing strip, and succeeded only in cutting his foot on a broken coca-cola bottle in the sand.

After postponing his search for the night, he set out again in earnest the next morning. As he moved past the towers and blockhouses the heat lay over the island in an unbroken mantle. He had entered a zone devoid of time. Only the narrowing perimeters warned him that he was crossing the inner field of the fire-table.

He climbed the ridge which marked the furthest point in his previous exploration of the island. From the plain below it the recording towers rose into the air like obelisks. Traven walked down towards them. On their grey walls were the faint outlines of human forms in stylized poses, the flash-shadows of the target community burnt into the cement. Here and there, where the concrete apron had cracked, a line of palms hung in the motionless air. The target lakes were smaller, filled with the broken bodies of plastic models. Most of them lay in the inoffensive domestic postures into which they had been placed before the tests.

Beyond the furthest line of dunes, where the camera towers began to turn and face him, were the tops of what seemed to be a herd of square-backed elephants. They were drawn up in precise ranks in a hollow that formed a shallow corral, the sunlight reflected off their backs.

Traven advanced towards them, limping on his cut foot. On either side of him the loosening sand had excavated the dunes, and several of the blockhouses tilted on their sides. This plain of bunkers stretched for some quarter of a mile, the half-submerged hulks, bombed out onto the surface in some earlier test, like the abandoned wombs that had given birth to this herd of megaliths.




The Blocks (III)


To grasp something of the vast number and oppressive size of the blocks, and their impact upon Traven, one must try to visualize sitting in the shade of one of these concrete monsters, or walking about in the centre of this enormous labyrinth that extended across the central table of the island. There were two thousand of them, each a perfect cube 15 feet in height, regularly spaced at ten-yard intervals. They were arranged in a series of tracts, each composed of two hundred blocks, inclined to one another and to the direction of the blast. They had weathered only slightly in the years since they were first built, and their gaunt profiles were like the cutting faces of a gigantic die-plate, devised to stamp out rectilinear volumes of air the size of a house. Three of the sides were smooth and unbroken, but the fourth, facing away from the blast, contained a narrow inspection door.

It was this feature of the blocks that Traven found particularly disturbing. Despite the considerable number of doors, by some freak of perspective only those in a single aisle were visible at any point within the maze. As he walked from the perimeter line into the centre of the massif, line upon line of the small metal doors appeared and receded.

Approximately twenty of the blocks, those immediately below ground zero, were solid: the walls of the remainder were of varying thicknesses. From the outside they appeared to be of uniform solidity.

As he entered the first of the long aisles, Traven felt the sense of fatigue that had dogged him for so many months begin to lift. With their geometric regularity and finish, the blocks seemed to occupy more than their own volumes of space, imposing on him a mood of absolute calm and order. He walked on into the centre of the maze, eager to shut out the rest of the island. After a few random turns to left and right, he found himself alone, the vistas to the sea, lagoon and island closed.

Here he sat down with his back to one of the blocks, the quest for his wife and son forgotten. For the first time since his arrival at the island the sense of dissociation set off by its derelict landscape began to recede.

One development he did not expect. With dusk, and the need to leave the blocks and find food, he realized that he had lost himself. However he retraced his steps, struck out left or right at an oblique course, oriented himself around the sun and pressed on resolutely north or south, he found himself back again at his starting point. Only when darkness came did he manage to make his escape.

Abandoning his former home near the aircraft dump, Traven collected together what canned food he could find in the waist turret and cockpit lockers of the Superfortresses. He pulled them across the atoll on a crude sledge. Fifty yards from the perimeter of the blocks he took over a tilting bunker, and pinned the fading photograph of the blonde-haired child to the wall beside the door. The page was falling to pieces, like a fragmenting mirror of himself. Since the discovery of the blocks he had become a creature of reflexes, kindled from levels above those of his existing nervous system (if the autonomic system was dominated by the past, Traven sensed, the cerebro-spinal reached towards the future). Each evening when he woke he would eat without appetite and then wander among the blocks. Sometimes he took a canteen of water with him and remained there for two or three days on end.




The Submarine Pens


This precarious existence continued for the following weeks. As he walked out to the blocks one evening, he again saw his wife and son, standing among the dunes below a solitary camera tower, their faces watching him expressionlessly. He realized that they had followed him across the island from their former haunt among the dried-up lakes. At about this time he once again saw the distant light beckoning, and decided to continue his exploration of the island.

Half a mile further along the atoll he found a group of four submarine pens, built over an inlet, now drained, which wound through the dunes from the sea. The pens still contained several feet of water, filled with strange luminescent fish and plants. The warning light winked at intervals from the apex of a metal scaffold. The remains of a substantial camp, only recently vacated, stood on the pier outside. Greedily, Traven heaped his sledge with the provisions stored inside one of the metal shacks.

With this change of diet, the beri-beri receded, and during the next days he returned often to the camp. It appeared to be the site of a biological expedition. In the field office he came across a series of large charts of mutated chromosomes. He rolled them up and took them back to his bunker. The abstract patterns were meaningless, but during his recovery he amused himself by devising suitable titles for them. (Later, passing the aircraft dump on one of his forays, he found the half-buried juke-box, and tore the list of records from the selection panel, realizing that these were the most appropriate captions. Thus embroidered, the charts took on many layers of associations.)




Traven: In Parenthesis


Elements in a quantal world:

The terminal beach.

The terminal bunker.

The blocks.

The landscape is coded.

Entry points into the future=Levels in a spinal landscape=zones of significant time.

August 5. Found the man Traven. A strange derelict figure, hiding in a bunker in the deserted interior of the island. He is suffering from severe exposure and malnutrition, but is unaware of this or, for that matter, of any other events in the world around him …

He maintains that he came to the island to carry out some scientific project – unstated – but I suspect that he understands his real motives and the unique role of the island … In some way its landscape seems to be involved with certain unconscious notions of time, and in particular with those that may be a repressed premonition of our own deaths. The attractions and dangers of such an architecture, as the past has shown, need no stressing …

August 6. He has the eyes of the possessed. I would guess that he is neither the first, nor the last, to visit the island.

– from Dr C. Osborne, �Eniwetok Diary.’




Traven lost within the Blocks


With the exhaustion of his supplies, Traven remained within the perimeter of the blocks almost continuously, conserving what strength remained to him to walk slowly down their empty corridors. The infection in his right foot made it difficult for him to replenish his supplies from the stores left by the biologists, and as his strength ebbed he found progressively less incentive to make his way out of the blocks. The system of megaliths now provided a complete substitute for those functions of his mind which gave to it its sense of the sustained rational order of time and space. Without them, his awareness of reality shrank to little more than the few square inches of sand beneath his feet.

On one of his last ventures into the maze, he spent all night and much of the following morning in a futile attempt to escape. Dragging himself from one rectangle of shadow to another, his leg as heavy as a club and apparently inflamed to the knee, he realized that he must soon find an equivalent for the blocks or he would end his life within them, trapped inside this self-constructed mausoleum as surely as the retinue of Pharaoh.

He was sitting helplessly somewhere in the centre of the system, the faceless lines of tomb-booths receding from him, when the sky was slowly divided by the drone of a light aircraft. This passed overhead, and then returned five minutes later. Seizing his opportunity, Traven struggled to his feet and made his exit from the blocks, his head raised to follow the faintly glistening beacon of the exhaust trail.

As he lay in the bunker he dimly heard the aircraft return and carry out an inspection of the site.




A Belated Rescue


�Who are you? Do you realize you’re on your last legs?’

�Traven … I’ve had some sort of accident. I’m glad you flew over.’

�I’m sure you are. But why didn’t you use our radio-telephone? Anyway, we’ll call the Navy and have you picked up.’

�No …’ Traven sat up on one elbow and felt weakly in his hip pocket. �I have a pass somewhere. I’m carrying out research.’

�Into what?’ The question assumed a complete understanding of Traven’s motives. He lay in the shade under the lee of the bunker, and drank weakly from a canteen as Dr Osborne dressed his foot. �You’ve also been stealing our stores.’

Traven shook his head. Fifty yards away the striped blue Cessna stood on the concrete apron like a brilliant dragonfly. �I didn’t realize you were coming back.’

�You must be in a trance.’

The young woman sitting at the controls of the aircraft climbed out and walked over to them. She glanced at the grey bunkers and towers, and seemed uninterested in the decrepit figure of Traven. Osborne spoke to her and after a downward glance at Traven she went back to the aircraft. As she turned Traven rose involuntarily, recognizing the child in the photograph he had pinned to the wall of the bunker. Then he remembered that the magazine could not have been more than four or five years old.

The engine of the aircraft started. As Traven watched, it turned on to one of the roadways and took off into the wind.

Later that afternoon the young woman drove over to the blocks by jeep and unloaded a small camp-bed and a canvas awning. During the intervening hours Traven had slept. He woke refreshed when Osborne returned from his scrutiny of the surrounding dunes.

�What are you doing here?’ the young woman asked as she secured the guy-ropes to the roof of the bunker.

Traven watched her move about. �I’m … searching for my wife and son.’

�They’re on this island?’ Surprised, but taking the reply at face value, she looked around her. �Here?’

�In a manner of speaking.’

After inspecting the bunker, Osborne joined them. �The child in the photograph – is she your daughter?’

Traven hesitated. �No. She’s adopted me.’

Unable to make any sense of his replies, but accepting his assurances that he would leave the island, Osborne and the young woman drove back to their camp. Each day Osborne returned to change the dressing, driven by the young woman, who seemed now to grasp the role cast for her by Traven. Osborne, when he learned of Traven’s previous career as a military pilot, appeared to suspect that he might be a latter-day martyr left high and dry by the moratorium on thermonuclear tests.

�A guilt complex isn’t an indiscriminate supply of moral sanctions. I think you may be overstretching yours.’ When he mentioned the name Eatherly, Traven shook his head.

Undeterred, Osborne pressed: �Are you sure you’re not making similar use of the image of Eniwetok – waiting for your Pentecostal wind?’

�Believe me, Doctor, no,’ Traven replied firmly. �For me the hydrogen bomb was a symbol of absolute freedom. I feel it’s given me the right – the obligation, even – to do anything I want.’

�That seems strange logic,’ Osborne commented. �Aren’t we at least responsible for our physical selves, if for nothing else?’

�Not now, I think,’ Traven replied. �After all, in effect we are men raised from the dead.’

Often, however, he thought of Eatherly: the prototypal Pre-Third Man – dating the Pre-Third from August 6, 1945 – carrying a full load of cosmic guilt.

Shortly after Traven was strong enough to walk, he had to be rescued from the blocks for a second time. Osborne became less conciliatory.

�Our work is almost complete,’ he said warningly. �You’ll die here, Traven. What are you looking for among those blocks?’

To himself, Traven murmured: the tomb of the unknown civilian, Homo hydrogenensis, Eniwetok Man. �Doctor,’ he said, �your laboratory is at the wrong end of this island.’

Tartly, Osborne replied: �I’m aware of that, Traven. There are rarer fish swimming in your head than in any submarine pen.’ On the day before they left, the young woman drove Traven over to the lakes where he had first arrived. As a final present, an ironic gesture unexpected from the elderly biologist, she had brought from Osborne the correct list of legends for the chromosome charts. They stopped by the derelict juke-box and she pasted them on to the selection panel.

They wandered among the supine wrecks of the Superfortresses. Traven lost sight of her, and for the next ten minutes searched in and out of the dunes. He found her standing in a small amphitheatre formed by the sloping mirrors of a solar energy device built by one of the visiting expeditions. She smiled to Traven as he stepped through the scaffolding. A dozen fragmented images of herself were reflected in the broken panes – in some she was sans head, in others multiples of her arms circled about her like the serpent limbs of a Hindu goddess. Confused, Traven turned and walked back to the jeep.

As they drove away he recovered himself. He described his glimpses of his wife and son. �Their faces are always calm,’ he said. �My son’s particularly, though really he was always laughing. The only time his face was grave was when he was being born – then he seemed millions of years old.’

The young woman nodded. �I hope you find them.’ As an afterthought she added: �Dr Osborne is going to tell the Navy that you’re here. Hide somewhere.’

Traven thanked her.

From the centre of the blocks he waved to her the following day when she flew away for the last time.




The Naval Party


When the search party came for him Traven hid in the only logical place. Fortunately the search was perfunctory, and was called off after a few hours. The sailors had brought a supply of beer with them and the search soon turned into a drunken ramble.

On the walls of the recording towers Traven later found balloons of obscene dialogue chalked into the mouths of the shadowy figures, giving their postures the priapic gaiety of the dancers in cave drawings.

The climax of the party was the ignition of a store of gasoline in an underground tank near the airstrip. As he listened, first to the megaphones shouting his name, the echoes receding among the dunes like the forlorn calls of dying birds, then to the boom of the explosion and the laughter as the landing craft left, Traven felt a premonition that these were the last sounds he would hear.

He had hidden in one of the target basins, lying among the broken bodies of the plastic models. In the hot sunlight their deformed faces gaped at him sightlessly from the tangle of limbs, their blurred smiles like those of the soundlessly laughing dead.

Their faces filled his mind as he climbed over the bodies and returned to his bunker. As he walked towards the blocks he saw the figures of his wife and son standing in his path. They were less than ten yards from him, their white faces watching him with a look of almost overwhelming expectancy. Never had Traven seen them so close to the blocks. His wife’s pale features seemed illuminated from within, her lips parted as if in greeting, one hand raised to take his own. His son’s face, with its curiously fixed expression, regarded him with the same enigmatic smile of the child in the photograph.

�Judith! David!’ Startled, Traven ran forwards to them. Then, in a sudden movement of light, their clothes turned into shrouds, and he saw the wounds that disfigured their necks and chests. Appalled, he cried out. As they vanished, he ran off into the safety of the blocks.




The Catechism of Goodbye


This time he found himself, as Osborne had predicted, unable to leave the blocks.

Somewhere in the centre of the maze, he sat with his back against one of the concrete flanks, his eyes raised to the sun. Around him the lines of cubes formed the horizon of his world. At times they would appear to advance towards him, looming over him like cliffs, the intervals between them narrowing so that they were little more than an arm’s length apart, a labyrinth of corridors running between them. They then would recede from him, separating from each other like points in an expanding universe, until the nearest line formed an intermittent palisade along the horizon.

Time had become quantal. For hours it would be noon, the shadows contained within the blocks, the heat reflected off the concrete floor. Abruptly, he would find that it was early afternoon or evening, the shadows everywhere like pointing fingers.

�Goodbye, Eniwetok,’ he murmured.

Somewhere there was a flicker of light, as if one of the blocks, like a counter on an abacus, had been plucked away.

Goodbye, Los Alamos. Again, a block seemed to vanish. The corridors around him remained intact, but somewhere in his mind had appeared a small interval of neutral space.

Goodbye, Hiroshima.

Goodbye, Alamagordo.

�Goodbye, Moscow, London, Paris, New York …’

Shuttles flickered, a ripple of lost integers. He stopped, realizing the futility of this megathlon farewell. Such a leave-taking required him to fix his signature upon every one of the particles in the universe.




Total Noon: Eniwetok


The blocks now occupied positions on an endlessly revolving circus wheel. They carried him upwards into the sky, from where he could see the whole island and the sea, and then down again through the opaque disc of the concrete floor. From here he looked up at the under-surface of the concrete cap, an inverted landscape of rectilinear hollows, the dome-shaped mounds of the lake-system, the thousands of empty cubic pits of the blocks.




�Goodbye, Traven.’


Near the end, he found to his disappointment that this ultimate rejection gained him nothing.

In the interval of lucidity, he looked down at his emaciated arms and legs, decorated with a lace-work of ulcers. To his right was a trail of disturbed dust, the wavering marks of slack heels.

To his left lay a long corridor between the blocks, joining an oblique series a hundred yards away. Among these, where a narrow interval revealed the open space beyond, was a crescent-shaped shadow, poised in the air above the ground.

During the next half an hour it moved slowly, turning as the sun swung, the profile of a dune.




The Crevice


Seizing on this cipher, which hung before him like a symbol on a shield, Traven pushed himself through the dust. He climbed precariously to his feet, and shielded his eyes from the blocks. He moved forward a few paces at a time.

Ten minutes later he emerged from the western perimeter of the blocks, like a tottering mendicant leaving behind a silent desert city. The dune lay fifty yards in front of him. Beyond it, bearing the shadow like a screen, was a ridge of limestone that ran away among the hillocks of the wasteland beyond this point of the atoll. The remains of an old bulldozer, bales of barbed wire and fifty-gallon drums lay half-buried in the sand. Traven approached the dune, reluctant to leave this anonymous swell of sand. He shuffled around its edges, and sat down in the mouth of a shallow crevice below the brow of the ridge.

After dusting his clothes, he gazed out patiently at the great circle of blocks.

Ten minutes later he noticed that someone was watching him.




The Marooned Japanese


This corpse, whose eyes stared up at Traven, lay to his left at the bottom of the crevice. That of a man of middle age and strong build, it rested on its back with its head on a pillow of stone, hands outstretched at its sides, as if surveying the window of the sky. The fabric of the clothes had rotted to a bleached grey vestment, but in the absence of any small animal predators on the island the skin and musculature of the corpse had been preserved. Here and there, at the angle of knee or wrist, a bony point glinted through the leathery integument of the skin, but the facial mask was still intact, and revealed a male Japanese of the professional classes. Looking down at the strong nose, high forehead and broad mouth, Traven guessed that the Japanese had been a doctor or lawyer.

Puzzled as to how the corpse had found itself here, Traven slid a few feet down the slope. There were no radiation burns on the skin, which indicated that the Japanese had been there for five years or less. Nor did he appear to be wearing a uniform, so had not been some unfortunate member of a military or scientific party.

To the left of the corpse, within reach of his left hand, was a frayed leather case, the remains of a map wallet. To the right was the husk of a haversack, open to reveal a canteen of water and a small mess-tin.

Traven slid down the slope until his feet touched the splitting soles of the corpse’s shoes, the reflex of starvation making him for the moment ignore that the Japanese had deliberately chosen to die in the crevice. He reached out and seized the canteen. A cupful of flat water swilled around the rusting bottom. Traven gulped down the water, the dissolved metal salts cloaking his lips and tongue with a bitter film. The mess-tin was empty except for a tacky coating of condensed syrup. Traven prised at this with the lid, and chewed at the tarry flakes, letting them dissolve in his mouth with an almost intoxicating sweetness. After a few moments he felt light-headed and sat back beside the corpse. Its sightless eyes regarded him with unmoving compassion.




The Fly


(A small fly, which Traven presumes has followed him into the fissure, now buzzes about the corpse’s face. Guiltily, Traven leans forward to kill it, then reflects that perhaps this minuscule sentry has been the corpse’s faithful companion, in return fed on the rich liqueurs and distillations of its pores. Carefully, to avoid injuring the fly, he encourages it to alight on his wrist.)

DR YASUDA: Thank you, Traven. In my position, you understand …

TRAVEN: Of course, Doctor. I’m sorry I tried to kill it – these ingrained habits, you know, they’re not easy to shrug off. Your sister’s children in Osaka in ’44, the exigencies of war, I hate to plead them. Most known motives are so despicable, one searches the unknown in the hope that …

YASUDA: Please, Traven, do not be embarrassed. The fly is lucky to retain its identity for so long. That son you mourn, not to mention my own two nieces and nephew, did they not die each day? Every parent in the world grieves for the lost sons and daughters of their earlier childhoods.

TRAVEN: You’re very tolerant, Doctor. I wouldn’t dare –

YASUDA: Not at all, Traven. I make no apologies for you. Each of us is little more than the meagre residue of the infinite unrealized possibilities of our lives. But your son, and my nephew, are fixed in our minds forever, their identities as certain as the stars.

TRAVEN: (not entirely convinced) That may be so, Doctor, but it leads to a dangerous conclusion in the case of this island. For instance, the blocks –

YASUDA: They are precisely what I refer to, Traven. Here among the blocks you at last find an image of yourself free of the hazards of time and space. This island is an ontological Garden of Eden, why seek to expel yourself into a world of quantal flux?

TRAVEN: Excuse me (The fly has flown back to the corpse’s face and sits in one of the dried-up orbits, giving the good doctor an expression of quizzical beadiness. Reaching forward, Traven entices it on to his palm. He examines it carefully) Well, yes, these bunkers may be ontological objects, but whether this is the ontological fly is doubtful. It’s true that on this island it’s the only fly, which is the next best thing …

YASUDA: You can’t accept the plurality of the universe – ask yourself why, Traven. Why should this obsess you? It seems to me that you are hunting for the white leviathan, zero. The beach is a dangerous zone. Avoid it. Have a proper humility, pursue a philosophy of acceptance.

TRAVEN: Then may I ask why you came here, Doctor?

YASUDA: To feed this fly. �What greater love –?’

TRAVEN: (Still puzzling) It doesn’t really solve my problem. The blocks, you see …

YASUDA: Very well, if you must have it that way …

TRAVEN: But, Doctor –

YASUDA: (Peremptorily) Kill that fly!

TRAVEN: That’s not an end, or a beginning.

(Hopelessly, he kills the fly. Exhausted, he falls asleep beside the corpse.)




The Terminal Beach


Searching for a piece of rope in the refuse dump behind the dunes, Traven found a bale of rusty wire. After unwinding it, he secured a harness around the corpse’s chest and dragged it from the crevice. The lid of a wooden crate made a crude sledge. Traven fastened the corpse to it in a sitting position, and set off along the perimeter of the blocks. Around him the island remained silent. The lines of palms hung in the sunlight, only his own motion varying the shifting ciphers of their criss-crossing trunks. The square turrets of the camera towers jutted from the dunes like forgotten obelisks.

An hour later, when Traven reached the awning by his bunker, he untied the wire cord he had fastened around his waist. He took the chair left for him by Dr Osborne and carried it to a point midway between the bunker and the blocks. Then he tied the body of the Japanese to the chair, arranging the hands so that they rested on the wooden arms giving the moribund figure a posture of calm repose.

This done to his satisfaction, Traven returned to the bunker and squatted under the awning.

As the next days passed into weeks, the dignified figure of the Japanese sat in his chair fifty yards from him, guarding Traven from the blocks. He now had sufficient strength to rouse himself at intervals and forage for food. In the hot sunlight the skin of the Japanese became more and more bleached, and Traven would wake at night and find the sepulchral figure sitting there, arms resting at its sides, in the shadows that crossed the concrete floor. At these moments he would often see his wife and son watching him from the dunes. As time passed they came closer, and he would sometimes find them only a few yards behind him.

Patiently Traven waited for them to speak to him, thinking of the great blocks whose entrance was guarded by the seated figure of the dead archangel, as the waves broke on the distant shore and the burning bombers fell through his dreams.

1964




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