The Trouble with Goats and Sheep. Joanna CannonЧитать онлайн книгу.
The photograph she wanted was at the bottom, a weight of memories pressed upon it. She had to see. She had to be sure. Perhaps, over the years, the past had become misshapen. Perhaps time had stretched their part in it, and bloated her conscience. Perhaps, if she could see the faces again, she would recognize their harmlessness.
They looked up at her from a table at the British Legion. It was before everything happened, but she was sure it was the same table – the table where the decision had been made. Harold sat next to her, and they both stared into the lens with troubled eyes. The photographer had caught them by surprise, she remembered that, someone from the town paper wanting pictures for an article on local colour. Of course, they never used it. John Creasy stood behind them, his hands pushed into his pockets, looking out from under a Beatles fringe. Sitting in front of John was that daft clown Thin Brian, with a pint glass in his hand, and Eric Lamb was opposite Harold. Sheila Dakin was on the end – all eyelashes and Babycham.
Dorothy looked at their faces, hoping to see something else.
There was nothing. They were exactly as she had left them.
It was 1967. The year Johnson sent thousands more to die in Vietnam. The year China made a hydrogen bomb, and Israel fought a six-day war. The year people marched and shouted, and waved banners about what they believed in.
It was a year of choices.
She wished she had known then that one day she would be staring back at herself, wishing that the choice they had made had been a different one. She turned the photograph over. There were no names. After all that had happened, she was certain none of them would care to be remembered.
‘Whatever are you doing?’
Harold’s footsteps weren’t usually so discreet. She turned away from him and tucked the photograph into her waistband.
‘I’m going over a few things.’
He leaned against the door frame. Dorothy wasn’t sure when it happened, but Harold had become old. The skin on his face had thinned to a lacquer, and his posture was bowed and curved, as though he were slowly returning to the womb.
‘So, why have you buried yourself in here, Dorothy?’
She looked straight into his eyes and saw his mind stumble.
‘I’m making …’ she said, ‘I’m making …’
‘Headway?’ Harold peered into the room. ‘A mess? A nuisance of yourself?’
‘A choice.’ Dorothy smiled up at him. ‘I’m making a choice.’
And she watched as he wiped sweat from his temple with the sleeve of his shirt.
*
When Harold went back downstairs, Dorothy walked on to the landing and looked at the photograph again. The smell came to her first, a smell that seemed to live on the avenue for weeks afterwards, held in a bite of December frost. Sometimes she thought she could still smell it now, even after all this time. She would be walking along the pavement, wandering around in her own thoughts, and it would creep up on her again. As if it had never really disappeared, as if it had been left there on purpose to remind them all. That night, she had stood where she was standing now, and she had watched it all unfold. She had replayed that scene to herself so many times, perhaps hoping something might change, that she would be able to let it go, but it was a night that had nailed itself to her memory. And she had known even then, even as she’d watched, that there would be no going back.
21 December 1967
Sirens hammer into the road, drawing the avenue from its sleep. Lights fizz and tick, and aquariums of people look out into the night. Dorothy watches from the landing. The banister digs into her bones as she leans forward, but this is the window with the best view, and she leans a little more. As she does, the bells of the siren stop and the fire engine empties men on to the street. She tries to listen, but the glass dulls their voices, and the only sound she hears is air moving through her throat, and the stamp of a pulse in her neck.
Ferns of ice grow at the corners of the windows, and she has to peer around them to see properly. There are hoses twisting across pavements, and rivers of light shining into the black. It feels unreal, theatrical, as though someone is staging a play in the middle of the avenue. Across the road, Eric Lamb opens his front door, pulling on a jacket, shouting back before he runs on to the street, and all around her, windows catch and push, spilling breath into the darkness.
She calls to Harold. She has to call several times, because his dreams are like cement. When he does appear, he has the frayed edges of someone who has been shocked into consciousness. He wants to know what’s going on, and he shouts the question at her, even though he is standing three feet away. She can see the skin of sleep in the corners of his eyes, and the journey of the pillow across his cheek.
She turns back to the window. More doors have opened, more people have appeared. Above the smell of the house, above the polished windowsills and the Fairy Liquid sink, she imagines she can sense the smoke, sliding in through the cracks and the splinters, and finding its way through the bricks.
She looks back at Harold.
‘I think something very bad has happened,’ she says.
*
They reach the garden. John Creasy calls across the avenue, but his voice is lost in the churn of the engine and the punch of boots on the concrete. Dorothy peers through the dark towards the bottom of the road. Sheila Dakin is standing on the lawn, feeding her hands into her face, the wind whipping at her dressing gown, smacking the material against her legs like a flag. Harold tells Dorothy to stay where she is, but it feels as though the fire has a magnetic field, and everyone is pulled closer, drawn along paths and pavements. The only one who is still is May Roper. She stands in her doorway, held there by the light and the noise and the smell. Brian catches her as he rushes past, but she barely seems to notice.
The firemen work like machinery, forming links of a chain which drags water from the earth. There is an arc of sound. An explosion. Harold is shouting to Dorothy to get back inside, but she moves a little closer instead. She watches Harold. He is too interested in what’s happening to notice, and she edges her way next to the wall. She just needs to see for a moment. To find out if it’s really happened.
She reaches the far end of the garden, when a fireman begins sweeping the air with his arms, forcing them back like puppets, and they collect in the middle of the avenue, knotted together against the frost.
The fireman is shouting questions. How many people live in the house?
They all answer at once, and their voices are smeared, taken by the wind.
The fireman scans their faces and points at Derek. ‘How many?’ he says again, his mouth shaping around the words.
‘One,’ he shouts, ‘just one.’ Derek looks back at his own house, and Dorothy follows his gaze. Sylvia stands at the window, Grace in her arms. Sylvia watches them, then turns away, holding the child’s head against her skin. ‘His mother lives in a nursing home, but he’s taken her away for Christmas,’ Derek says. ‘So it’s empty.’ The fireman is already running back and Derek’s words are wasted to the darkness.
A roll of smoke unfolds towards the sky. It loses itself against the black, whispering edges caught against a bank of stars before it feathers into nothing. Harold finds Eric’s eyes, and Eric shakes his head, a brief movement, almost nothing. Dorothy catches it, but looks away, back to the grip of the noise and the smoke.
None of them notice him, not to begin with. They are too captured by the flames, watching the darts of orange and red that fasten and catch in the windows. It’s Dorothy who sees him first. Her shock is soundless, static, but still it finds each of them. It stumbles around the group, until they all turn from number eleven and stare.
Walter Bishop.
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