The Woman In The Mirror. Rebecca JamesЧитать онлайн книгу.
His left cheek is pitted like fruit peel, the skin pulled tight towards the angle where his jaw meets his earlobe, where it melts into spilled candle wax.
His clear, blue eyes, as they meet mine, dare me to comment. For a shameful moment I am glad of his disfiguration, for if he were flawless I might not know how to speak. There is a scent about him, of tobacco and scorched wood.
‘Thank you, Tom,’ he says, ‘but I will show Miss Miller to her room.’
‘Very well, Captain.’
The mouth lifts then, but it isn’t quite a smile. Nonetheless I return it and follow him up to the landing. We make slow, awkward progress, and I see how much discomfort his leg causes him but also the pride that prevents him from admitting it.
‘Tell me,’ he starts, ‘what are your first impressions of Winterbourne?’
‘Well, I’ve only just arrived.’ We pass a glass case filled with stuffed birds: a hawk alights on a branch, wings wide, beak screaming. ‘But I should say what strikes me is that it’s very beautiful.’
‘Beautiful.’ The captain repeats the word, as if it’s foreign. ‘Winterbourne has been described as many things, but beautiful isn’t one of them.’
‘No? I’m surprised.’
‘It was built by a band of lunatics. Hardly the way to speak of one’s ancestors, but there’s the long and short of it. Too much money and too little discrimination. They thought they were recreating Notre-Dame, I’m sure. That families should be expected to live here, generations of us, hardly came into it. No – I’ve heard daunting, intimidating, bleak, desolate… but I’ve never heard beautiful.’
‘You don’t like your home, Captain?’
He gives a short, hollow laugh. ‘It isn’t a question of me not liking it. Rather the other way round.’
I frown, but before I can speak he stops at a door and draws a chain of keys from his pocket. It is necessary for him to lean against the wall to do this, wheezing slightly, and my instinct is to help him but I don’t. We are at the end of a passage. Looking back, the way we’ve come appears impossibly long, distortedly so, a carpeted corridor flickering in the glow of feeble bulbs. Ahead is a narrow staircase, presumably the servants’ access.
‘This is your room,’ he says, and the door creaks open.
The first thing I notice is the smell of age, a musty scent that seems to rise from the floorboards and seep from the walls. The atmosphere is deep, as weighty as the green velvet drapes that hang from the high window. There is a wooden four-poster bed, carved ornately in the Jacobean style, its quilts piled extravagantly. Chenille rugs adorn the boards beneath my feet, and behind me, on the wall we have stepped through, is an elaborate scenic mural depicting some dark, tangled foliage. Its pattern is dizzyingly complicated, impossible to follow one twisted vine without getting lost in the knots of the others.
‘Will this be adequate for you?’ says Jonathan de Grey. I nod. Of course it will be. It is, presumably, where his previous governess slept. She flits into my mind then vanishes just as quickly. I wonder about her sleeping here, watching the forest mural from her bed, trying to follow those creepers then unable to find her way out.
‘It’s lovely,’ I say. It isn’t true, just as perhaps ‘beautiful’ wasn’t quite true for Winterbourne. Just something people say to make things well. ‘I shall be very comfortable here.’ I go to the window, pull the curtains and flood the room with light. Already, it looks better. There is a little writing desk, a handsome wardrobe and an adjacent washing and dressing room. I think of my miserable lodgings in London and am once again amazed at the fortune that brought me here. All will be well.
‘I’ll leave you now,’ says the captain, stepping back. For a moment the daylight catches his features, the taut, pockmarked side of his face, and he shies from it like a creature of the night. ‘Mrs Yarrow will collect you shortly.’
The door closes and I am alone. Gradually the captain’s footsteps cease, and against the silence my ears tune into quieter sounds: sounds sewn into the building. I hear a soft tapping, most likely the flick of a branch at the window, but when I look out the wild trees are distant. I travel from one surface to another, the foot of the bed, the top of the wardrobe; I smile, as if the tapping is playing with me, a silly parlour game. It sounds louder at the desk so I open the drawer. Abruptly, the tapping stops – it was a draught behind the wall, or a mouse scratching at wood. Inside is a clock, small and round, 1920s, silver. The time reads twenty-five minutes to three, but the second hand isn’t working. There is an engraving on the back:
L. Until the end of time.
I remove the clock and put it on the table. I’ll see later if it can’t be fixed.
From the window, the view is tremendous. I must be on the westernmost gable because the sea appears huge and immediate, with no cliffs to separate us, as if it is washing right up to Winterbourne’s walls; or we could be on the Polcreath tower light, rising straight up out of the ocean, its root chalky with salt and seaweed. The water is dark, perfectly still closer to shore but in the distance little white crests jump and retreat on its surface. The sky is frozen white and copper, like a Turner painting, dashed with smears of dirty raincloud. I met a former lighthouse keeper, once, during the war. His house had been blown to dust in a bad Blitz. As I held his hand and waited for the ambulance to arrive, he told me of his time, years before, on a remote Atlantic outpost, and that he could never be afraid of the sea, no matter how it churned or roared. ‘The sea’s my friend,’ he assured me, his face blackened with ash. ‘If I fell into it, it would toss me back up. The sea would never take me.’ He missed the water like a lost love, he said; even through the noise and fury of war it called to him, calling him back to its lonely perfection. ‘It’s all right,’ he’d kept saying, as I told him he would find safety and a way to rebuild his life, ‘this wasn’t my life anyway. My life is out on the water,’ and he’d wept for a loss he could not express.
I consider if this sea will become my friend, looking at it every day, and it looking at me. So different from the rush and noise of London, which, once peace was declared, people told me would be a welcome diversion. Everyone was grieving, everyone was spent; everyone had known terrible things and faced terrible truths. But the city pumped on like an unstoppable heart, whisking us up with it, forcing us to go on even if some days we felt like lying down in the middle of the street and closing our eyes and never waking again. Carry on, carry on, that was the message throughout the war. What about after it ended? Carry on, they said, carry on. It was hard for me to carry on. There are some things from which you cannot carry on. Some things hurt too much. Things we did. Things we let happen. I close my eyes, unwilling to remember. A grasping hand, swirling hair, and her eyes, her eyes…
I am about to go and find Mrs Yarrow, whom I assume to be the cook, when something catches my eye that I didn’t notice before.
It is a painting, hanging in the shadow of the dark green curtain and no bigger than a place mat on a dining table. The frame, too, is large, so that the print inside is really quite small and delicate, and I have to lean in to see what it portrays.
It’s a little farm scene, a barn surrounded by hay bales and a grey band of sea just visible in the distance. A cow chews on a tuft of grass. Milking pails lie abandoned. A cluster of dark firs borders a simple cottage, its chimney smoking and a full moon hovering over its roof. The landscape is curiously recognisable as that around Winterbourne: we are here, in this place, at some distant, irretrievable point in the past. The moors are unmistakable, their wild desolation, the colour of the earth.
Perhaps it’s instinctive to look for a human face in these things, because I do, but even though I am looking it still comes as a surprise to me when I see her. She is merely a detail, an impression, not really a person; it’s more the feeling of her, looking out at the window, looking right back at me. Her head must be the size of a farthing, if that, with a wisp of dark hair and two green eyes. The artist has made a point of her eyes, the brightest colour in the picture. I think of the girl