Slow Man - Coetzee J. M. - Страница 39
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'And Marijana? Are you not desirous of joining the we of Marijana and Drago? And Ljuba? And Blanka, on whom you have yet to lay an eye?'
'That is another question,' he snaps. And will not be drawn further.
Noon passes, and Marijana does not show up. Drago has strapped a doll to his little sister's back with rubber bands; she trots from room to room, her arms stretched out, making a droning noise like an aeroplane. Shaun has brought along some kind of electronic game. The two boys sit in front of the television screen, which emits low whoops and buzzes.
'You know, we don't have to put up with this,' says Elizabeth Costello. 'They don't need to be babysat, these young folk. We could make a quiet exit, go back to the park. We could sit in the shade and listen to the birds. We could look on it as our weekend excursion, our little adventure.'
He is prepared to accept a helping hand from Marijana, who is after all a paid nurse, but not from a woman older than himself. He sends Costello to wait in the entranceway while he negotiates the stairs on his crutches.
On the way down he is passed by one of the neighbours, a slim, bespectacled girl from Singapore who with her two sisters, quiet as mice, occupies the flat above his. He nods to her; the greeting is not returned. In all their time on Coniston Terrace the girls have never acknowledged his existence. Each unto herself: that must be what they are taught in their island state. Self-reliance.
He and Costello find an empty bench. A dog trots up: it gives him a quick, jaunty once-over, then moves on to her. Always embarrassing when a dog pushes its snout into a woman's crotch. Is it reminding itself of sex, dog sex, or is it just savouring the novel, complex smells? He has always thought of Elizabeth as an asexual being, but perhaps a dog, putting its trust in its nose, will know better.
Elizabeth bears the investigation well, letting the dog have its way with her, then pushing it away good-humouredly.
'So,' she says. 'You were telling me.'
'I was telling you what?'
'You were telling me the story of your life. Telling me about France. I was married to a Frenchman once. Didn't I tell you? My first marriage. Unforgettable times. He walked out on me, in the end, for another woman. Left me with a child on my hands. I was, according to him, too mutable. Vipere, was another of the terms he applied to me, which in England is an adder rather than a viper. Sale vipere, those were his words. He never knew where he was with me. Great ones for order, the French. Great ones for knowing where they are with you. But enough of that. We were talking about you.'
'I thought you thought the French were great ones for passion. Passion, not order.'
She turns a reflective eye on him. 'Passion and order, Paul. Both, not one or the other. But proceed with the story of your love affair with France.'
'It is not a long story. At school I was good at science. Not outstandingly good, I was not outstanding at anything, just good. So when I went to university I signed up for science. Science seemed a good bet in those days. It seemed to promise safety, and that was what my mother wanted above all for my sister and me: that we find some safe niche for ourselves in this foreign land where the man whom she had followed, God knows why, was retreating more and more into himself, where we had no family to fall back on, where she floundered in the language and could not get a grip on local ways of doing things. My sister went into teaching, which was one way of being safe, and I went into science.
'But then my mother passed on, and there no longer seemed much point to putting on a white coat and peering into a test tube. So I dropped out of university and bought a ticket to Europe. I stayed with my grandmother in Toulouse and found a job in a photo lab. That was how my career in photography began. But don't you know all this? I thought you knew everything about me.'
'It is news to me, Paul, I promise you. You came to me with no history attached. A man with one leg and an unfortunate passion for his nurse, that was all. Your prior life was virgin territory.'
'I stayed with my grandmother and made overtures, as far as I could, to my mother's family, because in the France we came from, peasant France, family is everything. My cousins might be car mechanics and shop assistants and station foremen, but at heart they were still peasants, only one generation away from black bread and cow manure. I am talking about the 1960s, of course, a bygone age. It is different nowadays. All changed.'
'And?'
'I was not successful. I was not, shall we say, embraced. I had missed too much of what should have been my formation: not just a proper French schooling but a French youth, including youthful friendships, which can be as intense as love, and longer-lasting. My cousins and the people I met through them, people of my age, were already settled into their lives. Even before they left school they knew what metier they were going to follow, what boy or girl they were going to marry, where they were going to live. They could not work out what I was doing there, this gangly fellow with the funny accent and the puzzled look; and I could not tell them because I did not know either. I was always the odd one out, the stranger in the corner at family gatherings. Among themselves they called me l'Anglais. It came as a shock, the first time I heard it, since I had no ties to England, had never even been there. But Australia was beyond their ken. In their eyes Australians were simply Englishmen, mackintoshes and boiled cabbage and all, transplanted to the end of the earth, scratching a living among the kangourous.
'I had a friend, Roger, who did deliveries for the studio where I worked. On Saturday afternoons he and I would pack our saddlebags and head off on our bicycles to Saint-Girons or Tarascon; or deeper into the Pyrenees as far as Oust or Aulus-les-Bains. We ate in cafes, spent nights in the open, rode all day, came back late on Sundays exhausted and full of life. We never had much to say to each other, he and I, yet now he seems to me the best friend I ever had, the best copain.
'Those were the days before the French romance with the automobile had taken off properly. The roads were emptier; roaming the countryside on a bicycle was not such an odd thing to be doing.
'Then I got involved with a girl, and suddenly I had other uses for my weekends. She was from Morocco: that really set me apart. The first of my unsuitable passions. She and I might have married if her family had not made it impossible.'
'Struck by the lightning bolt of passion! And for an exotic maiden too! Material for a book in itself! How magnificent! How extravagant! You astonish me, Paul.'
'Don't mock. It was all very decorous, very respectable. She was studying to be a librarian, until she was summoned home.'
'And?'
'That is all. Her father summoned her, she obeyed, that was the end of the affair. I stayed on in Toulouse for another six months, then I gave up.'
'You came home.'
'Home… What does that mean? I told you what I think about home. A pigeon has a home, a bee has a home. An Englishman has a home, perhaps. I have a domicile, a residence. This is my residence. This flat. This city. This country. Home is too mystical for me.'
'But you are Australian. You are not French. Even I can see that.'
'I can pass among Australians. I cannot pass among the French. That, as far as I am concerned, is all there is to it, to the national-identity business: where one passes and where one does not, where on the contrary one stands out. Like a sore thumb, as the English say; or like a stain, as the French say, a stain on the spotless domestic linen. As for language, English has never been mine in the way it is yours. Nothing to do with fluency. I am perfectly fluent, as you can hear. But English came to me too late. It did not come with my mother's milk. In fact it did not come at all. Privately I have always felt myself to be a kind of ventriloquist's dummy. It is not I who speak the language, it is the language that is spoken through me. It does not come from my core, mon coeur.' He hesitates, checks himself. I am hollow at the core, he was about to say – as I am sure you can hear. 'Don't try to load more onto this conversation than it will bear, Elizabeth,' he says instead. 'It is not significant, it is just biography of a rambling kind.'
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