Enduring Love - Couverture souple

McEwan, Ian

Couverture souple

ISBN 10 : 0385494149 ISBN 13 : 9780385494144

Editeur : Vintage, 1998

Synopsis

Book by Mcewan Ian

A propos du livre

Extrait :

One

The beginning is simple to mark. We were in sunlight under a turkey oak, partly protected from a strong, gusty wind. I was kneeling on the grass with a corkscrew in my hand, and Clarissa was passing me the bottle--a 1987 Daumas Gassac. This was the moment, this was the pinprick on the time map: I was stretching out my hand, and as the cool neck and the black foil touched my palm, we heard a man's shout. We turned to look across the field and saw the danger. Next thing, I was running toward it. The transformation was absolute: I don't recall dropping the corkscrew, or getting to my feet, or making a decision, or hearing the caution Clarissa called after me. What idiocy, to be racing into this story and its labyrinths, sprinting away from our happiness among the fresh spring grasses by the oak. There was the shout again, and a child's cry, enfeebled by the wind that roared in the tall trees along the hedgerows. I ran faster. And there, suddenly, from different points around the field, four other men were conver
ging on the scene, running like me.

I see us from two hundred feet up, through the eyes of the buzzard we had watched earlier, soaring, circling, and dipping in the tumult of currents: five men running silently toward the center of a hundred-acre field. I approached from the southeast, with the wind at my back. About two hundred yards to my left two men ran side by side. They were farm laborers who had been repairing the fence along the field's southern edge where it skirts the road. The same distance beyond them was the motorist, John Logan, whose car was banked on the grass verge with its door, or doors, wide open. Knowing what I know now, it's odd to evoke the figure of Jed Parry directly ahead of me, emerging from a line of beeches on the far side of the field a quarter of a mile away, running into the wind. To the buzzard, Parry and I were tiny forms, our white shirts brilliant against the green, rushing toward each other like lovers, innocent of the grief this entanglement would bring. The encounter that would unhinge us was minutes away,
its enormity disguised from us not only by the barrier of time but by the colossus in the center of the field, which drew us in with the power of a terrible ratio that set fabulous magnitude against the puny human distress at its base.

What was Clarissa doing? She said she walked quickly toward the center of the field. I don't know how she resisted the urge to run. By the time it happened, the event I am about to describe--the fall--she had almost caught us up and was well placed as an observer, unencumbered by participation, by the ropes and the shouting, and by our fatal lack of cooperation. What I describe is shaped by what Clarissa saw too, by what we told each other in the time of obsessive reexamination that followed: the aftermath, an appropriate term for what happened in a field waiting for its early summer mowing. The aftermath, the second crop, the growth promoted by that first cut in May.

I'm holding back, delaying the information. I'm lingering in the prior moment because it was a time when other outcomes were still possible; the convergence of six figures in a flat green space has a comforting geometry from the buzzard's perspective, the knowable, limited plane of the snooker table. The initial conditions, the force and the direction of the force, define all the consequent pathways, all the angles of collision and return, and the glow of the overhead light bathes the field, the baize and all its moving bodies, in reassuring clarity. I think that while we were still converging, before we made contact, we were in a state of mathematical grace. I linger on our dispositions, the relative distances and the compass point--because as far as these occurrences were concerned, this was the last time I understood anything clearly at all.

What were we running toward? I don't think any of us would ever know fully. But superficially the answer was a balloon. Not the nominal space that encloses a cartoon character's speech or thought, or, by analogy, the kind that's driven by mere hot air. It was an enormous balloon filled with helium, that elemental gas forged from hydrogen in the nuclear furnace of the stars, first step along the way in the generation of multiplicity and variety of matter in the universe, including our selves and all our thoughts.

We were running toward a catastrophe, which itself was a kind of furnace in whose heat identities and fates would buckle into new shapes. At the base of the balloon was a basket in which there was a boy, and by the basket, clinging to a rope, was a man in need of help.
Even without the balloon the day would have been marked for memory, though in the most pleasurable of ways, for this was a reunion after a separation of six weeks, the longest Clarissa and I had spent apart in our seven years. On the way out to Heathrow I had made a detour into Covent Garden and found a semilegal place to park, near Carluccio's. I went in and put together a picnic whose centerpiece was a great ball of mozzarella, which the assistant fished out of an earthenware vat with a wooden claw. I also bought black olives, mixed salad, and focaccia. Then I hurried up Long Acre to Bertram Rota's to take delivery of Clarissa's birthday present. Apart from the flat and our car, it was the most expensive single item I had ever bought. The rarity of this little book seemed to give off a heat I could feel through the thick brown wrapping paper as I walked back up the street.

Forty minutes later I was scanning the screens for arrival information. The Boston flight had only just landed and I guessed I had a half-hour wait. If one ever wanted proof of Darwin's contention that the many expressions of emotion in humans are universal, genetically inscribed, then a few minutes by the arrivals gate in Heathrow's Terminal Four should suffice. I saw the same joy, the same uncontrollable smile, in the faces of a Nigerian earth mama, a thin-lipped Scottish granny, and a pale, correct Japanese businessman as they wheeled their trolleys in and recognized a figure in the expectant crowd. Observing human variety can give pleasure, but so too can human sameness. I kept hearing the same sighing sound on a downward note, often breathed through a name as two people pressed forward to go into their embrace. Was it a major second or a minor third, or somewhere in between? Pa-pa! Yolan-ta! Ho-bi! Nz-e! There was also a rising note, crooned into the solemn, wary faces of babies by long-absent fathers or
grandparents, cajoling, beseeching an immediate return of love. Han-nah? Tom-ee? Let me in!

The variety was in the private dramas: a father and a teenage son, Turkish perhaps, stood in a long silent clinch, forgiving each other, or mourning a loss, oblivious to the baggage trolleys jamming around them; identical twins, women in their fifties, greeted each other with clear distaste, just touching hands and kissing without making contact; a small American boy, hoisted onto the shoulders of a father he did not recognize, screamed to be put down, provoking a fit of temper in his tired mother.

But mostly it was smiles and hugs, and in thirty-five minutes I experienced more than fifty theatrical happy endings, each one with the appearance of being slightly less well acted than the one before, until I began to feel emotionally exhausted and suspected that even the children were being insincere. I was just wondering how convincing I myself could be now in greeting Clarissa when she tapped me on the shoulder, having missed me in the crowd and circled round. Immediately my detachment vanished, and I called out her name, in tune with all the rest.

Less than an hour later we were parked by a track that ran through beech woods in the Chiltern Hills, near Christmas Common. While Clarissa changed her shoes I loaded a backpack with our picnic. We set off down our path arm in arm, still elated by our reunion; what was familiar about her--the size and feel of her hand, the warmth and tranquillity in her voice, the Celt's pale skin and green eyes--was also novel, gleaming in an alien light, reminding me of our very first meetings and the months we spent falling in love. Or, I imagined, I was another man, my own sexual competitor, come to steal her from me. When I told her, she laughed and said I was the world's most complicated simpleton, and it was while we stopped to kiss and wondered aloud whether we should not have driven straight home to bed that we glimpsed through the fresh foliage the helium balloon drifting dreamily across the wooded valley to our west. Neither the man nor the boy was visible to us. I remember thinking, but not saying, that it was a p
recarious form of transport when the wind rather than the pilot set the course. Then I thought that perhaps this was the very nature of its attraction. And instantly the idea went out of my mind.

We went through College Wood toward Pishill, stopping to admire the new greenery on the beeches. Each leaf seemed to glow with an internal light. We talked about the purity of this color, the beech leaf in spring, and how looking at it cleared the mind. As we walked into the wood the wind began to get up and the branches creaked like rusted machinery. We knew this route well. This was surely the finest landscape within an hour of central London. I loved the pitch and roll of the fields and their scatterings of chalk and flint, and the paths that dipped across them to sink into the darkness of the beech stands, certain neglected, badly drained valleys where thick iridescent mosses covered the rotting tree trunks and where you occasionally glimpsed a muntjak blundering through the undergrowth.

For much of the time as we walked westward we were talking about Clarissa's research--John Keats dying in Rome in the house at the foot of the Spanish Steps where he lodged with his friend, Joseph Severn. Was it possible there were still three or four unpublished letters of Keats's in existence? Might one of them be addressed to Fanny Brawne? Clarissa had reason to think so and had spent part of a sabbatical term traveling around Spain and Portugal, visiting houses known to Fanny Brawne and to Keats's sister Fanny. Now she was back from Boston, where she had been working in the Houghton Library at Harvard, trying to trace correspondence from Severn's remote family connections. Keats's last known letter was written almost three months before he died, to his old friend Charles Brown. It's rather stately in tone and typical in throwing out, almost as parenthesis, a brilliant description of artistic creation: "the knowledge of contrast, feeling for light and shade, all that information (primitive sense) necessary
for a poem, are great enemies to the recovery of the stomach." It's the one with the famous farewell, so piercing in its reticence and courtesy: "I can scarcely bid you goodbye, even in a letter. I always made an awkward bow. God bless you! John Keats." But all the biographies agree that Keats was in remission from tuberculosis when he wrote this letter, and remained so for a further ten days. He visited the Villa Borghese and strolled down the Corso. He listened with pleasure to Severn playing Haydn, he mischievously tipped his dinner out the window in protest at the quality of the cooking, and he even thought about starting a poem. If letters existed from this period, why would Severn or, more likely, Brown have wanted to suppress them? Clarissa thought she had found the answer in a couple of references in correspondence between distant relations of Brown's written in the 1840s, but she needed more evidence, different sources.

"He knew he'd never see Fanny again," Clarissa said. "He wrote to Brown and said that to see her name written would be more than he could bear. But he never stopped thinking about her. He was strong enough those days in December, and he loved her so much. It's easy to imagine him writing a letter he never intended to send."

I squeezed her hand and said nothing. I knew little about Keats or his poetry, but I thought it possible that in his hopeless situation, he would not have wanted to write precisely because he loved her so much. Lately I'd had the idea that Clarissa's interest in these hypothetical letters had something to do with our own situation, and with her conviction that love that did not find its expression in a letter was not perfect. In the months after we met and before we bought the apartment, she had written me some beauties, passionately abstract in their exploration of the ways our love was different from and superior to any that had ever existed. Perhaps that's the essence of a love letter, to celebrate the unique. I had tried to match hers, but all that sincerity would permit me were the facts, and they seemed miraculous enough to me: a beautiful woman loved and wanted to be loved by a large, clumsy, balding fellow who could hardly believe his luck.
We stopped to watch the buzzard as we were approaching Maidensgrove. The balloon may have recrossed our path while we were in the woods that cover the valleys around the nature reserve. By the early afternoon we were on the Ridgeway Path, walking north along the line of the escarpment. Then we struck out along one of those broad fingers of land that project westward from the Chilterns into the rich farmland below. Across the Vale of Oxford we could make out the outlines of the Cotswold Hills and beyond them, perhaps, the Brecon Beacons rising in a faint blue mass. Our plan had been to picnic right out on the end, where the view was best, but the wind was too strong by now. We went back across the field and sheltered among the oaks along the northern side. And it was because of these trees that we did not see the balloon's descent. Later I wondered why it had not been blown miles away. Later still I discovered that the wind at five hundred feet was not the same that day as the wind at ground level.

The Keats conversation faded as we unpacked our lunch. Clarissa pulled the bottle from the bag and held it by its base as she offered it to me. As I have said, the neck touched my palm as we heard the shout. It was a baritone, on a rising note of fear. It marked the beginning and, of course, an end. At that moment a chapter--no, a whole stage--of my life closed. Had I known, and had there been a spare second or two, I might have allowed myself a little nostalgia. We were seven years into a childless marriage of love. Clarissa Mellon was also in love with another man, but with his two hundredth birthday coming up, he was little trouble. In fact, he helped in the combative exchanges that were part of our equilibrium, our way of talking about work. We lived in an art deco apartment block in North London with a below-average share of worries--a money shortage for a year or so, an unsubstantiated cancer scare, the divorces and illnesses of friends, Clarissa's irritation with my occasional and manic bouts of dissat
isfaction with my kind of work--but there was nothing that threatened our free and intimate existence.

What we saw when we stood from our picnic was this: a huge gray balloon, the size of a house, the shape of a teardrop, had come down in the field. The pilot must have been halfway out of the passenger basket as it touched the ground. His leg had become entangled in a rope that was attached to an anchor. Now, as the wind gusted and pushed and lifted the balloon toward the escarpment, he was being half dragged, half carried across the field. In the basket was a child, a boy of about ten. In a sudden lull, the man was on his feet, clutching at the basket, or at the boy. Then there was another gust, and the pilot was on his back, bumping over the rough ground, trying to dig his feet in for purchase or lung...

Revue de presse :

"A remarkable novel, haunting and original and written in prose that anyone who writes can only envy." —The Washington Post

"Impeccably written--[McEwan] is the quietest and most lucid of stylists, with never a word wasted or fumbled." —The New York Review of Books

"Eerie, slow-paced suspense worth its weight in caffeine for keeping you up all night." —Entertainment Weekly

"[A] beautifully realized--novel about our responses to violence. It asks us to choose between competing visions of events, and, in the process, forces us to examine the way we react to both art and life when something terrible happens." —The Boston Globe

"McEwan's writing—is unflaggingly poised and, as usual, capable of excavating deep, painful trenches in the back corridors of the psyche and the heart." —Miami Herald

"Cleverly imagined, beautifully executed—Mr. McEwan has few peers." —The Wall Street Journal

À propos de cette édition

• Éditeur: Vintage
• Date d'édition: 1998
• ISBN 10: 0385494149
• ISBN 13: 9780385494144
• Reliure: Paperback
• Nombre de pages: 150