Ten Things I've Learnt About Love - Couverture rigide

Butler, Sarah

Couverture rigide

ISBN 10 : 1594205337 ISBN 13 : 9781594205330

Editeur : Penguin Press, 2013

Synopsis

Rare Book

A propos du livre

Extrait :

Ten things I will say to my father

1. I met a man in Singapore who smelled like you— cigarette smoke and suede.
2. I remember that holiday in Greece—endless ruins, and you having to explain the difference between Doric, Ionic, and Corinthian columns again and again.
3. I wish you’d talked about Mama. I wish you’d kept something of hers.
4. I still have the book you bought me for my tenth birthday, when I wanted to be an astronaut—A Tour Through the Solar System.
5. I know you always hoped one of us would be a doctor, like you.
6. I have a recurring dream. I am standing outside your house. There’s a party; I can hear people talking and laughing inside. I ring the doorbell, and it takes you forever to answer.
7. It was me who stole the photograph from your study.
8. I used to spy on you—watch you gardening or sitting in your armchair, or at your desk with your back to the door. I always wanted you to turn around and see me.
9. I’m sorry I haven’t been about much.
10. Please, don’t—

My father lives on his own in a haughty terraced house near Hampstead Heath. The houses round there are smug and fat, their tiled drives like long expensive tongues, their gar den walls just high enough to stop people from seeing in. It’s all bay windows and heavy curtains, clematis and wisteria.

I queue for a taxi outside Arrivals and smoke three cigarettes while I wait. When it’s ?nally my turn, I duck into the car and ?nd myself dizzy and sick with the nicotine. The driver plays Mozart’s Requiem. I want to ask her to turn it off, but I can’t think how to explain, so I stretch my legs into the space where my rucksack should be, rest my head against the door frame, and close my eyes. I try to remember the exact color of my bag: it’s a sort of dirty navy blue—I’ve been carrying it around for years; I should know what color it is. Inside there are jeans, shorts, vest-tops, a waterproof coat. Ten packets of Russian cigarettes. A pair of embroidered slippers for Tilly. Mascara. A lip gloss that’s nearly ?nished. An almost perfectly spherical stone, which I’d picked up to give to Kal, and then cursed myself for crying over. An unused Rough Guide to India. A headlamp. A photograph of all of us, including my mother, from before I can remember: that’s the only thing I’d be sorry to lose.

We arrive too soon. I pay the driver and step out onto the pavement. As she pulls away from the curb I want to hold out a hand and say, stop, I’ve changed my mind, let’s go somewhere else, anywhere else, and then sit in the backseat again with time on hold, and watch London through the window.

There are eleven steps up to my father’s house. At the bottom, two sickly looking trees stand in chubby blue-glazed pots. A huge bay tree obscures most of the front window, but still I look for him, sitting on the sofa, a cigarette curling itself into ash in one hand. He’s not there. My stomach aches; my mouth tastes of sawdust and sleep. I pull a leaf from one of the trees in the pots—freckled a pale yellow-green—and tear along the length of its spine.

My father’s front door is painted a dark red-brown, like blood that’s been left to dry. Two tall panes of wrinkled glass—bordered by delicate green ivy—reveal nothing much of what’s inside.

When I was thirteen he sent me to school in Dorset. I remember coming home after the ?rst term. He’d had to work, so Tilly picked me up, her ?ngers nervous at the wheel, her crisp new driver’s license stowed in the glove compartment. I stood on the top step, looking at the same brass doorbell I am looking at now, while Tilly scrabbled about for her keys. I thought how the door didn’t look like our front door, and pressed the bell to see what it sounded like from the outside.

I take a cigarette from my pocket, even though there’s no time to waste. The lighter scratches at my thumb. I inhale too quickly, and cough—a thin, smoker’s cough—my hand against my chest.

Ten ways other people might describe me

1. Tramp
2. Bum
3. Homeless
4. Down on my luck
5. Rough sleeper
6. Dispossessed
7. Scum
8. Marginalized
9. Misunderstood
10. Lost

I’m an old man with a dodgy heart, there’s no two ways about it. And the truth is I’m more at home here—at the edge of the river, where there’s mud and mess—than in fancy squares like that one by the Tube, with its flashy screens and security guards.

I move around. It’s as close as I get to any kind of a strategy. Each place, I imagine you. I don’t have much to go on, though there are things I can guess—hair color, height, age. And I know your name; I could call to you and watch you turn. We’d stand here and let the cyclists hurry by, listen to the barges knock together like bells, and we’d talk.

Last week, when I thought I was dying, all I could focus on was you. It’s not easy to focus on anything when you feel like there’s a grown man sitting on your rib cage, but you pulled me through—you always have. It happened upstream from here, on the Embankment, opposite the Houses of Parliament: the bit by the hospital, with the high wall, where the ends of the benches are carved into birds’ faces, sat up on piles of bricks so you can see across the river. I was walking west, with a vague plan to go as far as Albert Bridge, find a place for the night in a quiet Chelsea corner. The police are tricky there, but if you tuck yourself away, sometimes they’ll leave you be. I was just walking. The doctor said emotional upset can bring it on, but I’m not sure I was upset that day, not particularly.

I stood against the wall and held both hands to my chest, tears in my eyes like I was a kid, not a man approaching sixty who can survive on the street. I hope if you’d been there, you’d have stopped and asked if I was OK, but you weren’t, and anyway I’m used to people paying no attention. I stood and looked at the river, and I thought about you, and how for all I know you’re dead already. The world’s full of danger, after all. Car crashes. Knives. Blood clots. Cancer. I carried on looking at the river, thinking about what could have been, and scared I was going to drop dead any minute. I suppose it’s not surprising that I lost it; I don’t mean screaming and shouting—that’s not my way, and in any case when you live like I do it’s what they call circumspect to keep your head down. No, I just blubbed like a baby.

Don’t get me wrong, I’m not always like this. I like a drink and a banter. I like lying on the pavement and looking up at the stars. It’s just that I thought I was having a heart attack; I thought I was going to die without finding you.

I thought about her, too, with her scarlet name. We went away once—a weekend in Brighton—snatched time; perfect. We ate ice cream, and fish and chips. We—it feels wrong to say this to you—but we made love in a run-down hotel with a view of the sea.

I’m lying when I say it was perfect. It was gray and dreary. I let myself get angry: hard words in a borrowed room. That way her eyes would click shut and her lips would harden. I suppose it was difficult for her too.

Once I’ve fallen in love, I find it almost impossible to get out; I’ve learnt that about myself. It doesn’t make for an easy life.

I’m not one for doctors, but after all that, on the Embankment, I made myself go. The surgery smelled of new carpets—sweet and sharp. I sat next to a woman in her forties and she stood and moved to the other side of the room. I try not to let things like that bother me. I picked up a pile of newspapers and started to look for you. Nothing.

The doctor’s name was the color of sun-warmed sandstone. She had kind eyes, and her hands, when she touched me, were soft and cool. It’s natural to be upset, she said, it’s frightening; the first time, everyone thinks they’re going to die. I cried again, there in her tiny room with the bed with a paper sheet stretched across it. She smiled, and gave me a tissue. It was as much her touch as the business with my heart, or the woman in the waiting room, that got me, and I suspect she knew it. She asked me all the questions doctors ask of a man like me, which, I find, are never the questions that matter.

She gave it a name: angina, ice-cold blue, beginning and end. She showed me a tiny red bottle and told me it would help—a quick spray underneath my tongue and I wouldn’t be left pressed against a wall, clutching my chest. I took the prescription and left. And I carried on doing what I’ve been doing for years. I have written your name more times than I can remember. Always, at the beginning, I write your name.

Ten things I know about my mother

The cancer is in my father’s pancreas. Cee told me over the phone—me standing in the hostel reception in Ulan Bator, her in Dad’s hallway, the line full of static. I’m still not even sure what a pancreas is, though I’d never admit that to Cee.

Cee thinks I’m a lost cause. You’re wasting your talents, she tells me, ?ying off to the other side of the world at the drop of a hat. Time will catch up with you, she tells me—by which she means I should get on and have kids before my ovaries dry up. You did the right thing with Kal, but you need to start thinking about settling down, she says. Dust settles, sediment settles—but I don’t say that. What was wrong with Kal anyway, I ask. She just sighs, the way she always does, the way that makes me feel ?ve again.

I stub out my cigarette and ring the doorbell. It’s Tilly who answers, and I’m thankful for it. She’s wearing tapered jeans and a voluminous orange T-shirt. Her face is tired and pale. The hall stretches in black and white chessboard squares behind her, and I remember the two of us chalking hopscotch marks, laughing at the chill of the tiles on the soles of our feet.

“Alice.” Tilly opens her arms. She is marshmallow soft. I lean my forehead, for a moment, against her chest, and smell the soft, summery smell of her perfume. Cee is coming down the stairs. Neat white slip-ons, black linen trousers, and a sleeveless turquoise shirt. Her hair looks recently cropped—dyed a chemical shade of red. She has our father’s eyes, a deep brown the color of garden compost. I’m told I have my mother’s.

I won’t cry. I step away from Tilly. Cee stands with an empty water glass in one hand, her skin puffed red beneath her makeup.

“You should have called,” Tilly says. “I’d have picked you up. I’ve got the car here, and it’s miserable sitting in a taxi getting your ear chewed off .”

“It’s ?ne,” I say. We stand, awkward, silent. I glance toward the stairs.

“He’s sleeping,” Cee says, and I feel a familiar ?are of anger. We are all too close together. It’s not a narrow hallway, but I am ?nding it dif?cult to breathe.

“How was your ?ight?” Tilly asks. “I looked it up—four thousand, three hundred miles. Isn’t that amazing?”

The thing I loved more than anything about Mongolia was the horizon—wider than I’ve ever seen; endless land and endless sky. I push the front door closed. I’d forgotten how it sticks.

“You’ve got to—” Cee starts.

“I know.” I pull it toward me, shove the handle upward, and slam it shut.

Cee looks at my bag—a small black day-pack—and then looks behind me. “Is that all you have?”

I picture the baggage hall—?uorescent lights, rows of trolleys, the scratched black rubber of the conveyor belt. I had stood and waited for my rucksack to appear. People snatched up their bags and scurried away. I waited until there were only four things left, circling: two hard cases, a long package wrapped in newspaper and packing tape, and a pink holdall with fraying straps. I waited until the screen ?ashed up a different ?ight number and city and a new group of people clustered round. A new consignment of bags began to appear. I thought about just picking one and walking away with it, but didn’t.

“I’ll go up,” I say, and walk past them, keeping close to the wall so our bodies won’t meet.

“Alice, he’s asleep.” Cee puts her hand on my arm.

“I’ll stick the kettle on—we can have a cup of tea.” Tilly’s ?ngers fuss at the hem of her T-shirt.

I step out of Cee’s grasp. “I won’t wake him.”

I am four steps up now. The stairs are painted white, the red carpet running along the middle pinned down by thin brass rods. Kal joked about it, the ?rst time he came here—an interminable Sunday lunch. I feel important every time I go up to the bathroom, he said, and I laughed, because I’d never thought about it like that before. I wish he was standing next to me, holding my arm. I still have his number in my phone. Sometimes I just sit and look at it.

“Alice.” It’s Tilly’s voice. Her face is scrunched into a frown. “Just—” She squeezes her hands together. “Just be prepared, honey.”

My father’s room is at the front of the house, on the ?rst ?oor. It has two tall windows which look out onto the street, over the top of the red brick wall opposite and into the courtyard behind. I open the door as quietly as I can, and step inside. The thick green curtains have been pulled shut against the day, and the ?oor lamp by the sofa casts a warm yellow circle onto the carpet. I don’t want to look at the bed. I stare instead at the wardrobe: the miniature triangles of paler wood inlaid around its edges, the oval mirror, the dull metal hinges. I look up at the ugly ceiling rose and its pauper’s chandelier, six fake candles resting in dusty holders.

Cee once told me that before I was born, in the other house, she and Tilly were allowed into our parents’ room on Saturday mornings. They used to sneak in between Dad and Mama and demand to be told stories.

After the stories, if he wasn’t working, our father would get up, put his dressing gown on over his blue pajamas, and go downstairs. Tilly and Cee would roll about in the warm space he left behind, waiting for his footsteps on the stairs and the clatter of a tray. Saturday morning stories and breakfast stopped once they moved here and I came along. When I asked why, Cee just pursed her lips and shrugged, as though somehow it was my fault.

The room smells of skin and sweat. It’s too hot. I rest my hands on the sofa back, and I listen: a gentle tick from the water pipes; a bird chirruping to its mate outside; the sound of my father, breathing.

The last time I saw him was a couple of days before I ?ew to Moscow. We had dinner at a new Spanish place in South End Green. Tapas; a rich red wine. There’s a recession coming, Alice, he said, I’m not sure it’s the best time to abandon your job. It’s just temping, I said, and I’ve got savings. I need to get out of here. You always need to get out of here, he said, why is that? I told him about Kal, but that didn’t explain all the other times. I’m trying to think now if he’d looked pale, or thin, if he’d seemed ill, or worried. I don’t remember.

The man in the bed does not look like my father.

My father has a strong face, a square jaw, thick bushy eyebrows. He is a big man: tall, not fat, but bulky. His shoulders are broad, his chest solid. When he hugs you—which isn’t often, but isn’t never—you can feel the strength in his arms. This man is too small to be my father.

On the ?oor to the right of the bed is a slim white-and-blue box. A thin tube r...

Revue de presse :

The New York Times:
“Butler’s lists have a surprising emotional resonance. They represent her two narrators’ anguished and perhaps futile efforts to organize the sad and turbulent parts of life in an intrinsically chaotic city called London, circa right about now. And they are only the surface layer of a carefully structured story that invites and even requires puzzle-solving. This is a novel deeply committed to unfinishedness—the characters speak in sentences that trail off, plot points are left to be guessed at or pieced together. As a literary technique, the elliptical style is enormously effective, keeping the narrative in a constant, trembling state of tension, which gives the lists a grounding effect. This and the charming, gritty and appropriately damp view of London nearly devoid of any Cool Britiannia elements make for a novel that often evokes strong feeling. ...There are a few things in this book that frustrate, but there are many more than 10 to love.”

Daily Beast:
"[An] elegant and tender debut novel...[Ten Things I've Learnt About Love] is no conventional love story, but a sensitive look at the meaning of family."

Kirkus Reviews (starred):
"[A] soulful debut . . . Spare language and an atmosphere of foreboding will keep readers on tenterhooks."

Publishers Weekly:
"Butler's elegant prose makes this a moving debut."

Booklist:
"Butler's graceful debut explores life's heartbreaks, unexpected family bonds, and the search for home. . . . [The] narrative's controlled suspense and unanswered questions make for a satisfying tale."

Library Journal:
“Butler’s poignant first novel has a distinct sense of place and sympathetic characters who have much in common.”

Carla Jean Whitley, Bookpage

:
“TEN THINGS I’VE LEARNT ABOUT LOVE explores the intricacies of familial relationships and what an individual is willing to sacrifice to preserve the relationships and the people in his or her life. Combining detailed storytelling with character-revealing lists of 10 things her protagonists have learned to treasure, Butler establishes herself as a talent to watch.”

Vanessa Diffenbaugh, New York Times

 bestselling author of The Language of Flowers

:
"Heartbreaking and hopeful, Ten Things I've Learnt About Love crisscrosses London in a layered search for fathers and daughters, family and home. For anyone who has ever wondered where they belong, or to whom they belong—the answer can be found within Sarah Butler's tender debut novel."

Hillary Jordan, bestselling author of Mudbound 

and When She Woke

:
"If this weren't billed as a debut novel, one would never know it. Sarah Butler writes with the deftness and delicacy of a master storyteller, giving us a compassionate, achingly beautiful rendering of a father and daughter."

Lisa Gee, The Independent:
“Graceful and subtle... love, in all its shape-shifting complexity, is at the core of this novel; that and the consequences – good and bad – of keeping secrets...  The shifting and intricate dynamics of family life, and the vertiginously painful feelings of loss induced by relationship breakdown and bereavement, are written with imaginative precision.  This is a thought- as well as emotion-provoking novel...  It also sparkles with hope.”
 
John Harding, The Daily Mail:
“Increasingly suspenseful... a moving and satisfying debut”
 
Marie Claire (UK):
“This poignant novel about fathers and daughters, homecoming and restlessness, is also a love letter to London...  Butler has viewed the city in all its weathers and moods, and this shines through on every page.  Equally elegant are her observations of the emotional turmoil of her main characters as they pace the capital’s highways and byways, united by a secret... A moving, life-affirming debut.”

À propos de cette édition

• Éditeur: Penguin Press
• Date d'édition: 2013
• ISBN 10: 1594205337
• ISBN 13: 9781594205330
• Reliure: Relié
• Nombre de pages: 272