The English Patient - Michael Ondaatje [56]
In the few hours they have, the room has darkened to this pitch of light. Just river and desert light. Only when there is the rare shock of rain do they go towards the window and put their arms out, stretching, to bathe as much as they can of themselves in it. Shouts towards the brief downpour fill the streets.
‘We will never love each other again. We can never see each other again.’
‘I know,’ he says.
The night of her insistence on parting.
She sits, enclosed within herself, in the armour of her terrible conscience. He is unable to reach through it. Only his body is close to her.
‘Never again. Whatever happens.’
‘Yes.’
‘I think he will go mad. Do you understand?’
He says nothing, abandoning the attempt to pull her within him.
An hour later they walk into a dry night. They can hear the gramophone songs in the distance from the Music for All cinema, its windows open for the heat. They will have to part before that closes up and people she might know emerge from there.
They are in the botanical garden, near the Cathedral of All Saints. She sees one tear and leans forward and licks it, taking it into her mouth. As she has taken the blood from his hand when he cut himself cooking for her. Blood. Tear. He feels everything is missing from his body, feels he contains smoke. All that is alive is the knowledge of future desire and want. What he would say he cannot say to this woman whose openness is like a wound, whose youth is not mortal yet. He cannot alter what he loves most in her, her lack of compromise, where the romance of the poems she loves still sits with ease in the real world. Outside these qualities he knows there is no order in the world.
This night of her insistence. Twenty-eighth of September. The rain in the trees already dried by hot moonlight. Not one cool drop to fall down upon him like a tear. This parting at Groppi Park. He has not asked if her husband is home in that high square of light, across the street.
He sees the tall row of traveller’s palms above them, their outstretched wrists. The way her head and hair were above him, when she was his lover.
Now there is no kiss. Just one embrace. He untugs himself from her and walks away, then turns. She is still there. He comes back within a few yards of her, one finger raised to make a point.
‘I just want you to know. I don’t miss you yet.’
His face awful to her, trying to smile. Her head sweeps away from him and hits the side of the gatepost. He sees it hurt her, notices the wince. But they have separated already into themselves now, the walls up at her insistence. Her jerk, her pain, is accidental, is intentional. Her hand is near her temple.
‘You will,’ she says.
From this point on in our lives, she had whispered to him earlier, we will either find or lose our souls.
How does this happen? To fall in love and be disassembled.
I was in her arms. I had pushed the sleeve of her shirt up to the shoulder so I could see her vaccination scar. I love this, I said. This pale aureole on her arm. I see the instrument scratch and then punch the serum within her and then release itself, free of her skin, years ago, when she was nine years old, in a school gymnasium.
VI
A Buried Plane
He glares out, each eye a path, down the long bed at the end of which is Hana. After she has bathed him she breaks the tip off an ampoule and turns to him with the morphine. An effigy. A bed. He rides the boat of morphine. It races in him, imploding time and geography the way maps compress the world onto a two-dimensional sheet of paper.
The long Cairo evenings. The sea of night sky, hawks in rows until they are released at dusk, arcing towards the last colour of the desert. A unison of performance like a handful of thrown seed.
In that city in 1936 you could buy anything – from a dog or a bird that came at one pitch of a whistle, to those terrible leashes that slipped over the smallest finger