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By Root 1236 0

at the shock. And then quickly, afterwards, he started to fret—he let Peter hold him, and hold his hand, but he had a troubled look, as if he felt he had let himself down. They almost rushed, then, to get him back home; they parted with only a “See you soon” and the darting, deniable kiss on the cheek in the insecure shadow of the car. Yet all these little awkwardnesses raised the game for Peter, and excited him more. It wasn’t at all like other affairs he had had, but he felt the same disorienting rush of insight, the roll and lift of some larger conveyance than a rattling Hillman Imp. On the main road back to Corley, with the windows down, a new smell blew in, the moist sweet night smell off the fields and trees, all the more mysterious when the nights were so short. The sun would be up a little after four: and find them both waking to their separate sense of how things had changed. Peter saw his thoughts drifting during lessons, and Paul with the paying-in books, preoccupied by his sensations, perched on his swivel stool in a distracting new awareness of being thought about and wanted.

He slowed and indicated to the empty road, and turned in through the gates to the heavier occluded darkness of the Park. The lights of home … the mile of scented darkness … The woods had grown up a lot, clearly, since Cecil’s day: now the lights of the school were hidden. That mile, too, was a purely poetical distance—or a social one, perhaps, designed to impress. It was one of Cecil’s many invitations to admire him, though not, presumably, to turn up at Corley Court in person. He appeared to the reader on fast-moving horse-back, this latterday world of cheap cars and jet-planes superbly unimagined.

Between the White Horse downs and Radcot Bridge

Nothing but corn and copse and shadowed grazing,

Grey village spires and sleeping thatch, and stems

Of moon-faced mayweed under poplars gazing

Upon their moon-cast shadows in the Thames.

It was one of his better pre-war poems, though with that tendency to sonorous padding that spoiled almost everything he wrote if judged by the sternest standard.

Peter parked on the front gravel and made a poor attempt to shut the car door quietly. The moon was up, among streaky clouds, and before going in he walked round in front of the house, across the lawn by the fishpond, and back up the rise towards the gate into the High Ground. He seemed to stride through the complex calm of sexual gratification, borne along by running and looping images of what had happened—he saw himself enhancing it, warming it by little touches, then felt the countervailing cool of something like unease, the cool of loneliness. If Paul were with him still, they would make it better, do it over again. No doubt it was painful for anyone who was courting, but for two men … He stopped in front of the Ionic temple and peered into the deep shadow, oddly wary of the warm life caged invisibly there. Perhaps disturbed by him, a rabbit or hamster rustled and scratched, a budgie hopped and fluttered and tinkled its bell. He went on and stood by the gate, looking back, the moonlight and its shadows making the house insubstantial, for all its pinnacled bulk, as if half in ruin. The dorms were all dark but the light of the Headmaster’s television flickered inside the oriel window. The moon gleamed sharply on the pointed vane of the chapel roof, and on the dial of the stopped clock in the central gable, under the pale stone banner of the Valance motto, “Seize the Day.”

It was funny how Paul had been turned on by Cecil’s tomb, and by the fact of Corley having been his home. Cecil’s brother, of course, had stayed on here for thirty years more, till the military took over. It was surely good luck in the end that all the Victorian work was boxed in—there was nothing for the army to ruin. Dudley Valance’s hatred for the house was what had preserved it. It would be worth trying to talk to him about the early days, about Cecil as a boy. In Black Flowers he dealt very coolly with his brother—there was quite a sarcastic tone to