strike us with a runic force. In particular those great flocks of birds, starlings, I think they are, that gather out over the sea on certain days, amoebically swooping and swirling, switching direction in perfect, instantaneous co-ordination, seemed to be inscribing on the sky a series of ideograms directed exclusively at us but too swiftly and fluidly sketched for us to interpret. All this illegibility was a torment to us.
I say us, but of course we never spoke of these pathetic hopes of a hint from the beyond. Bereavement sets a curious constraint between the bereaved, an embarrassment, almost, that is not easy to account for. Is it the fear that such things if spoken of will take on an even greater weight, become an even heavier burden? No, that is not it, not quite. The reticence, the tactfulness, that our mutual grieving imposed on Lydia and me was at once a measure of magnanimity, the same that makes the gaoler tiptoe past the cell in which the condemned man on his last night is asleep, and a mark of our dread of stirring up and provoking to even more inventive exercises those demonic torturers whose special task it was, is, to torment us. Yet even without saying, each knew what the other was thinking, and, more acutely, what the other was feeling—this is a further effect of our shared sorrow, this empathy, this mournful telepathy.
I am thinking of the morning after the very first one of Lydia’s nocturnal rampages when she had started up from the pillow convinced our recently dead Cass was alive and in the house somewhere. Even when the panic was over and we had dragged ourselves back to bed we did not get to sleep again, not properly—Lydia doing hiccuppy after-sobs and my heart tom-tomming away—but lay on the bed on our backs for a long time, as if practising to be the corpses that one day we shall be. The curtains were thick and drawn tightly shut, and I did not realise the dawn had come up until I saw forming above me a brightly shimmering image that spread itself until it stretched over almost the entire ceiling. At first I took it for an hallucination generated out of my sleep-deprived and still half-frantic consciousness. Also I could not make head or tail of it, which is not surprising, for the image, as after a moment or two I saw, was upside-down. What was happening was that a pinhole-sized opening between the curtains was letting in a narrow beam of light that had turned the room into a camera obscura, and the image above us was an inverted, dawn-fresh picture of the world outside. There was the road below the window, with its blueberry-blue tarmac, and, nearer in, a shiny black hump that was part of the roof of our car, and the single silver birch across the way, slim and shivery as a naked girl, and beyond all that the bay, pinched between the finger and thumb of its two piers, the north one and the south, and then the distant, paler azure of the sea, that at the invisible horizon became imperceptibly sky. How clear it all was, how sharply limned! I could see the sheds along the north pier, their asbestos roofs dully agleam in the early sunlight, and in the lee of the south pier the bristling, amber-coloured masts of the sailboats jostling together at anchor there. I fancied I could even make out the little waves on the sea, with here and there a gay speckle of foam. Thinking still that I might be dreaming, or deluded, I asked Lydia if she could see this luminous mirage and she said yes, yes, and reached out and clutched my hand tightly. We spoke in whispers, as if the very action of our voices might shatter the frail assemblage of light and spectral colour above us. The thing seemed to vibrate inside itself, to be tinily atremble everywhere, as if it were the teeming particles of light itself, the streaming photons, that we were seeing, which I suppose it was, strictly speaking. Yet surely, we felt, surely this was not entirely a natural phenomenon, for which there would be a perfectly simple
Laurice Elehwany Molinari