Sadness

Passages

Every passage tagged with this emotion in the Vela corpus. Search the body text, narrow by source or register, click through to a book’s profile to see how the passage sits with the rest of the work.

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• From Educated (2018)

  I don’t recall whether we were asked to evaluate Judith Beheading Holofernes, but if we were I’m sure I would have given my impressions: that the calm on the girl’s face didn’t sit well with my experience slaughtering chickens. Dressed in the right language this might have made a fantastic answer—something about the woman’s serenity standing in powerful counterpoint to the general realism of the piece. But I doubt the professor was much impressed by my observation that, “When you chop a chicken’s head off, you shouldn’t smile because you might get blood and feathers in your mouth.” The exam ended. The shutters were opened. I walked outside and stood in the winter chill, gazing up at the pinnacles of the Wasatch Mountains. I wanted to stay. The mountains were as unfamiliar and menacing as ever, but I wanted to stay. I waited a week for the exam results, and twice during that time I dreamed of Shawn, of finding him lifeless on the asphalt, of turning his body and seeing his face alight in crimson. Suspended between fear of the past and fear of the future, I recorded the dream in my journal. Then, without any explanation, as if the connection between the two were obvious, I wrote, I don’t understand why I wasn’t allowed to get a decent education as a child. The results were handed back a few days later. I had failed. —ONE WINTER, WHEN I was very young, Luke found a great horned owl in the pasture, unconscious and half frozen. It was the color of soot, and seemed as big as me to my child eyes. Luke carried it into the house, where we marveled at its soft plumage and pitiless talons. I remember stroking its striped feathers, so smooth they were waterlike, as my father held its limp body. I knew that if it were conscious, I would never get this close. I was in defiance of nature just by touching it. Its feathers were soaked in blood. A thorn had lanced its wing. “I’m not a vet,” Mother said. “I treat people .” But she removed the thorn and cleaned the wound. Dad said the wing would take weeks to mend, and that the owl would wake up long before then. Finding itself trapped, surrounded by predators, it would beat itself to death trying to get free. It was wild, he said, and in the wild that wound was fatal. We laid the owl on the linoleum by the back door and, when it awoke, told Mother to stay out of the kitchen. Mother said hell would freeze over before she surrendered her kitchen to an owl, then marched in and began slamming pots to make breakfast. The owl flopped about pathetically, its talons scratching the door, bashing its head in a panic. We cried, and Mother retreated. Two hours later Dad had blocked off half the kitchen with plywood sheets. The owl convalesced there for several weeks.

• From City of Night (1963)

  Crossing the bridge leading to the amusement park, he said: “Im glad you decided to hang around with me. My vacation will be over soon—then I have to go back. I hate to think about it.... But if you want, I can see you on weekends, when I drive in. I’d like that—if you would.” Before I could answer—as we crossed the small bridge that spans the park into the beach—he said: “Lets not go to the queer part of the beach.” We sat close to the water where it rolled in fleecy waves toward the shore. Young girls were playing on the sand with their boyfriends. Couples sat with their families.... Then we both saw it, almost at the same time looking up. Both stared into the sky, watching it. A bird was swooping down from the blue, blue sky, swiftly as if determined to crash into the dark ocean. Within what looked like mere inches of the waiting water, it spread its wings gloriously and escaped into the blue of the welcoming sky. The man said thoughtfully: “It’s sad—isn’t it?—that people dont have wings too.” A beachball rolled past us. A little boy, about seven, came chasing after it. The man grabbed the ball, threw it back playfully at him, stared after the kid rushing back to a man and a woman sitting watching the kid fondly. “Lets leave,” the man said. We’re now on the beach where I met him yesterday. In extravagant, colorful trunks, in brief bikinis, they lie on the sand, straining their necks to look at the new arrivals. We lay there watching the parade. One fairy is wearing a suit in the style of the 20s, but made of a flesh-colored material which, when wet, was almost transparent. He would go into the water, just long enough to get the suit wet; then he would stand there at the edge of the beach, looking completely naked. “Gay people—they—” the man started, interrupting himself: “I hate that word—‘gay’—there should be another word: not ‘homosexual’—that sounds too clinical—not ‘queer’, not ‘fairy,’ either—... Anyway, they seem to cancel out so much that could be. I mean: Ive seen some of them—not all of course, or even the majority—Ive seen them shrieking on the beach—neither men nor women. The effeminate ones—I told you this yesterday, I think—they frighten me. They seem sometimes to know so much. With a look, they can make you feel—so—well—so—... Like youre trapped,” he finished.

• From Tipping the Velvet (1998)

  By the end of August, when the oyster season had started again and we were back in the shop full-time, they began to press me to bring Kitty home with me, that they might meet her for themselves.‘You are always saying as how she is your pal,’ said Father one morning at breakfast. ‘And besides - what a crime it would be for her to come so near to Whitstable, and never taste a proper oyster-tea. You bring her over here, before she goes.’ The idea of asking Kitty to sup with my family seemed a horrible one; and because my father spoke so carelessly about the fact that she would soon have left for a new hall, I made him a stinging reply. A little later Mother took me aside. Was my father’s house not good enough for Miss Butler, she said, that I couldn’t invite her here? Was I ashamed of my parents, and my parents’ trade? Her words made me gloomy; I was quiet and sad with Kitty that night, and when after the show she asked me why, I bit my lip.‘My parents want me to ask you over,’ I said, ‘for tea tomorrow. You don’t have to come, and I can say you’re busy or sick. But I promised them I’d ask you; and now,’ I finished miserably, ‘I have.’She took my hand. ‘But Nan,’ she said in wonder, ‘I should love to come! You know how dull it is for me in Canterbury, with no one but Mrs Pugh, and Sandy, to talk to!’ Mrs Pugh was the landlady of Kitty’s rooming-house; Sandy was the boy who shared her landing: he played in the band at the Palace, but drank, she said, and was sometimes silly and a bore. ‘Oh, how nice it would be,’ she continued, ‘to sit in a proper parlour again, with a proper family - not just a room with a bed in it, and a dirty rug, and a bit of newspaper on the table for a cloth! And how nice to see where you live and work; and to catch your train; and to meet the people that love you, and have you with them all day ...’It made me fidget and swallow to hear her talk like this, all unself-consciously, of how she liked me; tonight, however, I had no time even to blush: for as she spoke there came a knock at her door - a sharp, cheerful, authoritative knock that made her blink and stiffen, and look up in surprise.I, too, gave a start.

• From City of Night (1963)

  It seemed the windstorm lasted for days, weeks. But it must have been over, as usual, the next day, when Im standing next to my mother in the kitchen. (Strangely, I loved to sit and look at her as she fixed the food—or did the laundry: She washed our clothes outside in an aluminum tub, and I would watch her hanging up the clean sheets flapping in the wind. Later I would empty the water for her, and I stared intrigued as it made unpredictable patterns on the dirt....) I said: “If Winnie dies—” (She had of course already died, but I didnt want to say it; her body was still outside, and I kept going to see if miraculously she is breathing again.) “—if she dies, I wont be sad because shell go to Heaven and I’ll see her there.” My mother said: “Dogs dont go to Heaven, they havent got souls.” She didnt say that brutally. There is nothing brutal about my mother: only a crushing tenderness, as powerful as the hatred I would discover later in my father. “What will happen to Winnie, then?” I asked. “Shes dead, thats all,” my mother answers, “the body just disappears, becomes dirt” I stand by the window, thinking: It isn’t fair.... Then my brother, the younger of the two—I am the youngest in the family—had to bury Winnie. I was very religious then. I went to Mass regularly, to Confession. I prayed nightly. And I prayed now for my dead dog: God would make an exception. He would let her into Heaven. I stand watching my brother dig that hole in the backyard. He put the dead dog in and covered it I made a cross and brought flowers. Knelt. Made the sign of the cross: “Let her into Heaven....” In the days that followed—I dont know exactly how much later—we could smell the body rotting.... The day was a ferocious Texas summerday with the threat of rain: thunder—but no rain. The sky lit up through the cracked clouds, and lightning snapped at the world like a whip. My older brother said we hadnt buried Winnie deep enough. So he dug up the body, and I stand by him as he shovels the dirt in our backyard (littered with papers and bottles covering the weeds which occasionally we pulled, trying several times to grow grass—but it never grew). Finally the body appeared. I turned away quickly. I had seen the decaying face of death. My mother was right. Soon Winnie will blend into the dirt. There was no soul, the body would rot, and there would be Nothing left of Winnie. That is the incident of my early childhood that I remember most often. And that is why I say it begins in the wind. Because somewhere in that plain of childhood time must have been planted the seeds of the restlessness.

• From Educated (2018)

  It was six in the morning and he’d been driving in silence for most of the night, piloting our station wagon through Arizona, Nevada and Utah. We were in Cornish, a farming town twenty miles south of Buck’s Peak, when the station wagon drifted over the center line into the other lane, then left the highway. The car jumped a ditch, smashed through two utility poles of thick cedar, and was finally brought to a stop only when it collided with a row-crop tractor. —THE TRIP HAD BEEN Mother’s idea. A few months earlier, when crisp leaves had begun slipping to the ground, signaling the end of summer, Dad had been in high spirits. His feet tapped show tunes at breakfast, and during dinner he often pointed at the mountain, his eyes shining, and described where he would lay the pipes to bring water down to the house. Dad promised that when the first snow fell, he’d build the biggest snowball in the state of Idaho. What he’d do, he said, was hike to the mountain base and gather a small, insignificant ball of snow, then roll it down the hillside, watching it triple in size each time it raced over a hillock or down a ravine. By the time it reached the house, which was atop the last hill before the valley, it’d be big as Grandpa’s barn and people on the highway would stare up at it, amazed. We just needed the right snow. Thick, sticky flakes. After every snowfall, we brought handfuls to him and watched him rub the flakes between his fingers. That snow was too fine. This, too wet. After Christmas, he said. That’s when you get the real snow. But after Christmas Dad seemed to deflate, to collapse in on himself. He stopped talking about the snowball, then he stopped talking altogether. A darkness gathered in his eyes until it filled them. He walked with his arms limp, shoulders slumping, as if something had hold of him and was dragging him to the earth. By January Dad couldn’t get out of bed. He lay flat on his back, staring blankly at the stucco ceiling with its intricate pattern of ridges and veins. He didn’t blink when I brought his dinner plate each night. I’m not sure he knew I was there. That’s when Mother announced we were going to Arizona. She said Dad was like a sunflower—he’d die in the snow—and that come February he needed to be taken away and planted in the sun. So we piled into the station wagon and drove for twelve hours, winding through canyons and speeding over dark freeways, until we arrived at the mobile home in the parched Arizona desert where my grandparents were waiting out the winter. We arrived a few hours after sunrise. Dad made it as far as Grandma’s porch, where he stayed for the rest of the day, a knitted pillow under his head, a callused hand on his stomach.

• From City of Night (1963)

  Or was it a swift glimpse, by that man now cringing stonecold-afraid beside his wife, of himself in Chi-Chi, not of the woman in himself, but of the hopelessness of his own sad fate, mirrored in his wife’s tired face, the frigid body—whatever shape that fate may have assumed for him, whatever destiny hovering over him—over us—like a dreadful cloud? What is it that makes that man, his face imprinted with the terrible impact of Chi-Chi’s giant fist, what is it that makes him turn to his wife and to the others with him, away from this menacing-eyed Cassandra whose message of doom, through violence, has finally flashed out—and, after looking at Chi-Chi in amazement and, now, with only the barest, flimsiest imitation of derision—that derision so carefully taught and practiced, seeded, cultivated, nurtured—what is it that makes that man, rising from the ground, retreat and say to his wife, as he covers his face where the blood is now coming—what is it—really—that makes him say—almost sadly: “Lets get away from here and leave them alone.” Oh, soon.... Very soon now it will be just another of many incidents quickly to be forgotten by those who have witnessed it ( but remembered, perhaps—perhaps remembered, unmentioned, unacknowledged but festering in the cobweb-infested shadows of their minds—by that fleeting man, that woman). Already the cleared space about Chi-Chi is being filled. Already the crowds are milling, the horns are blaring again, the streamers floating, the confetti falling, the couples making love.... Already the queens are squealing.... And already, Whorina, fluttering a huge ostrich fan, is saying in a husky siren voice: “Never, never, never try to dish a queen, babies—thats the moral of this story!” And now! Now—that mere interlude of his life over—Chi-Chi again leaned languidly, calmly, demurely against the wall, adjusting her dress with auspicious care, arranging the false breasts. Missing her cigarette holder, she spotted it on the ground; and in a composed queenvoice, softly, she says to a man standing next to her: “Baby—sweetheart—would you mind retrieving her fairy-wand... please... for a Lady?” But despite the composure, there is a note of frightened, melancholy pleading in her voice. A noble cavalier, the man bends, picks up the cigarette holder, and presents it to Chi-Chi with a deep, deep acknowledging bow.... Smiling gratefully at him, Chi-Chi clenched the retrieved cigarette holder between those second and fourth fingers. She puffs a long billowing stream of smoke into the air. Then gazing savage-eyed at the hectic crowds, she defied the world in a loud, clear voice: “Hey, world!” she shouted.

• From Tipping the Velvet (1998)

  In a moment I was in my own room again, with the door closed hard behind me. The little bits and pieces I owned, of course, could be bundled together in a second, in my sailor’s bag, and a carpet-bag that Mrs Milne had once given me. My bedclothes I folded and placed neatly at the end of the mattress, and the rug I shook out at the open window; the few little pictures I had pinned to the wall I took down, and burned in the grate. My toilet articles - a cake of cracked yellow soap, a half-used jar of tooth-powder, a tub of face-cream scented with violet - I scooped into the bin. I kept only my toothbrush, and my hair-oil; these, together with an unopened tin of cigarettes and a slab of chocolate, I added to the carpet-bag - though, after a second’s hesitation, I took the chocolate out again, and left it on the mantel, where I hoped Grace would find it. In half an hour the room looked quite as it had when I had first moved in. There was nothing at all to mark my stay there save the cluster of pinholes in the wallpaper where my pictures had been tacked, and a scorch-mark on the bedside cabinet where once, slumbering over a magazine, I had let a candle fall. The thought seemed a miserable one; but I would not grow sad. I didn’t go to the window, for a last sentimental look at the view from it. I didn’t check the drawers, or go poking under the bed, or pull the cushions from the chair. If I had left anything behind I knew that Diana would replace it with something better. Downstairs all seemed ominously still, and when I arrived at the parlour it was to find its door shut fast against me. I gave a knock, and turned the handle, my heart beating. Mrs Milne was seated before the table, where I had left her. She was less ashen than before, but still looked grim. The teapot stood cooling on its tray, its contents unpoured; the cups lay huddled on their nest of saucers beside it. Gracie sat stiff and straight on the sofa, her face turned effortfully away, her gaze fixed unswervingly - but also, I thought, unseeingly - on the view beyond the window. I had expected her to weep at my news; instead, it seemed to have enraged her. Her lips were clenched and quite drained of colour. Mrs Milne, at least, appeared to have reconciled herself a little to my departure, for she addressed me now with something like a smile. ‘I’m afraid Gracie is not quite herself,’ she said. ‘Your tidings’ve quite upset her.

• From City of Night (1963)

  Illogically, as if mysteriously it explained the queen’s beauty, Sylvia said: “Her family threw her out, years ago; they even offered to pay her to stay away.” She added proudly: “But Kathy wouldnt take their money. Shes lived in a little hellhole in the Quarter ever since then—on her own.... Those blackouts she has—... Shes dying,” she said abruptly. A subtle odor—Kathy’s perfume—lingered long after she was gone. Like the memory of someone’s death. Like flotsam from the world’s seas, the vagrants of America’s blackcities are washed into New Orleans. And Svlvia scrutinized each new face of the invading waves as if all—or perhaps one miraculous one among them—would bring her the answer to an obsessive question—would... perhaps... redeem her for the very fact of her own bar. She had just warned me that there was a man in the bar who might be a vice cop playing a score, and she was maneuvering to get a young boy away from him. In the process of catching the kid’s attention, she saw a youngman in a suit walking into the bar from the courtyard: a goodlooking youngman. evidently not a hustler, probably a masculine homosexual, neither out to score nor to be scored from; looking for a mutual partner. Sylvia followed him intently with her eyes as he stops to talk to another youngman, also in a suit, also obviously neither hustler nor score. Sylvia remained as if bound to the barstool; but her body became tense, as if, of its own volition, beyond her conscious control, it might spring toward the youngman. Together, the two youngmen approached us, standing only a few feet away. Seeing the first one clearly at last, Sylvia turned from him—as she had turned from me that first day—and she sighed in frustrated expectation. Moments later, without a word, she walked outside into the street. Through the open door, the curtain pushed back to welcome the street crowds, I saw her standing on the sidewalk, looking in all directions as if undecided which one to take, or as if it made no difference. She brought her hand to her forehead in a tight fist. Then she squared her shoulders and walked away. And at that moment I knew with certainty what I must have suspected from the very first—and I realized why it was that I returned to her constantly. CITY OF NIGHT CHICAGO! (San Francisco... the fog... the mourning wind... the discovered violence, hatred.... I fled California. San Francisco, which had lured me spuriously with its promise of renewed life, had withdraw that promise.) Now it will be Chicago—that savage city like a black fortress erected against the blue of the sky, the blue of the lake.

• From City of Night (1963)

  Maybe it isnt that they dont want something more; maybe theyve just given up on finding anything beyond sex, and theyre even afraid to ask, ‘Can I see you again?’ Theyll look for someone else rather than possibly hearing the answer ‘No’—an answer just as frightened perhaps as their own question. So they resign themselves to the brief contacts. Now they look for the people who ‘dont care’.... And the reasons of the people on your side are just as mysterious as those of the ones who pay you... like me,” he added, and went on: “How much of it, for you, is being a part of this alluring defiant world without really joining it?—so you can say (and Im talking about ‘you’ only generally—Im actually talking about many people)—so you can say, ‘I do it only for the money involved’; or: ‘I dont do anything back in bed myself; my masculinity is still intact—and in the meantime I can go with as many men as I—... need ... to’?” Ordinarily, those words would have resounded as the score’s attempt to compensate for his previously indicated desire by questioning the very masculinity which had originally attracted him. Yet, coming from this man—somehow—perhaps because of the fact that hes paid me without that payment having been asked for or agreed upon—his words dont really register as the ordinary put-down after the battlefield of one-sided sex has been cleared by the leveling orgasms. For that reason, those words are doubly disturbing. And it was what Barbara had implied—and the memory of her saddens me beyond the fact that I had liked her so much: that she had tried to prove with me what she had told herself that I, and others, were trying to prove with her.... Yes, it was at least in part a mutual fear that had brought us together. Once again my thoughts had veered into a dangerous territory. To stop their direction—astonishing myself, yet responding commandingly to the burgeoning rashness, I reached impulsively for Jeremy’s hand and placed it on my leg. He left it there, without comment, almost as if he were unaware of my having done it. Or is he too pretending? Has he understood what my motion with his hand is meant to convey, what I was trying to indicate to him—that, at least in that direction, it was I who could make the rules. But he had understood: Whatever pang of victory I might have felt by executing that gesture, he erased swiftly by saying: “Wouldnt your masculinity be compromised much less if you tested your being ‘wanted’ with women instead of men?” “It’s easier to hustle men,” I defended myself quickly, at the same time trying to put him down—but, although that is true on the streets, it had sounded weak and I knew it.

• From Tipping the Velvet (1998)

  But I was quite wrong about her. Whether I were in her paradise or not, she wouldn’t have noticed; and it was not her mother she hoped to see there, nor even Eleanor Marx, nor even Karl Marx. It was another person altogether that she had in mind - but it was not until a few weeks later, one evening in the autumn of that year, that I found out who. I had begun, as I have said, to accompany Florence on her visits for the Guild, and on this night I found myself in the home of a seamstress at Mile End. It was a terribly poor home: there was no furniture, hardly, in the woman’s rooms, only a couple of mattresses, a threadbare rug, and one rickety table and chair. In the chamber that passed for a parlour, a tea-chest was upturned and had the remains of a sad little supper on it: a crust of bread, a bit of dripping in a jar, and a cup half-full of bluish milk. The dinner-table was all covered with the paraphernalia of the woman’s trade - with folded garments and tissue wrappers, with pins and cotton reels and needles. The needles, she said, were always dropping on the floor, and the children were always stepping on them; her baby had recently put a pin in his mouth, and the pin had stuck in his palate and almost choked him. I listened to her story, and then watched while Florence spoke to her about the Women’s Guild, and about the seamstresses’ union it had established. Would she come to a meeting? Florence asked. The woman shook her head, and said she didn’t have the time; that she had no one to mind the children; that she was frightened that the masters at the outfitters for whom she worked would hear about it, and stop her shillings. ‘Besides that, miss,’ she said at last, ‘my husband wouldn’t care for me to go. Not but what he ain’t a union man himself; but he don’t think much of women having a say in all that stuff. He says there ain’t the need for it.’ ‘But what do you think, Mrs Fryer? Don’t you think the women’s union a good thing? Wouldn’t you like to see things changed - see the masters made to pay you more, and work you kinder?’ Mrs Fryer rubbed her eyes. ‘They would drop me, miss, that’s all, and find a gal to do it cheaper. There are plenty of ’em - plenty gals what envy me even my poor few shillings...’ The discussion went on, until at last the woman grew fidgety, and said she thanked us, but couldn’t spare the time to hear us any longer. Florence shrugged. ‘Think on it a bit, won’t you?

• From Educated (2018)

  There were Tyler and Stefanie. They had decided to homeschool their seven children, and from what I’d seen, the children were being educated to a very high standard. Luke came in next, with a brood so numerous I lost count. He saw me and crossed the room, and we made small talk for several minutes, neither of us acknowledging that we hadn’t seen each other in half a decade, neither of us alluding to why. Do you believe what Dad says about me? I wanted to ask. Do you believe I’m dangerous? But I didn’t. Luke worked for my parents, and without an education, he needed that job to support his family. Forcing him to take a side would only end in heartache. Richard, who was finishing a PhD in chemistry, had come down from Oregon with Kami and their children. He smiled at me from the back of the chapel. A few months before, Richard had written to me. He’d said he was sorry for believing Dad, that he wished he’d done more to help me when I needed it, and that from then on, I could count on his support. We were family, he said. Audrey and Benjamin chose a bench near the back. Audrey had arrived early, when the chapel was empty. She had grabbed my arm and whispered that my refusing to see our father was a grave sin. “He is a great man,” she said. “For the rest of your life you will regret not humbling yourself and following his counsel.” These were the first words my sister had said to me in years, and I had no response to them. Shawn arrived a few minutes before the service, with Emily and Peter and a little girl I had never met. It was the first time I had been in a room with him since the night he’d killed Diego. I was tense, but there was no need. He did not look at me once during the service. My oldest brother, Tony, sat with my parents, his five children fanning out in the pew. Tony had a GED and had built a successful trucking company in Las Vegas, but it hadn’t survived the recession. Now he worked for my parents, as did Shawn and Luke and their wives, as well as Audrey and her husband, Benjamin. Now I thought about it, I realized that all my siblings, except Richard and Tyler, were economically dependent on my parents. My family was splitting down the middle—the three who had left the mountain, and the four who had stayed. The three with doctorates, and the four without high school diplomas. A chasm had appeared, and was growing. —A YEAR WOULD PASS before I would return to Idaho. A few hours before my flight from London, I wrote to my mother—as I always did, as I always will do—to ask if she would see me. Again, her response was swift.

• From H Is for Hawk (2014)

  History, and life too. It might resemble Old England here but it is not anything like the country of four hundred years ago, of one hundred years ago. I am nearly home, now, and I’m sad, and angry, and fired up as hell. I wish that we would not fight for landscapes that remind us of who we think we are. I wish we would fight, instead, for landscapes buzzing and glowing with life in all its variousness. And I am guilty too. I’d wanted to escape history by running to the hawk. Forget the darkness, forget Göring’s hawks, forget death, forget all the things that had been before. But my flight was wrong. Worse than wrong. It was dangerous. I must fight, always, against forgetting, I thought. And I wish I had run after that couple and explained about the deer. I wish I had stood there in the mud in the rain, waving one hand with a hawk on the other, shouting about history and blood. Later that night I find my father’s plane-spotting diaries at the bottom of his bookshelves: six hardbacked, cloth-spined exercise books. I pull one out at random. 1956. He was sixteen. The pages are divided into columns, headed with careful, inked capitals: TIME. NUMBER OF PLANES. TYPE OF PLANE. REMARKS. REGISTRATION NUMBER. I look at the first column. On the twenty-fifth of April he starts watching at 9.40 a.m. and leaves at 7 p.m. On the twenty-sixth he starts at 9 and ends at 9 p.m. Twelve hours of looking up at the sky. Good God. There are hundreds of pages and thousands upon thousands of aircraft here. Vickers V70 Viscounts, F-86 Sabres, Airspeed Ambassadors, Lockheed Super Constellations, Gloster Meteors. Here’s his report of a visit to Croydon Airport at the end of May. ‘Eight de Havilland Tiger Moths. Two Auster Aiglet trainers. Two Taylorcraft Plus Ds. One Auster 5. Three De Havilland 104 Doves.’ I have no idea what these planes are. I find a glued-in snapshot of a Tupolev Tu 104. He has written a few lines underneath: ‘This aircraft is undoubtedly a civil conversion of the Type 39 Badger but the Russians said it was a completely new aircraft.’ It has all the burning pedantry I remember from my childhood obsession with hawks. Suddenly my father seems very close. Another photograph falls out. I pick it up. De Havilland 104 Dove, Croydon Airport, 2–4–56. I cross-check the registration number against the list. G–AMYO. Morton Air Services. The edge of the runway is lost in mist. I can see a tiny profile inside the cockpit, the suggestion of a man leaning forward to wipe the canopy before the plane climbs into the grey April sky.

• From City of Night (1963)

  She fixed her eyes stonily on the deserted gray bar. At first, I had thought she hadnt recognized me; now she calls me by my name. “What happened to that kid?” she asked me. Interrupting my narration of the fight before I could get beyond the girl’s goading of her boyfriend, Sylvia shook her head wearily as if she had already heard too much. “I know the girl youre talking about,” she said. “Shes always trying to make others prove something—but shes really trying to prove it to herself.” And I think of Barbara, perhaps still somewhere in the maze of downtown Los Angeles.... Sylvia said: “I’ll take that knife from that kid, if hes still got it—he probably doesnt even know how to use it.” She shook her head again in bewilderment. “You should have taken it from him when you first knew he had it,” she said, as if I had failed in some established duty. “All of you—” she started, compelled to approach a certain dangerous subject which, barely neared, must be avoided. She was silent. I felt uncomfortable with her right now—mysteriously guilty, blame-ridden, as if I had done something to her. “Is this your bar too?” I asked her, only to fill the powerful silence. “Yes,” she answered. “It’s been closed for quite a while, though—it was too far from the Quarter. I bought that other one instead. The Rocking Times.” She added the name with deep sarcasm. “Hell, I couldve sold this place, many times. But I prefer to keep it—for a while anyway.” Like a person prepared to fight even before a hostile situation exists, she added defensively, abruptly belligerently. “Yeah, sure, this was a hustling bar too: hustlers! queens! butch homosexuals! Everything!” She pronounced each word with bravado, like a child who must prove he can use dirty words; and, as with that child, each word had sounded unconvincing. “What else?” she challenged, as if I had been questioning her. “When those bars swing, they make a lot of money, I guess,” I said clumsily, still trying to ease some of the strain I felt with her. She flashed a ferocious look at me. In the gray darkness, I could almost feel her eyes burning on my face. Predictably, she relented, changing the subject. “Usually, by this time,” she was telling me, “Im already at the bar. But what the hell? Everyone whos there now will be there later—or theyll come back.” “You know everyone who goes there?” “I see everyone,” she said. “And I know most of the regulars—the ones who stay here all year. It’s mainly during Mardi Gras that the gay scene really changes in this city.... I hate that word, ‘gay’—‘queer’ too, even more,” she said quickly. I remember the man on the beach, that afternoon in Santa Monica, with whom I had sat on the sand watching that bird Escape into the sky.

• From H Is for Hawk (2014)

  I’d seen signs over the last week or so. The season was turning. A bluebottle in the garden; torpid purple crocuses on the lawn. Dots of cherry blossom falling outside the walls of St John’s. And one evening last week, a host of blackbirds carrolling into the deepening sky from perches all over the city’s gable ends and Gothic spires. Spring was coming. And usually I’d rejoice at the curious bluish tint to the air and the lengthening days. But spring will mean no more Mabel. She’ll be moulting in an aviary. I shan’t see her for months. My heart hurts thinking of it. So I wasn’t thinking of it; I’d ignored the flowers and the flies. And that was part of the problem. For something was stirring in Mabel’s accipitrine heart, and perhaps it was spring. I had an hour to fly her today. I’d some freelance teaching in town that afternoon, and I knew I was cutting it fine. So I decided to head back to the old field where the rabbits are. We’ll catch a rabbit , I thought, then I’ll drop her back at the house, pick up the teaching material, and run down the road to teach it. What could possibly go wrong? Everything. She flies a rabbit half-heartedly, lights upon a hedge-line and looks about. When I call her back she takes a while to return. The warning signs are there already, but I’m ignoring them. One more flight, I tell myself. But what Mabel is doing is revelling in the weight of the sun on her back, and in the little intimations that warm air is rising into this steady, grey-blue sky. She courses another rabbit, and sails onward, away from me, pitching high up in chestnut trees, and now I realise she’s losing all interest in me. I kick myself. After the last debacle here, I swore I’d be more careful. The trees are above a road; there’s an unsettling proximity of moving cars and trucks and tractors: she doesn’t want to be here any more. She crosses the road into a belt of trees and gravelled drives. I follow her. Rabbits break all around me and the PRIVATE: KEEP OUT signs. She ignores them. And me. She’s taken stand in a tree a good twenty-five feet above me, and looks out at the prospect all around. I’m waving my glove and whistling, but this is a lost cause. She fluffs her tummy and shakes her tail: a goshawk’s signs of happiness and contentment. But on an inaccessible branch, with the seconds ticking past, these lovely signs of relaxation and calm bring a sinking feeling. And I realise I failed to bring my telephone. Or my cigarettes.

• From City of Night (1963)

  As if she had materialized from the very smoke that clouded the bar, the most beautiful queen I have ever seen appeared. If it hadnt been for her clothes—maleclothes worn to imitate a woman’s—I would have thought her a real woman; and as a woman, she would have been one of the most beautiful, too. In her 20s, with a pale perfectly featured face—the face any woman would have envied on another—she had dark-lidded eyes and long, blond, almost-golden hair, which now is tightly bunched in back to conceal its length. She is lithe, slender. There is a ghostquality about her, perhaps because of the way even the feeble light plays on her hair, so that, appearing almost translucent, she seems incandescent. She surveyed the bar slowly, as if for the first time, with a smile which is unbearably, wistfully sad. In this bar of very real faces—the studied toughness of the malehustlers, the sedulous (but largely unsuccessful to practiced eyes) madeup attempts at femininity of the queens—this youngman, this queen, standing in the midst of it, appears as unreal as an angel: a monument to the utter perversity of her violated sex. She glides through the bar now, easily, past the bunched groups; nodding to the others—not aloofly, but, rather, as if she herself is aware of the unreality of her person; and they stare at her in a kind of bewildered awe. She moves like fog, as if some invisible wind is carrying her along toward Sylvia. Now, closely, I can see the queen’s haunting green eyes. And I feel a great sadness because of the doom so inexorably stamped on that beautiful face. “How do you feel now, Kathy?” Sylvia asked her softly. “Oh, Im always all right,” Kathy answered. Even her voice has a quality of unreality. “Im fine.... Sylvia, what time is it, honey?” Without looking at her watch, Sylvia said: “It’s five o’clock.” But I knew it was much later. “I dont mean what time. Did I say that? I mean what day?” Sylvia answered. She reached out to touch the queen, but she brought her hand quickly back. “That late in the week?” Kathy sighs. “That early,” Sylvia laughed unconvincingly. “Oh, well,” Kathy said indifferently. The smile hasnt left her face. “Youre new in the Quarter, arent you, baby?” she asked me. “I dont come out very often any more.” She seemed to be looking through me, as if everyone within the span of her vision is as unreal as she herself. “New people all the time, some come back, some never do.” She asked Sylvia, “Is Jocko back in town yet?” “Yes. He was here earlier.” “Good,” said Kathy. “I like him.... What time did you say it is?” she asked again, vaguely. Sylvia answered, this time correctly. But Kathy seemed not to have noticed the difference. “Excuse me,” she breathed—and she disappeared as unreally as she had appeared. “Shes beautiful,” I said.

• From City of Night (1963)

  After being around him a few times, I began to avoid him; stifled by the knowledge of the sad, sad loss of Youth, of the terrible hints that life, perversely, may make one a caricature of oneself, a wandering persistent ghost of the youngman that was, once—the attitudes of youth lingering after the youth itself was gone, played out With Skipper, this loss was concentrated, emphasized because life had given him nothing but physical beauty, an ephemeral beauty relying on Youth.... That sense of loss had seized me acutely one day when, sitting with him and two scores, I watched him remove from his wallet a set of photographs, about six of them, all of him in different poses, showing him—almost nude, much younger—a glowing youngman of about 20. “Thats me!” he had said, almost challengingly, as he passed the photographs to the two scores. And he carried, too, mysteriously, some frayed clippings, in an envelope, an envelope which, once, I saw him replace with a newer one, with great tenderness: the frayed clippings becoming older and older—the envelope, new. There were hints, in his conversations, of closed doors behind him, doors which had opened temptingly and Slammed! with great finality; hints of painful resignation. Behind the sullen look with which he nailed the people who bought him was the unmistakable awareness that he was on the brink of facing his doom: of facing Death.... And Death for Skipper was the loss of Youth.... The years that would follow the knowledge of his premature death would be played out by him like a ghost.... Watching him rush out of a bar once, Chuck had said: “Man, that stud walks more miles in a day than I do all mammy-screwin week long!” And Darling Dolly Dane had added, sighing deeply: “Yeah, baby, but he always ends up where he started from....” Perhaps realizing this, Skipper constantly veiled his eyes. I watch the skinny man now talking to Skipper. And I see the damning smile on the fatman’s face as he motions them over. As Skipper walks toward us with the skinny man, I notice immediately that Skipper is already drunk; he stumbles, curses. His eyes are smoldering with the hinted awareness of tonight.... “Hi, jack,” he says to me. “Hi cholly,” he says to the fatman. This is Skipper’s way of putting a score down. The world is divided into “jacks”—of which he is one—and “chollys.”

• From H Is for Hawk (2014)

  A man whose life disturbed me. But a man, too, who loved nature, who found it surprising, bewitching and endlessly novel. ‘A magpie flies like a frying pan!’ he could write, with the joy of discovering something new in the world. And it is that joy, that childish delight in the lives of creatures other than man, that I love most in White. He was a complicated man, and an unhappy one. But he knew also that the world was full of simple miracles. ‘There is a sense of creation about it,’ he wrote, in wonderment, after helping a farmer deliver a mare of a foal. ‘There were more horses in the field when I left it than there were when I went in.’ In England Have My Bones White wrote one of the saddest sentences I have ever read: ‘Falling in love is a desolating experience, but not when it is with a countryside.’ He could not imagine a human love returned. He had to displace his desires onto the landscape, that great, blank green field that cannot love you back, but cannot hurt you either. When, on their final meeting, he confessed to the writer David Garnett that he was a sadist, Garnett blamed White’s early emotional maltreatment and years of flogging at school. ‘He was an extremely tender-hearted and sensitive man,’ Garnett wrote, who had ‘found himself always in the dilemma of either being sincere and cruel, or false and unnatural. Whichever line he followed, he revolted the object of his love and disgusted himself.’ When White took up his position at Stowe in 1932 he was already expert at hiding who he was. For years he’d lived by the maxim Henry Green put so beautifully in his public-school memoir Pack My Bag: ‘The safest way to avoid trouble if one may not be going to fit is to take as great a part as possible in what is going on.’ To gain approval, to avoid trouble, he had to mirror what was around him: it was how he had tried to win love from his mother as a child. It was a life of perpetual disguise. After leaving Cambridge with a First in English, White had decided to become a toff – that was the phrase he used. Snobbery ‘is one of the best parlour games’, he explained to Potts, with light-hearted casualness, but it was a game with the highest of stakes.

• From City of Night (1963)

  She is really a boy-elephant But he has such A Special Appeal—such Graceful Talents—as Im sure youll agree—” (Applause! —and the elephant is persuaded by the trainer to bow his great head in thanks.) “—that we think it would be a shame to waste them. And so, Folks, a Great Big Hand for Miss Pinky—the graceful boy-elephant!”... I see Dave stare solemnly at the elephant being led off the small arena, the flowered hat perched crookedly over one ear.... “It’s sad—that great big male elephant painted pink—and that hat on his head,” Dave said. Suddenly Im frighteningly moved by this youngman beside me. I feel that impotent helplessness that comes when, through some perhaps casual remark, I see a person nakedly, sadly, pitifully revealed—as I see Dave now. We were both silent as we drove to his apartment. Along the hall of that building, a door is open. Two youngmen had moved in—and the mother of one, Dave had told me earlier, had come to visit them, staying there with them, aware that her son and the other youngman were lovers. Through the open door as we passed it, I heard the voice of one, whining peevishly: “Mommee! listen to what Duane is saying to me!”... I cringed visibly. Dave noticed this. “They fight all the time,” he told me. “Duane thinks Rick is making it with other guys—and Rick’s mother always takes Rick’s side.” Inside the apartment, Dave said unexpectedly: “It sure is great to be with you!” He put his hand fondly on my shoulder, letting it rest there—the first time he had touched me even this intimately since that first night For a long moment, I didnt move, feeling his hand increasingly heavier.... I ierked away from him. The words erupted out of me: “Maybe so—but it’s all stopping!” Even when I saw the look of amazement on his face, even when I wanted to stop, even when I felt that compassion, tenderness, closeness to this youngman—even then, I knew, as much for me as for him, that I had to go on; that although, inside, I was cringing at my own words, in hammerblows I have to destroy this friendship. “I mean—well—Ive spent too much time with you—thats all.” And crazily through it all, I keep thinking about the pink elephant at the park — the ridiculous flowered hat! — the sad eyes!... And the echoing, petulant, girlish “Mommee!” that had emerged from the half-open door along the hallway.... “Im sorry, Dave,” I said at the door, which I was opening now, to clinch the Escape, to get myself away from him. “Im sorry,” I repeated, “but this scene is nowhere!” Outside in the hall, I close the door behind me. I pause for a moment, not knowing why. Then I walked out of the building quickly. Im back in Santa Monica, alone, facing the wind-tossed ocean. SOMEONE: People Dont Have Wings I HAD SEEN HIM ON THE BEACH several times before. He never wore trunks.

• From Educated (2018)

  — I WASN’T THE ONLY ONE whose feet were searching for solid ground. For six months after the car accident, Mother had improved steadily and we’d thought she would fully recover. The headaches had become less frequent, so that she was shutting herself in the basement only two or three days a week. Then the healing had slowed. Now it had been nine months. The headaches persisted, and Mother’s memory was erratic. At least twice a week she’d ask me to cook breakfast long after everyone had eaten and the dishes had been cleared. She’d tell me to weigh a pound of yarrow for a client, and I’d remind her that we’d delivered the yarrow the day before. She’d begin mixing a tincture, then a minute later couldn’t remember which ingredients she’d added, so that the whole batch had to be tossed. Sometimes she would ask me to stand next to her and watch, so I could say, “You already added the lobelia. Next is the blue vervain.” Mother began to doubt whether she would ever midwife again, and while she was saddened by this, Dad was devastated. His face sagged every time Mother turned a woman away. “What if I have a migraine when she goes into labor?” she told him. “What if I can’t remember what herbs I’ve given her, or the baby’s heart rate?” In the end it wasn’t Dad who convinced Mother to midwife again. She convinced herself, perhaps because it was a part of herself she couldn’t surrender without some kind of struggle. That winter, she midwifed two babies that I remember. After the first she came home sickly and pale, as if bringing that life into the world had taken a measure of her own. She was shut in the basement when the second call came. She drove to the birth in dark glasses, trying to peer through the waves distorting her vision. By the time she arrived the headache was blinding, pulsing, driving out all thought. She locked herself in a back room and her assistant delivered the baby. After that, Mother was no longer the Midwife. On the next birth, she used the bulk of her fee to hire a second midwife, to supervise her. Everyone was supervising her now, it seemed. She had been an expert, an uncontested power; now she had to ask her ten-year-old daughter whether she’d eaten lunch. That winter was long and dark, and I wondered if sometimes Mother was staying in bed even when she didn’t have a migraine. At Christmas, someone gave her an expensive bottle of blended

• From H Is for Hawk (2014)

  Now I could think of my father . I began to consider how he had coped with difficulty. Putting a lens between himself and the world was a defence against more than physical danger: it shielded him from other things he had to photograph: awful things, tragic things; accidents, train crashes, the aftermath of city bombs. He’d worried that this survival strategy had become a habit. ‘I see the world through a lens,’ he said once, a little sadly, as if the camera were always there, stopping him getting involved, something between him and the life that other people had. The chaffinch was calling again. How you learn what you are . Had I learned to be a watcher from my father? Was it a kind of childhood mimicking of his professional strategy for dealing with difficulty? I kicked the thought around for a while, and then I kicked it away. No , I thought. No . It was more I can’t think that than It’s not true . All those thousands upon thousands of photographs my father had taken. Think of them instead. Each one a record, a testament, a bulwark against forgetting, against nothingness, against death. Look, this happened . A thing happened, and now it will never unhappen. Here it is, in the photograph: a baby putting its tiny hand in the wrinkled palm of an octogenarian. A fox running across a woodland path and a man raising a gun to shoot it. A car wreck. A plane crash. A comet smeared across the morning sky. A prime minister wiping his brow. The Beatles, sitting at a café table on the Champs-Elysées on a cold January day in 1964, John Lennon’s pale face under the brim of his fisherman’s cap. All these things had happened, and my father had committed them to a memory that wasn’t just his own, but the world’s. My father’s life wasn’t about disappearance. His was a life that worked against it. He’d come home from work strangely disheartened one winter evening. We asked him what was wrong. ‘Did you see the sky today?’ he said. He’d been walking through a London park on his way back from a press-call. It was deserted but for a small boy playing by a frozen boating lake. ‘I said, “Look up, look at that. Remember you saw that. You’ll never see it again . ”’ Above them both was a vast tracery of ice-rings and sun-dogs in a wintry, hazy sky. A 22° halo, a circumzenithal arc and an upper tangent arc, the sun’s light refracting and cutting the heavens into a complicated geometry of ice and air and fire. But the boy didn’t seem interested at all. Dad was baffled. ‘Maybe he thought you were one of those strange men,’ we sniggered, rolling our eyes, and he looked embarrassed and faintly cross.