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 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 City of Night (1963)

  But I noticed immediately the telltale brand about his eyes: the eyes of someone who has seen much too much. Suddenly this youngman with the massive arms no longer looked so young. And I remembered Skipper.... He placed his hands quickly on Sylvia’s shoulders. “Jocko!” she greeted him warmly. “Back as usual,” he said. “This is one of the ones I was telling you about—who come back every year,” Sylvia told me. “Youre later than usual,” she said to him. “How was Miami?” “I didnt stay there long. I had to split,” he said. “I been in St Louis.” Sylvia frowned. Again I get the impression that she doesnt want to know too much. “Well, welcome back—again,” she said, looking at him tenderly, almost sadly. “Always back,” he said, moving away. Staring after Jocko, Sylvia said: “That guy’s made it on his muscles long after most of them would be through. He was an acrobat—once. Like everything else, the circus folded. Now he comes here each year to join another kind of circus.... He was the best hustler in New Orleans,” she said, almost proudly, “and he had iron rules he stuck by—thats why everyone liked him: never clipped anyone, treated everyone straight.... Now—well—maybe it’s changed.” Abruptly, as if to stop the wondering about why Jocko had to leave Miami, she said: “After Mardi Gras, this city clamps up. It dies, as if it’s seen too much during the Carnival, and then you can almost feel Lent in the air. You breathe it. It takes over the city. New Orleans goes into mourning. Thats when the plainclothesmen haunt the bars again for vagrants,” she warned. “And thats when Jocko leaves—at midnight. The next Mardi Gras, hes back.... And yet, each year since Ive been here, I wonder if that will be the last one—if he’ll never show up again....” As if now on an invisible trapeze, I thought suddenly. “In a few years he’ll be old,” Sylvia said, “and hes the kind that should stay Young. No brains. Just goodlooks—and an instinctive understanding of so many things. I guess no one can blame him for anything,” she said, as if to herself. “Something—something tossed him out!” she said fiercely. An intense silence. Then: “Maybe it would have been better for him if he’d fallen off the damn trapeze,” she said brutally. I looked at her, at the harsh, saddened face, and I realized how violently, at that moment, she hated the world of this bar she owned.

• 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)

  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 H Is for Hawk (2014)

  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. But he was so very sad about the boy who didn’t see. Now that Dad was gone I was starting to see how mortality was bound up in things like that cold, arc-lit sky. How the world is full of signs and wonders that come, and go, and if you are lucky you might see them. Once, twice. Perhaps never again. The albums on my mother’s shelves are full of family photographs. But also other things. A starling with a crooked beak. A day of hoarfrost and smoke. A cherry tree thick with blossom. Thunderclouds, lightning strikes, comets and eclipses: celestial events terrifying in their blind distances but reassuring you, too, that the world is for ever, though you are only a blink in its course. Henri Cartier-Bresson called the taking of a good photograph a decisive moment. ‘Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera,’ he said. ‘The Moment! Once you miss it, it is gone for ever.’ I thought of one of these moments as I sat there waiting for the hawk to eat from my hand. It was a black-and-white photograph my father had taken many years ago of an elderly street-cleaner with a white goatee beard, wrinkled socks and down-at-heel shoes. Crumpled work trousers, work gloves, a woollen beret. The camera is low, on the pavement: Dad must have crouched in the road to take it. The man is bending down, his besom of birch twigs propped against his side. He has taken off one of his gloves, and between the thumb and first finger of his bare right hand he is offering a crumb of bread to a sparrow on the kerbstone. The sparrow is caught midhop exactly at the moment it takes the crumb from his fingers. And the expression on the man’s face is suffused with joy. He is wearing the face of an angel.

• From H Is for Hawk (2014)

  It was simply love. I tucked the card back into the bookshelf. ‘Love you too, Dad,’ I whispered. 29 Enter spring Mandy opens her door, takes one look at my face, and mirrors it with a horrified expression of her own. ‘What’s happened, Helen?’ ‘Mabel!’ I say weakly. ‘Did you lose her?’ ‘No!’ shaking my head. ‘She’s in the car.’ And then three requests: ‘Mandy, can you help? I cut my thumb. Can I use your phone? I need a cigarette.’ Bless her for ever. I collapse into a kitchen chair. My knees hurt. Brambles? I have no idea. My thumb is still bleeding. Mandy hands me iodine wash, fixes the tear with steri-strips and bandages, makes me a coffee, pushes a packet of tobacco and cigarette papers across the table. Then she waits while I call the College where I should, right now, be teaching, and stammer out apologies. Then I tell my sorry story. 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.

• From H Is for Hawk (2014)

  Last night the frustration had reached such a pitch that he’d prevented Gos from regaining the fist after a bate – worse, gloried in the hawk hanging there, revolving slowly on his jesses. It was a terrible sin. He is full of shame. And worry. Gos’s mutes are green. Does that mean his hawk is sick? Maybe that is why he did not want the rabbit. What should he do? Starvation , he thinks. That will cure the stomach upset, if it is one. Perhaps he shall give the hawk some egg tomorrow? But the most important thing of all is this: he shall eat when he jumps for it, not before . White’s plan would have worked, had he stuck to it. But he did not. By dawn Gos had been given the greater part of a rabbit to eat, and he had not jumped to the fist. Another resolution was broken. They all were. Even White’s plan to keep the hawk awake for three days and nights had failed: he’d felt so sorry for Gos he kept returning him to his perch for short bouts of sleep. Freed from White’s presence, Gos remembered how much better life was when not tied to a human who kept stroking it and talking to it and bothering it with slippery rabbit livers, and singing and whistling and moving glasses of liquid up and down. When he came to pick it up again the hawk was always as wild as ever. Poor Gos. Poor, ragged, fearful, broken-feathered Gos. I thought of him often as I sat with my hawk. I saw him in black and white and a long way off, as if viewed through the wrong end of a telescope: a miniature, miserable hawk bating and twittering in distress on the grey lawns of a distant house. Gos was very real to me. But White was not. It was hard to imagine him with his hawk. Sitting with my own it was hard to imagine him at all. I looked at photographs, but they were all of different people: one was a pale-eyed man with a Shakespearian beard who’d written books under the pen-name James Aston, and another a thin young man with nervous eyes and a spare , haunted face who was Mr White the schoolmaster . There were photographs of White the countryman in an open-necked shirt and a tweed jacket, looking louche and amused. And photographs of White much later in his life: a corpulent, white-bearded English Hemingway, a woolly-sweatered Falstaff. I couldn’t reconcile these faces.

• From H Is for Hawk (2014)

  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. But he was so very sad about the boy who didn’t see. Now that Dad was gone I was starting to see how mortality was bound up in things like that cold, arc-lit sky. How the world is full of signs and wonders that come, and go, and if you are lucky you might see them. Once, twice. Perhaps never again. The albums on my mother’s shelves are full of family photographs. But also other things. A starling with a crooked beak. A day of hoarfrost and smoke. A cherry tree thick with blossom. Thunderclouds, lightning strikes, comets and eclipses: celestial events terrifying in their blind distances but reassuring you, too, that the world is for ever, though you are only a blink in its course. Henri Cartier-Bresson called the taking of a good photograph a decisive moment. ‘Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera,’ he said. ‘The Moment! Once you miss it, it is gone for ever.’

• 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 Educated (2018)

  “The hospital called,” she said. “Grandma’s gone.” —MY FATHER LOST HIS appetite for the business. He started getting out of bed later and later, and when he did, it seemed it was only to insult or accuse. He shouted at Shawn about the junkyard and lectured Mother about her management of the employees. He snapped at Audrey when she tried to make him lunch, and barked at me for typing too loudly. It was as if he wanted to fight, to punish himself for the old woman’s death. Or perhaps the punishment was for her life, for the conflict that had been between them, which had only ended now she was dead. The house slowly filled again. The phones were reconnected, and women materialized to answer them. Dad’s desk remained empty. He spent his days in bed, gazing up at the stucco ceiling. I brought him supper, as I had as a child, and wondered now, as I’d wondered then, whether he knew I was there. Mother moved about the house with the vitality of ten people, mixing tinctures and essential oils, directing her employees between making funeral arrangements and cooking for every cousin and aunt who dropped in unannounced to reminisce about Grandma. As often as not I’d find her in an apron, hovering over a roast with a phone in each hand, one a client, the other an uncle or friend calling to offer condolences. Through all this my father remained in bed. Dad spoke at the funeral. His speech was a twenty-minute sermon on God’s promises to Abraham. He mentioned my grandmother twice. To strangers it must have seemed he was hardly affected by the loss of his mother, but we knew better, we who could see the devastation. When we arrived home from the service, Dad was incensed that lunch wasn’t ready. Mother scrambled to serve the stew she’d left to slow-cook, but after the meal Dad seemed equally frustrated by the dishes, which Mother hurriedly cleaned, and then by his grandchildren, who played noisily while Mother dashed about trying to hush them. That evening, when the house was empty and quiet, I listened from the living room as my parents argued in the kitchen. “The least you could do,” Mother said, “is fill out these thank-you cards. It was your mother, after all.” “That’s wifely work,” Dad said. “I’ve never heard of a man writing cards.” He had said the exact wrong thing. For ten years, Mother had been the primary breadwinner, while continuing to cook meals, clean the house, do the laundry, and I had never once heard her express anything like resentment. Until now. “Then you should do the husband’s work, ” she said, her voice raised. Soon they were both shouting. Dad tried to corral her, to subdue her with a show of anger, the way he always had, but this only made her more stubborn. Eventually she tossed the cards on the table and said, “Fill them out or don’t.

• From H Is for Hawk (2014)

  One world versus another , like a gannet diving into the sea for fish. I am glad she did not catch the hare. There is the tree Mabel dived from to cosh me on the head. There’s the invisible line in the air along which for the very first time she followed a cock pheasant to cover. There’s the hedge where she clung, tail fanned wide, wings pressed against twigs, looking for a pigeon already gone. There is the bramble bush that tripped me and pitched me into a flooded ditch. The hawk and I have a shared history of these fields. There are ghosts here, but they are not long-dead falconers. They are ghosts of things that happened . It’s a child’s world, full of separate places. Give me a paper and pencil now and ask me to draw a map of the fields I roamed about when I was small, and I cannot do it. But change the question, and ask me to list what was there and I can fill pages. The wood ants’ nest. The newt pond. The oak covered in marble galls. The birches by the motorway fence with fly agarics at their feet. These things were the waypoints of my world. And other places became magic through happenstance. When I found a huge red underwing moth behind the electricity junction box at the end of my road, that box became a magic place. I needed to check behind it every time I walked past, though nothing was ever there. I’d run to check the place where once I’d caught a grass snake, look up at the tree that one afternoon had held a roosting owl. These places had a magical importance, a pull on me that other places did not, however devoid of life they were in all the visits since. And now I’m giving Mabel her head, and letting her fly where she wants, I’ve discovered something rather wonderful. She is building a landscape of magical places too. She makes detours to check particular spots in case the rabbit or the pheasant that was there last week might be there again. It is wild superstition, it is an instinctive heuristic of the hunting mind, and it works. She is learning a particular way of navigating the world, and her map is coincident with mine. Memory and love and magic. What happened over the years of my expeditions as a child was a slow transformation of my landscape over time into what naturalists call a local patch, glowing with memory and meaning. Mabel is doing the same. She is making the hill her own. Mine. Ours. 3 Small worlds I was twelve years old when I first saw a trained goshawk. Please, please, PLEASE! I’d begged my parents.

• 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)

  Remembering. I put my hand out, drag the tips of my fingers down her teardrop-splashed front. The new feathers she will grow will be barred stone-grey and white. The tones of earth and ochre will disappear. Her eyes, when I see her next, will be the deep orange of glowing coals. Everything changes. Everything moves. I lift my hand, cast her towards the nearest perch. She flies, lands, shakes her tail, sees a branch above her and leaps upon it. She’s facing away from me. ‘I’ll miss you,’ I say. No answer can come, and there is nothing to explain. I turn and walk out of the door, leaving the hawk behind. Tony is waiting outside, his eyes crinkled into a smile. ‘Come inside the house,’ he says. He knows what I am feeling. And in I go, where the dogs lie flat on the kitchen floor, tails wagging, and the kettle is whistling, and the house is very warm. Postscript I needed to find out more about White to write this book. So I spent a week in the Harry Ransom Center, the Texas archive where T. H. White’s papers and journals are kept. Reading about muddy English winters while sitting in an air-conditioned library was a very strange experience; outside, vultures soared on tilted wings through ninety-degree heat and grackles hopped on the burning sidewalks. I turned pages, sifted through manuscripts, read through the books he had owned, returned home with stacks of notes and thoughts. But they did not seem enough. There was something else to be done. So one hot July day I drove across England to Stowe. It’s still a school, but its grounds are open to the public. I parked my car in the National Trust car park, paid my entrance fee, clutched a map, and walked up the long lane to the gate. ‘Turn left for the best views,’ the man at the sentry box said. I turned right out of sheer contrariness and set off on my quest, the vast Palladian palace bright on the horizon, everything under metallic sunlight that made the lime-leaves black and the lakewater a deep, painful blue. Water lilies glowed on it in thick constellations. Ink-black shadows underpinned the parkland trees. Swifts pushed through air so thick they hardly beat their wings against the breeze. These were the grounds of the school where White had taught, landscape gardens that had drawn tourists for hundreds of years. After an hour of walking past temples with fluted columns and painted doors, cupolas, obelisks, porticoes and follies, I started to freak out. Nothing made any sense. Greek Temples, Roman Temples, Saxon gods on runic plinths starred with orange lichen. A vast Gothic Temple in rouged ironstone. Palladian bridges, tufa grottoes and Doric arches.

• From Educated (2018)

  Dad didn’t leave his bed for two months unless one of my brothers was carrying him. He peed in a bottle, and the enemas continued. Even after it became clear that he would live, we had no idea what kind of life it would be. All we could do was wait, and soon it felt as though everything we did was just another form of waiting—waiting to feed him, waiting to change his bandages. Waiting to see how much of our father would grow back. It was difficult to imagine a man like Dad—proud, strong, physical— permanently impaired. I wondered how he would adjust if Mother were forever cutting his food for him; if he could live a happy life if he wasn’t able to grasp a hammer. So much had been lost. But mixed in with the sadness, I also felt hope. Dad had always been a hard man—a man who knew the truth on every subject and wasn’t interested in what anybody else had to say. We listened to him, never the other way around: when he was not speaking, he required silence. The explosion transformed him from lecturer to observer. Speaking was difficult for him, because of the constant pain but also because his throat was burned. So he watched, he listened. He lay, hour after hour, day after day, his eyes alert, his mouth shut.

• From H Is for Hawk (2014)

  I tie the swivel to the creance and lower her to the ground – she jumps to the grass crab-wise and looks up at me, hunched and baleful – then I put a scrap of food on my glove, raise it high in the air, and she flies vertically up to eat it. Then we do it again. And again. High-jumping like this is an old falconer’s way of manning and muscling-up a hawk in relatively enclosed spaces; it’s good exercise for the hawk and fun to do. It is also hard to do: Mabel is frighteningly fast. It is far from my walks with the hawk along twilit streets. There is something of the street performance about it, and it brings in the crowds. They stand, tonight, in a loose semi-circle twenty feet away. A mother crouches by her child, pointing at the hawk. ‘Isn’t it regal?’ she breathes. Mabel is far from regal; she’s gulping down bits of day-old chick with strange choking squeals. Next to the mother and child is a bus driver on his way to the depot, two hooded teenagers, and a girl taking pictures on her mobile phone. But they don’t bother me, because I’m concentrating on this. Grass, glove. Grass, glove. Grass, glove, grass . The rhythm becomes a heartbeat. The crowds recede. Then I come down with a fever . The sickness defeats all purpose, all purchase on the hawk. I feed her on the sofa, put her back on her perch and watch her drift into the place where goshawks go when they’ve eaten. It is very far away. I wave my hand in front of her face. She appears not to see it at all. Her eyes seem as remote from thought or emotion as a metal dish or a patch of sky. What is she thinking? What is she seeing? I wonder . I shut my eyes and guess. Blood, I am sure. Smoke, branches, wet feathers. Snow. Pine needles. More blood. I shiver . And the days pass and the fever continues. The rain continues. It dampens the house. Wide parchment stains bleed across the wall in the hall and front room. The house smells of stagnant water in the coal-cellar , hawk mutes, and dust. Nothing is moving, nothing improving, nothing heading anywhere. I am packing up boxes to leave, still not knowing where I’d live when the house was gone. In a fit of bitter misery I make a fort out of an old cardboard wardrobe box in the spare room upstairs and crawl inside. It is dark. No one can see me. No one knows where I am. It is safe here . I curl up in the box to hide. Even in my state of sickness I know this is more than a little strange.