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- Herausgeber: Myriad Editions
- Kategorie: Krimi
- Sprache: Englisch
- Veröffentlichungsjahr: 2020
'This tense thriller is set in Eastern Europe but more particularly in the landscape of the human heart, exploring its darkness and depravity as well as its capacity for love. The excitement builds until it reaches a climax of almost mythic ferocity and power.' —Richard Francis'Keevil's writing is unmissable…quite simply a brilliant writer.' —Viv GroskopAll it takes to change your life is a single moment…A random stabbing on a London bus leaves a young woman widowed and detached from her previous world.Stripped of a future that should have been hers, she impulsively books a trip to Prague – the city where she and her husband got engaged. But in the midst of a bleak winter, isolated and numb, she can do little more than wander the cobbled streets – until she receives an intriguing proposition. There's a job for someone just like her. All she needs to do is pick something up, and drive back. Just once. Only ever once.Stylish and daring, this high-stakes thriller explores what happens when a curve ball skews life out of all recognition.
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1
Advance Praise forYour Still Beating Heart
‘Equally compelling and unsettling, this razor-sharp thriller reminds us that, for life to be truly lived, we must know death. In loss we confront our true nature, though we might not recognise the person we discover. In his customary electric prose, Keevil cranks up the tension. You won’t be able to look away.’
– Katherine Stansfield
‘Keevil writes with startling clarity. In Your Still Beating Heart, he offers his reader a tightly plotted page turner, and, in his enviably precise style, reminds us just how precarious these lives of ours are and just how much we should value them. An exciting, intriguing, moving read.’
– Rebecca F. John
‘Tyler Keevil has a phenomenal ability as a novelist to bring together a compelling cast of loners and eccentrics. While this is on the face of it a pacy thriller, Keevil has fashioned out of the genre a story about stories and storytelling which is both memorable and heart-rending.’
– Francesca Rhydderch
‘This tense thriller is set in Eastern Europe but more particularly in the landscape of the human heart, exploring its darkness and depravity as well as its capacity for love. The excitement builds until it reaches a climax of almost mythic ferocity and power.’
– Richard Francis2
Praise for Tyler Keevil
‘I was blown away. Beautiful writing…stunning.’
– Miriam Toews
‘Keevil’s writing is unmissable… quite simply a brilliant writer.’
– Viv Groskop
‘A great, gripping story, ferociously well-written, with characters that live and breathe.’
– Stef Penney
‘Keevil’s raucous second novel… you’re happy to have joined [Trevor] for the ride.’
– Financial Times
‘Follows in the dust trails of the great American road trip… the humour and vim with which each scene is set up helps illuminate this half-innocent, half-demented take on the world.’
– Litro
‘This is a road trip book to remember. Not only is this as fast paced as Trevor’s own journey, but it’s laugh-out-loud funny.’
– Turnaround
‘Keevil is such an accomplished and confident stylist – inventive, engaging, casually hilarious – he never loses the reader for a second… [The Drive] is quite a trip.’
– New Welsh Review
‘Fresh, entertaining and deep all at the same time… everything works like clockwork under Keevil’s pen, and his attention to detail is unbelievable. In short, this book was phenomenal.’
– TripFiction
‘Equal parts Hunter S. Thompson and Homer… [Trevors’] journey into the American West is hilarious, his journey into himself revelatory, and you’ll be glad to have gone along with him for the ride.’
– Nye Wright for Waterstones
3‘If you’re up for a coming-of-age-finding-yourself tale with a heavy dose of booze, weed, endless stretches of road and a smidge of magic, give The Drive a read… better than Fear and Loathing in Las Vegas.’
– The London Diaries
‘The Drive is an impressive novel. The writing is perfectly judged… like Trevor, my horizons have been well and truly expanded.’
– Overloaded Bookshelf
‘Perfectly paced and often hilarious…Keevil’s prose is blisteringly honest and, despite the novel’s length, spare… short chapters, snappy dialogue and pure and simple crazy situations keep you firmly gripped to the back seat.’
– We Love This Book
‘A road novel like no other I’ve read. Trevor’s journey into the American north-west and his own wounded ego is magical, hilarious, dark and crazy.’
– Matthew Francis
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6
For you
Contents
part one
an ending
So, this is how your husband dies: not forty years from now, coughing, wilting, consumed from within by cancer, holding your hand, looking into your eyes, the irises reflecting a lifetime of companionship. Not twenty years from now, after the kids that you haven’t yet had grow up and leave home and no longer need him, and you don’t either – at least, not as much. Not ten years from now, around the time you expect him to have a mid-life crisis and buy a Ford convertible, start flirting ineptly and inappropriately with the staff in coffee shops.
No – your husband doesn’t die in any of those ways, but now, tonight, on a slow, cold, rainy Thursday at the end of November, when he’s twenty-nine years old.
He dies in London, a city he never liked, and very far from home.
He dies on a bus, of all places, at ten-thirty-four p.m.
He dies because he loves you. He dies because he’s brave, or maybe insecure – sometimes it’s hard to tell. He dies because he doesn’t want to see you hurt, or scared. He dies because he’s stupid. He dies because he doesn’t think. He dies because he believes it’s his job to protect you. He dies because maybe you believe this too, and expect it of him. 4
You don’t know why he dies.
You know the how, but not the why.
This is the how: after a film, at the cinema. Tod didn’t particularly want to go (he’d spent the afternoon teaching Tolstoy to hungover first years), but he could tell you did, and so he had a cup of coffee and you caught the tube down to Trafalgar Square. A thirty-one-minute trip. The film turns out to be a British kitchen-sink drama, as dreary as the weather. Tod’s going to be polite about it, but you can feel his scepticism, his resistance to it: the shifting in his seat, the moving of his elbow on and off the armrest.
Then the rolling of credits, the filtering of audience members towards the exit, all of them glum, listless, their faces drawn and grey from the glare of the projector, like extras in the film that’s just ended. Outside, there’s construction at the entrance to the Tube. But a bus is coming, looming large, streaked with rain and grime: should we take the bus? His idea. You trot together across the street, the headlights of passing cars carving funnels through the rain. A big puddle by the curb. He jumps over first, stops to extend his hand to you, which you take, not because you need it but out of the same courtesy that made him offer.
Inside the bus, the heat is up, the windows are steamed, the aisle is slick with rain dripping off passengers’ coats and boots. You can’t see the city beyond the glass, just a rapid blur of darkness and light. Something about running in the rain, the cold, the impulsive movement, has loosened you both up. The gloom of the cinema has fallen away like a cloak. The two of you talk about the movie like you might have when you first met, rather than simply viewing it together and digesting it separately, agreeing to disagree. Instead, the chat is animated, with you stubbornly defending the film, and him trying to convince you what was wrong with it, with the whole genre – the lack of structure, the dismal stoicism, the working-class stereotypes. If he’s talking too loudly, you don’t notice. If he’s coming across as ‘American’ – loud, brash, knowing, confident – it’s almost a relief, a release. This is what he is, or once was. Your 5American husband with his American name. Tod. Before living in Britain made him small.
You’ll remember thinking: Tod looks good. He looks happy.
And then, the shouting: ‘Shut up, shut up!’
There’s a man at the front end of the bus. It’s unclear who he’s talking to, if anybody. But he’s up now, out of his seat. A pale, wired, skin-headed man. Dressed in a hoody, torn jeans.
‘Shut the hell up,’ he says again. He’s glaring around, skittishly.
Other passengers look down, away, in that instinctive manner. Avoiding eye contact. But you don’t. Later, you’ll wonder why. The man spots you, fixates on you, begins to advance, coming down the aisle, repeating it like a mantra: shut up, shut the hell up, shut up. Then you do look away, at the window next to you, but it’s too late: you can still see him reflected in the foggy glass, his features distorted, his face strange and twisted.
And then he is there, by you, over you. Shouting down at you. ‘Shut the hell up, you stupid bitch.’ And you feel flecks of his spit on your hair, your scalp. Like he’s frothing at the mouth, rabid.
And that’s when Tod, your husband, stands up. He’s smiling, in that uncomfortable way he does when he’s nervous. He’s nervous. He holds up his hands, palms out, like you would to placate a wild dog. ‘All right, man,’ he says, ‘take it easy, okay?’
The man takes a step back, surprised (he hadn’t connected the two of you) and for a moment seems confused, dazed. Then his eyes refocus. On Tod.
‘What the hell are you going to do, mate?’ he says. ‘I’ll mess you up.’
Tod laughs, shakes his head. ‘Buddy, we don’t want any trouble.’
The man has his hands in the pouch of his hoody. You notice this. You don’t think Tod has noticed. You want to tell him, ‘Don’t, Tod. Don’t.’ You want to tell him to let it go, sit down. But you’re afraid to say anything. You’re afraid to move, to breathe. Frozen fear. Later, you will detest this reaction. You’ll wonder 6about all the things you could have said, or done, to divert the outcome to anything else.
‘Just leave her alone,’ Tod is saying. ‘Just back off, okay?’
The man looks from him to you, as if he can visibly see the relationship between you, the bond. It seems to anger him. He spits in your direction, deliberately this time – a gob that hits your cheek. Hot, wet, rank. And Tod reaches for him, grabs him, and they are both shouting at each other, and other people are moving, getting out of the way. There is no space to fight, in the aisle of a bus. It is awkward and clumsy and almost juvenile. Tod is much bigger than the man and overpowers him. The air is hot, snapping with a kind of violent energy. You never thought of Tod as strong, physically strong, until then. Not in that way. He pins the man with a forearm and punches down at him, into his face. Tod is not swearing but focused and intent, furious.
Tod sits back abruptly, as if he has decided the fight is finished. He has won. The man slithers out from under him, begins to crawl away, getting to his feet, staggering. Down the aisle, down the stairs. A banging noise, as he smashes at the doors. He either forces them open or the bus driver prudently opens them for him, setting the man loose.
All those faces in the aisle, peering towards you and Tod. Tod is still sitting there. He is looking down. That’s when you see the handle. You don’t even know it’s a knife, at first. It is just this handle, black, gleaming, protruding from his chest. He is cupping his hands around it, as if afraid to touch it, as if afraid touching it will make it real, will make happen what has already happened.
There is blood now, soaking through his T-shirt. So dark, staining the white cotton like blotting paper. His T-shirt has the image of a Mustang on it, and the word Medusa. A movie car. You’ve always liked it, liked him in it. A macho car, but a strong woman – the creature who can turn people to stone. Tod now looks as if he’s turning to stone, solidifying. You’re kneeling by him, saying his name, pressing your palm to the bloody T-shirt. You don’t pull out the knife. You know you’re not supposed to do that. You shout for help. You tell somebody to get out 7their fucking phone. Actually, several people already have their phones out – filming your panic. Others are yelling, having seen the blood. Maybe one of them calls for help. One of them must.
A woman kneels down opposite, but doesn’t know what to do either. Tod is looking at you, helplessly. All the breath knocked out of his lungs, punctured, emptying. A slow burble of pink froth at his lips. No last words. No ‘I love you’. No apologies. No regrets. No movie moments. But at the end – seemingly aware – he takes hold of your hand, both of you slippery with blood now, and grips it fiercely. So hot. The heat of his life pumping between you, squeezed between your palms. And then the slow stopping, the relaxation, the glazing of the eyes.
By the time you let go, by the time they make you let go, his fingers have gone cold. Just a matter of minutes. You are guided off the bus, into the rain. A blanket, draped over your shoulders. Your hand is still ripe with his blood. You are still cupping your palm as if it is holding his. You can still feel it tingling with the pressure of his grip. You are not crying. People are around you, holding up more camera phones, taking pictures, recording. Some clips will be played on the news, others will creep on to YouTube. You can go back to this moment at any time, forever. The sound of rain, the smell of the dirty city: smoke diesel rain sweat hate fear. These things will always remind you of this night, here, when the man you loved was stabbed in the heart and died and went still and cold and some part of you went cold too, like a bit of that blade had stabbed through him into you. A shard of ice, a fleck of death. It will prove vital for all that lies ahead of you.
newton’s cradle
After. After you opted for a cremation, not a coffin; after you chose the silver and black urn to hold the ashes, which in turn got tucked into a wall niche behind a plaque, among dozens of other plaques, with names and dates on them; after the funeral ceremony, held in a clean, newly carpeted room that smelled like lemon air freshener and looked like a conference centre; after you listened to the amusing anecdotes told by colleagues, friends, family from America; after you hugged and held each of them and accepted, alternately, their condolences or their compliments on how well you seemed to be ‘holding up’; after the trial, which was swift, efficient, an ‘open-and-shut’ case, so obvious to everybody from the start that he was guilty – the whole thing was on CCTV – just a drugged-up junkie, paranoid, probably schizophrenic, downright dangerous, stabbing a young man, a caring husband, a promising scholar, in a frenzied attack; after the interest faded and the articles dwindled to a trickle, the media eye roaming elsewhere; after the Christmas holidays arrived and you visited your mother and received things wrapped in shiny paper and cards scribbled with season’s greetings; after clocks struck midnight and a digit changed and one year became another; after all of that you return to work, as if nothing has happened, as if now your life will carry 9on in the same way as it did before, only without him, without your husband, without Tod.
Death and loss and grief does not exempt you from banality.
You work in a law firm, as a legal secretary. Not a lifelong dream but what you ended up doing, temporarily, when Tod got the postdoc position and the two of you moved to London from Wales, your home, where you’d met at university (Tod studying literature, you studying theatre). The job agency asked you to fill in a basic questionnaire and because you could type – fast and accurate – and because somebody, somewhere, was on maternity leave, you took up a temporary post at Bradley & Bradley, a mid-sized firm of twenty or so lawyers, based in Hackney, and the temp work kept getting extended, seemed to go on indefinitely, until eventually – two years in – you had a permanent job.
The lawyer you work for is middle-aged, wears plain blue suits, gives you holiday bonuses, is primarily an inheritance and estate solicitor, has never said or done anything inappropriate. You sit at your desk and greet clients, arrange appointments and meetings, type up memos, photocopy legal documents, scan birth certificates, marriage certificates, death certificates, amend wills and annulments, arrange and organise his files, having grown to like the work, the sense of order. It has always given you an impression of control, of there being some master plan. This whole business of birth and life and marriage and death and inheritance. There are laws pertaining to all of it, answers for every question, and your boss knows them, or, if not, he can look them up. Of course, Tod’s death has changed all that.
Not long after your return – only three or four days, maybe – you are called into your boss’s office. It is as big as yours and Tod’s living room (you still think in this way, in terms of you and Tod, Tod and you) and seven storeys up, with a view of the Thames, the Shard, London. A mahogany desk, long and oblong, like a billiard table. On the desk, pictures of your boss’s wife and kids. Studio portraits, in black and white. The kids all grown up now. Attending university, well-adjusted, diligent, destined for modest levels of success. 10
On the left side of the desk, one of those sets of steel spheres suspended from wires – a Newton’s cradle – making clicking sounds as the spheres swing from one end, then the other. Counting time. Click. Click. Click.
Behind the desk, your boss smiles kindly, sympathetically. He has a mole in the centre of his forehead, and receding, thinning hair that he keeps short, dyes blonde to hide it. He asks you how you’re doing, how you’re ‘getting on’. This is a phrase people use, have been using with you, lately. He says he knows how difficult it must be for you.
While he talks, he twirls a pen between his thumb and forefinger, the motion constant, endless, dizzying.
You look away, out the window. See an aeroplane scudding across the sky, which is grey as slate, a monotone colour, no definition at all. The plane scraping a chalk mark of jet stream. When you turn back your boss is talking about receiving complaints. Appointments that have been scheduled incorrectly, clients who have shown up at the wrong time, or have been given misinformation. You know this is true, don’t bother to explain, deny, or justify it. Only nod, affirming.
‘Do you need more time?’ he asks you.
When you don’t answer, he hurries on, explaining that he’s happy to give you as much time as you need. The phrase strikes you as absurd, ridiculous. How can you give somebody time? As if time is an object, a little package, or parcel. You imagine a black-and-white cartoon like the ones they run in newspapers: one character handing a bag to another, labelled ‘time’. Here, have some more of this. Your boss is in earnest though, means well. You have used up your bereavement leave, and all your holidays for the year. But he would be happy to give you unpaid leave, save your position for you.
‘Until you’re ready to come back,’ he says, and smiles again.
The spheres in the Newton’s cradle continue to bash uselessly against each other. Your boss checks his watch, discreetly. Just a twist of the wrist, a flick of the eyes. Well-practiced. It is nine-forty-five, and he has an appointment at ten. One of the meetings 11you haven’t got wrong or mixed up through carelessness. You know that’s the real problem: carelessness. Lack of care. It’s not that you’re distracted, or scatter-brained from shock. You simply don’t care enough any more to do your job thoroughly. All these people who seem to come and go. Talking of Michelangelo. You can’t recall where the quote is from. Just that it’s meant to signify meaninglessness.
You tell your boss that it’s probably best if you just give notice, and not come back. He sits up straighter, reaches for a pile of papers and shuffles them together, like a giant deck of cards, before laying them flat. ‘I didn’t mean that,’ he says. ‘I’m not trying to get rid of you. It’s just, there are things that need doing. Maybe you could go down to part-time, do a few days a week for a while?’ He scratches his mole, looks at you hopefully.
You shake your head, as if it’s already decided. And it is. You ask him if he has ever lost somebody. Not in an accusatory way, but merely a curious one. He deals so much in the aftermath of death – who gets how much money, or what part of the estate – and you haven’t had cause to truly consider it before. It was simply part of the everyday duties you were given, which you undertook on behalf of other people.
Your boss has to think about it. He scratches at his mole. ‘Well, my parents are both dead,’ he says. Then, as if realising that sounds trite, he adds, ‘Though that’s different, of course. They lived full lives, passed on in old age.’ He checks his watch again. ‘You shouldn’t act hastily,’ he says. ‘Take some time, think it over. I can hold a place for you. I can contact the agency.’
You wonder if he has already done this, asked about the possibility of another temp. Probably. He is kind, but also efficient. You don’t feel hard done by at the thought he is already planning your replacement. You don’t feel anything about it, one way or the other.
‘No,’ you say, ‘it’s fine. I’m all done here.’
The finality of it rings true to you. You don’t just mean this job, but this city, this country, this life. It was never really yours, anyway. You yawn – you can’t help it – and arch your back. The 12chairs in his office are hard-backed and your tailbone is sore from sitting there. You’re weary of the situation and, you know, he is too. But there is etiquette. There are social graces.
‘What will you do?’ he asks.
A good question. And a good way of drawing the conversation to a close, of leading you out the door.
‘I’m going away,’ you say. You are looking at where the plane was. It’s gone now, but the jet stream still lingers against the sky, melting into the cloud layer. ‘To Prague.’
He says ‘ah’ as if he understands, though he is frowning, now, uncertain. He says, hesitantly, that he’s heard it’s beautiful. Hoping for an explanation. You tell him Prague is where Tod proposed to you, which is true. But that’s not the reason you’ve had the impulse, just now, to go back. The sky, the plane. The flat greyness. You remember Prague in monochrome, a charcoal sketch. Cold and colourless. The way you feel.
‘That could be good,’ he says. ‘To go away, get away. I can’t imagine…’ He stops, trails off. He is looking at the photo of his wife. Perhaps trying to picture it – the swift and sudden loss, being the one left behind. You stare at the Newton’s cradle. Each collision of the steel spheres seems to grow louder, filling up the room, deafening as cannons. Boom. Boom. Boom. Pounding in your skull, making it resonate. You lean forward, touch the last sphere with a finger, stopping it. Your boss looks at you, startled, and down at the Newton’s cradle. The spheres hanging vacantly in stasis. Motionless. Silent.
‘I always hated that thing,’ you say.
transit
The proposed trip provides purpose, things to do: handing in formal notice at the law firm, booking a flight, finding your passport, terminating the rental agreement on the flat, packing, deciding what to keep (books, trinkets, a few photographs) and what to leave or throw away (everything else). This is what they call ‘putting your affairs in order’. And soon it is done, and you are travelling, in transit, en route.
And then this: on the plane to Prague, the woman next to you has an episode in the middle of the flight. It seems serious, maybe even a stroke, or heart attack.
Later, you’ll wonder if this is now to be your curse, after allowing Tod to die – if you are to be surrounded by death wherever you go. Delirious, skittish thoughts. Fate and curses are for fairy tales, not real life, right?
Before it happens, there is the usual safety video, flight attendant demonstration, take-off, and small-talk – the woman asking you questions at a time when you don’t want to be asked anything: Where are you going? How long will you be staying? You reply vaguely, evasively, while holding up the earbuds of your MP3 player, implying the desire for peace, for privacy – a hint she fails to take. Eventually, to avoid further chit-chat, when 14she pauses for breath you simply put in your earbuds, smile insincerely by way of apology.
She folds her arms, looks ahead, clearly affronted.
The MP3 player is still laden with Tod’s music; his tastes were tyrannically alternative, and you couldn’t be bothered to open a personal account, download tracks and albums of your own. It would have meant enduring his sarcasm and ridicule, so you yielded instead. These small parts of ourselves we forfeit, these concessions we make when we’re in a relationship, when we purport to love somebody.
You did love him. You’re sure of that. As sure as you are of anything, these days.
Every so often, the woman stirs, restless. She has the window seat, but is not content to gaze out into the dark, and has no book, no magazine, no distractions. She’s old, but not ancient. Maybe sixty, or so. The age of your mother, who seems to you very far from any signs of ill health – always walking, hiking, running half-marathons. Joining new clubs and groups, all of them fitness orientated. Shortly after the funeral, she recommended Tai-Chi, her latest passion. She said it would help you cope, deal with it. Referring to your grief as ‘it’ seemed to turn ‘it’ into a thing, a creature, an incubus. You tried to imagine yourself performing slow karate chops to defend yourself against ‘it’ and ward ‘it’ off. That was hard to imagine.
When you phoned your mother to tell her about Prague, she sighed loudly, flapping her lips like a horse, and said, ‘You always had a tendency to wallow in your miseries.’
Her own husband – your father – died ten years ago. By that time, they had already split up. Your mother didn’t take a day off work, organised a university scholarship in his name for youths from underprivileged backgrounds, got drunk on gin gimlets and admitted privately to you that she thought your father might have been abused as a child. His uncle, she said. The one with the goatee, and delicate hands. Never trust a man with delicate hands, she’d declared grandly – an odd, and oddly affecting, piece of maternal advice. 15
This woman doesn’t look anything like your mother, but doesn’t look unwell at all either. Her limbs are lean, her movements vigorous. You can faintly smell her perfume and moisturiser. She abstains from the single complimentary alcoholic beverage, opts for tomato juice. There are no meals on the flight – it’s only a couple of hours – but when the in-flight snacks are delivered, she receives one in advance of everyone else: the vegetarian or gluten-free option. She makes a big event of opening it – a salad pot – and drizzling the sachet of dressing. Before taking a bite she smiles politely, unable to help appearing a touch triumphant.
The window behind the woman is glowing with daylight, bright and hazy as a screen of diffusion, like you might see in a photographer’s studio. Against it the woman’s profile is dark, shaded, a partial silhouette. You don’t watch her eat, but from the corner of your eye you are aware of this shadow, nibbling bites off her fork, pursing her lips around the tines.
When your own snack arrives – a ham and cheese panini – it feels awkward to keep your earbuds in, to continue to shut her out. So you remove them, carefully wind them up, and take a few bites, which is all you can manage. It’s not only that the bread is hard and stale, the cheese oily-cool – you haven’t had much of an appetite for days, weeks, months. Since it happened.
Soon, predictably, the woman is talking to you, buzzing away on your right. It’s apparent, very quickly, that your answers don’t matter. She is simply one of those people who needs to talk. Buzz, buzz, buzz. She is going to visit her son, who is in the electrical supply industry. He is doing well, has made a success of himself – Prague is a good place to be, for businesses.
‘And you?’ she asks. ‘Do you have any family in the Czech Republic?’
No, you say, which is true. Though it’s also true (and you neglect to tell her this) that your grandfather was born there, that he immigrated to Wales when he was one year old, a fact that you and your mother tend to forget, since he was not the kind to speak of his past, or of anything at all, really. So, though you have 16no family that you know of, you have ancestral roots. You have some shared past with the country.
The woman is saying something else. She is talking of the mother of cities, the golden city, and the city of a hundred spires. You’re baffled, trying to picture all these fairy-tale places, until you understand she is listing all the alternate names for Prague. The tourist names. Then she stops, checks herself, glances at you shrewdly.
She asks, ‘Where are you staying?’
You explain that you’ve rented a little bedsit, not a hotel. Something inexpensive, practical. Out of the tourist districts, over in Praha Two. You found it online. It’s a mistake, the way you go on – she notes the confidence, your familiarity with the city’s layout, and asks if you’ve been there before. Only twice, you tell her, and leave it at that. But she is peering at you expectantly. Waiting. You are half-turned in your seat, your spine all twisted. Squinting at her against the glare of the window hurts your eyes, makes them physically sting – as if you’re going snow-blind. So eventually you give in. She has won.
‘It’s where my husband proposed.’
You leave out that it was also the place you and Tod first travelled together, back when you were students. Your hope being that the curt declaration will staunch her curiosity.
‘Oh,’ she says, leaning backwards and forwards, craning her neck, checking the nearby rows. ‘Where is he sitting? Would he like to switch seats with me?’
And so you have to explain, he’s not with you. He’s dead. And – since you feel she deserves it, feel she’s somehow wheedled this information out of you – you add, casually and cuttingly, ‘He was stabbed in the heart.’
The woman makes a small, strange sound and puts her hand to her mouth, as if she’s burped and wants to politely cover it up, take it back. Only she can’t. She is very still for a time, and (this must be a trick of the light) you have the impression that the glare of the window is shining right through her head, out the front of her eye sockets. As if her face is a mask, and behind it there is nothing. 17
She reaches for her glass of juice, which is empty, and raises it to her lips, mimes the act of drinking. Puts it down. Then she begins to fan herself, quite frantically, seemingly forgetting your conversation entirely. ‘These planes. The air-conditioning. They get so hot.’ Even though it isn’t hot at all: it’s chilly, frigid. Stuffy, yes, but not hot. She asks if she can borrow your water and then – without waiting for an answer – reaches for it, gulps and gulps, spilling it all down her chin, on her blouse.
When she’s done, she crunches the cup, makes a croaking sound, leans forward and puts her forehead against the seat in front of her. You watch all this, perplexed, without any sense yet that something is seriously wrong. She is breathing – you can hear her breathing. Ragged and thin. Then, a strange gurgle. You’ve never witnessed this kind of thing before. That’s part of it, why you’re slow to react. But also you feel removed from it, as if you’re observing dispassionately. As if your seat is empty and you have simply dropped in on this scene, to watch it, without being able to engage or partake.
It’s possible you’d continue to sit like that, except a young man across the aisle leans over, touches your shoulder, asks if the woman’s okay. You look at him, baffled, admit you don’t know. ‘We better call the attendant,’ he says. And he presses a button on his arm rest, causing a little light to come on directly above him – a glowing bulb in the shape of a person. Head and arms. When they don’t come immediately, he shouts, demands attention – ‘We’ve got a sick woman here.’ Other people are standing up, turning around, trying to get a look. Some of them have their camera phones out already, filming, snapping photos – each picture emitting that little electronic click. It reminds you of the Newtown’s cradle: click, click, click. Or the night Tod died. Click, click, click. All those eager, greedy lenses.
Then a flight attendant is there; you are asked to move, which you do. Slipping out of your seat and withdrawing, retreating. Not just a few feet away, but to the tail of the plane, into that alcove near the toilets. From there you have a view of the commotion in the aisles: a clump of people, somebody announcing they’re 18a doctor, in the way they often do in films. You watch this for maybe five or six minutes. They lay the woman in the aisle, kneel over her, put an oxygen mask on her face. It goes on for so long people lose interest. They sit back down, put their phones away, pick up their magazines, continue eating their snacks. She’s not dying, it seems. You assume there would be more interest if she were dying.
You are remembering the bus, the faces turned towards you. In your memory they are not sympathetic, caring, or overly concerned. Rather, they seem captivated, riveted, and even relieved. That certain pleasure people get, from seeing misfortune befall others. Like escaping a game of Russian roulette.
You slide open the door to the toilet, step in there. You splash water on your face, pad it dry with paper towel, clean and scented and very soft. A small pleasure. You are shocked, but not in shock. What you are shocked by is how utterly prosaic you found it. The kind of thing that might have shaken you considerably before. Haunted you even. You would have needed to tell people, gotten it off your chest. Did you hear what happened on my flight to Prague? Not now. Now, what seems surprising to you is that this kind of thing doesn’t happen more often. Our soft and flawed and yielding bodies, running on air and water and food, charged by a single organ in the centre of our chest, the fluttering rhythm as delicate as a hummingbird’s wings. Each of us so terrifyingly vulnerable as we move through space and time. Leading our bewildering lives. All it takes is a little push, a shove, a wrong turn, a bad move, a lapse in judgement. Or, in the woman’s case, a slight emotional jolt. Was it your fault? No. Not in any deliberate way. But still. You took pleasure in proclaiming it – stabbed in the heart – as if you could pass on the wound, somehow. And, apparently, you did.
When you come back out, they have moved the woman closer to you, to that area at the rear of the plane, beside the toilets and by the flight attendant’s seats. She’s strapped to a padded folding stretcher. Grey and practical. She still has the oxygen mask on her face, and now a cannula and drip in her arm as well. 19But she is alert, lucid. Drawn by your movement, she turns her head, fixes her eyes on you. Her mouth is hidden. Is she looking at you angrily, accusingly? You can’t tell. You consider bending over, saying something kind. Making some token gesture. Or asking the attendants about her. But you don’t. It doesn’t matter. She’ll live. For all you know this could be a frequent occurrence – perhaps she’s one of those people who have fainting spells, dizzy fits, ‘bad turns’. It may not have been anything so serious as a heart attack, after all.
Eventually, the flight attendant notices you hovering there, and asks you to take your seat. Again, you’re struck by the strangeness of language. Take your seat. Take it where? Pick it up and carry it elsewhere, or throw it from the plane. Jettison it like ballast. Jump out after it, maybe. At these cartoon-like thoughts you begin to smile to yourself, but alter it into a sympathetic grimace: the infirm woman is still staring at you with baleful eyes.
customs
It looks the same here as anywhere, everywhere: a vast concrete cave. The ceiling built low (if you jumped and reached up you could touch it) with square panels and dull fluorescent lighting. No windows. Linoleum floors streaked with scuff marks from boots, shoes, suitcases. Signs hanging from wires, in several languages, designating different areas for Czech and EU citizens and international travellers. Beneath each, people stand in queues, shuffling from foot to foot, blinking uncertainly in the harsh light, each line like one long creature with hundreds of heads and feet. When the front takes a step forward, the movement ripples all the way down, winding back and forth between the ropes and stanchions.
You join the EEA line. It is by far the slowest, with the most people, and not enough booths open. The officials are all diligent, thorough, meticulous. Checking passports, asking the odd question, and occasionally telling people to wait – or directing them to another area. The whole business, the sluggish churnings of bureaucracy, would have aggravated Tod. He would have spent long sections of the wait muttering to you about how inefficient the process was, pointing to the other lines, where at times the officials seemingly have nothing to do. And you would 21have agreed, not because you necessarily did, but to placate him. Really you view minor ordeals like this in more resigned terms than Tod ever did – something to be endured, like bad weather, or delayed trains.
When your turn comes, you don’t feel the flutter of anxiety you can recall from previous trips, the sense you might have done something wrong. You simply smile at the official, hand over your passport. It’s about eight years old, and the golden lettering on the front has faded. It feels like a worn wallet. He accepts it, flicks it open expertly, smiles back at you. There is something leering about it. He has a crooked tooth, a well-groomed moustache. He asks you how long you’re staying for, and it sounds like a pick-up line. Three months, you say. You’re taking a Czech language course. Both lies. You have no idea how long you’re staying, or what you’ll be doing. But he grunts, as if in approval, and asks no more questions. He hands back the passport, winks, tells you to enjoy your stay, that you’re the good kind of traveller.
You thank him, automatically, though in truth you’re startled: by the inept attempt at flirtation, the lack of professional polish. These officials are usually so neutral, so neutered. Emotionless and expressionless as robots.
