The Glister Part 4

OK, I think. Not the sharpest toothpick in the box. Sweet, though. "So," I say, "what happened to Mickey, Mickey, then?" then?"

"How do you mean?" She looks over at the guy a bit worried, as if she's expecting him to have his arm hanging off, and she hadn't noticed it before.

"His eyes," I say. "I'm a.s.suming he wasn't born like that."

"Oh," She puts her hand to her mouth and giggles, cute as anything. You have to wonder if she does things like this on purpose. "He got his eyebrow and his eyelashes blown off," she says. "With a firework. They haven't grown back yet."

"How did he manage that?"

"Oh, just mucking about." She looks back to the page in her head marked Guy Fawkes Night. It isn't a big book, but it is clearly labeled. "He lit a banger and threw it at Tone. But nothing happened. So he goes over and picks it up and puts it to his eye. Like he's trying to figure out what's wrong with it. 'This things's a dud,' he says and then-BANG!-it goes off." She grins happily. "We all thought he'd blown his eye out."

"Nice," I say.

She settles down and looks a bit disappointed. "He hadn't, though," she says. "He just blew his eyelashes off. And his eyebrow." She thinks for a moment. "It hasn't grown back."

I nod. "You said," I say.

"Maybe it never will," she says, continuing in her reverie. She seems to be trying the idea out for size. Having one black eyebrow might be OK on a temporary basis, but it's obvious that, to her mind, forever is a different thing altogether.

"So how did you get to know him?" I ask. "Mickey, I mean."

"Mickey?" She looks confused again.

"Yeah," I say, softly. "Mickey."

"Oh." She shakes her head. "He's my brother."

"Really?" I say. I don't want it to be too obvious, but I'm wondering if she's got this wrong.

"Half brother, actually," she says.

"No s.h.i.+t," I say.

She looks at me and grins. Then she blushes again. "Don't take the p.i.s.s," she says.

"I'm not."

She studies me for a moment. She's gone all serious suddenly. "Really?"

"Really," I say.

She looks pleased. I've made her happy, I suppose. It's quite touching. Then she jumps up and squeals. "Come on," she shouts, to n.o.body in particular. "Let's kill killsomething."

[image]

When I get home, after a happy day's hunting, I'm starting to wonder where this is all going. I've already told myself not to dig in too deep with Jimmy and his crew, but I have to admit it, I like Eddie, and Jimmy's kind of a challenge. Still, better not to get too comfortable. If I do s.h.a.g Eddie, it's bound to get back to Elspeth, and that will not only p.i.s.s her off but it'll put a big smile on Jimmy's face, too. Maybe that's what this is all about, of course. I'm not saying Jimmy would actually tell tell Eddie to do me, it would have to be subtler than that. To begin with, he probably just wanted to check me out, then Eddie maybe said something after our first run-in and he just told her to go for it. Or something along those lines. Though whatever it is that's going on, I think I'd better watch my step. I remember old Paul Newman, when somebody asked him if he was ever tempted to cheat on Joanne, what with all those women throwing themselves in his general direction, and he said, "Why go out for burger, when you've got steak at home?" Which probably looked like a pretty cool answer at the time, him being put on the spot like that, but it doesn't make that much sense. You can't eat steak every day and they do say that variety is the spice of life. Besides, if Elspeth is steak, that doesn't make Eddie burger. I'd think of her more as pudding, to be honest. Angel Delight, maybe. Creme brulee. Tiramisu. Definitely Eddie to do me, it would have to be subtler than that. To begin with, he probably just wanted to check me out, then Eddie maybe said something after our first run-in and he just told her to go for it. Or something along those lines. Though whatever it is that's going on, I think I'd better watch my step. I remember old Paul Newman, when somebody asked him if he was ever tempted to cheat on Joanne, what with all those women throwing themselves in his general direction, and he said, "Why go out for burger, when you've got steak at home?" Which probably looked like a pretty cool answer at the time, him being put on the spot like that, but it doesn't make that much sense. You can't eat steak every day and they do say that variety is the spice of life. Besides, if Elspeth is steak, that doesn't make Eddie burger. I'd think of her more as pudding, to be honest. Angel Delight, maybe. Creme brulee. Tiramisu. Definitely not not semolina. semolina.

Jesus H. Christ, I tell myself, I'm going to have to snap out of this. What I need is a distraction. After I look in on Dad, I head off to my room and try to pick up where I left off with Seven Pillars of Wisdom. Seven Pillars of Wisdom. But I can't keep my mind on it. I keep thinking about Eddie's legs and those sweet, pouty lips. Eventually, I drift off, lying on the bed with the book over my face, and I have amazing dreams all the way through to morning, but it's not camels I'm dreaming about. But I can't keep my mind on it. I keep thinking about Eddie's legs and those sweet, pouty lips. Eventually, I drift off, lying on the bed with the book over my face, and I have amazing dreams all the way through to morning, but it's not camels I'm dreaming about.

Still, the fates are kind, even if we do work hard to ignore their occasional mercies, and the next day I get the distraction I need, because the Moth Man is here and, for once, I am-as they say in the self-help books- unconditionally unconditionally happy. It won't last long, but it's something pure, which isn't that common a phenomenon if you live in the Innertown. happy. It won't last long, but it's something pure, which isn't that common a phenomenon if you live in the Innertown.

But then, that's the big problem with life in this place: there's more to it all than the bad days of wondering when another boy will disappear, because it hasn't happened for a while and so, according to a logic we all know, is bound to happen again soon. And it isn't just those other days, when we all go around in a stupor of fear and anger because, having finally given in to the temptation of thinking that those bad days have come to an end, we receive the news that another soul has been lost, some boy you know at least by name, some kid who plays the trumpet, or picks his nose at a.s.sembly, or likes to go swimming. Of course, you can tell yourself that he's gone away, like some fairy-tale character, to seek his fortune in the big wide world. You can tell yourself that, if this is the story the police put out, then they must do it for a reason, but in your heart you know that the boy has been taken, maybe dragged off to some secret place and killed, maybe worse. Maybe alive somewhere and waiting for someone to come, in some pit at the plant, or chained up and helpless in some sewer. And then, even if it's been quiet on that front for a while, there's always the chance that somebody has just died from a disease that n.o.body's ever seen before. We're definitely not talking Salad Days, Salad Days, out here in the Innertown. out here in the Innertown.

So it might be better if there was no relief, if there were no happy times. Like that bit in Tom Sawyer Tom Sawyer when Tom wonders if maybe Sundays are just a more refined form of sadism than the usual weekday run of ch.o.r.es and school. Every week, you get one day off, just to remind you how awful the other six are-and even that one precious day is marred by a morning in church, gazing out of the window at the suns.h.i.+ne while some old fart drones on about G.o.d. At least we don't have much church here. when Tom wonders if maybe Sundays are just a more refined form of sadism than the usual weekday run of ch.o.r.es and school. Every week, you get one day off, just to remind you how awful the other six are-and even that one precious day is marred by a morning in church, gazing out of the window at the suns.h.i.+ne while some old fart drones on about G.o.d. At least we don't have much church here.

Still, it might be better just to get on with the ordinary routine of Dad being sick, and me having to wash out the bowl that he keeps by the bed, all the vomit and bile and spots of blood running out into the sewage, into the water that I will one day drink, after it has been processed and treated, because water goes round and round, the same water all the time: the same, but different. Water is everywhere. You can't escape it. When Miss Golding told us, in Religious Education cla.s.s, that G.o.d was omnipresent, I remember thinking, while she was explaining omnipresent omnipresent to the nincomp.o.o.ps, that G.o.d must be water. Even afterward, when I had grown out of the idea, I was still afraid of water; or rather, I feared something the water contained. I found a magazine once, out on the landfill, with an article about how some French guy had worked out some theory about water having a memory: it keeps a record of everything it has ever touched written away in its molecular structure, a whole history of p.i.s.s and sick and insecticide, laid down in a submicroscopic, illegible script that will take centuries to erase. Everything has its own clock, its own lifetime: stars, dogs, people, water molecules. Human beings only know one version of time, but there are thousands of others, all these parallel worlds unfolding at different rates, fast, slow, instantaneous, sidereal. to the nincomp.o.o.ps, that G.o.d must be water. Even afterward, when I had grown out of the idea, I was still afraid of water; or rather, I feared something the water contained. I found a magazine once, out on the landfill, with an article about how some French guy had worked out some theory about water having a memory: it keeps a record of everything it has ever touched written away in its molecular structure, a whole history of p.i.s.s and sick and insecticide, laid down in a submicroscopic, illegible script that will take centuries to erase. Everything has its own clock, its own lifetime: stars, dogs, people, water molecules. Human beings only know one version of time, but there are thousands of others, all these parallel worlds unfolding at different rates, fast, slow, instantaneous, sidereal.

Anyhow, whatever else might crop up, you don't normally get unconditional happiness round here. It's always tainted by something: worry, or fear, or just the idiot feeling that it's something you don't really deserve, so it's probably some kind of trap. That day, though, I am happy, pure and simple-because the Moth Man has come, and I like it when the Moth Man comes.

I hadn't been expecting him, because you never know when he'll be here. He comes and goes according to some law that only he understands, and I only know he's back when I see his van, parked just off the road at the gate to the old meadows on the east side, or maybe farther toward the sh.o.r.e somewhere, his little green van, with faded lettering on one side from whoever owned it before, some guy called Herbert, who did some kind of repairs. The first time I saw the van, the Moth Man had just pulled in at the gate to the meadows, and I watched him take his gear out of the back, all the netting and lighting equipment, the tiny, ice-blue tent that he would set up in the middle of the meadow, the rucksack full of cooking utensils, the ancient camping stove. It was like watching a magic trick, the way he got all this stuff out of this tiny van, and then there was more, and still more, till he'd made a little settlement around himself, all the instruments and lights and piles of netting. He didn't say anything to me, all the time he was unloading, though he knew I was there. It was only when he was done that he turned to me and gave me a questioning look. He still didn't say anything, though.

I was thirteen then, if I remember. I bet, for him, I was just some gosse gosse who had turned up, one of those local kid spectators he probably got all the time. I didn't want him to think of me like that. "What's all this s.h.i.+t for?" I said. Big kid, blase as f.u.c.k. who had turned up, one of those local kid spectators he probably got all the time. I didn't want him to think of me like that. "What's all this s.h.i.+t for?" I said. Big kid, blase as f.u.c.k.

He laughed. "What do you think it's for?" he said.

"Dunno. You some kind of photographer?"

"Nope."

"Scientist?"

"Sort of."

"Well, if you're here to measure the pollution, you'll need more stuff," I said.

He laughed again and shook his head. Then he explained about the Lepidoptera survey, and what you could tell about a place by the number and type of different b.u.t.terflies and moths you found there. Finally, he stopped talking and looked at me, to see if I was getting bored. "So," he said, "what's your name?"

"Leonard," I say. "Leonard Wilson."

He nods and stores the name away in his head, but he doesn't tell me who he he is. He just starts getting some stuff out of a bag to make himself some lunch. As he does, he asks me if I'm hungry. I say I am, and so I get into it with him, fetching stuff and helping him get it all together. Finally, when we're sitting down to baked beans and sausages, he looks at me. "Some people say there are no mysteries anymore," he says. "Do you think that's true, Leonard Wilson?" is. He just starts getting some stuff out of a bag to make himself some lunch. As he does, he asks me if I'm hungry. I say I am, and so I get into it with him, fetching stuff and helping him get it all together. Finally, when we're sitting down to baked beans and sausages, he looks at me. "Some people say there are no mysteries anymore," he says. "Do you think that's true, Leonard Wilson?"

I don't say anything at first. He's treating me a bit too young, maybe, but I don't mind. Later on, I'll let him know that I read books and such, and he can talk normal. Besides, right now, I'm enjoying being treated like a kid. Most of the time, I'm fixing Dad's food, or his medicine, or I'm doing stuff around the house, or shopping. It's fun to be a kid for a while, so I play along, just a bit. "I suppose," I say.

The man grins. He's beginning to work me out, maybe, but he's started, so he's going to finish. "You suppose?" he says. "OK. What about that tree over there? What kind of tree is that?"

I don't move my head, just glance over with my eyes. "It's a sycamore," I say. Pretty dumb question: it's all sycamore round here.

"OK," he says. "No mystery there, then."

"Nope."

"OK. So how did it get there?"

I know this one, I think. Any minute now, he'll be talking about G.o.d and eyeb.a.l.l.s and all that Divine Craftsman stuff, like Mr. O'Brien in full-on MYSTERIES OF NATURE and THE BENEFICENCE OF THE DIVINE ORDER mode. Still, I'm happy to go along. I like his voice. It's all soft corners and friendly, but it's in its own place, it doesn't intrude. "Well," I say, "I don't know for sure. But I imagine a seed blew there on the wind and-"

"And how did the wind get here?"

"What?"

"How did the wind get here? How did you you get here?" He's making a point, but his voice doesn't change. He doesn't do the JOY OF DISCOVERY like old Mr. O'Brien. "How did get here?" He's making a point, but his voice doesn't change. He doesn't do the JOY OF DISCOVERY like old Mr. O'Brien. "How did any any of it get here?" he says. of it get here?" he says.

I shake my head. Here comes the G.o.d part. " I I don't know," I say. don't know," I say.

"So that's that's the mystery," he says. Then he just sits there, smiling. the mystery," he says. Then he just sits there, smiling.

He sits there smiling, then he looks up into the leaves overhead, like there was something he'd forgotten to check, before he turns back to me. "Let's go," he says. He gets to his feet in one quick movement and starts off into the trees to show me something that, for him, is of vital significance. I mean, here is a guy who can read the read the landscape. I thought I knew a bit about the headland, from coming out here so long and checking things up, birds and flowers and such, in field guides at the library-but I'm just looking at the pictures, while this guy is reading the fine print. Over the next several months, as he came and went, he showed me all kinds of stuff, from downright silly to little pieces of natural magic. He showed me how to nip the back off a flower and suck out the nectar inside. He showed me what henbane looks like and told me about how the witches used to smoke it in a pipe when they had toothache. He told me more than I will ever need to know about various obscure moth species. What I get from him is that he likes kids, and he listens to what you are saying. Sometimes he gets all enthused about something, and when he's like that, he can talk for hours. And sometimes he's a bit too grown-up-to-kid, but you can see he really cares about this stuff and he wants to share it with you, not to make himself look smart, but because he loves it all so much. Sometimes I think he might be lonely, because I get the impression he hasn't got a proper home, he just seems to drive from place to place in his van, camping in fields and setting up his nets, his only companions the moths he catches then releases, or curious kids like me that he attracts along the way. It must be a fine life, sometimes, just camping out in one place for a while, then moving on, like some nomadic tribesman, at home, not in one place, but everywhere. But he doesn't seem to have a wife, or a girlfriend or anything like that, and I sometimes wonder what he does for s.e.x. Maybe he's got some floozy he sees someplace, as he pa.s.ses through. Maybe he's got a few. I think, though, that he's really married to his work. Which means that the Innertown probably isn't his favorite spot, because the results he gets here can't be all that satisfying. Not that he doesn't catch anything. On the contrary: he nets thousands of moths every night, but they're all the same, small, peppery creatures that blunder into the net so readily it almost seems they're doing it on purpose. landscape. I thought I knew a bit about the headland, from coming out here so long and checking things up, birds and flowers and such, in field guides at the library-but I'm just looking at the pictures, while this guy is reading the fine print. Over the next several months, as he came and went, he showed me all kinds of stuff, from downright silly to little pieces of natural magic. He showed me how to nip the back off a flower and suck out the nectar inside. He showed me what henbane looks like and told me about how the witches used to smoke it in a pipe when they had toothache. He told me more than I will ever need to know about various obscure moth species. What I get from him is that he likes kids, and he listens to what you are saying. Sometimes he gets all enthused about something, and when he's like that, he can talk for hours. And sometimes he's a bit too grown-up-to-kid, but you can see he really cares about this stuff and he wants to share it with you, not to make himself look smart, but because he loves it all so much. Sometimes I think he might be lonely, because I get the impression he hasn't got a proper home, he just seems to drive from place to place in his van, camping in fields and setting up his nets, his only companions the moths he catches then releases, or curious kids like me that he attracts along the way. It must be a fine life, sometimes, just camping out in one place for a while, then moving on, like some nomadic tribesman, at home, not in one place, but everywhere. But he doesn't seem to have a wife, or a girlfriend or anything like that, and I sometimes wonder what he does for s.e.x. Maybe he's got some floozy he sees someplace, as he pa.s.ses through. Maybe he's got a few. I think, though, that he's really married to his work. Which means that the Innertown probably isn't his favorite spot, because the results he gets here can't be all that satisfying. Not that he doesn't catch anything. On the contrary: he nets thousands of moths every night, but they're all the same, small, peppery creatures that blunder into the net so readily it almost seems they're doing it on purpose.

So he's a bit of a mystery, in some ways. I like him, though. That first day, I knew he was going to be a friend to me, even though he was old-he's probably about forty, maybe a bit younger. He'd been talking about moths and mysteries, and about his work, then he realized it was getting on for evening. "Right," he says. "It's probably time you got home to your family, Leonard Wilson. You do have a family, don't you?"

"It's just my dad now," I say.

"Oh?"

"My mum left," I say. "When Dad got ill she just f.u.c.ked off and left us to it."

He shakes his head. "I'm sure there was more to it than that," he says.

"Maybe," I say. I don't really believe it, but I'm not going to argue about it and spoil things. I've argued with myself for long enough about it. "So," I say, "what about you?"

"Me?"

"Well," I say, "I suppose you have a family too?"

He laughs. "Not really," he says. "But I'm all grown up. I can look after myself."

"So can I," I say. I like him, but he's a bit insulting sometimes, with all this grown-up stuff. He might not be all JOY OF DISCOVERY but he's treading a fine line right now.

He smiles. "I didn't say you couldn't," he says. He seems sad, now, as if he's thought of something that he'd rather not remember.

"So where's your dad, then?" I ask him, just to break the mood, but then I see from his face that it's thinking about his dad that made him sad in the first place.

"He's dead now," he says.

"Oh," I say. I feel awkward. "Sorry," I say-which makes me feel even more awkward, and f.u.c.king stupid too. What am I sorry about? What difference does that make?

"Don't be," he says. "He was getting on. And he wasn't himself at the end, there." He looks away, off into the trees, like he's trying to picture something.

I read once, in this really terrible book, that you have to talk to people about things like this. I don't know why, but I suppose it's good for the dead to be remembered. Maybe not when they were sick, but how they were before, when they were still young, or happy, or something. And I can see the logic of that. It bothers me, that I can't remember Dad from before his illness. It would be useful to be able to remember him as a young man- dancing, say, or at a football match, shouting for the home team. Or maybe sitting in the pub, just after opening time on some warm summer morning, sitting there on his own before the crowds come in, with a paper and a pint of bitter, the bluish smoke from his first cigarette of the day spiraling up in a long thin streamer through a fall of golden light. That would be good and maybe it would be good for the Moth Man to think about something like that. So I give it a go. "So," I say, "what was he like, your dad?"

He looks at me, the kind of look that says: Do you really want to know, or are you just being polite? I'm not sure I know myself, but he seems satisfied. "My dad was an engineer," he says. "That was how he earned his living, and that was what he loved. That's why he came here, to do a job of work. Later, though, when he came back, he was supposed to be retired. A lot had happened to him between his first visit here and his last."

"What happened to him?"

"My dad was a bighearted, innocent man," he says. "He was an enthusiast, which also made him something of a fool. He trusted people, which can be fine, but he was too open, too easy to reach. He also liked a drink. In the end, he was just wandering about the world, b.u.mping into the furniture. He would fall over from time to time, but he always got up again. Sometimes, I wished he would just quit and stay down."

I listened. I didn't have a clue what he was talking about, but I could see how sad it all was. Still, I couldn't help being surprised at the way he talked about his old man. It was like he was talking about somebody he hardly knew, or some character in a book.

"Your father worked at the plant," he says.

"Yeah," I say, surprised at the sudden change of tack. "Till they shut it. Then he got sick."

"My father helped build the plant. He worked on the first plant, back in the early days. At that time, there was a whole group of companies working for the Consortium, divvying up the first, highly lucrative contracts. Arnoldsen's. Nevin's. Lister's. My dad knew them all, they were like family to him. Sometimes, when he was talking about those days, he would be saying the names, and you'd realize how much they meant to him. They were familiar, like the words he used in his work, all the technical stuff, which he would also talk about, even though he knew n.o.body understood it. But those names were special, too. They were his litany. All the deep words that he treasured, the way somebody might treasure the words of prayers or old songs." He stopped and looked back to where his dad was inside his head, saying his private litany.

"So what went wrong?" I said. I hadn't expected to say this, but when I did, it was like I'd been waiting years to ask somebody this exact question.

He snapped out of his reverie and looked at me. I think my question startled him, but he did his best to give me an answer. Not the one I was looking for, but an approximation, a good guess. "Dad was proud of the work he did here," he said. "People were proud of the plant back in those days. Even later, people would reminisce about the time when old George Lister himself came out there, when they finished the first phase and the plant was officially opened, but that wasn't so. People like my dad-and yours-never saw those people. They They made their money from far away, and they spent it far away on things that working men couldn't even imagine." He looked off into the distance and I thought I'd lost him again. made their money from far away, and they spent it far away on things that working men couldn't even imagine." He looked off into the distance and I thought I'd lost him again.

"So," I said, "the big boss didn't come to the opening?"

"No," he said. "He would have sent some deputy, or maybe one of the younger sons. There were four sons, if I remember."

He looked at me curiously. "Come on," he said. "It's time for you to go. Your dad will be worried."

I shook my head. "If my dad's even awake, I'll be f.u.c.king surprised," I said, and he shook his head in mock disapproval at all this obscenity in one so young.

That was the only time we ever talked about that kind of stuff. Later, it was all about the work he was doing, or maybe stories of the places he'd been to, or little tips for going around in the world and not having too bad a time. That's how it is. He doesn't come very often, maybe once every couple of months, and I never know when to expect him. So that morning, when I catch a glimpse of his van, half hidden behind the big hedge out by the meadows, I'm happy. I don't want him to see it, though, so I just drift over to where he is working and stand watching. He doesn't make a big fuss, either. He's setting up a big net, a high thing taller than he is, and it's obviously got all his attention, getting it just right. Still, he takes the time to register the fact that I am there. "Leonard Wilson," he says. I think there is a pleasure in the way he says my name, like he's been looking forward to seeing me again. He pauses for a moment and looks at me sideways. "So how are you?" he says.

"I'm fine," I say. And I'm happy because it's almost true. True enough to be able to say it without thinking I'm pretending.

"That's good," he says. "You want to come over here and help me set this thing up?"

"Absolutely," I say.

He nods. "OK, then," he says, and we go to work, careful and competent and good-humored, as if we'd been doing this forever. It doesn't take long with us working together, and once it's all done, he sends me off to get some wood for a fire, which I do, but by the time I get back, my arms laden with twigs and fallen branches, he's sitting on this huge fallen log by a fire that has obviously been burning for some time, brewing something in a little saucepan that sits amid the flames, all blackened and scabbed with years of heat, like a miniature witch's cauldron. When he sees me, he looks up and gives me a big smile, one of those smiles that imply a world of shared secrets and a future that only he and I know about.

"You're back," he says. He gestures to the place next to him on the log. "Take a seat," he says. "I'll fix you some of my special tea."

I laugh. I'm not annoyed that he sent me off on a wild-goose chase. "Oh yeah?" I say. "What's special about it?"

He smiles and gives the pot a careful little stir. "You'll see," he says.

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It takes a while for the tea to brew the way he wants it. It smells terrible, a bit like those traces of greeny s.h.i.+t a caterpillar leaves when you keep it in a jar or a matchbox for a while, or the slurred nubs of rotten cabbage stalk in a rainy field after the machines have been over it. The Moth Man doesn't seem to mind, though; he crouches over the pot, stirring and breathing great whiffs of it, humming to himself absently all the while, completely absorbed in the alchemy of it all. Finally he's satisfied. He looks over, gives me this big grin, and picks up one of the cups. He holds it to his nose for a moment, then he drinks it down quick. I follow suit; the stuff tastes even worse than it smells, but I manage to gulp it down without choking. The Moth Man laughs, then he slips down and sits on the ground, so his back is leaning against the log. I do the same. For a long time-maybe ten minutes, maybe longer-we just sit there like that, two campers out in the woods by their fire, communing with Nature and all that s.h.i.+t. After a while, though, I start to feel odd, kind of warm from the inside, but not feverish, and things look different. The trees have more detail, the colors are subtler, everything looks more complicated and, at the same time, it all makes more sense, it all seems to be there for a reason. I don't mean it's designed, I'm not talking about some isn't-nature-wonderful s.h.i.+t. I mean-it's there, and it doesn't have to be explained. It's all shall be well and all manner of thing, and all that. I look around. The green of the gra.s.s is like something out of Plato, every twig and leaf is perfect, but it's not just that, it's not just that the objects I see are perfectly clear and logical and right, it's something else. It's wider. From where I'm sitting, I can see everything around me in perfect, almost dizzying detail, but I can also feel how one thing is connected to the next, and that thing to the next after that, or not connected, so much, but all one thing. Everything's one thing. It's not a matter of connections, it's an indivisibility. A unity. I can feel the world reaching away around me in every direction, the world and everything alive in it, every bud and leaf and bird and frog and bat and horse and tiger and human being, every fern and club moss, every fish and fowl, every serpent, all the sap and blood warmed by the sun, everything touched by the light, everything hidden in the darkness. It's all one. There isn't a me or a not-me about it. It's all continuous and I'm alive with everything that lives.

Then, almost before it's there, that oneness breaks, and I see someone. A boy. He wasn't there before, and now he is, standing at the edge of the clearing, like he's just come out of the woods, and he's staring at me, not surprised at all, but more like he'd expected me to be there and has been trying to make me notice him, trying to get my attention with that piercing stare. There is something odd about him that I can't figure out, something about his face that seems familiar, though not so much the features as the expression; it's like an expression I know from the inside, an expression I've tried out at some point then given up on, the way an actor might try to get in character by looking at the mirror in a certain way, psyching himself into happy or wise or deranged by changing the way his face works. The expression in this boy's face is faraway, not distant so much as remote, not proud or cold or offended, more plaintive than anything, as if he wanted to call out to me but has momentarily lost his voice. He wants to call out, that's it, and the look on his face is the result of that failed desire to speak. He wants to call, for help maybe, or maybe because he thinks I need help-and I'd felt that plaintive appeal before I saw him, I'd felt the stare that he'd been directing at me a moment before I turned, even though I was happy, or not so much happy as fully alive, totally connected to everything around me, to everything I could see and everything I couldn't see, to the woods and the sky, to the warm blur of headlamps running away along the coast road, or over the hills and away, to the life beyond, the roads and cities, the lights in the office blocks, the paintings in museums and galleries, the Flemish courtyards I've seen in art books, the piazzas and ca.n.a.ls, the rice fields and snowcapped mountains, the skies that same blue I've seen in picture books for years, but never in real life, never here: a blue like forgetting, the deep, cool blue of the room where the newly dead are absolved of their names and memories. When I see him, though, I am suddenly back: back: a local, isolated thing in the woods, a little cold in my own skin and trapped in the slow run of time like a swimmer caught in a current that's too strong to resist, too strong even to tread water-and after a moment I see what is odd about him. It's his face, yes, but it's not just the expression, it's who he looks like. I think, for a moment, I'm seeing one of the lost boys but at the last minute, before he slips back into the green shade under the alder trees, he turns and gives me a long, questioning look-and he doesn't look like Liam, or any of the other boys I know about. For what feels like a long time, I stare at him, trying to hold his eyes, but he's gone before I can even register in so many words that, if he looks like anyone I know, it's a local, isolated thing in the woods, a little cold in my own skin and trapped in the slow run of time like a swimmer caught in a current that's too strong to resist, too strong even to tread water-and after a moment I see what is odd about him. It's his face, yes, but it's not just the expression, it's who he looks like. I think, for a moment, I'm seeing one of the lost boys but at the last minute, before he slips back into the green shade under the alder trees, he turns and gives me a long, questioning look-and he doesn't look like Liam, or any of the other boys I know about. For what feels like a long time, I stare at him, trying to hold his eyes, but he's gone before I can even register in so many words that, if he looks like anyone I know, it's me. me. The same face I see in the mirror every morning: the same face, the same questioning look, the same doubt in his eyes, the same defiance. He looks like me. He was staring at me, and I was staring at him, and now it's as if I've been split in two, as if the whole world has split, one part of it flowing away to the harbors and cities I'd seen in my vision of a moment before, the other fixed, cold, predestined. The same face I see in the mirror every morning: the same face, the same questioning look, the same doubt in his eyes, the same defiance. He looks like me. He was staring at me, and I was staring at him, and now it's as if I've been split in two, as if the whole world has split, one part of it flowing away to the harbors and cities I'd seen in my vision of a moment before, the other fixed, cold, predestined.

A moment later, this me/not-me vanishes into the woods and, when I turn to the Moth Man, I see that he is also staring at me, with a friendly, slightly questioning look on his face-questioning, but with just the hint of a smile behind it, a good smile, I think, a smile that says everything is fine. From the look on my face, I suppose, he realizes that I've seen something that bothered me and he looks off in the direction I'd been staring into a moment before. His eyes search the trees quickly, then he looks back at me, but he doesn't speak. My face is sad now, I can feel that, I can feel how my expression looks to him, and it's sad, maybe frightened, the face of someone who's been going along on what feels like some big adventure and suddenly gets scared. Like a kid on his first roller-coaster ride who realizes, too late, that he's afraid of heights. But the strange thing is, I'm not sad at all, I'm not scared, I've just fallen back into the flow of time too suddenly, after that beautiful stillness of before. I've come back too abruptly and, for a few seconds, I'm so disappointed that I want to cry.

That's when everything changes again and the Moth Man's face suddenly lights up, like he's understood everything and he's seen what a stupid mistake I've made, only he's not judging me, he's not pointing out my error, he's seeing the funny side of it, and he's laughing, a silent, fond laugh, with with me, even in my folly, because he knows that, once it dawns on me, I'll see how wrong I was to be frightened, or worried, or sad, all things being good and cause for celebration, no matter how bewildering or terrible they seem. me, even in my folly, because he knows that, once it dawns on me, I'll see how wrong I was to be frightened, or worried, or sad, all things being good and cause for celebration, no matter how bewildering or terrible they seem.

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The news comes on a Friday, at the end of the afternoon. This time it's Tommy O'Donnell's parents who have found their son's room empty that morning, the bed not even slept in, the boy gone. He must have disappeared sometime in the night, because Mike O'Donnell-who is Jimmy van Doren's uncle-had popped his head round the door at around ten on the Thursday night to see if everything was OK and he'd found Tommy at his desk, listening to his Walkman. He'd asked Tommy if his homework was done, and not believed the answer, but he'd not had the heart to nag. Then he'd gone to bed early, leaving his wife downstairs watching a doc.u.mentary on cosmetic surgery and his only son safe in his room, happily skiving. No, there was no reason for Tommy to go out, he knew the rules about going out on his own at night and, anyway, if he wanted to go somewhere, he only had to ask and Mike would drive him there. Mike O'Donnell worked with his big brother in the landscape business, but he wasn't a partner in the firm. The general view was that, while Earl van Doren swanned around the place pretending to be one of the elite, Mike did all the real work, which meant he often came home exhausted. But that wouldn't have stopped Tommy asking for a lift somewhere, and the temptation to say no wouldn't have occurred to Mike. Everyone knew Mike O'Donnell for a good sort: hardworking, dutiful, absurdly loyal to his brother, a kind husband to a rather ungrateful wife, and a doting father-he would rather have died than deny his son anything. Now the boy was gone but, because there was no sign of forced entry at the house, or any evidence to suggest that he hadn't simply run away, we all know that this is going to be another of those cases that gets quietly buried, while the authorities, including the police, go on with the real business of promoting Brian Smith's Homeland project.

After that, on the Monday, it's supposed to be school again, but n.o.body goes. It's one of the small gestures that we have available to us: on the school day after one of our kindred disappears, we wander around the town or the wastelands, stealing anything that looks valuable and breaking everything else. It is a mark of the authorities' shame that, no matter what we do, there are no repercussions. They are guilty, because they know they have failed us. We should burn down the town hall and the police house on days like this and maybe force their hands at last. But we never do. We smash windows. We steal cheap wine from the Spar shop. We go out to the plant and sit around sniffing solvent or getting p.i.s.sed on the wine we've stolen, then we roll home out of our heads and sit around in all our separate bedrooms, plugged into our separate sound systems, crying our hearts out, or just sitting on a windowsill or a roof somewhere, looking at the sky. Some of us-the lonely ones, the outsiders-just go out to the plant and look for something dangerous to do, some death-defying stunt that will go unwitnessed by others, but will always be there, in the flesh, and in the spirit, a living testament to how willing we are to be done with the world.

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