The Crossing of Ingo. Helen Dunmore

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СКАЧАТЬ and complete with rivers and mountain ranges, but the northwest of America and the east of Russia and China are vast unmarked territories, enclosed by uncertain lines. It looks as if the mapmaker was guessing at the boundaries.

      When I first saw the map I didn’t question it. It was Dad’s map, so it must be correct. I even told my teacher that the world map on our classroom wall was wrong, but he said that mapmakers these days had satellite photographs to make their maps absolutely accurate. The next time Dad let me look at his map I felt as if it had tricked me. I said, “Dad, they’ve got it wrong on your map. Africa doesn’t go like that. And look, they haven’t even put Australia and New Zealand in.”

      Dad said, “Those men who risked their lives to make this map weren’t stupid, Sapphy. This is their world. They drew what they knew.”

      “But they’ve put sea dragons in the ocean. And look, there’s a man spouting water and blowing on a seashell.”

      “That’s Neptune, Sapphy. God of the sea.”

      “But maps ought to show real things. There aren’t any real dragons.” I was at the age when you’re proud of knowing that there are no such things as dragons and fairies.

      Dad said, “Maybe there were dragons then. Don’t make the mistake of thinking that your ancestors knew less than you do, Sapphy.”

      “The map’s wrong, though. We’ve got satellite pictures nowadays. We know what the Earth really looks like.”

      Dad laughed scornfully. “You don’t learn what the world is like by looking at a picture that’s been sent from a piece of metal and plastic orbiting miles above the Earth’s atmosphere. Think of all the salt seas they fought across to make our map, and all the storms they weathered in a wooden ship that you wouldn’t believe could sail as far as France.”

      The map is old and very fragile. Even the careless touch of a human hand can damage it, Dad used to say. Carefully, as he taught me, I unroll it and spread it out on the table. A piece of paper falls out. Not old parchment like the map. Twenty-first century paper, folded. My heart jumps with excitement. All at once I’m certain that this is a message, hidden by Dad for me to find. I was always the one who wanted to see the map, not Conor. I pick up the paper and unfold it, my fingers trembling. But there’s nothing to be excited about. Just a few scribbled figures.

      22 30 7 6

      23 00 9 6

      23 15 15 6

      23 30 19 6

      It’s Dad’s handwriting. The sight of it hurts me. I don’t want to think about Dad’s hand picking up the pen and writing these figures. It must have been important or he wouldn’t have bothered to put the paper inside the map. I look at the figures again, trying to add them up and guess their meaning. They refuse to give up their secret.

      I turn back to the map, and weigh down its corners with the smooth pebbles Dad always used for the purpose. Automatically my gaze goes to the place where we live. The coast of Cornwall is beautifully drawn by someone who knows every cove. The mapmaker has made Cornwall look a lot bigger than it really is in proportion to the rest of the British Isles. Dad said there was a reason for that too. If you’re making a map, you might make more of something that’s important to you.

      As I bend closer I see something I am sure I’ve never seen before. In the blue-brown waters off the west coast of Cornwall there is a new word, written in tiny, exquisite writing. It looks exactly like the handwriting on the rest of the map, but the ink is new. Not faded brown, but sharp and black.

       Ingo

      Ingo. A shiver runs over my skin. I seem to hear the wash of the waves in the coils of my ears. No one else can have written that word except Dad, before he left us. I scan the map again. Yes, there is something else that wasn’t there before. How could I have missed it? In the corner of the map, where the known dissolves into the unknown, there is a small figure. Dad always drew well. This is one of his best drawings. It shows a Mer woman. Not a mermaid with long golden hair, a scaly fish tail and a comb in her hand, but a Mer woman like those I’ve seen in Ingo. She has long dark hair and a strong seal tail.

      When Dad drew this he couldn’t have known that Conor or I would ever find our way to Ingo. It was a clue, maybe, left for anyone who was capable of understanding it. Just one word, Ingo, and one figure. If this map went to a museum they would say that the Mer woman was a mythological figure. Someone would pore over the word Ingo, and maybe decide that it was a local name for one of the reefs.

      But this map is never going to a museum. It is private and it belongs to the Trewhellas, because we are the only ones who truly understand it.

      I look around for the pot where Dad kept his best pen. No one has touched it since he went. Mum took all Dad’s clothes to the charity shop in St Pirans, and she sold his camera and the digital printer he used for his work. But she kept the personal things for me and for Conor.

      I take out the pen and unscrew the cap. The pen has a fine nib which is good for drawing. I bring pen to paper, and hesitate. It feels like sacrilege. I am breaking a rule that has been drummed into me since I was first allowed to see the map. But as the first line flows it feels entirely right. I am meant to be doing this. I am a Trewhella and this map is for the Trewhellas, to show us what the world is like.

      Close to the word Ingo I draw four tiny figures. They are as small as I can make them without losing definition. Two are Mer and two are human. The Mer figures have strong seal tails and flowing dark hair. The girl wears a bodice of woven sea grass. The human figures are dark-haired too. They could be cousins to the Mer figures, except that they have legs instead of tails.

      I understand now what Dad was trying to tell me about the mapmaker who made it. This map is about a person’s experience of the world, not about what a camera sees as it blinks in space.

      I finish my drawing. The piece of paper with Dad’s writing on it is still lying open. I glance at it again, casually, wondering if it’s worth putting it back into the map before I roll it up. My glance sweeps over the numbers, and suddenly I realise that they are not part of a calculation. It was the layout that confused me. If Dad had put in the dots, I would have seen their meaning immediately.

      22.30 7.6

      23.00 9.6

      23.15 15.6

      23.30 19.6

      They are times and dates. Half past ten in the evening on the seventh of June. Eleven o’clock on the ninth of June. Quarter past eleven on the fifteenth of June. Half past eleven on the nineteenth of June. Dates and times which were so important to Dad that he must have noted them at the time. So important that he hid the paper inside the map. He didn’t think anyone else would ever guess what they meant, but I know. I know which June it was. It was the month that Dad disappeared.

      These must be the times and the dates when he heard Mellina singing. It was Dad who wrote the word Ingo on the map because even then he knew – or suspected – what Ingo was. My heart beats faster. Maybe these weren’t just the times that he heard Mellina sing. They might have been times when he went down to the cove, and met her, and fell so deep in love with her that he knew he would abandon everything for her.

      I am not sure why he left a record of these times. Perhaps it was a clue for whichever Trewhella might come to read it one day.

      My eyes sting. I so wish I could go СКАЧАТЬ