Giving up the Ghost: A memoir. Hilary Mantel

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СКАЧАТЬ constant stricture, the systematic crushing of any spontaneity. It enforced rules that had never been articulated, and which changed as soon as you thought you had grasped them. I was conscious, from the first day in the first class, of the need to resist what I found there. When I met my fellow children and heard their yodelling cry—‘Good mo-or-orning, Missis Simpson,’ I thought I had come among lunatics; and the teachers, malign and stupid, seemed to me like the lunatics’ keepers. I knew you must not give in to them. You must not answer questions which evidently had no answer, or which were asked by the keepers simply to amuse themselves and pass the time. You must not accept that things were beyond your understanding because they told you they were; you must go on trying to understand them. A state of inner struggle began. It took a huge expenditure of energy to keep your own thoughts intact. But if you did not make this effort you would be wiped out.

      Before I went to school there was a time when I was happy, and I want to write down what I remember about that time. The story of my own childhood is a complicated sentence that I am always trying to finish, to finish and put behind me. It resists finishing, and partly this is because words are not enough; my early world was synaesthesic, and I am haunted by the ghosts of my own sense impressions, which re-emerge when I try to write, and shiver between the lines.

      We are taught to be chary of early memories. Sometimes psychologists fake photographs in which a picture of their subject, in his or her childhood, appears in an unfamiliar setting, in places or with people whom in real life they have never seen. The subjects are amazed at first but then—in proportion to their anxiety to please—they oblige by producing a ‘memory’ to cover the experience that they have never actually had. I don’t know what this shows, except that some psychologists have persuasive personalities, that some subjects are imaginative, and that we are all told to trust the evidence of our senses, and we do it: we trust the objective fact of the photograph, not our subjective bewilderment. It’s a trick, it isn’t science; it’s about our present, not about our past. Though my early memories are patchy, I think they are not, or not entirely, a confabulation, and I believe this because of their overwhelming sensory power; they come complete, not like the groping, generalised formulations of the subjects fooled by the photograph. As I say ‘I tasted’, I taste, and as I say ‘I heard’, I hear: I am not talking about a Proustian moment, but a Proustian cine-film. Anyone can run these ancient newsreels, with a bit of preparation, a bit of practice; maybe it comes easier to writers than to many people, but I wouldn’t be sure about that. I wouldn’t agree either that it doesn’t matter what you remember, but only what you think you remember. I have an investment in accuracy; I would never say, ‘It doesn’t matter, it’s history now.’ I know, on the other hand, that a small child has a strange sense of time, where a year seems a decade, and everyone over the age of ten seems grown-up and of an equal age; so although I feel sure of what happened, I am less sure of the sequence and the dateline. I know, too, that once a family has acquired a habit of secrecy, memories begin to distort, because its members confabulate to cover the gaps in the facts; you have to make some sort of sense of what’s going on around you, so you cobble together a narrative as best you can. You add to it, and reason about it, and the distortions breed distortions.

      Still, I think people can remember: a face, a perfume: one true thing or two. Doctors used to say babies didn’t feel pain; we know they were wrong. We are born with our sensibilities; perhaps we are conceived that way. Part of our difficulty in trusting ourselves is that in talking of memory we are inclined to use geological metaphors. We talk about buried parts of our past and assume the most distant in time are the hardest to reach: that one has to prospect for them with the help of a hypnotist, or psychotherapist. I don’t think memory is like that: rather that it is like St Augustine’s ‘spreading limitless room’. Or a great plain, a steppe, where all the memories are laid side by side, at the same depth, like seeds under the soil.

      There is a colour of paint that doesn’t seem to exist any more, that was a characteristic pigment of my childhood. It is a faded, rain-drenched crimson, like stale and drying blood. You saw it on panelled front doors, and on the frames of sash windows, on mill gates and on those high doorways that led to the ginnels between shops and gave access to their yards. You can still see it, on the more soot-stained and dilapidated old buildings, where the sandblaster hasn’t yet been in to turn the black stone to honey: you can detect a trace of it, a scrape. The restorers of great houses use paint scrapes to identify the original colour scheme of old salons, drawing rooms and staircase halls. I use this paint scrape—oxblood, let’s call it—to refurbish the rooms of my childhood: which were otherwise dark green, and cream, and more lately a cloudy yellow, which hung about at shoulder height, like the aftermath of a fire.

       PART TWO Now Geoffrey Don’t Torment Her

      Two of my relatives have died by fire. One was my father’s mother, whose name was Alice.

      Alice was a widow. She was preparing to marry again, but a short while before the ceremony she saw her dead husband in the street. She took this as a sign to call it off. A house fire killed her before I was born, even before my father married my mother. I’ve never seen her picture. She’s gone.

      The other victim of fire was from my mother’s family. She was a little girl called Olive, who was burned to death when her nightdress caught alight. I know her because a photograph of her is set into a brooch. It is oval, which is the shape of melancholy, nostalgia and lost romance. It shows a childlike smudge, unformed, without expression. On the other side of the brooch is George Foster, my maternal grandfather. He is a young soldier, grave, handsome, intent. If you wear the brooch, he is the natural choice to turn outwards. No one, I guess, has ever put Olive on display. She gazes backwards for ever, blurred eyes on someone’s breastbone; looking inside the body, like a child who has never left the womb.

      This is the first thing I remember. I am sitting up in my pram. We are outside, in the park called Bankswood. My mother walks backwards. I hold out my arms because I don’t want her to go. She says she’s only going to take my picture. I don’t understand why she goes backwards, back and aslant, tacking to one side. The trees overhead make a noise of urgent conversation, too quick to catch; the leaves part, the sky moves, the sun peers down at me. Away and away she goes, till she comes to a halt. She raises her arm and partly hides her face. The sky and trees rush over my head. I feel dizzied. The entire world is sound, movement. She moves towards me, speaking. The memory ends.

      This memory exists now in black and white, because when I was older I saw Bankswood pictures: this photograph or similar ones, perhaps taken that day, perhaps weeks earlier, or weeks later. In the nineteen-fifties photographs often didn’t come out at all, or were so fuzzy that they were thrown away. What remains as a memory, though the colour has bled away, is the fast scudding of clouds and the rush of sound over my head, the wind in the trees: as if the waters of life have begun to flow.

      Many years later, when there was a suspicion about my heart, I was sent to hospital for a test called an echocardiogram. A woman rolled me with a big roller. I heard the same sound, the vast, pulsing, universal roar: my own blood in my own veins. But for a time I didn’t know whether that sound came from inside me, or from the depth of the machines by my bed.

      I am learning, always learning. To take someone’s picture, you move away from them. When you have finished, you move back.

      The results of the test, I should say, were satisfactory. My heart was no bigger than one would expect.

      I learn to walk in the house, but don’t remember that. Outside the house, you turn left: I don’t know it’s left. Moving towards the next-door house: from my grandmother (56 Bankbottom, Hadfield, Near Manchester) to her elder sister, at no. 58. Embedded in the stonework on the left of my grandmother’s door is a rusty iron ring. I always slip my finger into it, though I should not. Grandad says it is where they tied СКАЧАТЬ