Giving up the Ghost: A memoir. Hilary Mantel

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      My grandad, when he was under arms, was an instructor in the Machine Gun Corps. He could still recite the manual, and I learnt it from him, just as, when she was a child, my mother learned it. I expect we thought it would be handy.

      I spent time with my grandmother, time with her sister Annie. At no. 58, they sat by the fire on upright chairs, wooden and unforgiving; they were old, I thought, but sadly had no armchairs. They talked and talked, in an interweaving pattern of old and interesting words, and the refrain was, ‘Kitty, we were born too soon. Oh, Kitty, Kitty. I wish I were ten years younger.’ ‘Oh Annie, we were, and so do I.’ Annie Connor says she hopes she will never hate anyone, but the thing she could not fail to hate was a Black and Tan. And for people of the Orange persuasion she can’t care. My grandmother simply doesn’t speak on the topic. I think if a Black and Tan came to the door looking peckish, she would probably feel sorry for him and make him a strawberry pie.

      At no. 56, only my grandfather occupied an armchair, his cigarette between his fingers, his brass ashtray balanced on the chair arm. Women didn’t take their ease; when young, I thought, they ran about, and when old they perched on upright chairs until they died, simply slumping to the linoleum, knocking their heads on the fireplace and waiting to be carried away to the undertaker, Mr Worsley, who buried Catholics. Maggie, Annie Connor’s daughter, was neither old nor young. She never sat down. Neither did my mother, nor my cousin Beryl. My grandmother was so creased by anxiety that her face resembled a pleated skirt. Like her elder sister’s, her hands were fat, with cracked and harsh palms, and I thought she had got these from washing clothes with Fairy Soap, from wiping the fireplace with Vim. Grandma was forever on hands and knees, mopping, towing a little flat black mat she called ‘me kneelin’ mat’. When someone came to the door, and she didn’t know who it was, she would hide on the stairs. She never went out. Officially this was because of her bad leg but I knew there were other reasons and I was sorry for them: like a child, she was too shy to speak to strangers. When something made her laugh, tears sprang out of her eyes, and she swayed on her hard chair: swayed as much as her corsets allowed, and creaked. She and Annie Connor had the most terrible corsets, salmon-pink: like the Iron Maiden, from which their heads stuck out.

      My mother would tell me, later, of her parents’ narrow and unimaginative nature. My grandmother had become a millworker when she was twelve years old; my mother herself was put into the mill at fourteen. She was of diminutive size and delicate health; she was pretty and clever and talented. Her school, by some clerical error, had failed to enter her for the scholarship exam that would, her parents permitting, have sent her to grammar school. But it didn’t matter, she said later, because they would not have permitted. It would have been just as it was for her father, a generation earlier, for George Clement Foster pounding the cobbled streets of Glossop: circa 1905, he ran all the way home shouting, ‘I’ve passed, I’ve passed.’ But there was no money for uniform; anyway, it just wasn’t what you did, go to the grammar school. You accepted your place in life. My mother would have liked to go to art school, but on Bankbottom nobody had heard of such a thing. She applied for a clerical job by competitive exam, but it went to a girl called Muriel; poor Muriel, she got all the questions wrong, my mother said, but you see her uncles had pull. Thwarted, unhappy, she stayed in the mill and earned, she said, a wage as good as a man’s. The work was hard and took a painful toll on immature muscle and bone. It would be many years before the effects showed; then, with energy to spare, she danced and sang through her evenings, in amateur shows and pantomimes. Cinderella was her favourite part. Her favourite scene: the Transformation. She asked herself, could she really be the child of her parents? Or some changeling princess, dropped into Bankbottom by accident?

      For the whole of my childhood I worried about the glass slipper. It is such a treacherous object to wear: splintering, and cutting the curved, tender sole of the dancing foot. The writer Emily Prager once said that she had rewritten, as a child, the second half of the story; Cinderella gets to the ball and breaks her leg. My own feelings were similar; the whole situation was too precarious, you were too dependent on irresponsible agents like pumpkins and mice, and always there was midnight, approaching, tick-tock, the minutes shaving away, the minutes before you were reduced to ashes and rags. I was relieved, as an adult, when I learned that the slipper was not of verre, but of vair: which is to say, ermine. The prince and his agents were ranging the kingdom with a tiny female organ in hand—his ideal bride, represented by her pudendum. Never mind her face: he had not raised his eyes so far. All he knew was that the fit was tight.

      Three, four, I am still four: I think I will be it for ever. I sit on the back doorstep to have my picture taken. Fair hair gushes from under my bonnet. My clothes are a pair of brown corduroy trousers and a pink woolly cardigan with a zip; I call it a windjammer. I have another just the same but blue. I have a yellow knitted jacket, double breasted, that I call a Prince Charles coat. Summer comes and I have a crisp white dress with blackberries on, which shows my dimpled knees. I have a pink-and-blue frock my mother doesn’t like so much, chosen by me because it’s longer; people of six, I think, have longer skirts, and I am beginning to see that youth cannot last for ever, and now hope to be taken for older than I am. The onset of boyhood has been postponed, so far. But patience is a virtue with me.

      We go to Blackpool to stay at Mrs Scott’s boarding house, just the three of us: my mother, my father, myself. I insist that we stand before a mirror, all three. They are to pick me up and hold me between them, my fat arms across their shoulders, my hands gripping them tight. I call this picture ‘All Together’; I insist on its title. I know, now, that this tableau, this charade, must have caused them a dull, deep pain. We do it time and time again, I insist on it and I am good at insisting. As a knight I am used to arranging siege warfare, the investment of major fortresses, so the reluctance and distraction of a couple of parents isn’t going to stop me pulling life into the shape I want it to be.

      Standing on the pier at Blackpool, I look down at the inky waves swirling. Again, the noise of nature, deeply conversational, too quick to catch; again the rushing movement, blue, deep, and far below. I look up at my mother and father. They are standing close together, talking over my head. A thought comes to me, so swift and strange that it feels like the first thought that I have ever had. It strikes with piercing intensity, like a needle in the eye. The thought is this: that I stop them from being happy. I, me, and only me. That my father will throw me down on the rocks, down into the sea. That perhaps he will not do it, but some impulse in his heart thinks he ought. For what am I, but a disposable, replaceable child? And without me they would have a chance in life.

      The next thing is that I am in bed with a fever raging. My lungs are full to bursting. The water boils, frets, spumes. I am limp in the power of the current that tugs beneath the waves. To open my eyes I have to force off my eyelids the weight of water. I am trying to die and I am trying to live. I open my eyes and see my mother looking down at me. She is sitting swivelled towards me, her anxious face peering down. She has made a fence of Mrs Scott’s dining chairs, their backs to my bed, and behind this barrier she sits, watching me. Her wrists, crossed, rest on the backs of the chairs; her lady’s hands droop. For a minute or two I swim up from under the water: clawing. I think, how beautiful she is: Monday’s child. Her face frames a question. It is never spoken. My mother has brought her own bedlinen, from home, and below my hot cheek, chafing it, is a butterfly: spreading luxuriant wings, embroidered on the pillowcase by my mother’s own hand. I see it, recognise it, put out my hot fingers to fumble at its edges. If I am with this butterfly, I am not lost but found. But I can’t stay. I am too hot, too sick. I feel myself taken by the current, tugged away.

      I am changed now. Not in that fever but in one of the series, one of those that follow it, my weight of hair is cut off. What remains is like feathers, I think, like fluff. I lose my baby fat. For another twenty-five years I will be frail. In my late twenties I have a narrow ribcage, a tiny waist and a child’s twig arms fuzzed with white-gold hair. At twenty-nine I am cast as a ghost in a play: as Noël Coward’s Blithe Spirit, walking with noiseless slippered feet, a phantom of air and smoke. But then my life will change again, and I will find myself, like СКАЧАТЬ