that could usefully influence what he chose to do with a mine.
But he felt he was now within something, perhaps a painting he had seen somewhere in the last year. Some secure couple in a field. How many he had seen with their laziness of sleep, with no thought of work or the dangers of the world. Beside him there were the mouselike movements within Hana’s breath; her eyebrows rode upon argument, a small fury in her dreaming. He turned his eyes away, up towards the tree and the sky of white cloud. Her hand gripped him as mud had clung along the bank of the Moro River, his fist plunging into the wet earth to stop himself slipping back into the already crossed torrent.
If he were a hero in a painting, he could claim a just sleep. But as even she had said, he was the brownness of a rock, the brownness of a muddy storm-fed river. And something in him made him step back from even the naive innocence of such a remark. The successful defusing of a bomb ended novels. Wise white fatherly men shook hands, were acknowledged, and limped away, having been coaxed out of solitude for this special occasion. But he was a professional. And he remained the foreigner, the Sikh. His only human and personal contact was this enemy who had made the bomb and departed brushing his tracks with a branch behind him.
Why couldn’t he sleep? Why couldn’t he turn towards the girl, stop thinking everything was still half lit, hanging fire? In a painting of his imagining the field surrounding this embrace would have been in flames. He had once followed a sapper’s entrance into a mined house with binoculars. He had seen him brush a box of matches off the edge of a table and be enveloped by light for the half-second before the crumpling sound of the bomb reached him. What lightning was like in 1944. How could he trust even this circle of elastic on the sleeve of the girl’s frock that gripped her arm? Or the rattle in her intimate breath as deep as stones within a river.
She woke when the caterpillar moved from the collar of her dress onto her cheek, and she opened her eyes, saw him crouched over her. He plucked it from her face, not touching her skin, and placed it in the grass. She noticed he had already packed up his equipment. He moved back and sat against the tree, watching her as she rolled slowly onto her back and then stretched, holding that moment for as long as she could. It must have been afternoon, the sun over there. She leaned her head back and looked at him.
“You were supposed to hold onto me!”
“I did. Till you moved away.”
“How long did you hold me?”
“Until you moved. Until you needed to move.”
“I wasn’t taken advantage of, was I?” Adding, “Just joking,” as she saw him beginning to blush.
“Do you want to go down to the house?”
“Yes, I’m hungry.”
She could hardly stand up, the dazzle of sun, her tired legs. How long they had been there she still didn’t know. She could not forget the depth of her sleep, the lightness of the plummet.
A party began in the English patient’s room when Caravaggio revealed the gramophone he had found somewhere.
“I will use it to teach you to dance, Hana. Not what your young friend there knows. I have seen and turned my back on certain dances. But this tune, ‘How Long Has This Been Going On,’ is one of the great songs because the introduction’s melody is purer than the song it introduces. And only great jazzmen have acknowledged that. Now, we can have this party on the terrace, which would allow us to invite the dog, or we can invade the Englishman and have it in the bedroom upstairs. Your young friend who doesn’t drink managed to find bottles of wine yesterday in San Domenico. We have not just music. Give me your arm. No. First we must chalk the floor and practise. Three main steps—one-two-three—now give me your arm. What happened to you today?”
“He dismantled a large bomb, a difficult one. Let him tell you about it.”
The sapper shrugged, not modestly, but as if it was too complicated to explain. Night fell fast, night filled up the valley and then the mountains and they were left once more with lanterns.
They were shuffling together in the corridors towards the English patient’s bedroom, Caravaggio carrying the gramophone, one hand holding its arm and needle.
“Now, before you begin on your histories,” he said to the static figure in the bed, “I will present you with ‘My Romance.’ ”
“Written in 1935 by Mr. Lorenz Hart, I believe,” muttered the Englishman. Kip was sitting at the window, and she said she wanted to dance with the sapper.
“Not until I’ve taught you, dear worm.”
She looked up at Caravaggio strangely; that was her father’s term of endearment for her. He pulled her into his thick grizzled embrace and said “dear worm” again, and began the dancing lesson.
She had put on a clean but unironed dress. Each time they spun she saw the sapper singing to himself, following the lyrics. If they had had electricity they could have had a radio, they could have had news of the war somewhere. All they had was the crystal set belonging to Kip, but he had courteously left it in his tent. The English patient was discussing the unfortunate life of Lorenz Hart. Some of his best lyrics to “Manhattan,” he claimed, had been changed and he now broke into those verses
“We’ll bathe at Brighton;
The fish well frighten
When we’re in.
Your bathing suit so thin
Will make the shellfish grin
Fin to fin.
“Splendid lines, and erotic, but Richard Rodgers, one suspects, wanted more dignity.”
“You must guess my moves, you see.”
“Why don’t you guess mine?”
“I will when you know what to do. At present I’m the only one who does.”
“I bet Kip knows.”
“He may know but he won’t do it.”
“I shall have some wine,” the English patient said, and the sapper picked up a glass of water, flung the contents through the window and poured wine for the Englishman.
“This is my first drink in a year.”
There was a muffled noise, and the sapper turned quickly and looked out of the window, into the darkness. The others froze. It could have been a mine. He turned back to the party and said, “It’s all right, it wasn’t a mine. That seemed to come from a cleared area.”
“Turn the record over, Kip. Now I will introduce you to ‘How Long Has This Been Going On,’ written by—” He left an opening for the English patient, who was stymied, shaking his head, grinning with the wine in his mouth.
“This alcohol will probably kill me.”
“Nothing will kill you, my friend. You are pure carbon.”
“Caravaggio!”
“George and Ira Gershwin. Listen.”
He and Hana were gliding to that sadness of the saxophone. He was right. The phrasing so slow, so drawn out, she could sense the musician did not wish to leave the small parlour of the introduction and enter the song, kept wanting to remain there, where the story had not yet begun, as if enamoured by a maid in the prologue. The Englishman murmured that the introductions to such songs were called “burdens.”
Her cheek rested against the muscles of Caravaggio’s shoulder. She could feel those terrible paws on her back against the clean frock, and they moved in the limited space between the bed and the wall, between bed and door, between the bed and the window alcove that Kip sat within. Every now and then as they turned she would see his face. His knees up and his arms resting on them. Or he would be looking out of the window into darkness.
“Do any of you know a dance called the Bosphorus hug?” the Englishman asked.
“No such thing.”
Kip watched the large shadows slide over the ceiling, over the painted wall. He struggled up and walked to the English patient to fill his empty glass, and touched the rim of his glass with the bottle in a toast. West wind coming into the room. And he turned suddenly, angry. A frail scent of cordite reaching him, a percentage of it in the air, and then he slipped out of the room, gesturing weariness, leaving Hana in the arms of Caravaggio.
There was no light with him as he ran along the dark hall. He scooped up the satchel, was out of the house and racing down the thirty-six chapel steps to the road, just running, cancelling the thought of exhaustion from his body.
Was it a sapper or was it a civilian? The smell of flower and herb along the road wall, the beginning stitch at his side. An accident or wrong choice. The sappers kept to themselves for the most part. They were an odd group as far as character went, somewhat like people who worked with jewels or stone, they had a hardness and clarity within them, their decisions frightening even to others in the same trade. Kip had recognized that quality among gem-cutters but never in himself, though he knew others saw it there. The sappers never became familiar with each other. When they talked they passed only information along, new devices, habits of the enemy. He would step into the town hall, where they were billeted, and his eyes would take in the three faces and be aware of the absence of the fourth. Or there would be four of them and in a field somewhere would be the body of an old man or a girl.
He had learned diagrams of order when he joined the army, blueprints that became more and more complicated, like great knots or musical scores. He found out he had the skill of the three-dimensional gaze, the rogue gaze that could look at an object or page of information and realign it, see all the false descants. He was by nature conservative but able also to imagine the worst devices, the capacity for accident in a room—a plum on a table, a child approaching and eating the pit of poison, a man walking into a dark room and before joining his wife in bed brushing loose a paraffin lamp from its bracket. Any room was full of such choreography. The rogue gaze could see the buried line under the surface, how a knot might weave when out of sight. He turned away from mystery books with irritation, able to pinpoint villains with too much ease. He was most comfortable with men who had the abstract madness of autodidacts, like his mentor, Lord Suffolk, like the English patient.