“Splendid! You need transport back, though.”
“Lydium’s not far. I can walk there and take a train.”
“No need to walk!” booms Mr. Carrefax. “I’ll telegraph for a new trap to come and fetch you.”
“Oh, that won’t be necessary,” Dr. Learmont tells him. “The walk will clear my head.”
“Will clear your-what? I wouldn’t hear of it! Go back into the house. Rest while I jump your orders clear over the wall.”
Dr. Learmont obeys. He’s too tired not to. He walks back through the irises and chrysanthemums, across the narrow stream, along the avenue of conker trees. The black birds are still whirring high above them; Learmont can’t tell if they’ve multiplied or if it’s just his tiredness breaking the sky’s dome into slow-moving dots. Inside the house, he gathers his possessions back into his case. He can’t find the phials of epithemalodine or the codeine pills, but it’s not important: there are plenty more back in the surgery.
The baby’s feeding; its mother sits up in the bed, calm and contented, while the bedside maid combs her hair, unravelling it like the Chinese women pulling at their strange dark balls in the silk tapestry above them. Maureen stands at the foot of the bed; in front of her, enfolded in her arms, the girl watches her brother silently. They all watch silently: the room is silent but for the clicking lips of the sucking baby and the copper buzzing rising from the garden.
2
i
In the beginning,” says Simeon Carrefax, standing on a small raised podium in Schoolroom One, “-in the beginning, ladies and gentlemen, was the Word.”
His audience, a gaggle of the parents of prospective pupils at the Versoie Day School for the Deaf, sit squeezed into the schoolroom’s child-size chairs. Miss Hubbard stands behind them at the back of the room, her gaze darting nervously between Carrefax and a box full of small pieces of lead piping lying by her feet.
“The Word was with God,” Carrefax continues, “and the Word was God. Which is to say: speech is divine. Speech itself breathed the earth into being-and breathed life into it, that it in turn may breathe and speak. What, I ask you, are the rising and falling of its mountains and its valleys or the constant heaving of its seas but breath? What are the winds that rush and swirl around it, now one way, now another? What are the jets of steam that gush from geysers or the spray that issues from the blow-holes of whales? And which man who has stood beside the torrent of a waterfall or, pausing in a wood, has heard the whisper of the leaves, the chirp and clamour of the birds, can deny that he has heard earth speaking?”
His eyes sweep the room intently. As they fall on individual parents, the latter cast their own eyes to the floor, or fix them on a wall-mounted whiteboard behind Carrefax. Here, drawn in charcoal across cotton-backed ground glass, a diagram shows plates, hinges, corridors and levers locked together in an intricate formation that suggests an irrigation system or the mechanism of a crane.
“And we, ladies and gentlemen: do we not also move to the same gasping and exhaling rhythm? Is not our spirit, truly named, suspirio? Breathing, we live; speaking, we partake of the sublime. In our conversing each one with the other-listening, responding-we form our attachments: friendships, enmities and loves. It is through our participation in the realm of speech that we become moral, learn to respect the law, to understand another’s pain, and to expand and fortify our faculties through the great edifices of the arts and sciences: poetry, reason, argument, discourse. Speech is the method and the measure of our flowering into bloom. It is the currency and current of our congress in the world and all the crackling wonders of its institutions and exchanges.”
He pauses, and the parents grow aware of their own breathing, suddenly loud and ponderous in the quiet of the schoolroom. He draws his head and shoulders back and continues:
“Ladies and gentlemen, I am proud to call myself an oralist. I count among my intellectual forebears Deschamps, Heinicke, Gérando and the great Alexander Bell. The human body,” he says, turning half-round to tap his knuckles on the whiteboard’s glass, “is a mechanism. When its engine-room, the thorax, a bone-girt vault for heart and lungs whose very floor and walls are constantly in motion-when this chamber exerts pressure sufficient to force open the trap-door set into its ceiling and send air rushing outwards through the windpipe, sound ensues. It’s as simple as that. Children!” He turns to face a row of three boys and a girl who have been sitting quietly on the side of the podium, opens the palm of his right hand and raises it firmly. “Up!”
The children rise from their chairs. Like a conductor Carrefax holds his hands out and then shoves them forwards, quivering in the air in front of him-and all four children break into a chorus made up of a single word:
“Haaaaaaa.”
The sound is long, drawn out and without harmony or intonation. A few seconds into it several prospective parents shift in their small seats, adjusting their positions. The children’s eyes stare straight ahead, vacant, as though entranced, or taken over by a set of ghosts; their shoulders, drawn back as they launched into their utterance, slowly crumple and deflate as it fades out. Carrefax draws his hands back again, then once more shoves them quivering forwards and the children moan again:
“Haaaaaaa.”
The sound, the second time round, seems like a response, a weary, empty answer to a hollow question. Carrefax’s hands draw it out for as long as they can, all the while trembling from the effort. Eventually, though, the children’s voices start to shudder, then to break down into groans, which die away as the inarticulate spirits that have seized their bodies give up and relinquish them again.
“Children,” says Carrefax, turning his palms to face the podium’s boards, “down!”
The children sit back in their chairs. Carrefax points at them and announces:
“When these four children came to my school, each of them was held to be not only deaf but also mute. What? Yes, mute: doubly afflicted. And yet how erroneous the diagnosis! Are you, sir, considered mute due to your lack of proficiency in the Mandarin tongue? Or you, madam, because you never speak Estonian and, beyond that, remain entirely ignorant of the very existence of Quichua, the language of the remote Inca people of the Andean cordillera?”
He fixes two prospective parents with his gaze. They look slightly alarmed and shake their heads.
“Of course not! No human born with thorax, throat and mouth is incapable of speaking these or any other languages! Yet how would you come to speak a tongue that you had never been exposed to, tried on, tested? So is it for the deaf child with English. Speech is not a given: it must be wrung from him, wrenched out. The body’s motor must be set to work, its engine-parts aligned, fine-tuned to one another. Miss Hubbard.”
Blushing, Miss Hubbard crouches down beside her box and, picking up the short lengths of lead piping, starts distributing these around the room.
“Gentlemen and ladies,” Carrefax instructs the prospective parents, “press your lips firmly together and blow air between them.”
The prospective parents look at one another.
“Do it!” Carrefax commands. “Compress your lips, like so-hmmm-and blow air through them.”
He half-raises his hands in front of him again. Slowly, the prospective parents purse their lips, take deep breaths, then expel these through them like so many toddlers making farting sounds at table. As the sounds fill the room, the parents’ faces redden with the strain, or with embarrassment, or both.
“It is a far-from-pleasant sound, I think you’ll all agree,” announces Carrefax above the tuneless rasping. “A fly trapped in a glass sounds no less gracious. But now take the length of pipe you each have in your hand and, making once again your buzz, bring the tube firmly to your lips. Go on.”