Before going to bed, Ansel knocks on the door of her office, pushes it open. “It’s your birthday,” he says, casually. “Surely you can take the night off.”
She saves the document she is working on, then turns to face him. “Jaarsma broke the code,” she says. “That’s what he called to say.”
His eyes light up, happy for her.
“I’ve decided to go to Amsterdam. I set aside part of the funding for this, the plane ticket and travel, hoping everything would turn out.”
She can see him wanting to say something, to argue against her going. Her response begins to take shape in her mind, I have to do this. I need to be away. But he does not fight her. Instead, from where he stands, he wishes her good night, then closes the door softly behind him.
Alone again, she opens files, then closes them once more. She thinks of another love affair two decades before, the feel of another man’s hands on her body, the pull of desire. All this, a lifetime ago. At twenty-one, Gail had begun graduate work in the Netherlands. There, not even halfway through her M.A. in history, she took a leave from the University of Leiden, gave up her apartment, and travelled east. She was restless, tired of reading about realpolitik, about her thesis topic, Japanese militarism in the 1930s, anxious to make something concrete of her life. And she was in love. A floundering, impossible affair. The man, a professor of languages, was handsome, brilliant and married. So she cut her ties and applied for a visa to the Eastern Bloc.
By spring, she was living in Prague, in a tiny two-room flat, working afternoons in a haberdashery. Her roommate, Glyn Madden, was a radio producer. At thirty-six, divorced and at loose ends, Glyn had sold her house in Wales and gone off in search of adventure, which, they both agreed, had proven to be more elusive than it first seemed. They traded books between them, drove across the border to Germany in search of English-language novels, came home with strange, tattered copies of Karl May westerns. They walked at dusk, joyous, alive, up to the Prague Castle. The apartment they shared was in Na Kampa, and at night they sat at the window, staring down at the miniature heads gathered around the café tables. They took turns changing the records on Glyn’s turntable: Abbey Road, Joni Mitchell, REM.
Each month, her mother sent her a small package of famous B.C. smoked salmon and a long, descriptive letter, filled with stories. Gail’s father, she wrote at one point, had started a community garden in Strathcona. Every Sunday, children clustered around him, each one wearing tiny rubber boots, holding tight to a miniature spade. Business in the restaurant was steady, she said, and her father had decided to come on as a part owner. He is well, though he misses you. We both do. Gail went home only once each year, at Christmas time. It was the most she could afford, and she did not want to rely on her parents for money. “Too stubborn,” her mother would say, holding her at the airport when she left. “Too independent.” But the words, Gail thought, were filled with pride, too, that they had raised her to be so free, so fearless in the world.
In Prague one morning, Glyn had woken her at 4:00 a.m., holding a cassette recorder and a microphone. “Join me,” she had said, her voice low and robotic, leaning over Gail’s bed, eyes shining in the darkness.
“What is this? Star Wars? Spaceballs?”
“Let’s go. We’re late.”
They loaded their bicycles into Glyn’s van, then drove two hours east. Through the countryside, a Thermos of coffee between them, they watched the sun rise over the fading hills. In Brno, thousands of runners were gathered for a marathon. Glyn wired her to a cassette recorder, placed a microphone in her hand and headphones over her ears. The starting gun went off, and Gail, flustered, immediately dropped the recorder on the ground. On the tape, afterwards, she could hear Glyn laughing. But when she replaced the headphones, Gail heard details that she had never heard in life. Whispered conversations, the rhythm of hundreds of shoes striking cobblestone.
She hurriedly unlocked her bicycle and began pedalling after the runners. On the tape, later on, she heard the bicycle bell ringing ever so slightly as the wheels rattled over the stones. She heard runners drinking as they went, dropping the plastic cups on the road, and the light jaggedness, like cut glass, of their breathing.
That was the moment of revelation. Her degree fell by the wayside, and Glyn found her a job at Radio Netherlands, which had a small outpost there in Prague. They worked side by side each afternoon, pulling tape. Switching from grease pencil to razor blade, the reel of tape sliding back and forth, her right foot maneuvering the pedals. A swift diagonal cut, then a thumbprint of splicing tape to bind the pieces together. She laid the outtakes over her right shoulder, and then her left, in a carefully ordered fringe. Afterwards, they would eat dinner in the studio, potato dumplings soaked in gravy, washed down by bitter black coffee. Among her reels of tape, she has a recording Glyn made in 1989, in Wenceslas Square, when hundreds of thousands of people, laughing and crying, jingled their keys in unison to symbolize the fall of the Soviet regime and the opening of the door to democracy.
Somewhere in that decade, she had fallen in love with a print journalist, a goat herder and an art collector. The print journalist had been the last, while Gail was in the Arctic. That was much later, after Glyn had moved to London and Gail was on assignment for Deutsche Welle’s English radio service, recording a feature about the beluga whales trapped in the ice-jammed waters of the Chukchi Peninsula, near the Bering Strait. The three thousand whales were slowly suffocating. Chukchi fishermen set out each morning, axes on their backs, attempting to open patches of ice. Up above, Russian helicopters circled like clumsy birds. They poured fish down from the sky.
For three weeks, Gail did not see her own body naked in its entirety; she was a walking bundle of fur and fleece. Swaddled, she carried her portable DAT recorder in an insulated bag. When she held her microphone out over the water, she could hear the whales themselves; they formed an endless line as they took turns breathing, one by one, at the air holes. A whistle of sound, a breath like water being swallowed. Sometimes, the whales allowed a seal to push into line, rising up, finding oxygen. She could not distinguish the sky from the ice, the snow from horizon.
The Chukchi gathered at her microphone to tell their stories. Before the waters were divided up, they said, before lines were drawn in the sea by Washington and Moscow, they used to cross the Bering Strait in skin boats. Once upon a time, their people lived nomadic lives; back then, the herds of reindeer had been thirty thousand strong. When she looked up from her recorder, Gail saw a group of young boys pirouetting their bicycles on the snow, their shadows, thin and graceful, reaching into the distance.
Eventually, a Soviet icebreaker arrived to clear a path for the whales. The icebreaker played Beethoven, and it thundered from the speakers. The whales, entranced, followed the Ninth Symphony back to open water.
Afterwards, Gail caught a flight to Fairbanks, and then on to Vancouver. Home to the house on Keefer Street, the wild, luxuriant garden that her father kept, the trellises bursting with roses, perfuming the air. She had been living in Europe for almost a decade. When they sat down to dinner, she felt as if she and her parents were travelling across a vast field, coming to meet one another. Her father, who had worked all his life in a restaurant, set down dish after dish, and each one was her favourite. They were so tentative with one another, as if circling in a room where the lights have gone out, trying to find their way by intuition, by memory alone.