Perhaps she thinks we don’t know.
No, can’t you see — she doesn’t want us to know because she thinks he’ll come back, and we don’t need ever to know. A private thing. As Jamie said.
That’s ridiculous, she’s embarrassed, ashamed, I don’t know what — humiliated at the idea of us …
Ginnie had to intervene as chairperson to restore clarity out of the spurting criss-cross of sibling voices. Now what do we do? What are we talking about: are we going to try and change his mind? Talk some sense into him. Are we going to go to her?
We must. First of all.
Then Ba should go.
One would have thought Ba was the child he would have turned to. She said nothing, stirred in her chair and took a gulp of gin-and-tonic with a pull of lip muscles at its kick. There was no need to ask, why me, because she’s her Daddy’s favourite, she’s closest to him, the one best to understand if anyone can, what has led him to do what he has done — to himself, to their mother.
And the woman? The voices rise as a temperature of the room, what about the woman? Anybody have any idea of who she might be. None of those wives in their circle of friends — it’s Alister, Ginnie’s husband, considering — Just look at them. Your poor dad.
But where did he and she ever go that he’d meet anyone new?
Well, she’ll know who it is. Ba will be told.
Nothing sure about that.
As the youngest of them said, they’re all grown up, there are two among the three present (and that’s not counting sports commentator Matthew in Brisbane) who know how affairs may be and are concealed; it’s only if they take the place of the marriage that they have to be revealed.
Sick. That’s what it is. He’s sick.
Ba — all of them anticipating for Ba to deal with the mother — expected tears and heart-break to burst the conventions that protect the intimacy of parents’ marriage from their sons and daughters. But there are no tears.
Derision and scorn, from their mother become the discarded wife. Indeed she knows who the woman is. A pause. As if the daughter, not the mother, were the one who must prepare herself.
She’s exactly your age, Ba.
And the effect is what the mother must have counted on as part of the kind of triumph she has set herself to make of the disaster, deflecting it to the father. The woman has a child, never been married. Do? Plays the fiddle in an orchestra. How and where he found her, God only knows — you know we never go to concerts, he has his CD collection here in this room. Everything’s been just as usual, while it’s been going on — he says, very exact — for eight months. So when he finally had the courage to come out with it, I told him, eight months after forty-two years, you’ve made your choice. May he survive it.
When I said (Ba is reporting), doesn’t sound as if it will work for him, it’s just an episode, something he’s never tried, never done, a missing experience, he’ll come back to his life (of course, that would be the way Ba would put it), she said — I won’t give it back to him. I can’t tell you what she’s like. It’s as if the place they were in together — not just the house — is barricaded. She’s in there, guns cocked.
What can they do for her, their mother, who doesn’t want sympathy, doesn’t want reconciliation brokered even if it were to be possible, doesn’t want the healing of their love, any kind of love, if the love of forty-two years doesn’t exist.
His Ba offers to bring the three available of his sons and daughters together again to meet him at her house, but he tells her he would rather ‘spend some time’ with each separately. She is the last he comes to and his presence is strange, both to him and to her. How can it be otherwise? When he sleeps with the woman, she could have been his daughter. It’s as if something forbidden has happened between him and his favourite child. Something unspeakable exists.
Ba has already heard it all before — all he will allow himself to tell — from the others. Same story to Ginnie, Jamie and according to an e-mail from Matthew, much the same in a ‘bloody awful’ call to him. Yes, she is not married, yes, she plays second violin in a symphony orchestra, and yes — she is thirty-five years old. He looks up slowly and he gives his daughter this fact as if he must hold her gaze and she cannot let hers waver; a secret between them. So she feels able to ask him what the others didn’t, perhaps because the enquiry might somehow imply acceptance of the validity of happenstance in a preposterous decision of a sixty-seven-year-old to overturn his life. How did he meet this woman?
He shapes that tight tolerant jaw, now not of disapproval (he has no right to that, in these circumstances) but of hurt resignation to probing: on a plane. On a plane! The daughter cannot show her doubtful surprise; when did he ever travel without the mother? While he continues, feeling himself pressed to it: he went to Cape Town for negotiations with principals from the American company who didn’t have time to come to him up in Pretoria. The orchestra was going to the coast to open a music festival. He found her beside him. They got talking and she kindly offered to arrange a seat for him at the over-subscribed concert. And then? And then? But her poor father, she couldn’t humiliate him, she couldn’t follow him, naked, the outer-inner man she’d never seen, through the months in the woman’s bed beside the violin case.
What are you going to do, she asked.
It’s done.
That’s what he said (the siblings compare notes). And he gave such explanation as he could. Practical. I’ve moved out — but Isabel must have told you. I’ve taken a furnished flat. I’ll leave the number, I’d rather you didn’t call at the office, at present.
And then? What will happen to you, my poor father — but all she spoke out was, So you want to marry this girl. For in comparison with his mate, his wife of forty-two years, his sixty-seven years, she is no more than that.
I’ll never marry again.
Yes, he told the others that, too. Is the vehemence prudence (the huge age difference, for God’s sake: Matthew, from Australia) or is it telling them something about the marriage that produced them, some parental sorrow they weren’t aware of while in the family home, or ignored, too preoccupied with their own hived-off lives to bother with, after.
There’s nothing wrong between Isabel and me, but for a very long time there’s been nothing right, either.
Wishing you every happiness. The wedding gift maxim. Grown apart? Put together mistakenly in the first place — they’re all of them too close to the surface marriage created for them, in self-defence and in protection of them, the children, no doubt, to be able to speculate.
And what is going to happen to our mother, your Isabel?
And then. And then. That concert, after the indigestion of a three-hour lunch and another three hours of business-speak wrangling I had with those jocular sharks from Seattle. Mahler’s Symphony No. 1 following Respighi. I’ve forgotten there’s no comparison between listening to recorded music in a room filled with all the same things — the photographs, the glass, the coffee cup in your hand, the chair that fits you — and hearing music, live. Seeing it, as well, that’s the difference, because acoustically reproduction these days is perfect — I know I used to say it was better than the bother of driving to concerts. Watching the players, how they’re creating what you’re hearing, their movements, their breathing, the expressions of concentration, even the way they sit, sway in obedience to the conductor, he’s a magician transforming their bodies into sound. I don’t think I took particular notice of her. Maybe I did without knowing it, these things are a human mystery, I’ve realised. But that would have been that — she’d told me her name but I didn’t know where she lived, so I wouldn’t even have known where to thank her for the concert reservation — if it hadn’t been that she was on the plane again next day when I was returning home. We were seated in the same row, both aisle seats, separated this time only by that narrow gap we naturally could talk across. About the concert, what it was like to be a musician, people like myself are always curious about artists — she was teasing, saying we regard theirs as a free, undisciplined life compared with being — myself — a businessman, but it was a much more disciplined life than ours — the rehearsals, the performance, the ‘red-eye night-work, endless overtime’ she called it, while we others have regular hours and leisure. We had the freebie drink together and a sort of mock argument about stress, hers, facing an audience and knowing she’d get hell afterwards if she played a wrong note, and mine with the example of the principals from Seattle the day before. The kind of exchange you hear strangers making on a plane, and that I always avoid.