9
Chains of coloured paper are hung in swags along the walls of the billiard room. A large Christmas tree is carried in by Yuji and the Chinese houseboy. The girls decorate it with the utmost seriousness. At the top they place a doll, a winged doll, an angel.
There are cards, lanterns — also a little carousel of brass reindeer, their movement powered by the heat of candles. When shown to the baby, he throws back his arms and squawks with excitement, though shown it a second time he seems indifferent.
He’s too intelligent for such a toy,’ says Feneon, grandly. ‘Already he has escaped from Plato’s cave.’
‘What nonsense you talk,’ says Miss Ogilvy, sponging a smear of regurgitated milk from the Frenchman’s lapel.
In the six days since the birth Feneon has been a regular caller at the academy. The girls all seem to know him well, treat him like an indulgent father, are openly amused by Miss Ogilvy’s rudeness to him.
To Yuji, Feneon has offered — with an ironic cocking of an eyebrow — his felicitations on the birth of a healthy son. If he is still angry with Yuji, he hides it well enough for them to speak to each other in civil tones, and for now at least the baby heals everything, distracts everyone, creates, in every room it lies in, a feeling of reverence, of incontinent hope.
At Miss Ogilvy’s suggestion, Alissa and Yuji have named the child Emile. It would, she assured them, appeal to Feneon’s vanity, it would mollify him, and though, on learning of it, Feneon protested, his delight was obvious. Emile. Baby Emile. Little Emile. When not in his mother’s arms or on Feneon’s knee, he is passed among the girls. Yuji, too, takes his turn, reluctantly at first, unable to free himself from the paralysing fear of dropping him, but as he grows in confidence he finds himself falling under the same fascination the others surrendered themselves to so eagerly. Shyly, then openly, he dots the child’s brow with kisses, inhales the bready, powdery, new-animal scent of the warm black hair. At home, he notices his clothes have started to smell of the baby. Can anyone else smell it? His neighbours? Miyo?
‘I presume your parents know nothing of all this,’ says Feneon one evening, as they ride an empty carriage back into Tokyo together. ‘The longer you leave it, the more difficult it will become. The more painful for them.’
Is he speaking from experience? How, Yuji would like to ask (and only in part to embarrass him), did you tell your parents about Alissa? Or were the thousands of miles between Sézanne and Saigon sufficient for the secret of a child, a lost mother, to be kept for ever? As for his own parents, what in his past dealings with them can reliably tell him how they will respond to the news of a bastard, half-caste grandson? Certainly he knows of cases where a son or daughter has been formally renounced, and for behaviour, for acts, far milder than his own might appear.
On the morning of Christmas Eve he tells Miyo he will be away for the night. He leaves her money to go to the New Year markets. He will be in Yokohama. She should go to the Otakis if she needs help. She nods. She does not ask him any questions, though there is something in the way she looks at him that makes it clear she has reached her own conclusion about nights away in Yokohama.
At midnight in the Bullseye Piano Academy the last visitors are guided — or waltzed, in the case of one beaming, red-faced old gentleman, the under-secretary of something — to the front door. The last taxi pulls away. The glasses and ashtrays and empty bottles of Monopole and Hennessy are carried to the kitchen.
When everything is in good order again, when the fire has been fed and poked into fresh life, they gather on the rug or draw up chairs, their palms held out to the flames. Emile is sprawled asleep on a blanket by Alissa’s feet. Yuji kneels beside him. Natasha plays the guitar. They sing Christmas songs, Christmas carols. Most of these Yuji has never heard before, but one, ‘Stille Nacht, Heilige Nacht’, is familiar to him. Mother — who must have been taught it by Grandfather Yakumo — used to sing it when he and Ryuichi were little boys, and because he has only ever heard it in her voice, he has always thought of it as somehow being a Japanese song, though now the foreigners are singing it, half joyfully, half sadly, he sees that it’s theirs, that it comes out of their world.
After the singing, Feneon and Miss Ogilvy bring in the parcels that have lain so enticingly for days on the table in the back dining room. They spread them by the bottom of the tree. Rose — the youngest after Emile — reads out the names, reads out the doggerel that accompanies some of the names, and hands the parcel (with some ceremony, some giggling) to the recipient. Everybody has something. There are perfume bottles, ribbons, brooches, silken underwear. Alissa has a hat with a fox-fur brim, Yuji a tie with jagged orange stripes (a jazz tie!). For Emile, there are wooden toys and toys of tin, a pair of lamb’s-wool booties, a Chinese-style jacket hardly bigger than a man’s handkerchief.
‘Shall we be able to do this next year?’ asks Feneon, swirling the last of his brandy and letting his gaze rest on Alissa, on Emile.
‘We are doing it this year,’ says Miss Ogilvy. ‘And that is what matters. A grandfather should be wise enough to know that.’
At bedtime — whatever time that is, three, four o’clock — Yuji has a mattress in the room where he waited the night Emile was born. (‘You,’ Miss Ogilvy informed him simply, ‘are in the tower. You know where to go.’) He lies there, slightly drunk, wondering if Alissa is upstairs listening for his footsteps or if, with the baby beside her, she is already fast asleep. What is he to her now? What is he supposed to be? Do the others all assume something? If they do, he wishes someone would tell him what it is. As for what he wants. . He peers into the speckled dark of the room, moves his life around like the pieces of a puzzle, but just as the suspicion starts to grow in him that a life, his or anyone’s, is not a puzzle at all but something quite different, something that does not admit of solutions, he is lying on his arm softly snoring and dreaming of Mother singing in a voice thin as wire, ‘Schlaf in Himmlischer Ruh, schlafe in Himmlischer Ruh.’
At mid-morning the house downstairs is deserted. Yuji takes a walk. He does not need his stick now. His knee has healed and the burns are no more than patches of raw new skin. When he comes back, he finds Sandrine and Mary turning the billiard table into a dining table. He helps them lift the heavy wooden lid, spread the spotless linen. The cats leap up, are chased off before they leave a trail of prints. In the kitchen, in swirls of steam, Miss Ogilvy, with two of the girls, is preparing dinner. (‘You can’t ask a Chinese to cook a Christmas dinner.’) There is a roast duck, trays of sweet potatoes, a great saucepan of red cabbage. The pudding is a ball wrapped in muslin. Apparently it has to boil for hours.
It is dark again before everything is ready, the table set, the girls in their best clothes, the wine decanted. Miss Ogilvy takes photographs with her Leica and flashgun. Everyone together, then the girls in various demure poses by the mantelpiece. ‘Now,’ she says, ‘the new family.’ A chair is put out for Alissa and Emile. Yuji stands beside them. When Feneon is urged to join them he says he will, gladly, but first it should be just mother, father, son.
‘As you wish,’ says Miss Ogilvy, screwing a fresh bulb into the flashgun.