"Just you stay there," I pant as I flounder through the entrance. It's clear that she's playing a trick, because it's a shop for adults; indeed, all the dresses that flap on racks in the breeze of my haste seem designed for the older woman. She's crouching behind a waist-high cabinet close to the wall. The cabinet quivers a little at my approach, and she stirs as if she's preparing to bolt for some other cover. "That's enough, Geraldine," I say and make, I hope, not too ungentle a grab. My foot catches on an edge of carpet, however, and I sprawl across the cabinet. Before I can regain any balance my fingers lodge in the dusty reddish hair.
Is it a wig on a dummy head? It comes away in my hand, but it isn't all that does. I manage not to distinguish any features of the tattered whitish item that dangles from it, clinging to my fingers until I hurl the tangled mass at the wall. I'm struggling to back away when the head jerks up to confront me with its eyes and the holes into which they've sunk. I shut mine as I thrust myself away from the cabinet, emitting a noise I would never have expected to make other than in the worst dream.
I'm quiet by the time the rescuers arrive to collect their children and me. It turns out that Geraldine was in a fitting room in Girlz. The twins forgot most of their differences so as to take charge, leading me out to a table where there seems to be an insistent smell of stale sponge cake. Nobody appears to have noticed anything wrong in the clothes shop except me. I'm given the front passenger seat in Bertie's car, which makes me feel like an overgrown child or put in a place of shame. The twins used their phones to communicate about me, having heard my cries, and to summon their parents. I gather that I'm especially to blame for refusing the loan of a mobile that would have prevented my losing the children and succumbing to panic.
I do my best to go along with this version of events. I apologise all the way home for being insufficiently advanced and hope the driver will decide this is enough. I help Paula make a salad, and eat up every slice of cold meat at dinner while I struggle to avoid thinking of another food. I let the children raid the cupboard under the stairs for games, although these keep us in the dining room. Sitting with my back to the mirror doesn't convince me we're alone, and perhaps my efforts to behave normally are too evident. I've dropped the dice several times to check that nobody is lurking under the table when Paula suggests an early night for all.
As I lie in bed, striving to fend off thoughts that feel capable of bringing their subject to me in the dark, I hear fragments of an argument. The twins are asleep or at any rate quiet. I'm wondering whether to intervene as diplomatically as possible when Paula's husband says "It's one thing your father being such an old woman-"
"I've told you not to call him that."
"-but today breaks the deal. I won't have him acting like that with my children."
There's more, not least about how they aren't just his, but the disagreements grow more muted, and I'm still hearing what he called me. It makes me feel alone, not only in the bed that's twice the size I need but also in the room. Somehow I sleep, and look for the twins at the foot of the bed when I waken, but perhaps they've been advised to stay away. They're so subdued at breakfast that I'm not entirely surprised when Paula says "Dad, we're truly sorry but we have to go home. I'll come and see you again soon, I promise."
----
I refrain from asking Bertie whether he'll be returning in search of investments. Once all the suitcases have been wedged into the boot of the Jaguar I give the twins all the kisses they can stand, along with twenty pounds each that feels like buying affection, and deliver a token handshake to Paula's husband before competing with her for the longest hug. As I wave the car downhill while the children's faces dwindle in the rear window, I could imagine that the windmills on the bay are mimicking my gesture. I turn back to the house and am halted by the view into the dining room.
The family didn't clear away their last game. It's Snakes and Ladders, and I could imagine they left it for me to play with a companion. I slam the front door and hurry into the room. I'm not anxious to share the house with the reminder that the game brings. I stoop so fast to pick up the box from the floor that an ache tweaks my spine. As I straighten, it's almost enough to distract me from the sight of my head bobbing up in the mirror.
But it isn't in the mirror, nor is it my head. It's on the far side of the table, though it has left even more of its face elsewhere. It still has eyes, glinting deep in their holes. Perhaps it is indeed here for a game, and if I join in it may eventually tire of playing. I can think of no other way to deal with it. I drop the box and crouch painfully, and once my playmate imitates me I poke my head above the table as it does. "Peep," I cry, though I'm terrified to hear an answer. "Peep."
The Long Way (2008)
It must have been late autumn. Because everything was bare I saw inside the house.
Dead leaves had been scuttling around me all the way from home. A chill wind kept trying to shrink my face. The sky looked thin with ice, almost as white as the matching houses that made up the estate. Some of the old people who'd been rehoused wouldn't have known where they were on it except for the little wood, where my uncle Philip used to say the council left some trees so they could call it the Greenwood Estate. Nobody was supposed to be living in the three streets around the wood when I used to walk across the estate to help him shop.
So many people in Copse View and Arbour Street and Shady Lane had complained about children climbing from trees and swinging from ropes and playing hide and seek that the council put a fence up, but then teenagers used the wood for sex and drink and drugs. Some dealers moved into Shady Lane, and my uncle said it got shadier, and the next road turned into Cops View. He said the other one should be called A Whore Street, though my parents told him not to let me hear. Then the council moved all the tenants out of the triangle, even rhe old people who'd complained about the children, and boarded up the houses. By the time I was helping my uncle, people had broken in. They'd left Copse View alone except for one house in the middle of the terrace. Perhaps they'd gone for that one because the boards they'd strewn around the weedy garden looked rotten. They'd uncovered the front door and the downstairs window, but I could never see in for the reflection of sunlight on leaves. Now there weren't many leaves and the sun had a cataract, and the view into the front room was clear. The only furniture was an easy chair with a fractured arm. The chair had a pattern like shadows of ferns and wore a yellowish circular antimacassar. The pinstriped wallpaper was black and white too. A set of shelves was coming loose from the back wall but still displaying a plate printed with a portrait of the queen. Beside the shelves a door was just about open, framing part of a dimmer room.
I wondered why the door was there. In our house you entered the rooms from the hall. My uncle had an extra door made so he could use his wheelchair, and I supposed whoever had lived in this house might have been disabled too. There was a faint hint of a shape beyond the doorway, and I peered over the low garden wall until my eyes ached. Was it a full-length portrait or a life-size dummy? It looked as if it had been on the kind of diet they warned the girls about at school. As I made out its arms I began to think they could reach not just through the doorway but across far too much of the room, and then I saw that they were sticks on which it was leaning slightly forward - sticks not much thinner than its arms. I couldn't distinguish its gender or how it was dressed or even its face. Perhaps it was keeping so still in the hope of going unnoticed, unless it was challenging me to object to its presence. I was happy to leave it alone and head for my uncle's.