Текст книги "Certainty"

Автор книги: Madeleine Thien

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Текущая страница: 11 (всего у книги 16 страниц)

What do you dream about? Gail had asked him once. My childhood, he said, after a pause. What was your childhood like? Her father had smiled fondly at her before turning away. “Like every childhood. Mine was no different.” Ever the curious daughter, she would take his hand. “Tell me one thing about it. Anything.”

He told her how to tap a rubber tree, how to hold a cigarette tin against the trunk and catch the precious liquid. How to carve an orange into a lantern, or a radish into the petals of a rose.

She once kept a list of his eccentricities. Her father was afraid of the dark. He could not eat certain foods: sweet potato, cassava and tapioca, which he called ubi kayu. Every weekday morning, before leaving for his job at the restaurant, he would stretch his arms and back, a kind of calisthenics that he said they had learned in school, when he was a boy. He had a fascination with Japan, a quick temper, and a disconcerting knowledge of British Columbian history. The First Nations, he once told her, have an archaeological history here that can be traced back ten thousand years. “Imagine that,” he would say, shaking his head, peering down at Gail as if he could read the span of years in his daughter’s face. He said that he tried to picture what first contact was like, when the Haida stumbled across the ship of Juan Perez, when they saw the white sails open and fluttering in the wind.

On the phone now, he is still talking about The King and I, describing how he first saw the film in Melbourne, in 1958. “All the boys I knew, they wanted to grow up to be Yul Brynner,” he says, laughing. Once, he had woken to the sight of his roommate practising his ballroom dancing, twirling an imaginary partner.

“And who did you imagine you might dance with?” Gail asks teasingly.

“I always danced with same person. In Sandakan, when I was young. But she died a long time ago. I thought I might see her again, but it was impossible.” She hears him shifting the phone to his other ear. “Don’t forget,” he says. “I want to surprise your mother. It’s been so long since we took a trip together.” When she puts down the phone, something in her mind seems to stop and catch, a word, a name, hovers on the edge of her memory.

The phone rings again, but she doesn’t pick it up. On the answering machine, Ansel’s voice. “It’s me.” A pause, and then he says, “Are you there? I didn’t want to wake you this morning before I left. Are you there, Gail? Anyway, that’s all right. It was nothing important. You looked so peaceful this morning. That’s all.” Something in his voice causes her to sit down, exhausted, unsure. “I love you.”

The message light on the machine begins to glow. She thinks of her mother, sitting at the kitchen table, polishing the glass beads of the chandelier, a task she did when Gail’s father was ill, when he slipped into a depression and she could not pull him back. Long ago, when she was a child, Gail would fall asleep in her mother’s lap, face pressed against the fabric of her dress. The familiar smell of soap and sweetness. Across the room, her father sat for hours in his armchair, his cup of tea gone cold, and it seemed to Gail that he had disappeared, cut himself loose from his body. Her mother would lift Gail from her lap, rise from her chair. She would place her hands on his shoulders, rubbing his neck and back. Touch calling another person back to this world, warmth flowing from one body into another.

A few months ago, she had helped her mother clean and organize her workroom. While her mother went to the kitchen to prepare lunch, Gail had got started, wiping the bookshelf. It was crammed with sewing manuals, but there were also cookbooks, magazines and novels: Balzac, Dickens, Thackeray, coated in a thin layer of dust. Gail had sat cross-legged on the floor, turning the worn pages. She was replacing the books on the shelf when she saw a handful of envelopes that must have fallen on the carpet. She recognized one of them immediately. It was addressed to her father, and the Dutch stamps, now yellowed and dry, curled up at the edges. She had slid the letter out, a single page, fragile and creased.

I am heartbroken to write that Ani passed away on November 29, 1992, at home, of cancer. Wideh has returned from Jakarta, and he is here now. He was with his mother at the end.

Before her death, Ani requested that I write to you, and she provided me with your last known address. I hope that this letter reaches you.

I am very sorry to have to write to you with this news.

The name at the bottom of the page was Sipke Vermeulen.

She goes back to her office. At her desk, she scans the list of sound files, trying to focus on her work. She chooses one and hits Play. The recording that emerges from the computer is her own voice, the interview with Jaarsma about cryptography and the Vigenère Square. “The ciphers leave a shadow,” Jaarsma says, in response to her question. “However faint, you cannot erase that. This is the narrow, almost invisible opening for the codebreaker. At Bletchley Park, during the Second World War, cryptographers often recognized a pattern they had seen weeks, even months ago. They would walk across the room, fish out the correct fragment from a stack of paper. As if it were all a dream. It was the subconscious memory of a pattern.”

In radio, in the countless scripts that she has written, Gail works with the belief that histories touch. Follow the undercurrent and you will arrive at the meeting place. So she weaves together interviews, narration, music and sound in the hope that stories will not be lost in the chaos of never touching one another, never overlapping in any true way. Each element a strand, and the story itself a work of design. Out of the disparate pieces, let something pure, something true, emerge. Let it remain there, visible.

And in this documentary, where is the truth in the story of William Sullivan?

Gail runs her pen along the script, making notes in the margin.

Years ago, in Prague, she had interviewed a woman whose teenaged son had drowned in the Vltava River, a tragic accident. In the midst of recalling that day, the woman had looked up at Gail, suddenly angry, asking why she dared to ask these questions, what right she had. Gail had opened the recorder, removed the cassette tape. She had placed it carefully in the older woman’s hand. “If only you could understand,” the woman had said, clutching the tape. “The words that I put in the world can never be taken back.”

She remembered the woman’s frantic gestures, the ribbon pulled out of the cassette, spooling onto the ground.

She opens a browser on her computer and begins to book her flight to Amsterdam. Dates, flights, times: the numbers swim before her eyes. When she has an itinerary ready, she prints it up, and emails a copy to Jaarsma.

Outside, a woman calls out, then a screen door opens and slowly closes, the hinges creaking. She types Sipke Vermeulen’s name into the computer and watches the results scroll down the screen. The Nederlands Fotomuseum in Rotterdam. World Press Photo. She follows a link, and a series of black-and-white photographs open up before her. The caption underneath reads, Algiers, 1959. The Algerian War.

For a long time she studies the photos. In one, a child plays on an abandoned tank, he hangs upside down, suspended from the barrel of the gun.

She opens one image after another, seeing images from the Netherlands, Germany, Indonesia, and it becomes clear that Sipke Vermeulen is a Dutch photojournalist, a war photographer.

Gail closes the browser, picks up the printed itinerary from her desk, and walks out of her office. She climbs the stairs to their attic bedroom. Standing at the window, she can see a dozen tai chi practitioners gathered in the nearby schoolyard, moving, out-of-phase, in a lengthening ballet. Elderly men and women flick their heels, stretch their arms away from their bodies, turn with a strange and gorgeous precision. Movement after movement unfolding, an outgoing tide, spreading towards the edges.

Many times in her childhood, she had woken to the sound of her father’s nightmares. A screaming in the dark, lights coming on in the house. She would creep to their bedroom door, holding on to the sound of her mother’s voice comforting him. Once, unable to go back to sleep, she had found her way, in the dark, to the living room. There, she lay on the carpet, her arms open, as if to gather up the air, to hold the weight of the room. From where she lay, she reached out and turned on the antique radio. The panel glowed and, after a few seconds, music, something jazzy, began to drift through the speakers. Eyes closed, she pressed her hand to the wooden cabinet, drew the vibrations through her fingertips, all the way to her heart.

When dawn came, she went to her parents’ bedroom, inched the door open, stood at the border of their room as they slept. She gazed at them with a boldness that she would not otherwise dare. Asleep, it was as if they had gone away together, leaving the worries of their life behind. She imagined casting a spell over them. When they woke, they would find themselves in a place where no secrets existed, where all the sorrows of the past had been laid to rest. What sorrows? She did not know. She knew so little about their lives. Privacy, her parents believed, was sacred.

For as long as she can remember, she had wanted to save them. She imagined her parents turning to her, seeing her finally, and the past would fall away. That is what she had hoped for when she was a child. To say the right thing, to pull off a feat of such perfection, they could be distracted, if only for a time.

From the window, she can see the myriad cracks in the sidewalk, the antique waste bins. A few blocks over, the sound of Chinatown like a swirling body of water. Here, in the oldest neighbourhood in the city, the trees are surprisingly young. They are planted each in a square of soil, a gesture towards the future. In the playground at Strathcona Elementary, children run in looping paths. They dribble balls on the basketball court, run three steps for a lay-up. For a fleeting moment, as she watches, their bodies hover motionless in the air.

The clouds open in a rainstorm, a kind of sheeting monsoon that rarely appears in Vancouver. In the bedroom, Gail listens to it clattering on the house, onto the glass skylight. Downstairs, Ansel is making dinner, a casserole of leeks, tofu and potatoes, spiced with curry. She gets up and goes downstairs, where she uncorks a bottle of red wine, drinks one glass and then another too quickly. The alcohol warms her, and she remains by Ansel as he assembles dinner, leaning her head into the hollow between his shoulder blades. A familiar gesture. He slides the casserole in the oven, and together they go into the living room. It is dimly lit, and on the couch he gathers Gail into his arms.

There is a recklessness to the way they undress one another. Perhaps such release is a gift; perhaps it is only the wine passing through her bloodstream. He kisses her mouth, along her neck, and it is a kind of betrayal, the way her body responds to him. But she does not want to stop it, stop the momentum that accumulates between them, she cannot imagine how such a thing, something so treasured, could come to an end.

Later, when they are lying together on the couch, she tells him that she has booked her flight to Amsterdam, and that she will remain there for six days. She will finally be able to move ahead on this project.

The silence lingers between them.

“I need this time away,” she says.

“From us.”

Long ago, any sign of pain in him would cause her deep anxiety, because it hinted of a future of possible loss, more loss than she could imagine. But now, seeing his expression, she feels confused.

“Gail?” he says, her name a question. “Just come home.”

My love, she thinks, and the words are true.

He kisses her, and she knows, somehow, that he is asking for help, for an end to the sadness they are causing one another. Asking because, after all these years together, it is the only thing that might save them. Together they stand up, they find their clothes and pull them on. Then they go into the kitchen, leaning on one another.

Harry Jaarsma’s home in Amsterdam is a three-storey brick rowhouse, tall and narrow. Inside, the staircase to his office is so steep that, climbing up, Gail feels a sensation of vertigo, the walls pitching towards her. She grips the bannister, takes a deep breath, and climbs the last few steps. She and Jaarsma emerge into an open space, glass walled and high-ceilinged. The room is a container of light.

“My thinking space,” Jaarsma says. He is a few feet ahead of her, dressed in jeans and a T-shirt bearing a diagram of a caffeine molecule.

She had arrived last night. “Lovely,” he had said, on seeing her at the airport. “But careworn.” They had taken the train from the airport into central Amsterdam, then walked through the cold, winding streets to Jaarsma’s home. Past the train station, where thousands of bicycles leaned together in the night, continuing across the canals that ring the city, rippling away from the centre. Her breath trailed behind her, a white fog in the darkness. They passed brick facades, topped with delicate gables. Almost twenty years have passed since she studied in the Netherlands, but the sound of the Dutch language now fell reassuringly on her ears. He set her luggage in the spare room, and, over the course of a few hours, they had moved from coffee to beer to Beerenburg, a sweet liquor distilled from juniper berries, which had dulled her senses and caused her to fall asleep on the couch, but not before she and Jaarsma had managed to talk enough politics, art and science to make up for years apart. “Having children,” he had proclaimed, at the end of the night, before nodding off on the carpet, “is an essentially hopeful act. But I, Harry Jaarsma, have always been an essentially hopeless man. And I will never, never, be persuaded otherwise. Bring on the worst. I am ready.”

Now, standing in the sunlit office, they are both fatigued and pale, nursing cups of steaming black coffee.

He goes to his desk, lifts up a stack of pages, and brings them to her. She recognizes the photocopied pages of the diary at once, and her heart begins to thrill in her chest. She sets her coffee down and starts to turn the pages, finding where the numbers end and the text begins: 20 December 1941. Hong Kong. “You said that he surprised you,” she says.

He smiles, an expression both gentle and melancholy. “Read it and discover for yourself.”

She had wanted to believe that once the code was broken so much in William Sullivan’s life, in his children’s lives, would come clear, that a line could be drawn from beginning to end and a true narrative emerge. She sets the pages down, unable to begin, not wanting to finish. It isn’t disappointment she fears, but trespass. To awaken a memory that has no consolation. She remembers a conversation with her mother, from years ago. Gail had asked her mother to tell her about her first love, and her mother had smiled at the question. Your father, she had answered. Your father was my first love, and my first heartbreak.

When they have finished drinking their coffee, she opens her equipment bag and removes the Mini Disc recorder, microphone and cords. They set up a space by the windows, William Sullivan’s diary laid on a table between them. She tells him that she will read the pages this afternoon. Perhaps, for now, they can fill in a few missing pieces about codebreaking, and tomorrow they will talk specifically about the diary.

He nods, one hand brushing the tip of the microphone that she has affixed to him with her usual trick, the bent coat hanger around the neck. “How do I look?” he asks, smiling.

“Sharp. Very sharp.”

They settle into place and Gail listens, assessing the sound of the room. There are no refrigerators, no computer fans whirring. She readies her equipment, then does a sound check, adjusting the needle as Jaarsma rambles on about his hangover. In her earphones, his voice has a low, rich timbre, a melodious accent.

Guided by her questions, he begins to talk about the Vigenère Square, and then cryptography in general. She asks him to assess the personality of someone suited to the work of codebreaking.

He begins to describe the repetitive nature of the work, how codebreakers were recruited from mathematics departments, orchestral groups and crossword puzzle competitions. He beams. “Do you know football?”

Gail shakes her head.

“I’m reminded of a famous quote by Johann Cruyff. He said, ‘If I wanted you to understand, I would have explained it better.’ He was talking about football, but I think what he meant is to trust pure intuition. Follow something less explicit. It is perhaps very unscientific to say, but I think that to break a code you must inhabit the mind of the codemaker. To unravel the clues, you must, to some extent, place yourself within his consciousness.”

Outside, she can hear the whistle of a train passing, and they wait a few moments for the noise to subside. On the far side of the room, a blur of colour catches her attention.

“The print on your wall, Jaarsma. I feel like I should recognize it.”

He smiles, pushing his chair back, stands and walks to the other side of the room. Gail follows closely behind him, wondering whether to pause the tape. She lets the recording continue, taking care to ensure that the wires of the microphone stay clear. Framed beneath the glass, the pictures, six in total, are strange and wild. They hint of seahorse tails, the spiral of a winding nautilus, electric sparks.

“The Mandelbrot Set,” Jaarsma says, running his fingertips over one of the prints. “A collection of points derived from the quadratic equation z = z2 + c. The equation itself is very simple, but the Mandelbrot Set is one of the most complex objects in mathematics. See this boundary here,” he says, indicating a shape enclosed by a band of colour. “Any part of this edge, this cartoid, no matter where, no matter how small, will, if magnified, reveal new points. And these, if further magnified, will also reveal new points, ad infinitum.”

Gail moves closer to the wall, gazing at the pictures. Each successive print is a magnification of a detail of the last. The last frame is labelled as being a ratio of 1:1 million.

“The boundary encloses a finite area, but the boundary itself is infinite. No matter how much we increase the magnification, the same shapes appear and reappear in the border, though never quite the same. The image reveals a kind of symmetry, not of left and right, but of large scales and small ones.

“Imagine that we are standing here,” he says. Unexpectedly, he takes her hand, ever so gently, and places it on a corner of the print. “I can imagine what the rest of the picture is like because this is a fractal image, and it is self-similar. It repeats. But to imagine the entire picture is akin to standing on a street corner and trying to imagine what England looks like from an airplane, or from Mars. I can extrapolate, but what I see at this level may not conform to my expectations of what it will look like as we move in space and time.

“Do you know how birds fly in formation? As far as we know, they hold no picture in their minds of the V formation, let alone the vast pattern of migration. They are aware only of the other birds in their immediate proximity. And the same is true for me; I respond to what is immediately around me. But the pattern that I cannot see, that I have no knowledge of, exists. My mind, my brain, is not made to imagine distances of great magnitude. Or infinite time, eternity. We glimpse a part of the puzzle and intimate, however vaguely, an answer. But if I read a book about geography, or the history of the Earth, or the universe, for that matter, how does that change the way I place myself within this formation?”

She gazes at the boundary, the intricate details. “It changes nothing and everything.”

Jaarsma smiles, delighted. “Precisely.”

She turns off the recorder and removes her headphones. “If I wanted to find someone in the Netherlands,” she says, “how would I go about it?”

He is taken aback by the question. “The telephone book?” he says, finally, not sure if she is serious.

“There is someone I want to find.”

Jaarsma walks across the room to his computer. He opens a browser and enters a Dutch Internet address. When the page has opened, he looks up at her, fingers resting on the keyboard.

Gail retrieves her notebook from her bag and opens it to the last page, where she had written, this morning, the name that she cannot shake loose: Sipke Vermeulen. Jaarsma studies the page, then types in the words. Almost instantaneously, an address and phone number appear on the screen.

That night, Gail stays awake. Her suitcase is open, the contents still neatly packed. Jaarsma’s translation of the diary is open before her, twelve pages of single-spaced type. William Sullivan, she thinks, all his thoughts transcribed into numbers, multiplied and added to themselves, a testament to what a person might do to make all their words disappear.

She imagines him working with pencil in hand, copying the numbers onto a sheet of looseleaf. Over and over, he erases his numbers and begins again. How is it possible to forget pain, to be unable to recall something that was once so inescapable?

In the diary, there is no detailing of violence witnessed and endured, of friends executed, of resistance. That, in the end, is what Gail finds so startling. She knows, through her research, that in the Hong Kong camp, a third of the men died before the war ended. In the prisoner-of-war camp in Sandakan, only six of three thousand men lived to see liberation. William Sullivan kept the diary as proof of a different kind of existence, where part of him still saw the world as if he were free. He wrote about their rituals, what time they got up in the morning, the kind of trees that grew outside the camp, the food they ate, the girl smugglers who passed by outside. “Some are as young as ten years old. Their clothes hang together with invisible thread.” And another entry: “My most prized possession is a set of three tin dishes. They came to me through various hands, and they are useful for all sorts of things. Food, chiefly. But also to gather leaves for tea, to hold on to a bit of water. They are valuable also because, in a time of necessity, they can be traded for pills or medicine.” Through these sentences, these pages, he would make the world cohere.

For three years, the men in the camp were starved and brutalized, treated as less than animals, but he had continued the journal, as if through it he could maintain some part of his dignity. In entry after entry, he imagines the days to come. “When I see you next,” he writes, addressing Kathleen’s mother. “After the war is finished.”

When the camp was liberated in August 1945, he had been twenty-five years old. Gail had learned that the physicians and psychologists of the time had all agreed: the war was finished, these men who had survived should go on with their lives in the best way possible. They should not burden their families with the misery of what they had endured. So he had gone on, honourably discharged from the army, and he had kept his silence.

Earlier, she had telephoned the number for Sipke Vermeulen. The voice of an elderly man had answered, his words clear and lightly accented. When she said her name, a silence followed, and she feared the conversation had come to an end, that Sipke Vermeulen would put down the phone, without her understanding the reason why. But then time had begun again. He had repeated her name, in surprise, in recognition.

Arrangements were made. Sipke Vermeulen had told her he would come down to Amsterdam in two days’ time, and then they would travel up north together to his home in rural Friesland.

Jaarsma had been standing in the window, watching the moonrise, the gleam of light clouding the city. He had poured two glasses of wine and ordered dinner from the neighbourhood Indonesian restaurant, sticks of satay, babi pangang, a container of rice. When he looked at her, his face held a question. She told him about the letter that she had found years ago. She wondered if it was possible to know a person truly. And if we did, would we know what we had, would we recognize it?

At one point in the evening, Jaarsma had put his fingers to the window, indicating the light. He told her that people believe that the moon changes in size as it moves across the sky, becoming larger and fuller as it nears the horizon. But the size of the moon, he said, remains constant no matter where it is, and the idea of a larger moon is an optical illusion. We could measure it, he said, with a paper clip, shaped into a caliper. He still remembered the day his father, an astronomer, told him this fact.

“And what did you feel,” Gail had asked him, “when you learned it was only an illusion?”

At first, disbelief. He had been standing beside his father, the moon, low and immense, before them. “It was so large,” he said, “I felt we could get in the car, drive across the city, reach out and hold it in our hands. Every night after that, I twisted a paperclip just as my father had taught me, proving over and over again that even the largest moon is no different in size from all the rest.” Was it our perception of the sky that was in error, he had wondered, or our perception of the moon relative to the buildings on the horizon? Did we compare the current moon to an inaccurate memory of a previous one? What was it, within our own minds, within the wires and creases of our visual cortex, our internal map of the world, that allowed this distortion to happen?

She had sat in silence, the wineglass in her hands, waiting for Jaarsma to continue.

“There is no definitive theory,” he said at last. “The question itself is thousands of years old, spanning from the time of the ancient Greeks. Maybe if we are lucky, within our own lifetime, we will find not only the right answer, but also the one that satisfies us.”

That night, she falls asleep, the lamp still burning, the transcribed pages of the diary laid out beside her.