The Sealed Letter

  An hour later, he's staring into the infinitely weary eyes of a lion. He wishes they hadn't come; the zoo is entirely too public a stage, and he's convinced that every second passerby is giving him a look of sharp recognition. Those poor mites. What could their father be thinking of, dragging himself and his family through the dirt? Harry can guess these thoughts, because he would have had them himself, a month ago.

  "Papa," says Nell, tugging at his sleeve, "I wish you'd bring us to the zoo every week."

  Something in the child's tone pricks him; the show of happiness, the insistence on what a delightful father he is. Do she and Nan fear that they might lose him too, at a moment's notice, as they have their mother, without so much as a farewell kiss? They haven't asked whether she's dead, it occurs to him now.

  "That's slang," Nan corrects her little sister. "It's the Zoological Gardens."

  Harry read once—where?—that nymphomania is a congenital trait. These girls seem wholesome in every pore, and yet he watches the pair of coppery heads closely, alert to every vocal echo, every charming turn of the chin that reminds him of their mother.

  A chill breeze blows across Regent's Park. William sniffs, makes a face, and suggests moving on to somewhere less odoriferous. Nell is delighted by this new word.

  An elephant comes lumbering across the grass towards them, beside its keeper; William buys the girls some bags of buns to feed it. They scream with pleasure as the creature nuzzles their palms with its trunk. It's a bizarre limb, up close, Harry thinks; it has the rude look of a hairy snake.

  When he turns his head, he sees his brother regarding him curiously. "D'you suppose you'll miss her, at all, when it's over?" William asks under his breath.

  He manages a huff of laughter. "You can still ask that, after all you've learned in Bird's office? The gondola, the pier, the hotels..."

  "Well, the details were exotic," concedes William.

  "The details?" Harry stares at his brother. "You mean to say you'd guessed the main point?"

  "What, that the woman's ... that she doesn't play by the rules?" murmurs William, his eyes on his nieces as they pat the elephant. "It's been known in the family for years, my dear fellow."

  This idea staggers Harry. "So my humiliation's been the stuff of sneers and gossip?"

  "Steady on. No one's broached the subject; that's not our way. It's just an atmosphere I'm describing, and I could be wrong," says William unconvincingly. "But there's always been something in our sisters' tone, when they use her name."

  "You knew it yourself. However did—"

  A slight shrug. "Always easier to spot these things from a distance. The way Helen carries herself, perhaps. The way she treats you."

  Harry wouldn't have thought it was possible to feel even more of an idiot, but he does. "Why, may I ask, did no one say a word to me?"

  "Speaking for myself—I had no facts," says William gruffly, "only a general impression. I dare say I assumed you didn't want to hear it. That you two had come to some sort of terms."

  Nan, letting the elephant pluck a bun from her palm, casts an anxious glance over her shoulder at her father, who manages a wave and a rictus of cheer. When she's turned back to the animal, he lets his jaw drop into his hand. The edges the barber shaved two days ago are as rough as limestone. "Is it possible that I knew, without knowing I knew?"

  "Now you're splitting hairs, old boy," says William.

  "A moment ago," says Harry, puzzling it out—"why did you ask me if I'll miss her?"

  An odd little smile. "I fear I might, if I were you."

  The governor's wife, social sovereign of Gibraltar, is a plump, serene matron who's never given William a moment's worry. Harry speaks bleakly. "The best of Helen—her youthfulness, her merriment—was lost to me a long time ago. Living with her in recent years has been a penitential exercise. What's there to miss?"

  A slight shrug. "I dare say you'll find out."

  Pacing down the Bird Walk ten minutes later, looking for parrots in the trees, Harry asks the girls, "Are you enjoying yourselves at Mrs. Watson's?" Then instantly regrets it.

  His daughters look at each other like mute conspirators.

  "I know, of course, that things must feel rather up in the air..."

  Nan waits for him to trail off before she speaks. "She is a kind lady."

  "I still don't see why they aren't with Jane," mutters his brother by his side. "Surely these things are best kept within the family?"

  Harry waves that away. It was all done in such a hurry, after the smashed desk gave up its secrets; he can barely remember his reasoning, and it would only upset the girls to change their lodging at this point, besides.

  "We were wondering..." starts Nell.

  Nan's eyes fix on hers. "Might we come home? When..."

  "When the divorce is over," finishes Nell.

  Harry stares at her. "Where did you pick up that word?"

  "Steady on, old boy," says William.

  "Is it a bad word?" Nan gnaws her lip.

  He struggles to find an answer.

  "Is it slang?"

  "It's the sort of grown-up trouble that little heads don't need to fuss about," their uncle tells them.

  Harry sets his teeth together, hard.

  "It was on a sign," Nell confesses. "A newsboy's sign. It said Codrington Divorce, Four Full Pages."

  "It was the Telegraph, she wanted to buy a copy," says Nan, looking at her patent shoes.

  "To look at those funny little messages Mama used to read aloud. I thought she might have written us a message," Nell admits, "but Nan said I was a nincompoop."

  He can tell she's on the brink of tears. There's that brute Codrington making his children cry in the park! Neglect. Cruelty. Attempted violation of a. .. "Oh my sweet girlies," he says, squatting down and crushing them both to his chest. "You're cold. Are you cold? Hail a cab, won't you?" he asks William, "the girls are freezing."

  On impulse, he stops the cab at a toy shop on Marylebone High Street. The first few things his daughters pick out are so cheap they irritate him: a cardboard castle, a tiny jointed doll. "That's childish," Nan scolds Nell.

  "What's this splendid instrument?" says William like some showman, laying his hand on a brass machine that calls itself, in elaborate script, The Zoetrope, Wheel of Life.

  "The very latest thing, General," the clerk tells him, rushing to wind up the handle. "No home without a zoetrope!"

  "What, you're claiming every house in England has one?" asks William.

  The clerk falters. "It's just a slogan, sir."

  As Harry peers through the slot, a red devil somersaults through a hoop. Unnerved, Harry jerks away, then puts his face back to the cold brass eyepiece. A series of images on a rotating drum, that's all, but how it tricks the eye. Persistence of vision, that's the scientific phrase. "Look, girls," he orders. "Watch the fellow jump."

  They bend, taking turns; they are enthusiastic, but not quite as much as he would have hoped. Always something forced about the girls' smiles, these days. "We'll take it," he proclaims.

  "Really, Papa?"

  "It's for us?"

  "Yes indeed. You can wrap up half a dozen of those image drums—" he tells the clerk.

  "Lucky, lucky girls," says the fellow fawningly.

  But they seem loath to choose. William suggests a couple waltzing round a dance floor and a waiter falling downstairs. Harry picks a stork beating its wings, a tree shaking in the wind, monkeys exchanging top hats in an endless loop.

  "May we bring it home?" asks Nell in a small voice, as they stand waiting for another cab.

  Harry realizes he never did answer the original question. "Best to keep it at the Watsons' for now, darling. But very soon we'll be back at Eccleston Square."

  "Yes, but ... will it be like before?" asks Nan.

  William looks away. "No," Harry tells her as gently as he can, "not like before. You'll understand when you're older." But he doubts that.

  ***

  It happen
s the moment Harry stops the cab on Pall Mall. He's alone, at least, having dropped the girls at Mrs. Watson's and William at his tailor's on Jermyn Street: that's a small mercy. He's distracted, fumbling for a third shilling. When she comes running at the cab he doesn't recognize her at first.

  His wife, in black like a widow; like some chalk-faced, brass-headed simulacrum of the girl he fell in love with all those years ago in the Tuscan spring. "Drive on," he calls to the cabman, but his voice comes out as faint as a mouse's. Helen seizes the door handle. He holds it shut from the inside, averting his eyes. "Drive on, I say!" That's better, louder, but Helen's clinging to the door, pressing her face to the window: her sea-glass eyes, her pointed nose and distorted lips. Making a public spectacle, he thinks with a surge of loathing so pure it reminds him of desire.

  He lets go of the handle, so the door swings open taking Helen with it; she staggers backwards, her skirt flapping like some great bloated raven.

  When Harry steps out she speaks, one word, but it comes out so strangely he doesn't understand her. "I beg your pardon?" Then the politeness strikes him as absurd. He has nothing to say to this stranger, this lurid character from a spy's reports. He veers away from her, towards the pillars of the Rag Club.

  "Mercy." That's what she's saying, mumbling it over and over.

  "Oi! My fare," roars the driver, from the cab roof.

  Harry turns back, hot-faced with confusion, rooting in his pocket.

  "Ask anything of me," demands Helen, grabbing his arm.

  "Well, I like that trick," broadcasts the driver. "Scarpering into his club, with his lady-friend!"

  "Anything I can do, anything I can say—" she sobs.

  He knows there's a third shilling somewhere in the handful of coins, but his eyes can't pick it out, and his fingers are trembling. His wife hangs on his elbow like a terrier; he tries to shake her off.

  "Don't let on you don't have it," calls the driver, rolling his eyes for the benefit of the gathering audience.

  Harry grabs the first gold coin he can find—a half-sovereign—and hurls it in the man's direction. But it hits the shiny paintwork of the cab and bounces into the gutter.

  "All I beg of you is, let me see my babies!"

  "Hold your tongue for one moment," he barks in her face. He stoops, claws the half-sovereign out of the mud and holds it up for the driver. She's still clinging to his other arm.

  The driver beams at him. "Well, now, that's what I call handsome..."

  Harry turns away, towards the club's entrance, then—changing his mind—in the opposite direction. He walks a few steps, Helen a leaden shackle on his arm. What must they look like—a military lecher and his cast-off? "What can you possibly hope to gain by this, this exhibition?" he asks her, very low.

  "They wouldn't let me into your club. They say you won't receive my letters. I'm at the brink of utter distraction!"

  Something in her tone rings false to Harry. Is it just that he can no longer believe a word she says, since so much of what she's said to him over fifteen years of marriage has turned out to be claptrap?

  "I'll take back everything my solicitor's said of you, all the, what are they called, countercharges," she promises with a gulp so violent it sounds as if she's retching up a stone. "I'll bow to your will in everything, Harry—if only you and the girls will come home."

  He stares at her.

  "What's done is done, but let's put it behind us, and try to be content in the years that remain to us. Come home, my love!" And she stretches up, on tiptoe, and twines her arms around his neck, and moves to kiss him. On Pall Mall, at ten past noon.

  Harry's about to hurl her from him. He can feel it in his hands already, the satisfaction it will give him to rip Helen's arms (like coils of strangling ivy) away from his neck, to shove her away and see her drop into the gutter, revealed for all to see as the broken whore she is.

  But something freezes his hands. The not-quite-convincing delivery of her lines? Something guarded, even calculating, in the back of her wide blue eyes? Whatever the hint is, it's enough to make him stand very still—hold hard, old boy, hold hard—while Helen hangs around his neck, planting desperate, muffled kisses on his beard. Everything my solicitor's said of you: he repeats her words to himself. All the, what are they called, countercharges. (As if she wouldn't recall the term!) Cruelty, yes. Husbandly brutality. That must be what she's hoping to provoke with her coarse effusions, with her humid lips: one public act of violence from Harry that just may be enough to sway a jury.

  So he stands very still, instead, and takes a long breath. It doesn't matter who's gawking at this strange pair, on Pall Mall; what is vital is for Harry to stay out of this woman's trap. With the infinite delicacy of a policeman dismantling a bomb, he reaches behind his neck to unknot Helen's hands. "I know your game," he whispers in her ear, "and I'm not playing."

  She looks back at him, eyes burning, unblinking.

  It takes him considerable effort to undo her plump pink fingers, but he does it so carefully, with such apparent tenderness, that it strikes him that passersby must take them for lovers oblivious to the world.

  Subpoena

  (Latin, "under penalty":

  a writ commanding the presence of

  a witness in court to give testimony)

  The "old maid" of 1861 is an exceedingly cheery personage, running about untrammelled by husband or children; now visiting her relatives' country houses, now taking her month in town, now off to a favourite pension on Lake Geneva, now scaling Vesuvius or the Pyramids...

  Frances Power Cobbe,

  "What Shall We Do with Our Old Maids?" (1862)

  More men than women in the first few issues, until our audience is established," suggests Emily Davies, biting on the end of her pen.

  "Quite," says Fido. Her mind is not on business, as she sits in her office at the press, but she hopes she's hiding it. Fido can't breathe properly; ever since Helen slammed the door of Taviton Street behind her, there's been a rigidity in all the passages of her lungs, like old India rubber gone brittle. At the office she keeps all the windows closed, to shut out the black smuts of the London autumn. At home she does the same, and smokes her Sweet Threes for hours, but they don't bring her any relief; nor does the kettle in her bedroom that sends out its ribbon of mentholated steam all night.

  "I've already sent out requests to Arnold, a couple of fine young essayists..." Emily Davies puts her small head on one side. "I thought a travel series on the Far East, perhaps."

  "So you believe the Victoria Magazine can burst onto the scene in November?" asks Fido with forced enthusiasm.

  "I don't see why not, if your typos can set it that fast," says Emily Davies.

  "Some of them are careless and slow enough to make anybody swear," Fido admits. (Unless, as she's sometimes suspected lately, one or two of the clickers—Kettle? Dunstable?—are cooking the figures, boosting their wages by exaggerating the percentage of the girls' work the men end up having to do over. She won't worry about that now; her head's already crammed to bursting.) "But I can answer for the press meeting this deadline."

  "Capital."

  "Well, how splendid! I dare say we'll have to break the news to the rest of the Reform Firm now..."

  "Oh, I've already submitted my resignation as editor of the Journal." Emily Davies sighs. "Its demise, whether immediate or protracted, will be a blow to Miss Parkes, at first, but ultimately I hope a relief."

  "Some people cling to their burdens."

  "How true. There's a peculiar streak of self-glorifying sacrifice in many of the women drawn to our Cause," comments Emily Davies, flicking through her notes.

  Fido's been fretting over whether to discuss what happened at their last meeting. "By the by—you must have wondered at the extraordinary behaviour of my visitor last Tuesday."

  "No need for an apology."

  She could leave it at that, but she finds she needs to press on. "You'll have gathered the whole story from the papers since th
en, or at least one version of it. I must beg you not to credit everything—"

  Her colleague interrupts wryly. "As one vicar's daughter to another, I must tell you, I'm not as easily shocked as you imagine. At the age of twelve I was going round the slums of Gateshead, where I saw deformed babies born to girls molested by their fathers."

  Fido is speechless.

  "I am sorry for your friend. The law is a blunt instrument."

  "She was staying at my house, just at first," says Fido miserably, "but I felt I had to ask her to leave."

  A nod. "Shall we get on with our plans?"

  "Of course," says Fido, and launches into an analysis of the Victoria Magazine's budget.

  It's the kind of day that seems to last a week: one obstacle after another to surmount or demolish. After lunch Fido has the particularly distasteful duty of calling Flora Parsons into her office.

  "You were seen last night, on the Strand," she says, wheezing a little.

  Flora Parsons wears a faint air of amusement.

  "You don't deny it, then?"

  "No use, is there?" answers the girl. Then, "Who was it saw me, may I ask?"

  Fido hesitates. "One of the clickers."

  "Head?"

  A good guess; Fido blinks.

  "What was he doing there at that time of the evening, is what I'd like to know," says Flora Parsons pleasantly.

  "Waiting for his omnibus," she snaps. From the day she hired her, she should have recognized a certain set to the girl's lips. Fido leans over her desk; she means to seem impressive but the pose strikes her as desperate. "Miss Parsons, haven't you been happy in your position at the Victoria Press?"

  "I dare say."

  "Don't I pay you fairly?"

  "That's what the job pays."

  The impudence makes Fido's teeth ache. "Isn't it enough for your needs?"

  A twist of the mouth. "Not for extras."

  "You're one of my most talented hands," Fido tells her. "You have a natural quickness of mind."