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Iread about the accident in the paper, holding myself tight, my heart bumping against my folded arms.
There was a poetic touch in the way the story of the FATAL HIT AND RUN was told. The paper reported that the scene of the incident was in the heart of idyllic countryside, in an area of outstanding natural beauty. There were two photographs of it: pre-outrage, innocent as a calendar, and afterward, tainted by a cordon of police tape and mounds of flowers in cellophane. “The horror scene” burgeoned treacherously with spring blossom and daffodils, a death trap masquerading as a beauty spot. The implication was that dying somewhere beautiful might have made a difference to childless, recently retired English teacher Ruth Mitchell (61) of 27 Cardigan Avenue, Monkwell Down, and her devastated husband, Arthur (68).
The article didn’t suggest which way the difference might have gone, whether death’s random visitation upon that particular place would forever after sully its beauty or whether the place’s beauty had assuaged, if only momentarily, the bane of death. It did not ask what message about a life might be carried in the very last thing the eye beheld. I wanted to know, if that final blink closed on one last imprinted image of beauty rather than of ugliness, would a person reach a conclusion, just as she was leaving it, about the relative aggregations of glory and squalor in the world? It seemed important.
The
I stared again at the two photographs in the paper. Suddenly I was back there, on that April afternoon. I retched and started to sweat; I saw again the hideous colours of the day and the burning sunlight, I felt the deep heavy jolt as the car struck her, and her fall to the ground. I heard the silence. I saw her on the road as only I had seen her, blood pumping from her dead brain and the crows gathering to feast.
I forced myself to read to the end of the article. The police were appealing for witnesses and “pursuing every lead.” Why wouldn’t they come here, and find the Saab locked in the garage? I wanted them to come. I wouldn’t lie. Confession is supposed to relieve everyone, especially the guilt-laden. But even if the next headline on the front page of the
The piece ended with another photograph of the couple as young teachers: DEDICATED TO YOUTH WELFARE: RUTH AND ARTHUR AT OVERDALE OUTDOOR EDUCATION CENTRE, followed by an unpoetic paragraph about cycling fatality statistics and safety helmets.
I slept in my clothes, and woke up, before the alarm clock sounded, at nine o’clock in the evening. No drifting around the house tonight; the place was eight miles away, not that the distance meant anything in itself, nor did the rain.
The sky and the cold land together had sunk to an equal darkness, reaching a muffled, stony equilibrium through which I walked with the greatest care. Though the dark was not absolute, the night seemed marginless and I disembodied. I kept close by the hedges. Above the rain and the distant sighing of traffic from the motorway I heard everything: I heard the click of an insect’s wings as it landed on a stem by a garden wall and I heard the singing, empty vastness of the sky above me. It occurred to me that I should have been afraid to be out alone on the road at night, but fear didn’t come. Rather, what a freedom it was, to walk under this sky instead of the wide, lit gallery of the sun’s arc, illuminating every act and failure of a day in its long, sad slide towards nightfall.
Above the high open stretch of road near the place, the moon was a dull ellipse of silver through the thinning cloud, and the houses behind the orchard wore the moonlight coldly, like a sheeting of ice. Under the trees, rainwater trapped in the leaves and blossoms fell on me in slower, wetter drops than on the open road. The traffic cones and cordon of tape had gone, but the bank of piled-up flowers and stuffed toys remained; sodden teddy bears and dripping cuddly dogs presided over a floral shrine almost touching in its pointlessness. Among the flowers lay sheets of waterlogged paper bearing half-obliterated messages, like handkerchiefs drenched in charcoal tears. The huge curling letters of RUTH were turning into watery ghosts of themselves, receding into vagueness. Water plocked down and pooled into little crevices in the cellophane under which the offerings of flowers, trapped in bunches by strings and wires, were already darkening with slime. I knelt down and tore at them, releasing from the crackling of wrappings a shower of cold water and a rank, drainy stench. I pulled some of the rotting blooms off their stems and picked at their petals, tidying and primping what was left of their lolling heads. Slippery black stuff clung to my fingers.
Some of the flower heads were luminous; others seemed soaked in grey. Drifting through the smell of the