The Sense of an Ending

anything like us, and we knew that we grasped life—and truth, and morality, and art—far more clearly than our compromised elders.

‘Finn, you’ve been quiet. You started this ball rolling. You are, as it were, our Serbian gunman.’ Hunt paused to let the allusion take effect. ‘Would you care to give us the benefit of your thoughts?’

‘I don’t know, sir.’

‘What don’t you know?’

‘Well, in one sense, I can’t know what it is that I don’t know. That’s philosophically self-evident.’ He left one of those slight pauses in which we again wondered if he was engaged in subtle mockery or a high seriousness beyond the rest of us. ‘Indeed, isn’t the whole business of ascribing responsibility a kind of cop-out? We want to blame an individual so that everyone else is exculpated. Or we blame a historical process as a way of exonerating individuals. Or it’s all anarchic chaos, with the same consequence. It seems to me that there is—was—a chain of individual responsibilities, all of which were necessary, but not so long a chain that everybody can simply blame everyone else. But of course, my desire to ascribe responsibility might be more a reflection of my own cast of mind than a fair analysis of what happened. That’s one of the central problems of history, isn’t it, sir? The question of subjective versus objective interpretation, the fact that we need to know the history of the historian in order to understand the version that is being put in front of us.’

There was a silence. And no, he wasn’t taking the piss, not in the slightest.

Old Joe Hunt looked at his watch and smiled. ‘Finn, I retire in five years. And I shall be happy to give you a reference if you care to take over.’ And he wasn’t taking the piss either.

At assembly one morning, the headmaster, in the sombre voice he kept for expulsions and catastrophic sporting defeats, announced that he was the bearer of grievous news, namely that Robson of the Science Sixth had passed away during the weekend. Over a susurrus of awed mutterings, he told us that Robson had been cut down in the flower of youth, that his demise was a loss to the whole school, and that we would all be symbolically present at the funeral. Everything, in fact, except what we wanted to know: how, and why, and if it turned out to be murder, by whom.

‘Eros and Thanatos,’ Adrian commented before the day’s first lesson. ‘Thanatos wins again.’

‘Robson wasn’t exactly Eros-and-Thanatos material,’ Alex told him. Colin and I nodded agreement. We knew because he’d been in our class for a couple of years: a steady, unimaginative boy, gravely uninterested in the arts, who had trundled along without offending anyone. Now he had offended us by making a name for himself with an early death. The flower of youth, indeed: the Robson we had known was vegetable matter.

There was no mention of disease, a bicycling accident or a gas explosion, and a few days later rumour (aka Brown of the Maths Sixth) supplied what the authorities couldn’t, or wouldn’t. Robson had got his girlfriend pregnant, hanged himself in the attic, and not been found for two days.

‘I’d never have thought he knew how to hang himself.’

‘He was in the Science Sixth.’

‘But you need a special sort of slip knot.’

‘That’s only in films. And proper executions. You can do it with an ordinary knot. Just takes longer to suffocate you.’

‘What do we think his girlfriend’s like?’

We considered the options known to us: prim virgin (now ex-virgin), tarty shopgirl, experienced older woman, VD-riddled whore. We discussed this until Adrian redirected our interests.

‘Camus said that suicide was the only true philosophical question.’

‘Apart from ethics and politics and aesthetics and the nature of reality and all the other stuff.’ There was an edge to Alex’s riposte.

‘The only true one. The fundamental one on which all others depend.’

After a long analysis of Robson’s suicide, we concluded that it could only be considered philosophical in an arithmetical sense of the term: he, being about to cause an increase of one in the human population, had decided it was his ethical duty to keep the planet’s numbers constant. But in all other respects we judged that Robson had let us—and serious thinking—down. His action had been unphilosophical, self-indulgent and inartistic: in other words, wrong. As for his suicide note, which according to rumour (Brown again) read ‘Sorry, Mum’, we felt that it had missed a powerful educative opportunity.

Perhaps we wouldn’t have been so hard on Robson if it hadn’t been for one central, unshiftable fact: Robson was our age, he was in our terms unexceptional, and yet he had not only conspired to find a girlfriend but also, incontestably, to have had sex with her. Fucking bastard! Why him and not us? Why had none of us even had the experience of failing to get a girlfriend? At least the humiliation of that would have added to our general wisdom, given us something to negatively boast about (‘Actually, “pustular berk with the charisma of a plimsole” were her exact words’). We knew from our reading of great literature that Love involved Suffering, and would happily have got in some practice at Suffering if there was an implicit, perhaps even logical, promise that Love might be on its way.

This was another of our fears: that Life wouldn’t turn out to be like Literature. Look at our parents—were they the stuff of Literature? At best, they might aspire to the condition of onlookers and bystanders, part of a social backdrop against which real, true, important things could happen. Like what? The things Literature was all about: love, sex, morality, friendship, happiness, suffering, betrayal, adultery, good and evil, heroes and villains, guilt and innocence, ambition, power, justice, revolution, war, fathers and sons, mothers and daughters, the individual against society, success and failure, murder, suicide, death, God. And barn owls. Of course, there were other sorts of literature—theoretical, self-referential, lachrymosely autobiographical—but they were just dry wanks. Real literature was about psychological, emotional and social truth as demonstrated by the actions and reflections of its protagonists; the novel was about character developed over time. That’s what Phil Dixon had told us anyway. And the only person—apart from Robson—whose life so far contained anything remotely novel-worthy was Adrian.

‘Why did your mum leave your dad?’

‘I’m not sure.’

‘Did your mum have another bloke?’

‘Was your father a cuckold?’

‘Did your dad have a mistress?’

‘I don’t know. They said I’d understand when I was older.’

‘That’s what they always promise. How about explaining it now, that’s what I say.’ Except that I never had said this. And our house, as far as I could tell, contained no mysteries, to my shame and disappointment.

‘Maybe your mum has a young lover?’

‘How would I know. We never meet there. She always comes up to London.’

This was hopeless. In a novel, Adrian wouldn’t just have accepted things as they were put to him. What was the point of having a situation worthy of fiction if the protagonist didn’t behave as he would have done in a book? Adrian should have gone snooping, or saved up his pocket money and employed a private detective; perhaps all four of us should have gone off on a Quest to Discover the Truth. Or would that have been less like literature and too much like a kids’ story?

In our final history lesson of the year, Old Joe Hunt, who had guided his lethargic pupils through Tudors and Stuarts, Victorians and Edwardians, the Rise of Empire and its Subsequent Decline, invited us to look back over all those centuries and attempt to draw conclusions.

‘We could start, perhaps, with the seemingly simple question, What is History? Any thoughts, Webster?’

‘History is the lies of the victors,’ I replied, a little too quickly.

‘Yes, I was rather afraid you’d say that. Well, as long as you remember that it is also the self-delusions of the defeated. Simpson?’

Colin was more prepared than me. ‘History is a raw onion sandwich, sir.’

‘For what reason?’

‘It just repeats, sir. It burps. We’ve seen it again and again this year. Same old story, same old oscillation between tyranny and rebellion, war and peace, prosperity and impoverishment.’