Death of a Unicorn

An episode that in some ways has shaped my life more than anything I have so far recounted was my return to Cheadle after B’s death. My mother managed to conceal her triumph and behave in a subdued and reasonable way. I believe that if I had turned to her for comfort she would have done her best to give it. Instead I turned, naturally, to Jane, and Jane refused. Not in so many words, but in all her behaviour; by boredom and irritation and distress; by finding errands for herself that took her out of my company; by seeing that there was some third person present; above all by withdrawing into her art, absorbed and unreachable, as she constructed a thing like a metal pterodactyl in one of the old coach-houses. (I found it a few years ago and had it set up as a kind of guardian demon at the entrance to the grotto, but the effect was so depressing that we have allowed it to be almost engulfed with Old Man’s Beard.)

I have always put Jane’s behaviour down to unwillingness to let herself be involved in my raw misery, a sort of moral squeamishness, disappointing but not really blameworthy. I now saw that there was a different explanation. All the women in the chain of information—Mrs Clarke, Jane, my mother, Aunt Minnie—must have at least suspected that B’s death was the result of their activities. I don’t know about Aunt Minnie, but I’m sure my mother would scarcely have turned a hair. Any outcome which suited her purpose would by that alone have justified all she had done to achieve it. Mrs Clarke was in a different position. She was, in her own cranky way, a moral person. But believing that it was I who had been the intermediary, I who had made the choice and had thus consented, so to speak, to B’s execution, she might well have felt herself absolved. What had so shaken her in our recent interview was the possibility that there was something mistaken about that belief, that in trying to help me she had in fact betrayed me. But Jane, of course, had known. Determined on her own freedom, she had decided to help my mother break up the affair, but had been totally appalled by the result and unable to face me alone, knowing what she knew.

So, instead of Jane or my mother or any human, I had in the end turned to stone and wood for comfort. I can remember the exact moment. It must have been eight months later because I had given up my job and was living at Cheadle. A December morning after a lonely breakfast—my mother always had hers in bed. A bright, illusory sunlight from the east, no warmth in it at all. Frost still in the shadow of the avenue, mist on the fields beyond. I stood by one of the pillars of the portico, my skin prickling in the barely perceptible warmth. I stroked my fingers down the fluting of the pillar. The stone was icy, but it was what I wanted. I stroked it again with the accepting caress of a bride.

As you drive up the M1 you see Cheadle on your left, a mile away on its hill. When the road was built various protesting groups expected me to add my outrage to theirs and were disgusted with me when I said I welcomed it. I was right, both practically and aesthetically. Seen from the house the sweeping line adds interest to a dullish middle distance. Seen from the road the house stands almost clear above the Avenue and looks truly magnificent. It is a splendid advertisement, and almost free. Almost, because I pay for the floodlighting. This is timer-controlled and switches itself off when there is no longer enough traffic on the motorway to justify it, but I get the bonus sometimes of driving home in the dark and seeing my house as even its builders could not have imagined it, theatrically sharp-shadowed, apparently floating against the dark, at first only the portico, but then as one climbs from the Saturn fountain the vista steadily widening to reveal the full proportion of the wings.

I may at moments have given the impression that I would have preferred to live my life without ever having known Cheadle, let alone owned and run it. This is, of course, far from the case. I may have bouts of depression or frustration such as occur in any marriage, but Simon is right—I am still deeply in love with the place. I am not merely proud of it and proud of what I have done for it. It feeds me, fuels me, gives me real exhilaration and happiness. I am not so sentimental as to believe that the house has feelings, but if it had I am confident that it would think well of me. It would know I had done my best.