Illywhacker

When I saw the fourth gallery my face, I am told by a dancer, went very odd. She said my skin went taut and then rather grey and after that it took on a white waxy sheen. Doubtless she tells the truth, but this pessimism, this shock, while quite natural, would not have lasted for a moment. It did not take me a minute to see what was to be done, what I was to do, and I was not angry or irritated, but delighted, that I had been given an occupation, that I could deliver value to my family so easily and quickly. I did not disapprove, as Leah thought I did, of the tangle of humanity. It was the tangle of objects that I loathed. It was the objects that seemed to rule.

To reach the bedroom one had to pass through the kitchen where meals were prepared for both pets and humans. There was no decent lighting. The feed bins were smeared with broken egg. Fortunately the wall that separated it from the gallery did not appear to be structural. I would need a sledge-hammer to begin the opening out. There were a number of tools I would need at the same time, and a quantity of rough-sawn hardwood.

So even while my son was busy making sure I did not share a bed with Leah Goldstein, I was turning my mind to his fourth gallery. I thanked him for his bed quite graciously and accepted a loan of a toothbrush for my dentures. I was then taken to say goodnight to everyone, and I shook the older boys by the hand and accepted a kiss from their younger brother. When I said goodnight to Goldstein I gave her a wink and a grin and kissed her on her nose. Neither of us argued with our sentence.

They put me in my hole and turned off the light. Was I resentful? No, I was not. I threw off my blankets and pulled a damp sheet over my ears and nose and waited for sleep.

My aches began to set themselves up like instruments in an orchestra. First the low grumbling oboe of my back, then the violin sciatica in my leg. Teeth and kidneys arranged themselves and I greeted my afflictions by name.

I was used to a coir mat in Rankin Downs. Its substitute was too small and soft. I dragged it off the bed and set it up on the floor, but the apple smell seemed worse down there, and anyway I could not stop my brain from spinning. Too much had happened in one day, to have passed from prison to freedom, from murder to love, and now, as I lay on the floor in this airless room, to the problems of architecture.

It did not come to me immediately. I was down there wrestling with it for an hour or two before I saw it. This was no job for hessian or tin or chicken wire. It should be thin and elegant, with glass and steel and walls full of swimming fish. There wasn't a pencil in the room. I turned out the drawers but they held only socks and school reports. I put on my tired and sticky shirt and went out to the kitchen to find a pencil. I could see through the kitchen window that the gallery lights were out and I was reluctant to draw attention to myself. I flashed the kitchen light on and off but could see no pencil. I stood on something nasty but it was perhaps only a grape – although if you were guided by your nose you would think it a fish's kidney or an eyeball. I could feel millet and other seeds beneath my bare feet.

I slipped out the door to the gallery. It was very quiet, but also full of the currents of breathing air. Emma was lying on her back and was the loudest, but I could hear them all, the soft whisper of children's breath included. I went to the rail and looked up at the skylight. There was no moon and the stars were bright. I could make out the giddy powder of the Milky Way and I stood there, craning my neck, trying to make out the Southern Cross. I could not find it, of course (what Australian ever can?) but that is not the point at all and you will appreciate that a skylight full of stars is not a thing that a prisoner, even one from Rankin Downs, is used to. I began to incorporate a telescope in my plans. I would need to drop a concrete pier through four storeys, but it could be done elegantly, I knew it could, and you can imagine what it would be like to lie in bed with skin touching skin and the two of you looking, sighing, staring at the rings of Saturn.

My thoughts then, although occupied in the most sentimental way with copulation, were really more concerned with architecture, the placing of the concrete pier in such a way that I did not destroy the open space I loved so much.

I was, as they say, a million miles away, when Leah Goldstein put her lips one inch away from my ear.

"I'm a bit partial," she said.

We will forget the fright she gave me, the wild alarm of skipping rhythms she triggered in my heart so that, for a moment, it careered around like a car on a wet corner, and remember rather, that we kissed, most gently, and retired to the privacy of my room.