The Bone Clocks

HOLLY’S ASLEEP, ФSHIMA’S watching The Godfather Part II, Unalaq’s preparing a salad, and Inez has invited me to play her Steinway upright, as the piano tuner came yesterday. There’s a fine view of Waverly Place from the piano’s attic, and the small room is scented with the oranges and limes that Inez’s mother sends in crates from Florida. A photograph of Inez and Unalaq sits atop the Steinway. They’re posing in skiwear on a snowy peak, like intrepid explorers. Unalaq won’t have discussed the Second Mission with her partner, but Inez is no fool and must sense that something major is afoot. Being a Temporal who loves an Atemporal is surely as thorny a fate as being an Atemporal who loves a Temporal. It’s not just Horology’s future that my decisions this week will shape, but the lives of loved ones, colleagues, and patients who will get scarred if my companions and I never come back, just as Holly’s life was scarred by Xi Lo–in–Jacko’s death on the First Mission. If you love and are loved, whatever you do affects others.

So I leaf through Inez’s sheet music and choose Shostakovich’s puckish Preludes and Fugues. It’s fiendish but rewarding. Then I perform William Byrd’s Hughe Ashton’s Groundas a palate cleanser, and a handful of Jan Johannson’s Swedish folk songs, just because. From memory I play Scarlatti’s K32, K212, and K9. The Italian’s sonatas are an Ariadne’s thread that connects Iris Marinus-Fenby, Yu Leon Marinus, Jamini Marinus Choudary, Pablo Antay Marinus, Klara Marinus Koskov, and Lucas Marinus, the first among my selves to discover Scarlatti, back in his Japanese days. I traded the sheet music off de Zoet, I recall, and was playing K9 just hours before my death in July 1811. I’d felt my death approaching for several weeks, and had put my affairs in order, as they used to say. My friend Eelattu cut me adrift with a phial of morphine I’d reserved for the occasion. I felt my soul sinking up from the Light of Day, up onto the High Ridge, and wondered where I’d be resurrected. In a wigwam or a palace or an igloo, in a jungle or tundra or a four-poster bed, in the body of a princess or a hangman’s daughter or a scullery maid, forty-nine spins of the earth later …

… in a nest of rags and rotten straw, in the body of a girl burning with fever. Mosquitoes fed on her, she was crawling with lice, and weakened by an intestinal parasite. Measles had dispatched the soul of Klara, my new body’s previous inhabitant, and it was three days before I could psychoheal myself sufficiently to take proper stock of my surroundings. Klara was the eight-year-old property of Kiril Andreyevich Berenovsky, an absentee landlord whose estate was bounded by a pendulous loop in the Kama River, Oborino County, Perm Province, the Russian Empire. Berenovsky returned to his ancestral lands only once a year to bully the local officials, hunt, bed virgins, and exhort his bailiff to bleed the estate even whiter than last year. Happiness did not enter feudal childhoods, and Klara’s was miserable even by the standards of the day. Her father had been killed by a bull, and her mother was crushed by a life of childbearing, farmwork, and a peasant moonshine known as rvota, or “puke.” Klara was the last and least of nine siblings. Three of her sisters had died in infancy, two others had gone to a factory in Ekaterinburg to settle a debt of Berenovsky’s, and her three brothers had been sent to the Imperial Army just in time to be butchered at the Battle of Eylau. Klara’s recovery from death was greeted with joyless fatalism. It was a long fall indeed from Lucas Marinus’s life as a surgeonscholar to Klara’s dog-eat-dog squalor, and it was going to be a long, fitful, fretful climb back up the social ladder, especially in a female body in the early nineteenth century. I did not yet possess any psychosoteric methods to speed this ascent. All Klara had was the Russian Orthodox Church.