Niall Williams - History of the Rain

And away they go, playing a little game of Aeneid and cutting across the fields of the County Meath.

When he’s had his fill of the Latin, Grandfather says, ‘ “O that this too sullen flesh. .” ’

And Virgil gives him back ‘ “. . should melt, thaw, and resolve itself into a dew. .” ’ He knows the five soliloquys spoken by Hamlet. He can go from the sullen flesh to the rogue and peasant slave to how all occasions. He’s learning the four in Macbeth .

Not once does Grandfather stop. He doesn’t look sideways at his son nor show any outward marvel at him but somewhere inside, somewhere in the Swain Unreachable, out in the unknown deeps where that part of him that was once a gleaming youth in Oriel College, somewhere there I know his spirit leaps.

Fat Meath cattle, tongue-tearing the first right succulent grass of spring, look up and watch Hamlet & His Father passing.

My father is in a new version of Heaven. He hasn’t time to consider it yet, whether he is happy because he is hastening along the road with his father as day breaks, or just because he was asked to come and that now this is actually happening, or because he has been asked for a speech from Shakespeare and the phrases are coming like a long golden thread out of his mouth even before he has time to think of them. The words are there, and flow, as he works hard to, and now matches the long pole-vault strides of his father.

In some ways my father’s whole life is in this moment. In this are all the years ahead, all the poems, all the rapture and the yearning and the grief too.

Abraham makes no comment, but my dad knows. He knows he is being heard. He knows this is a kind of perfection, and everything — the morning light, rods over shoulder, glistening fields, the thick and intense gaiety of the birdsong — enters him and leaves this permanent shine far down in his spirit. He knows it. And I think that for just these moments, the two of them hurrying to the river for the first casts, leaving the world behind, crossing the fat fields of the Fitzherberts to the dark rush of the waters, for just these moments Virgil Swain meets the Impossible Standard.

When Grandfather comes back to Ashcroft that evening he draws a sheaf of pages from the top drawer of his desk, dips his pen, and writes the first sentence of The Salmon in Ireland : ‘Ireland is a paradise for the salmon fisher.’

When my father told it, they caught a salmon that day.

I think it is an imagined one, but I didn’t say so.

From the look on my face he could tell. ‘O Ruthie, you don’t believe anything,’ he said and crumpled his face to a small boy’s dismay.

I do, Dad. I do. I believe everything.

‘Ruth,’ Mrs Quinty says. ‘I’m so sorry.’

Her face is smaller, her eyes larger than ever. She keeps them wide open to hold all her tears. In them is the news of my blood gone wrong.

‘It’s all right, Mrs Quinty.’

‘Life is so unfair.’

There’s nothing I can say to that. Life is unfair is in History of Swain, Volumes 1 through 20. It’s not only unfair it’s outrageous. It’s harder than anything you could imagine and on top of that It Makes No Sense. God calls you and then changes His mind. Germans shoot at you then save you. You try and die quietly and someone gives you a fortune.

‘I’ve brought you this,’ she says.

It’s a cassette of The Shawshank Redemption .

(Have I told you I have TV up here? Jimmy Mac ran the wire up through the floorboards so I could watch Home and Away . And even though I’m The Smart Girl and was studying Thomas Wyatt — they flee from me that sometime did me seek — and Philip Sydney and the whole Gartered Stocking Brigade of Poets I still like going Down Under to those beaches in Sydney. It’s the only time I see the sun.)

‘Thank you, Mrs Quinty.’

‘I haven’t seen it myself, but Mrs Quinlavin says it’s good. She showed it to the Transitions and it kept even them quiet.’

‘Because it’s about an impossible escape.’

‘Well,’ she says, ‘maybe it won’t be any good.’

‘Mrs Quinty?’

‘Yes, Ruth?’

‘Did you ever hear of a story where a character separated from his shadow? He separates from it and spends the rest of the story trying to catch back up to it. Something like that?’

About a month after the Aunts visited a package arrived in the post, brown paper, neatly tied string, and inside it the mixed company of Charlotte Brontë, Mrs Elizabeth Gaskell and a rather bulky, I might say contented, Thomas Hardy lying between them. I read them all, read them one by one with a kind of constant hunger as if they were apples that fed and made you hungry at the same time. I don’t mind saying I loved nothing as much as having those books upstairs in my room. Maybe it was because I knew they were Swain, maybe because it was true that deep down I was Snoot Ruth and didn’t want to be MacCarroll or because there was something kind of appealing about the Philosophy of Impossible Standard so that when you were told these books were beyond you it meant those were the very ones you wanted to read, and did read. What Sister Margaret-Mary in Kilkee did for Mass-going, I did for reading, World Champion Standard. When I was eight and Mum took me to Ennis to get my first pair of glasses the very first question they asked was Does she read a lot? like it was A Sign, like it said Smart Girl right there on your face, and when I got them and wore them to school you’d swear I was Little Miss Porcelain-face — Jane Brouder who had elected herself Mother Hen of our class, and who at age eight had an encyclopedic knowledge of Things That Could Go Wrong With You, sort of cordoned me off and screamed at anyone who came within ten feet of me: ‘Mind! She’s got glasses!’ I was just that bit more delicate than the others, or less vain or more posh or something, because there were others who couldn’t see well, others you saw squinting or looking into the copy next to them when there was something to be taken down from the board, but either they wouldn’t allow their beauty compromised by the thick brown-rimmed glasses the Mid-Western Health Board had decided was the best anti-boy device they could think of, or their parents didn’t think seeing was so important for girls.

In Faha it was easy to be different. One time the aunts sent me yellow satin slippers and when I wore them to Mass you could feel the whole church noticing and Mary Maloney thinking Protestant Shoes and Swain Notions and making her whole self shudder a little in her good coat as she coughed on this great hairball of resentment until between the Offertory and the Consecration she found solace in the idea that the slippers would be filthy in a day. I saw her. I knew. I am the kind of girl who notices. But that wouldn’t have stopped me wearing them. I’m that much a Swain anyway. I’m that much like my dad with whatever stubbornness foolishness or willpower he had to have to arrive here with a name like Virgil Swain, Latin-speaker, when the first question anybody back then asked would have been just — Swain? That would be enough. In that would be the whole story. It wouldn’t be like now with the Kwietcowskis and the Secas and the Pawlavs; back then the worst thing would have been to say: Not Related . When you’re different you’ve got two choices. You can stand out or you step back.

I was already different because I was a twin. Funny how you can say that: I am a twin.

Not I am one of twins, but I actually am A Twin.

Like there’s two of me all the time, this other one right here beside me whether you can see him or not.

Or as if you’re saying, I’m a Half.