David Mitchell - Cloud Atlas

I said it was about time she did.

“My words are not … entirely appropriate. Are you angry?”

No, I said, no. Surprised, flattered, but angry, not at all.

“I behaved so spitefully to you. But I’m hoping we can start again.”

Answered, of course, I’d like that too. “Since my childhood,” E. said, looking away, “I’ve thought of this balcony as my own belvedere, from A Thousand and One Nights . I often come up here at this hour, after school. I’m the empress of Bruges, you see. Its citizens are my subjects. The van de Veldes are my jesters. I shall chop off their heads.” A beguiling creature, she really is. My blood was hot, and I was seized by an impulse to give the empress of Bruges a lingering kiss.

Got no further; a party of infernal American tourists swarmed up through the narrow doorway. Fool that I am, I pretended not to be with Eva. Took in view from other side, trying to wind in all unraveled strings of myself. When Dogsbody announced that the viewing balcony was closing shortly, Eva was no longer there, like a cat. How true to form. Once again forgot to count the steps going down.

At the cake shop Eva was helping littlest v.d.V. at pussy’s cradle. Mme. van de Velde fanned herself with a menu and ate boule de l’Yser with Marie-Louise as they dissected the fashions of passersby. Eva avoided my eye. Spell was broken. Marie-Louise sought my eye, the spoony-eyed little heifer. Ambled back to the v.d.V.s’ house where, hallelujah, Hendrick was waiting with the Cowley. Eva bade me au revoir in the doorway—glanced back to see her smile. Bliss! The evening was golden and warm. All the way to Neerbeke, saw Eva’s face, strand or two of hair across her face, left there by the wind. Don’t be hatefully jealous, Sixsmith. You know how it is.

J. senses the entente between Eva and me, and doesn’t like it one fig. Last night, I imagined E. was under me rather than her mother. Crescendo followed only bars later, a whole movement before J. Can women detect imaginary betrayals? I ask because, with stupendous intuition, she gave me this subtle warning: “I want you to know something, Robert. If you ever touch Eva, I’ll find out, and I’ll destroy you.”

“I shouldn’t think of it,” I lied.

“I shouldn’t even dream of it, if I were you,” she warned.

Couldn’t leave it like that. “Why in hell do you think I’m attracted to your gangly, unpleasant daughter, anyway?” She did the v. same snort Eva had done up on her belvedere.

Sincerely,

R.F.

ZEDELGHEM

24TH—X—1931

Sixsmith,

Where the blazes is your reply? Look here, I’m much obliged to you, but if you think I’ll wait around for your letters to appear, I’m afraid you’re sorely mistaken. It is all perfectly hateful, hateful as my hypocrite father. I could ruin him. He’s ruined me. Anticipating the end of the world is humanity’s oldest pastime. Dhondt is right, damn his Belgian eyes, damn all Belgian eyes. Adrian would still be alive if “plucky little Belgium” never existed. Someone should turn this dwarf-country into a giant boating lake and toss in Belgium’s inventor, his feet tied to a Minerva. If he floats, he’s guilty. To sink a white-hot poker through my father’s damn eyes! Name one. Go on, name me just one famous Belgian. He has more money than Rothschild, but will he pay me another farthing? Miserable, so miserable. How Christian is it to cut me off without a single shilling to my name? Drowning is too good for him. Dhondt is right, I’m afraid. Wars are never cured, they just go into remission for a few years. The End is what we want, so I’m afraid the End is what we’re damn well going to get. There. Set that to music. Timpani, cymbals, and a million trumpets, if you would be so kind. Paying the old bastard with my own music. Kills me.

Sincerely,

R.F.

ZEDELGHEM

29TH—X—1931

Sixsmith,

Eva. Because her name is a synonym for temptation: what treads nearer to the core of man? Because her soul swims in her eyes. Because I dream of creeping through the velvet folds to her room, where I let myself in, hum her a tune so—so— so softly, she stands with her naked feet on mine, her ear to my heart, and we waltz like string puppets. After that kiss, she says, “Vous embrassez comme un poisson rouge!” and in moonlit mirrors we fall in love with our youth and beauty. Because all my life, sophisticated, idiotic women have taken it upon themselves to understand me, to cure me, but Eva knows I’m terra incognita and explores me unhurriedly, like you did. Because she’s lean as a boy. Because her scent is almonds, meadow grass. Because if I smile at her ambition to be an Egyptologist, she kicks my shin under the table. Because she makes me think about something other than myself. Because even when serious she shines. Because she prefers travelogues to Sir Walter Scott, prefers Billy Mayerl to Mozart, and couldn’t tell C major from a sergeant major. Because I , only I, see her smile a fraction before it reaches her face. Because Emperor Robert is not a good man—his best part is commandeered by his unperformed music—but she gives me that rarest smile, anyway. Because we listened to nightjars. Because her laughter spurts through a blowhole in the top of her head and sprays all over the morning. Because a man like me has no business with this substance “beauty,” yet here she is, in these soundproofed chambers of my heart.

Sincerely,

R.F.

LE ROYAL HÔTEL, BRUGES

6TH—XI—1931

Sixsmith,

Divorces. V. messy affairs but Ayrs’s and mine was over in a single day. Just yesterday morning we were at work on the second movement of his ambitious swan song. He announced a new approach for our Compositional. “Frobisher, today I’d like you to come up with some themes for my Severo movement. Something eve-of-war-ish in E minor. Once you’ve got something that catches my eye, I’ll take it over and develop its potential. Got that?”

Got that I had. Like it I didn’t, not one bit. Scientific papers are coauthored, yes, and a composer might work with a virtuoso musician to explore the boundaries of the playable—like Elgar and W. H. Reed—but a coauthored symphonic work? V. dubious idea, and told V.A. so in no uncertain terms. He tsked. “I didn’t say ‘coauthored,’ boy. You gather the raw material, I refine it as I see fit.” This hardly reassured me. He chided me: “All the Greats have their apprentices do it. How else could a man like Bach churn out new masses every week?”

We were in the twentieth century when I last looked, I retorted. Audiences pay to hear the composer whose name is on the program notes. They don’t pay money for Vyvyan Ayrs only to get Robert Frobisher. V.A. got agitated. “They won’t ‘get’ you! They’ll get me! You’re not listening, Frobisher. You do the block-and-tackle work, I orchestrate, I arrange, I polish.”

“Block-and-tackle” work like my “Angel of Mons,” robbed at gunpoint for the Adagio in Ayrs’s glorious final monument? One may dress plagiarism up however one wishes, it’s still plagiarism. “Plagiarism?” Ayrs kept his voice low, but his knuckles on his cane were whitening. “In bygone days—when you were grateful for my tutelage—you called me one of the greatest living European composers. Which is to say, the world. Why would such an artist possibly need to ‘plagiarize’ anything from a copyist who, may I remind him, was unable to obtain even a bachelor’s degree for himself from a college for the terminally privileged? You’re not hungry enough, boy, that’s your problem. You’re Mendelssohn aping Mozart.”