The Art of Space Travel Page 4
“For fuck’s sake!” I’m seconds away from bursting into tears. I’m still trying to scoop everything together when Benny appears. I realise he must have left his meeting to come down, which is so bloody unlike him that all I can think is that he’s here to give me a bollocking.
He doesn’t, though.
“Don’t worry about this,” he says. “Just take what you need and get going. I’ve called a taxi for you—it’ll be out the front in five minutes. I’ll take care of your things.” He makes a gesture towards the stuff on the floor, and of course I can’t help thinking how downright weird all this is, but I don’t have time to dwell on it. I need to get moving.
Allison said that Moolie was having difficulty breathing when she found her. The paramedics soon got her stabilized but it’s still very worrying.
“Are you sure about this?” I say to Benny. “I’m really sorry.”
“Quite sure,” Benny says. “Call me if you need me, okay?”
I take a moment to wonder if Benny is losing it, if the strain is finally getting to him, but I know that now is not the time to go looking for answers to that question.
“I will,” I say. “Thanks.” I grab my rucksack and shove on my trainers and then I’m gone.
* * *
Most of the things that are wrong with Moolie—the decreasing short-term memory and loss of appetite, the insomnia, the restlessness—none of these are life-threatening. Not in and of themselves, anyway. But every now and then she’ll have an attack of apnoea, and these are much more frightening. What apnoea means, basically, is that Moolie can’t breathe. The first time she had an attack, the doctors kept asking me if she smoked. Each time I said no they looked at me with doubt. It was obvious they thought I was lying.
In fact the apnoea is caused by the thousands of microscopic mushroom-like growths that have colonized the lining of Moolie’s lungs. Most of the time these growths remain inactive and appear to do no harm, but periodically they flare up or inflate or expand or whatever—hence the apnoea.
“It’s definitely not cancer,” the medics insist. There’s a real sense of triumph in their voices as they say this, as if the growths’ non-cancerous nature is something they’ve seen to personally. But when I ask them what it is if it’s not cancer they never seem to give me a direct answer and I don’t think they have one. I don’t think anyone really knows what it is, to be honest. It’s a whole new disease.
Whatever it is, it seems to have the advantage of being slow-growing. Moolie might die of old age before the growths clutter up her bronchial tubes, or fill her lungs with spores, or find some other, quicker way of preventing her from breathing entirely. In the meantime, the doctors stave off the attacks by giving Moolie a shot of adrenaline and then supplementing her oxygen for an hour or so. The enriched oxygen seems to kill the mushroom things off, or make the growths subside, or something. Whatever it does it works, and surprisingly quickly. By the time I come on to the ward, Moolie is sitting up in bed with a cup of tea.
“What are you doing here?” she says to me.
“I might ask you the same question.” I can’t tell yet if she’s being sarcastic or if she’s genuinely confused. Sometimes when she comes round after an attack she’s delusional, or delirious, whatever you want to call it when the brain gets starved of oxygen for any length of time.
Moolie seems okay, though—this time, anyway. She’s sipping her tea as if she’s actually enjoying it. There’s a biscuit in the saucer, too, with a bite taken out of it—Moolie eating something without being reminded is always a good sign.
I notice that one of the nurses has brushed her hair. She looks—very nearly—the way she does in that old photograph, her and me and Grandma Clarah out by the reservoir.
“I’m fine, Emily,” she says, neatly sidestepping my actual question, which is so typical of her that I am tempted to believe her. “There was no need for you to leave work early. I know Benny needs you more than I do at the moment.” She takes another sip of tea. “You could have come in afterwards, if you wanted to. They say I can probably go home tomorrow, in any case.”
She’s peeping at me over the rim of her teacup, grinning like a naughty schoolgirl—See what I did. Trying to boss me about like any normal mother. She can be like this after the treatments—it’s as if the rarefied oxygen cleans out her brain, or something. I know it won’t last, but it makes me feel like crying, nonetheless.
Just to have her back again.
Sometimes I forget how much I miss her.
I sit down on the plastic chair at the side of the bed. “I’m here now,” I say. “You’re not getting rid of me that easily.” I reach for her free hand across the bedcovers and she lets me take it. After a couple of minutes one of the ward staff brings me a cup of tea of my own. It’s good just to sit, to not feel responsibility or the need for action. The mechanics of this place are unknown to me, and therefore the urge to do, to change, to control is entirely absent.
Moolie begins telling me about the TV programme she was watching before she had her turn. Yet another documentary about the Mars mission—no surprises there. I’d rather she told me what it was that made her go outside by herself, but she waves my question away like an importunate fly.
“That girl,” she says instead. “That girl, Zhanna. She’s twenty-six tomorrow, did you know that? She says she doesn’t want children, that her work is enough for her. She’ll be dead before she’s forty, more than likely. She doesn’t know what she’s doing.”
“You were younger than she is when you had me, Mum,” I say. “Did you know what you were doing?”
Moolie shakes her head slowly and deliberately from side to side. “No, I didn’t,” she says. “I didn’t have a clue.”
Then she says something strange.
“I won’t always get better, Emily. The day will come when I don’t come home. You should have a talk with Benny, before that day comes. There’s no point in us pretending. Not anymore.”
The mug of tea is still warm between my hands but in spite of this I suddenly feel cold all over. When I ask Moolie what she’s talking about she refuses to answer.
* * *
By the time I leave the hospital my shift has been over for ages. I decide to go back to the hotel anyway, just in case anything cropped up after I left. I check in with housekeeping and when I’ve satisfied myself that no major disasters have occurred in my absence I go in search of Benny. I find him in his office. There’s a semicircle of empty chairs in front of his desk, the ghost of a meeting. Benny is alone, sitting very still in his chair, reading something—a book?—by the light of his desk lamp. He seems miles away, absent in a manner that is most unlike him.
When he realises I’m there he jerks upright, and there’s an expression on his face—panic, almost—as if I’ve caught him out in a secret. He slams the book shut, making a slapping sound.
It’s pointless him trying to hide it, though. I’d know the book anywhere, because it belongs to us, to Moolie and me. It’s The Art of Space Travel.
“Emily,” Benny says. He’s watching my face for signs of disaster and at the same time he still looks guilty. It’s a weird combination, almost funny. “I wasn’t expecting you back. How’s your mother?”
“Moolie’s fine,” I say. “They’re letting her out tomorrow. What are you doing with that?”
I am talking about the book, of course, which I can’t stop staring at, the way Benny is holding it to him, like a shield. All of a sudden there’s this noise in my ears, a kind of roaring sound, and I’m thinking of Moolie and Moolie telling me that I should talk to Benny.
I’m thinking of the way Benny is always asking after Moolie, and what Moolie said before, such a long time ago, about Benny arriving in this country with a cardboard suitcase and fake Levis, and a gold watch that he had to sell to get the money to rent a room.
“Emily,” Benny says again, and the way he says my name—like he’s apologising for something—makes me feel even weirder.
He unfolds the book again across his lap, opening it to the centre, where I know there’s a double-page colour spread of the Milky Way, with its billions of stars, all buzzing and fusing together, cloudy and luminous, like the mist as it rises from the surface of the George VI Reservoir.
Benny runs his fingers gently across the paper. It makes a faint squeaking sound. I know exactly how that paper feels: soft to the touch, slightly furry with impacted dust, old.
Benny is touching the book as if it is his.
My stomach does a lurch, as if the world is travelling too fast suddenly, spinning out of control across the blackly infinite backdrop of the whole of space.
“One of my schoolteachers gave me this book,” Benny says. “His name was Otto Okora. His parents brought him here to London when he was six years old. They never returned to Africa, but Otto did. He came back to teach high school in Freetown and that’s where he stayed. He said that England was too cold and too crowded, and that the sky here was never black enough to see the stars. He had this thing about Africa being closer to outer space than any other continent. ‘We never lost our sense of life’s mysteries,’ was what he used to say. Otto was crazy about outer space. He would sit us down in the long hot afternoons and tell us stories about the first moon landings and the first space stations, the first attempts to map the surface of Mars. It was like poetry to me, Emily, and I could never get enough of it. I learned the names of the constellations and how to see them. I knew by heart the mass and volume and composition of each of the planets in our solar system. I even learned to draw my own star maps—impossible journeys to distant planets that no one in a thousand of our lifetimes will ever see. I saw them, though. I saw them at night, when I couldn’t sleep. Instead of counting chickens I would count stars, picking them out from my memory one by one, like diamonds from a black silk handkerchief.”
Like diamonds from a black silk handkerchief.
I want to hug him. Even in the midst of my confusion I want to hug him and tell him that I feel the same, that I have always felt the same, that we are alike.
That we are alike, of course we are.
The truth has been here in front of me, all the time. How stupid am I?
There’s a kind of book called a grimoire, which is a book of spells. I’ve never seen one—I don’t know if such a thing really exists, even—but The Art of Space Travel has always felt to me like it had magic trapped in it. Like you could open its pages and accidentally end up somewhere else. All those dazzling ropes of stars, all those thousands of possible futures, and futures’ futures.
All those enchanted luminous pathways, blinking up at us through the darkness, like the lights of a runway.
I clear my throat with a little cough. I haven’t a single clue what I ought to say.
“Your mother did her nut when you first got a job here,” Benny says quietly. “She called me on the phone, tore me off a strip. She said I wasn’t to breathe a word, under pain of death. That was the first time we’d spoken to one another in ten years.”
* * *
“I was supposed to study medicine,” Benny says to me later. “My heart was never in it, though. I didn’t know what I wanted, only that I wanted to find a bigger world than the world I came from. I remember it as if it was yesterday, standing there on the tarmac and looking up at this hotel and just liking the name of it. I gazed up at the big lit-up star logo and it was as if I could hear Otto Okora saying, You go for it, Benny boy, that’s a good omen. I liked the people and I liked the bustle and I liked the lights at night. All the taking off and landing, the enigma of arrival. There’s a book with that name—your mother gave me a copy right back at the beginning, when she still believed in me and things were good between us. I never got round to reading it, but I loved that title. I loved it that I’d finally discovered something I was good at.
“Would she mind very much, do you think?” Benny says. “If I went to see her?”
“It’s your funeral,” I say, and shrug. I try and picture it as it might happen on TV, Benny pressing Moolie’s skinny hand to his lips while she smiles weakly up from the pillows and whispers his name. You see how funny that is, right? “Only don’t go blaming me if she bites your head off.”
Zhanna Sorokina is shorter than she appears on television. She has short mouse-brown hair, and piercing blue eyes. She looks like a school kid.
When I ask her if she’ll sign The Art of Space Travel she looks confused. “But I did not write this,” she says.
“I know that,” I say. “But it’s a book about space. My dad gave it to me. It would mean a lot to me if you would sign it. As a souvenir.”
She uses the pen I give her, a blue Bic, to sign the title page. She writes her name twice, first in the sweeping Cyrillic script she would have learned at school and then again underneath in spiky Latin capitals.
“Is this okay?” she asks.
“Very,” I reply. “Thank you.”
Sorokina smiles, very briefly, and then I see her awareness of me leak from her eyes as she moves away towards the lift that will take her up to the tenth-floor news suite and the waiting cameras, the media frenzy that will surround her for the remainder of her time here on Earth. Her bodyguard moves in to shield her.
It’s the last and only time I will see her close to.
In leaving this world, she makes me feel more properly a part of it.
* * *
I wish I had a child I could one day tell about this moment. I’ve never felt like this before, but suddenly I do.
* * *
Benny would kill me if he knew I was down here. I’m supposed to be upstairs, in the news suite, making sure they’re up and running with the drinks trolleys. That there are three different kinds of bottled beer, instead of the two that would be usual for these kinds of occasions.
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Contents
Title Page
Copyright Notice
Begin Reading
Copyright
Copyright © 2016 by Nina Allan
Art copyright © 2016 by Linda Yan