Less than halfway through he flung the book across the room. The narrator had sought perversions, taken all the drugs available, sampled most crimes in pursuit of his power; his favourite pastime was theft. Most of the scenes were p.o.r.nographic. So this was autobiography, was it? Certainly drugs would explain the state of the speechless girl.

Tate's eyes were raw with nights of revision and typing. As he read The The Black Black Road, Road, the walls had seemed to waver and advance; the furniture had flexed its legs. He needed sleep, not Skelton's trash. the walls had seemed to waver and advance; the furniture had flexed its legs. He needed sleep, not Skelton's trash.

Dawn woke him. Oh G.o.d, he knew what he'd seen gleaming in Skelton's case--an eye. Surely that was a dream, born of a particularly disgusting image in the book. He tried to turn his back on the image, but he couldn't sleep. Unpleasant glimpses jerked him awake: his own novel with an oily black cover, friends snubbing him, his incredulous disgust on rereading his own book. Could his book be accused of Skelton's sins? Never before had he been so unsure about his work.

There was only one way to rea.s.sure himself, or otherwise. Tying himself ------------------------------------184 into his dressing-gown, he tiptoed past the closed doors to his study. Could he reread his entire novel before breakfast? Long morning shadows drew imperceptibly into themselves. A woman's protruded from his open study.

Why was his housekeeper early? In a moment he saw that he had been as absurdly trusting as the Dewhursts. The silent girl stood just within the doorway. As a guard she was a failure, for Tate had time to glimpse Skelton at his desk, gathering pages from the typescript of his novel.

The girl began to shriek, an uneven wailing sound that seemed not to need to catch breath. Though it was distracting as a police car's siren, he kept his gaze on Skelton. "Get out," he said.

A suspicion seized him. "No, on second thoughts--stay where you are." Skelton stood, looking pained like the victim of an inefficient store detective, while Tate made sure that all the pages were still on his desk. Those which Skelton had selected were the best researched. In an intolerable way it was a tribute.

The Dewhursts appeared, blinking as they wrapped themselves in dressinggowns. "What on earth's the matter?" Carla demanded.

"Your friend is a thief."

"Oh, dear me," Dewhurst protested. "Just because of what he said about his book? Don't believe everything he says."

"I'd advise you to choose your friends more carefully."

"I think we're perfectly good judges of people. What else do you think could have made our books so successful?"

Tate was too angry to restrain himself. "Technical competence, fourthform wit, naive faith in people, and a promise of life after death. You sell your readers what they want--anything but the truth."

He watched them trudge out. The girl was still making a sound, somewhere between panting and wailing, as she b.u.mped the case downstairs. He didn't help her. As they squeezed into the car, only Skelton glanced back at him. His smile seemed almost warm, certainly content. Tate found it insufferable, and looked away.

When they'd gone, petrol fumes and all, he read through his novel. It seemed intelligent and unsensational--up to his standard. He hoped his publishers thought so. How would it read in print? Nothing of his ever satisfied him--but he was his least important reader.

Should he have called the police? It seemed trivial now. Pity about the Dewhursts--but if they were so stupid, he was well rid of them. The police ------------------------------------185 would catch up with Skelton if he did much of what his book boasted.

After lunch Tate strolled towards the hills. Slopes blazed green; countless flames of gra.s.s swayed gently. The horizon was dusty with clouds. He lay enjoying the pace of the sky. At twilight the large emptiness of the house was soothing. He strolled back from the inn after a meal, refusing to glance at the nodding shapes that creaked and rustled beside him.

He slept well. Why should that surprise him when he woke? The mail waited at the end of his bed, placed there quietly by his housekeeper. The envelope with the blue-and-red fringe was from his New York agent--a new American paperback sale, hurrah. What else? A bill peering through its eellophane window, yet another circular, and a rattling carton wrapped in brown paper.

His address was anonymously typed on the carton; there was no return address. The contents shifted dryly, waves of shards. At last he stripped off the wrapping. When he opened the blank carton, its contents spilled out at him and were what he'd thought they must be: a jigsaw.

Was it a peace offering from the Dewhursts? Perhaps they'd chosen one without a cover picture because they thought he might enjoy the difficulty. And so he would. He broke up the sky and woodland on the table, and scooped them into their box. Beyond the window, trees and clouds wavered.

He began to sort out the edge of the jigsaw. Ah, there was the fourth corner. A warm breeze fluttered in the curtains. Behind him the door inched open on the emptiness of the house.

Noon had withdrawn most shadows from the room by the time he had a.s.sembled the edge. Most of the jumbled fragments were glossily brown, like furniture; but there was a human figure--no, two. He a.s.sembled them partially--one dressed in a suit, one in denim--then went downstairs to the salad his housekeeper had left him.

The jigsaw had freed his mind to compose. A story of rivalry between authors--a murder story? Two collaborators, one of whom became resentful, jealous, determined to achieve fame by himself? But he couldn't imagine anyone collaborating with Skelton. He consigned the idea to the bin at the back of his mind.

He strolled upstairs. What was his housekeeper doing? Had she knocked the jigsaw off the table? No, of course not; she had gone home hours ago--it was only the shadow of a tree fumbling about the floor.

The incomplete figures waited. The eye of a fragment gazed up at him. He shouldn't do all the easy sections first. Surely there must be points at which ------------------------------------186 he could build inwards from the edge. Yes, there was one: the leg of an item of furniture. At once he saw three more pieces. It was an Empire cabinet. The shadow of a cloud groped towards him.

Connections grew clear. He'd reached the stage where his subconscious directed his attention to the appropriate pieces. The room was fitting together: a walnut canterbury, a mahogany table, a whatnot. When the shape leaned towards him he started, scattering fragments, but it must have been a tree outside the window. It didn't take much to make him nervous now. He had recognised the room in the jigsaw.

Should he break it up unfinished? That would be admitting that it had disturbed him: absurd. He fitted the suited figure into place at the a.s.sembled table. Before he had put together the face, with its single eye in profile, he could see that the figure was himself.

He stood finishing a jigsaw, and was turning to glance behind him. When had the photograph been taken? When had the figure in denim crept behind him, unheard? Irritably resisting an urge to glance over his shoulder, he thumped the figure into place and snapped home the last pieces.

Perhaps it was Skelton: its denims were frayed and stained enough. But all the pieces which would have composed the face were missing. Reflected sunlight on the table within the gap gave the figure a flat pale gleam for a face.

"d.a.m.ned nonsense!" He whirled, but there was only the unsteady door edging its shadow over the carpet. Skelton must have superimposed the figure; no doubt he had enjoyed making it look menacing--stepping eagerly forward, its hands outstretched. Had he meant there to be a hole where its face should be, to obscure its intentions?

Tate held the box like a waste-bin, and swept in the disintegrating jigsaw. The sound behind him was nothing but an echo of its fall; he refused to turn. He left the box on the table. Should he show it to the Dewhursts? No doubt they would shrug it off as a joke--and really, it was ridiculous to take it even so seriously.

He strode to the inn. He must have his housekeeper prepare dinner more often. He was early--because he was hungry, that was all; why should he want to be home before dark? On the path, part of an insect writhed.

The inn was serving a large party. He had to wait, at a table hardly bigger than a stool. Waiters and diners, their faces obscured, surrounded him. He found himself glancing compulsively each time candlelight leapt onto a face. When eventually he hurried home, his mind was muttering at the restless shapes on both sides of the path: go away, go away. ------------------------------------187 A distant car blinked and was gone. His house's were the only lights to be seen. They seemed less heartening than lost in the night. No, his housekeeper hadn't let herself in. He was d.a.m.ned if he'd search all the rooms to make sure. The presence he sensed was only the heat, squatting in the house. When he tired of trying to read, the heat went to bed with him.

Eventually it woke him. Dawn made the room into a charcoal drawing. He sat up in panic. Nothing was watching him over the foot of the bed, which was somehow the trouble: beyond the bed, an absence hovered in the air. When it rose, he saw that it was perched on shoulders. The dim figure groped rapidly around the bed. As it bore down on him its hands lifted, alert and eager as a dowser's.

He screamed, and the light was dashed from his eyes. He lay trembling in absolute darkness. Was he still asleep? Had he been seized by his worst nightmare, of blindness? Very gradually a sketch of the room gathered about him, as though developing from fog. Only then did he dare switch on the light. He waited for the dawn before he slept again.

When he heard footsteps downstairs, he rose. It was idiotic that he'd lain brooding for hours over a dream. Before he did anything else he would throw away the obnoxious jigsaw. He hurried to its room, and faltered. Flat sunlight occupied the table.

He called his housekeeper. "Have you moved a box from here?"

"No, Mr Tate." When he frowned, dissatisfied, she said haughtily "Certainly not."

She seemed nervous--because of his distrust, or because she was lying? She must have thrown away the box by mistake and was afraid to own up. Questioning her further would only cause unpleasantness.

He avoided her throughout the morning, though her sounds in other rooms disturbed him, as did occasional glimpses of her shadow. Why was he tempted to ask her to stay? It was absurd. When she'd left, he was glad to be able to listen to the emptiness of the house.

Gradually his pleasure faded. The warmly sunlit house seemed too bright, expectantly so, like a stage awaiting a first act. He was still listening, but less to absorb the silence than to penetrate it: in search of what? He wandered desultorily. His compulsion to glance about infuriated him. He had never realised how many shadows each room contained.

After lunch he struggled to begin to organise his ideas for his next book, at least roughly. It was too soon after the last one. His mind felt empty as the house. In which of them was there a sense of intrusion, of patient distant lurking? No, of course his housekeeper hadn't returned. Sunlight drained ------------------------------------188 from the house, leaving a congealed residue of heat. Shadows crept imperceptibly.

He needed an engrossing film--the Bergman at the Academy. He'd go now, and eat in London. Impulsively he stuffed The The Black Black Road Road into his pocket, to get the thing out of the house. The slam of the front door echoed through the deserted rooms. From trees and walls and bushes, shadows spread; their outlines were restless with gra.s.s. A bird dodged about to pull struggling entrails out of the ground. into his pocket, to get the thing out of the house. The slam of the front door echoed through the deserted rooms. From trees and walls and bushes, shadows spread; their outlines were restless with gra.s.s. A bird dodged about to pull struggling entrails out of the ground.

Was the railway station unattended? Eventually a shuffling, hollow with wood, responded to his knocks at the ticket window. As he paid, Tate realised that he'd let himself be driven from his house by nothing more than doubts. There were drawbacks to writing fantastic fiction, it seemed.

His realisation made him feel vulnerable. He paced the short platform. Flowers in a bed spelt the station's name; lampposts thrust forward their dull heads. He was alone but for a man seated in the waiting-room on the opposite platform. The window was dusty, and bright reflected clouds were caught in the gla.s.s; he couldn't distinguish the man's face. Why should he want to?

The train came dawdling. It carried few pa.s.sengers, like the last exhibits of a run-down waxworks. Stations pa.s.sed, displaying empty platforms. Fields stretched away towards the sinking light.

At each station the train halted, hoping for pa.s.sengers but always disappointed--until, just before London, Tate saw a man striding in pursuit. On which platform? He could see only the man's reflection: bluish clothes, blurred face. The empty carriage creaked around him; metal scuttled beneath his feet. Though the train was gathering speed, the man kept pace with it. Still he was only striding; he seemed to feel no need to run. Good Lord, how long were his legs? A sudden explosion of foliage filled the window. When it fell away, the strider had gone.

Charing Cross Station was still busy. A giant's voice blundered among its rafters. As Tate hurried out, avoiding a miniature train of trolleys, silver gleamed at him from the bookstall. The The Black Black Road, Road, and there again, at another spot on the display: and there again, at another spot on the display: The The Black Black Road. Road. If someone stole them, that would be a fair irony. Of the people around him, several wore denim. If someone stole them, that would be a fair irony. Of the people around him, several wore denim.

He ate curry in the Wampo Egg on the Charing Cross Road. He knew better restaurants nearby, but they were on side streets; he preferred to stay on the main road--never mind why. Denimed figures peered at the menu in the window. The menu obscured his view of their faces.

He bypa.s.sed Leicester Square Underground. He didn't care to go down ------------------------------------189 into that dark, where trains burrowed, clanking. Besides, he had time to stroll; it was a pleasant evening. The colours of the bookshops cooled.

He glimpsed books of his in a couple of shops, which was heartening. But Skelton's t.i.tle glared from Booksmith's window. Was that a gap beside it in the display? No, it was a reflected alley, for here came a figure striding down it. Tate turned and located the alley, but the figure must have stepped aside.

He made for Oxford Street. Skelton's book was there too, in Claude Gill's. Beyond it, on the ghost of the opposite pavement, a denimed figure watched. Tate whirled, but a bus idled past, blocking his view. Certainly there were a good many strollers wearing denim.

When he reached the Academy Cinema he had glimpsed a figure several times, both walking through window displays and, most frustratingly, pacing him on the opposite pavement, at the edge of his vision. He walked past the cinema, thinking how many faces he would be unable to see in its dark.

Instinctively drawn towards the brightest lights, he headed down Poland Street. Twilight had reached the narrow streets of Soho, awakening the neon. s.e.x shop, s.e.x aids, Scandinavian films. The shops cramped one another, a shoulder-to-shoulder row of touts. In one window framed by livery neon, between Spanking Spanking Letters Letters and and Rubber Rubber News, News, he saw Skelton's book. he saw Skelton's book.

Pedestrians and cars crowded the streets. Whenever Tate glanced across, he glimpsed a figure in denim on the other pavement. Of course it needn't be the same one each time--it was impossible to tell, for he could never catch sight of the face. He had never realised how many faces you couldn't see in crowds. He'd made for these streets precisely in order to be among people.

Really, this was absurd. He'd allowed himself to be driven among the seedy bookshops in search of company, like a fugitive from Edgar Allan Poe--and by what? An idiotic conversation, an equally asinine jigsaw, a few stray glimpses? It proved that curses could work on the imagination--but good heavens, that was no reason for him to feel apprehensive. Yet he did, for behind the walkers painted with neon a figure was moving like a hunter, close to the wall. Tate's fear tasted of curry.

Very well, his pursuer existed. That could be readily explained: it was Skelton, skulking. How snugly those two words fitted together! Skelton must have seen him gazing at The The Black Black Road Road in the window. It would be just like Skelton to stroll about admiring his own work in displays. He must have decided to chase Tate, to unnerve him. in the window. It would be just like Skelton to stroll about admiring his own work in displays. He must have decided to chase Tate, to unnerve him.

He must glimpse Skelton's face, then pounce. Abruptly he crossed the street, through a break in the sequence of cars. Neon, entangled with neon ------------------------------------190 afterimages, danced on his eyelids. Where was the skulker? Had he dodged into a shop? In a moment Tate saw him, on the pavement he'd just vacated. By the time Tate's vision struggled clear of afterimages, the face was obscured by the crowd.

Tate dashed across the street again, with the same result. So Skelton was going to play at manoeuvring, was he? Well, Tate could play too. He dodged into a shop. Amplified panting pounded rhythmically beyond an inner doorway. "Hardcore film now showing, sir," said the Indian behind the counter. Men, some wearing denim, stood at racks of magazines. All kept their faces averted from Tate.

He was behaving ridiculously--which frightened him: he'd let his defences be penetrated. How long did he mean to indulge in this absurd chase? How was he to put a stop to it?

He peered out of the shop. Pa.s.sers-by glanced at him as though he was touting. Pavements twitched, restless with neon. The battle of lights jerked the shadows of the crowd. Faces shone green, burned red.

If he could just spot Skelton. ... What would he do? Next to Tate's doorway was an alley, empty save for darkness. At the far end, another street glared. He could dodge through the alley and lose his pursuer. Perhaps he would find a policeman; that would teach Skelton--he'd had enough of this poor excuse for a joke.

There was Skelton, lurking in a dark doorway almost opposite. Tate made as if to chase him, and at once the figure sneaked away behind a group of strollers. Tate darted into the alley.

His footsteps clanged back from the walls. Beyond the scrawny exit, figures pa.s.sed like a peepshow. A wall grazed his shoulder; a burden knocked repet.i.tively against his thigh. It was The The Black Black Road, Road, still crumpled in his pocket. He flung it away. It caught at his feet in the dark until he trampled on it; he heard its spine break. Good riddance. still crumpled in his pocket. He flung it away. It caught at his feet in the dark until he trampled on it; he heard its spine break. Good riddance.

He was halfway down the alley, where its darkness was strongest. He looked back to confirm that n.o.body had followed him. Stumbling a little, he faced forward again, and the hands of the figure before him grabbed his shoulders.

He recoiled gasping. The wall struck his shoulder-blades. Darkness stood in front of him, but he felt the body clasp him close, so as to thrust its unseen face into his. His face felt seized by ice; he couldn't distinguish the shape of what touched it. Then the clasp had gone, and there was silence.

He stood shivering. His hands groped at his sides, as though afraid to move. He understood why he could see nothing--there was no light so deep ------------------------------------191 in the alley--but why couldn't he hear? Even the taste of curry had vanished. His head felt anesthetised, and somehow insubstantial. He found that he didn't dare turn to look at either lighted street. Slowly, reluctantly, his hands groped upwards towards his face. ------------------------------------192 ------------------------------------193

The Voice of the Beach

I.

I met Neal at the station. met Neal at the station.

Of course I can describe it, I have only to go up the road and look, but there is no need. That isn't what I have to get out of me. It isn't me, it's out there, it can be described. I need all my energy for that, all my concentration, but perhaps it will help if I can remember before that, when everything looked manageable, expressible, familiar enough--when I could bear to look out of the window.

Neal was standing alone on the small platform, and now I see that I dare not go up the road after all, or out of the house. It doesn't matter, my memories are clear, they will help me hold on. Neal must have rebuffed the station-master, who was happy to chat to anyone. He was gazing at the bare tracks, sharpened by June light, as they cut their way through the forest-- gazing at them as a suicide might gaze at a razor. He saw me and swept his hair back from his face, over his shoulders. Suffering had pared his face down, stretched the skin tighter and paler over the skull. I can remember exactly how he looked before "I thought I'd missed the station," he said, though surely the station's name was visible enough, despite the flowers that scaled the board. If only he had! "I had to make so many changes. Never mind. Christ, it's good to see you. You look marvellous. I expect you can thank the sea for that." His eyes had brightened, and he sounded so full of life that it was spilling out of him in a tumble of words, but his handshake felt like cold bone.

I hurried him along the road that led home and to the He was beginning to screw up his eyes at the sunlight, and I thought I should get him inside; presumably headaches were among his symptoms. At first the road is gravel, fragments of which always succeed in working their way into your shoes. Where the trees fade out as though stifled by sand, a concrete path ------------------------------------194 turns aside. Sand sifts over the gravel; you can hear the gritty conflict underfoot, and the musing of the sea. Beyond the path stands this crescent of bungalows. Surely all this is still true. But I remember now that the bungalows looked unreal against the burning blue sky and the dunes like embryo hills; they looked like a dream set down in the piercing light of June.

"You must be doing well to afford this." Neal sounded listless, envious only because he felt it was expected. If only he had stayed that way! But once inside the bungalow he seemed pleased by everything--the view, my books on show in the living-room bookcase, my typewriter displaying a token page that bore a token phrase, the Breughel prints that used to remind me of humanity. Abruptly, with a moody eagerness that I hardly remarked at the time, he said "Shall we have a look at the beach?"

There, I've written the word. I can describe the beach, I must describe it, it is all that's in my head. I have my notebook which I took with me that day. Neal led the way along the gravel path. Beyond the concrete turn-off to the bungalows the gravel was engulfed almost at once by sand, despite the thick ranks of low bushes that had been planted to keep back the sand. We squeezed between the bushes, which were determined to close their ranks across the gravel.

Once through, we felt the breeze whose waves pa.s.sed through the marram gra.s.s that spiked the dunes. Neal's hair streamed back, pale as the gra.s.s. The trudged dunes were slowing him down, eager as he was. We slithered down to the beach, and the sound of the unfurling sea leapt closer, as though we'd awakened it from dreaming. The wind fluttered trapped in my ears, leafed through my notebook as I scribbled the image of wakening and thought with an appalling innocence: perhaps I can use that image. Now we were walled off from the rest of the world by the dunes, faceless mounds with unkempt green wigs, mounds almost as white as the sun.

Even then I felt that the beach was somehow separate from its surroundings: introverted, I remember thinking. I put it down to the shifting haze which hovered above the sea, the haze which I could never focus, whose distance I could never quite judge. From the self-contained stage of the beach the bungalows looked absurdly intrusive, anachronisms rejected by the geomorphological time of sand and sea. Even the skeletal car and the other debris, half engulfed by the beach near the coast road, looked less alien. These are my memories, the most stable things left to me, and I must go on. I found today that I cannot go back any further.

Neal was staring, eyes narrowed against the glare, along the waste of ------------------------------------195 beach that stretched in the opposite direction from the coast road and curved out of sight. "Doesn't anyone come down here? There's no pollution, is there?"

"It depends on who you believe." Often the beach seemed to give me a headache, even when there was no glare--and then there was the way the beach looked at night. "Still, I think most folk go up the coast to the resorts. That's the only reason I can think of."

We were walking. Beside us the edge of the glittering sea moved in several directions simultaneously. Moist sand, sleek as satin, displayed sh.e.l.ls which appeared to flash patterns, faster than my mind could grasp. Pinpoint mirrors of sand gleamed, rapid as Morse. My notes say this is how it seemed.

"Don't your neighbours ever come down?"

Neal's voice made me start. I had been engrossed in the designs of sh.e.l.l and sand. Momentarily I was unable to judge the width of the beach: a few paces or miles? I grasped my sense of perspective, but a headache was starting, a dull impalpable grip that encircled my cranium. Now I know what all this meant, but I want to remember how I felt before I knew.

"Very seldom," I said. "Some of them think there's quicksand." One old lady, sitting in her garden to glare at the dunes like Canute versus sand, had told me that warning notices kept sinking. I'd never encountered quicksand, but I always brought my stick to help me trudge.

"So I'll have the beach to myself."

I took that to be a hint. At least he would leave me alone if I wanted to work. "The bungalow people are mostly retired," I said. "Those who aren't in wheelchairs go driving. I imagine they've had enough of sand, even if they aren't past walking on it." Once, further up the beach, I'd encountered nudists censoring themselves with towels or straw hats as they ventured down to the sea, but Neal could find out about them for himself. I wonder now if I ever saw them at all, or simply felt that I should.

Was he listening? His head was c.o.c.ked, but not towards me. He'd slowed, and was staring at the ridges and furrows of the beach, at which the sea was lapping. All at once the ridges reminded me of convolutions of the brain, and I took out my notebook as the grip on my skull tightened. The beach as a subconscious, my notes say: the horizon as the imagination--sunlight set a ship ablaze on the edge of the world, an image that impressed me as vividly yet indefinably symbolic--the debris as memories, half-buried, halfcomprehensible. But then what were the bungalows, perched above the dunes like boxes carved of dazzling bone? ------------------------------------196 I glanced up. A cloud had leaned towards me. No, it had been more as though the cloud were rushing at the beach from the horizon, dauntingly fast. Had it been a cloud? It had seemed more ma.s.sive than a ship. The sky was empty now, and I told myself that it had been an effect of the haze--the magnified shadow of a gull, perhaps.

My start had enlivened Neal, who began to chatter like a television wakened by a kick. "It'll be good for me to be alone here, to get used to being alone. Mary and the children found themselves another home, you see. He earns more money than I'll ever see, if that's what they want. He's the head-of-the-house type, if that's what they want. I couldn't be that now if I tried, not with the way my nerves are now." I can still hear everything he said, and I suppose that I knew what had been wrong with him. Now they are just words.

"That's why I'm talking so much," he said, and picked up a spiral sh.e.l.l, I thought to quiet himself.

"That's much too small. You'll never hear anything in that."

Minutes pa.s.sed before he took it away from his ear and handed it to me. "No?" he said.

I put it to my ear and wasn't sure what I was hearing. No, I didn't throw the sh.e.l.l away, I didn't crush it underfoot; in any case, how could I have done that to the rest of the beach? I was straining to hear, straining to make out how the sound differed from the usual whisper of a sh.e.l.l. Was it that it seemed to have a rhythm I couldn't define, or that it sounded shrunken by distance rather than cramped by the sh.e.l.l? I felt expectant, entranced-- precisely the feeling I'd tried so often to communicate in my fiction, I believe. Something stooped towards me from the horizon. I jerked, and dropped the sh.e.l.l.

There was nothing but the dazzle of sunlight that leapt at me from the waves. The haze above the sea had darkened, staining the light, and I told myself that was what I'd seen. But when Neal picked up another sh.e.l.l I felt uneasy. The grip on my skull was very tight now. As I regarded the vistas of empty sea and sky and beach my expectancy grew oppressive, too imminent, no longer enjoyable.

"I think I'll head back now. Maybe you should as well," I said, rummaging for an uncontrived reason, "just in case there is quicksand."

"All right. It's in all of them," he said, displaying an even smaller sh.e.l.l to which he'd just listened. I remember thinking that his observation was so self-evident as to be meaningless.

As I turned towards the bungalows the glitter of the sea clung to my eyes. ------------------------------------197 Afterimages crowded among the debris. They were moving; I strained to make out their shape. What did they resemble? Symbols--hieroglyphs? Limbs writhing rapidly, as if in a ritual dance? They made the debris appear to shift, to crumble. The herd of faceless dunes seemed to edge forward; an image leaned towards me out of the sky. I closed my eyes, to calm their antics, and wondered if I should take the warnings of pollution more seriously.

We walked towards the confusion of footprints that climbed the dunes. Neal glanced about at the sparkling sand. Never before had the beach so impressed me as a complex of patterns, and perhaps that means it was already too late. Spotlighted by the sun, it looked so artificial that I came close to doubting how it felt underfoot.

The bungalows looked unconvincing too. Still, when we'd slumped in our chairs for a while, letting the relative dimness soothe our eyes while our bodies guzzled every hint of coolness, I forgot about the beach. We shared two litres of wine and talked about my work, about his lack of any since graduating.