local paper when he’d got the job a few months back; that well-known local thug, Hatchley, who looked a bit unsteady on his pins; and the woman standing in the doorway. What on earth was she doing there? He was sure it was her, the one who lived in the fancy Georgian semisacross The Green from the East Side Estate, the one Mick was always saying he’d like to fuck. Maybe she was a cop, too. You never could tell. He walked into number eight to confront his father once again over homework not done.
II
Jenny, who had disobeyed Banks’s orders and stood unobserved in the doorway, had never seen a corpse before, and this one looked particularly bad. Its wrinkled bluish-grey face was frozen in a grimace of anger and pain, and pools of dark blood had coagulated under the head on the stone flags of the room. Alice Matlock lay on her back at the foot of a table, on the corner of which, it appeared, she had fractured her skull while falling backwards. These were only appearances, though, Jenny realized, and the battery of experts arriving in dribs and drabs would soon piece together what had really happened.
Despite the horror of the scene, Jenny felt outside it all, taking in the little details as an objective observer. Perhaps, she thought, that was one of the qualities that made her a good psychologist: the ability to stand outside the flux of human emotions and pay careful attention. Outside looking in. Perhaps it also made her not so acceptable as a woman—at least one or two of her lovers had complained that however enjoyable she was in bed and however much fun she was to be with, they felt that they couldn’t really get close to her and were always aware of themselves being studied like subjects in a mysterious experiment. Jenny brushed aside the self-criticism; if she didn’t conform to men’s ideas of what a woman should be—fainting, crying, subjective, irrational, intuitive, sentimental—then bugger them.
The house was oppressive. Not just because of the all-pervading presence of death, but because it was absolutely cluttered with the past. The walls seemed unusually honeycombed with little alcoves, nooks and crannies where painted Easter eggs and silver teaspoons from Rhyll or Morecambe nestled alongside old snuff boxes, delicate china figurines, a ship in a bottle, yellowed birthday cards andminiatures. The mantelpiece was littered with sepia photographs: family groups, stiff and formal before the camera, four women in nurses’ uniforms standing in front of an old-fashioned army ambulance; and the remaining wall space seemed taken up by framed samplers, and watercolours of wildflowers, birds and butterflies. Jenny shuddered. Her own house, though structurally old, was sparse and modern inside. It would drive her crazy to live in a mausoleum like this.
She watched Banks at work. As she had expected, he was professional and efficient, but he often seemed distracted, and sometimes a look of pain and sadness crossed his features when he leaned against the wall and gazed at the old woman’s body. The photographer popped his flash from every angle. He looked far too young, Jenny thought, to be so matter-of-fact about death. The doctor, one of those older, cigarette-smoking types who pay house calls when you have flu or tonsillitis, busied himself with thermometers, charts and other tools of his trade. Out of decency, Jenny turned away and tried to name the wildflowers depicted on the walls. She felt invisible, standing by the doorway, arms folded across her breasts. Everyone seemed to think she had come with Banks. Nobody even paid her the slightest bit of attention; no one, that is, except the slightly squiffed detective she had seen earlier on her visit to the station, who occasionally cast lecherous glances in her direction. Jenny ignored him and watched the men at work.
Also in the midst of this routine, robotic activity sat Ethel Carstairs, who had discovered the body. Though trembling and white with
II
Jenny, who had disobeyed Banks’s orders and stood unobserved in the doorway, had never seen a corpse before, and this one looked particularly bad. Its wrinkled bluish-grey face was frozen in a grimace of anger and pain, and pools of dark blood had coagulated under the head on the stone flags of the room. Alice Matlock lay on her back at the foot of a table, on the corner of which, it appeared, she had fractured her skull while falling backwards. These were only appearances, though, Jenny realized, and the battery of experts arriving in dribs and drabs would soon piece together what had really happened.
Despite the horror of the scene, Jenny felt outside it all, taking in the little details as an objective observer. Perhaps, she thought, that was one of the qualities that made her a good psychologist: the ability to stand outside the flux of human emotions and pay careful attention. Outside looking in. Perhaps it also made her not so acceptable as a woman—at least one or two of her lovers had complained that however enjoyable she was in bed and however much fun she was to be with, they felt that they couldn’t really get close to her and were always aware of themselves being studied like subjects in a mysterious experiment. Jenny brushed aside the self-criticism; if she didn’t conform to men’s ideas of what a woman should be—fainting, crying, subjective, irrational, intuitive, sentimental—then bugger them.
The house was oppressive. Not just because of the all-pervading presence of death, but because it was absolutely cluttered with the past. The walls seemed unusually honeycombed with little alcoves, nooks and crannies where painted Easter eggs and silver teaspoons from Rhyll or Morecambe nestled alongside old snuff boxes, delicate china figurines, a ship in a bottle, yellowed birthday cards andminiatures. The mantelpiece was littered with sepia photographs: family groups, stiff and formal before the camera, four women in nurses’ uniforms standing in front of an old-fashioned army ambulance; and the remaining wall space seemed taken up by framed samplers, and watercolours of wildflowers, birds and butterflies. Jenny shuddered. Her own house, though structurally old, was sparse and modern inside. It would drive her crazy to live in a mausoleum like this.
She watched Banks at work. As she had expected, he was professional and efficient, but he often seemed distracted, and sometimes a look of pain and sadness crossed his features when he leaned against the wall and gazed at the old woman’s body. The photographer popped his flash from every angle. He looked far too young, Jenny thought, to be so matter-of-fact about death. The doctor, one of those older, cigarette-smoking types who pay house calls when you have flu or tonsillitis, busied himself with thermometers, charts and other tools of his trade. Out of decency, Jenny turned away and tried to name the wildflowers depicted on the walls. She felt invisible, standing by the doorway, arms folded across her breasts. Everyone seemed to think she had come with Banks. Nobody even paid her the slightest bit of attention; no one, that is, except the slightly squiffed detective she had seen earlier on her visit to the station, who occasionally cast lecherous glances in her direction. Jenny ignored him and watched the men at work.
Also in the midst of this routine, robotic activity sat Ethel Carstairs, who had discovered the body. Though trembling and white with
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