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White Stone Day

St. Martin's Press

Crouch Manor, Chester Wolds, Oxfordshire

Ye golden hours of Life's young spring,
Of innocence, of love and truth!
Bright, beyond all imagining,
Thou fairy-dream of youth!

'Very well, ladies, shall we begin?'

'Please, let's do,' says the smaller girl, pushing strands of wayward hair from her eyes with two small hands.

'Very well,' says her sister, who is slightly older and slightly more ladylike.

The Reverend William Leffington Boltbyn straightens his waistcoat, inhales with feigned gravity, and begins. Before him, the two members of his audience lean forward as though drawn by a string, four lovely eyes limpid with anticipation.

'As you might recall (especially Miss Emma, as our protagonist du jour), it was late afternoon, an hour not unlike the present, when the light grows long and the verdant lawns here at Crouch Manor take on a peculiar luminosity ...' He withdraws his watch from his vest pocket and inspects the instrument carefully. 'About five-twenty-two, I should think,' he says, placing the watch face-up upon his knee.

Whispers Lydia to Emma: 'If he continues describing things I shall lose interest.'

'Be patient,' replies Emma. 'Mr Boltbyn needs to set the scene.'

The vicar resumes. 'Having undertaken a seemingly endless game of croquet, which followed a seemingly endless hour of moral instruction, Emma was beginning to get sulky and bored ...'

'That cannot be,' objects the older girl. 'I am quite fond of croquet.'

'Very well, let us say that Emma was bored with the moral instruction, though not with the game. In the case of her governess, however, it was the reverse – while she disliked croquet, Miss Pouch never tired of moral instruction.'

'Miss Pouch does not address the ball in the proper manner,' says Emma. 'One cannot strike it properly without parting one's legs.'

'Oh, Emma,' sighs Lydia. 'You are always causing a person to lose the thread.'

Emma turns to her sister and out darts a small pink tongue.

The vicar continues: 'After a characteristically feeble attempt to strike the ball, and becoming overcome as a consequence by heat-exhaustion, Miss Pouch collapsed in a swoon upon the blanket. Now it was Emma's turn – and wouldn't you know, she roqued her governess's ball!'

'Oh yes, Mr Boltbyn, that would be splendid!' cries Lydia.

With a wink to the little girl, the vicar carries on. 'Emma's blue croquet ball now rested in contiguity with the red, presenting Miss Pouch's spirited opponent with an opportunity to avenge any number of slights.'

'A roque is a perfectly legitimate play, you know,' says Emma.

'Quite so. Reassured that a roque is a legal manœuvre, casting an apologetic glance in the direction of her sleeping governess, whose jaw had slackened something like a trout's ...'

Ha, ha! Both girls laugh aloud. Lydia widens her eyes and moves her lips in the manner of a fish.

'Emma placed her tiny left foot atop her ball, lifted her mallet in a wide arc, and swung just as hard as ever she could, thereby to dispatch Miss Pouch's ball to a distant location, out of play – Crack!'

'Crack!' echoes Lydia.

'But wait! Imagine Emma's astonishment as the red ball sped away as though shot from a cannon – tearing across the lawn, ripping through a bed of sweet william and bouncing down the hill, only to disappear in the shadows of Adderleigh Forest!'

'Oh, Emma,' says the younger girl. 'You hit it too hard.'

'Indeed, it is not the first time your sister has underestimated her strength, with awkward results. To make things worse, when she crossed the lawn to retrieve the red ball – it was nowhere to be seen! And what do you say to that, Miss Emma?'

'I suppose I should say that it is very singular.'

'How very singular, said Emma to the mallet in her hand as she ran down the hill to the forest, lifted her skirts, dropped to her knees and bent sideways to peer under a wall of vegetation – only to be met by the indifferent gaze of two centipedes and a worm.

'Oh, dear! said Emma to her mallet. I had meant to put Miss Pouch out of play, not lose her entirely!'

'What did the mallet say?' Three years younger than Emma, Lydia retains a fondness for talking objects.

'On this subject, the mallet had nothing to say.'

'Oh, bother.'

'When her eyes had finally adjusted to the dark of the forest, Emma managed to catch a glimpse of Miss Pouch's ball, whose red stripe stood out in the gloom of the forest – and it was still rolling!'

'"How peculiar," is what I should say then,' says Emma, anticipating his request.

'How very peculiar, Emma said, and without further hesitation strode briskly into the forest – reasoning that, since the ball was not rolling very fast, it should be a simple matter to fetch it.

'Yet the ball appeared to have a will of its own. When she reached for it, the ball hurried beyond her grasp like a playful kitten – only to come to rest a few yards further on. This it repeated until she had lost her way. And what did she say to that?'

'Fiddlesticks, I suppose.'

'Oh, fiddlesticks! Emma said to the croquet ball. What a pickle you have got us in! And the ball finally allowed her to pick it up.

'As you know, Adderleigh Forest is uncommonly dismal and damp. Enormous trunks towered above the girl like the legs of giants. Sharp brambles reached out for her, and slimy creatures squirmed underfoot, which have never felt the sun – not since a time when monsters wallowed in the fens and witches stirred boiling cauldrons of baby soup!'

Lydia squeals in delighted horror.

'A procession of fancied terrors raced through Emma's sensible mind as she stood in what seemed like a darkened room, surrounded by rough, dark columns and a warren of unlit hallways. So many ways to go – and all equally unpleasant-looking! she said to her mallet, which had also grown rather tense.

'Perched on a branch high above her head, silhouetted against a narrow slice of sky, two cormorants hovered, their long beaks curved downward. That will be a dainty mouthful, said one, come nightfall!'

Boltbyn executes a sudden, shrill imitation of a bird, causing even Miss Emma to flinch in alarm.

'Oh dear! she cried to her mallet, which had grown quite rigid with fear. Whatever shall we do?'

'Surely the mallet must have some reply,' protests Lydia.

'Not a word, I'm afraid. Then, to Emma's astonishment, there came a low, gruff sort of a voice from the shadow of a dead tree: If you keep making such a hullabaloo, you will bring all kinds of beasts, mallet or no mallet.

'Emma was so startled she forgot to cry out – peering into the shadow of a dead hawthorn tree she glimpsed a small figure in a long tweed overcoat, tiny eyes gleaming just beneath the brim of a hunting cap and, in between, the pointed, upturned snout of a hedgehog.

'You needn't frighten a person so, she said, trying not to appear as frightened as she really was.

'To which the hedgehog replied: You, young lady, were in a state from which the capacity to be frightened issued by itself.

'That is because I am lost. Please, can you show me the way back home?

'The hedgehog replied: Back is the one way you don't want to go. Unless you have eyes in the back of your head you will run into a tree.

'Very well then, replied Emma, endeavouring to remain calm. Can you suggest which way I should go?

'If I were you, the way I should go would be ... up. But you needn't listen to me, being a rummager and not a climber.

'And on that note he turned tail, shuffled into the deeper dark of the forest, and disappeared.

'Come back! cried Emma, but received no answer other than a soft shuffling sound. Alone in the gathering gloom, the poor little thing dropped her mallet and Miss Pouch's ball upon the ground, buried her face in her hands, and began to weep.

'At that moment, from immediately behind her issued a most peculiar sound ...'

* * *

Boltbyn abruptly suspends the narrative, to the ardent pleas of the younger member of his audience, at least. (The vicar hasn't an inkling what the 'peculiar sound' is or who is making it, and will require time to come up with something.)

He glances at the open watch on his lap, then at Miss Pouch, still asleep by the fire, her mouth open as though waiting to be fed. Soon Lizzy, the maid-of-all-work, will place the nursery china upon the oilcloth table top; and most significantly, soon the head of the house will arrive for supper. Boltbyn is not partial to the Reverend Lambert, precentor of the Church of St Swithan, whom he considers a vain, pompous ass, shamefully neglectful of his daughters and his young, ailing wife.

'Mr Boltbyn,' pleads Lydia, 'if you don't tell us what made the peculiar sound, I shall be too afraid to sleep!'

'And she will keep me awake with her tossing and turning,' Emma adds.

'I don't see why I should,' Boltbyn demurs. 'I have been doing all the imagining while you young ladies loll about as indolent as frogs in the noonday sun.'

Taking her sister's part lest Lydia start to cry, Emma removes the vicar's watch from his lap, climbs upon his knee, frames his face with both her hands and fixes him with an imploring stare. How silly he looks, with his pink cheeks; his silly hair as though parted by his governess! 'Please, Mr Boltbyn? Won't you please tell us just a little bit more? Just this once?'

'I sh-shall continue,' he replies, meeting her clear, intelligent eyes. 'But only briefly and on one condition – that each of you must give me two kisses, one on each cheek. And if each kiss is a very sweet kiss, then we might once again find our way into Adderleigh Forest, and follow Emma's wondrous adventures just a bit further.'

The sisters do just that.

Boltbyn takes a moment to think upon what might possibly happen in the next scene. He regrets having invented the hedgehog. A badger would be better, or perhaps a rabbit. Meanwhile, his eyes roam about the nursery – his favourite room, the only place in the house where he feels comfortable.

To judge by the barred windows, the grated fireplace, the bare walls whitewashed against infection, the room has always been a nursery. His gaze falls upon the reproduction of William Nixon Crede's Bathing Beauty, in which a young girl has fallen asleep in the bath: a sentimental favourite in nurseries throughout England, and the main source of Crede's renown. The vicar wonders whether the artist's reputation would diminish if they knew that the original painting is itself a reproduction – a painted copy of a photograph taken by Boltbyn himself?

Probably not, he thinks. Originality does not count for much these days, if it ever did.

Gazing upon his two friends, the imprint of their kisses still burning his cheeks, the vicar resolves to mark this date in his diary with a white stone, and to accompany it with a rhyme the day has inspired:

Elf locks tangled in the storm,
Red lips for kisses pouted warm.

Long ago, when Boltbyn was a child, playing with his sisters, inventing ways of passing the afternoon, he began his lifelong habit of marking significant days by pasting a small, smooth white stone (gathered from the beach on holidays) in his diary, as a sign of special happiness.

How the white stones accumulated during those charmed, carefree early years! And how dismally they petered out after the death of his mother, the demands of school, and the repetitious burden of daily life.

Until Emma.

It was during a croquet tournament in the quadrangle of Christ Church: the wind blew his hat from his head onto the ground – and impudent Emma spiked it with her umbrella! Her governess was mortified when it emerged that the owner of the punctured hat was none other than Wallace Beverley – Beverley being the pseudonym under which Boltbyn creates his light verse and children's books. How utterly needless were her apologies! For Wallace Beverley had found his muse and William Boltbyn his happiness at once – and all for the price of a hat!

With huge umbrella, lank and brown,
Unerringly she pinned it down,
Right through the centre of the crown.

Emma was barely ten, and on an outing to Oxford with her family. Over the nearly three years of their acquaintance, Boltbyn's diary has been strewn with white stones, whole weeks smiling like rows of little teeth, while his shelves and drawers bulge with photographs of his favourite subject in all sorts of guises, from beggar-girls to wood-nymphs.

The vicar looks upon Emma, photographing her in his mind, fixing in his memory the look in her hazel eyes, still filled with the mystery and wonder of childhood. At the end of this day he can safely affix another white stone to his diary – but for how many more? Soon Emma's eyes will acquire another kind of knowledge – and then the golden light of childhood will die, and he will be alone, an orphan and a widower, at once.

Whitechapel, 1858

In the shadow of London Hospital, a solitary pedestrian slouches along Raven Row, wearing corduroy breeches and a muffin hat. It is early evening, the temporary silence before the lamplighter arrives, that in-between hour when the day-creatures have gone to ground and the night-creatures have yet to emerge in their tattered finery.

Buildings of stone and brick loom like the blackened hulks of abandoned ships as he turns up Sneer Lane, looking neither to right nor left. In East London, the unguarded pedestrian does his best to remain invisible.

Passing by the shadowed entry-way of a vacant tobacco shop, through the corner of an eye, he discerns a curious tableau within – something like a Madonna-and-Child. But he does not take a closer look; in this part of the city, curiosity has killed more than cats.

In the entry-way, perched upon a square wicker laundry hamper in front of the boarded-up door of the shop, the figure in question waits for the footsteps to recede, then returns his attention to the child. There is indeed something tender, even maternal, in the way he cradles the slender girl in his arms. His faded, threadbare, once scarlet sleeve is that of a corporal in the Indian Army; the hand that cradles her slim neck is missing its thumb, which appears to have been torn out by the root.

Hovering above him like Joseph at the Manger is a man in a similar uniform, except his stripes and markings have been torn off, leaving a trail of needle-tracks in the shape of the rank of lieutenant-colonel. He seems narrow-shouldered for an officer, with a large head of matted hair that is all but white; standing at attention, he resembles an inverted mop or broom. At present, however, he is bent over his companion, and his outstretched hand presses a cloth over the mouth and nose of the silent girl.

The pleasant sweetness of chloroform disperses quickly, trumped by the immanent reek of the Thames.

'Be careful,' whispers the seated man. 'Mustn't overdo it or she is gone from us and we is gone to the devil.'

'She is not ready,' replies the lieutenant-colonel in the clipped tones of command. 'She has ceased to struggle, yet I feel her breast move more quickly than it should.'

'That is a relief, Mr Robin, at least there is breath left.'

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Excerpted from White Stone Day by John MacLachlan Gray. Copyright © 2005 John MacLachlan Gray. Excerpted by permission of St. Martin's Press.
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