The Victorian terrace loomed and swayed in the summer dusk. I walked to my door, box in my arms. I don’t remember opening the box that night. What I remember is my bare feet treading on carpet and the weight of the hawk on my fist. Her shape, long and haunted, and the hitch of her nervous shoulders as she stepped backwards onto the shadow of the bowperch on my living-room floor. I remember thinking of the passage in The Sword in the Stone where a falconer took a goshawk back onto his own fist, ‘reassuming him like a lame man putting on his accustomed wooden leg, after it had been lost’. Yes, holding the hawk for the first time felt like that. Exactly like that. Mutely I crawled up the stairs and fell into bed. The hawk was here, the journey was over.
That night I dreamed of my father. It wasn’t the usual dream of a family reunited. In the dream I’m searching for something in a house, an empty house with pale squares on the walls where pictures should be. I can’t find what I am looking for. I open an upstairs door onto a room that is not like the others. Three white walls run with water and the far wall is gone. No wall at all: just air, falling into the pale violet of a city evening. Below me is a bombsite. Tons of bricks and rubble, rosebay willowherb blooming in drifts between broken rafters and spars that are ruined chairs and the shadows between all these things are thickening to night. But they are not what I am looking at. Because standing on top of the tallest pile of bricks is a small boy with sandy hair. His face is turned away, but I recognise him immediately, and not just because he’s wearing the same short trousers and lumpy grey jacket in a photograph in our family album. It is my father.
As soon as I see him I know where I am. This is Shepherd’s Bush, where he’d run wild as a boy, clambering over bombsites with his friends, collecting things, salvaging them, hiding, watching. ‘We used to bomb bricks with bombs made of bricks,’ he’d told me once. ‘There wasn’t much else to play with.’ And then the boy turns, looks up at me standing in the ruined house, and I know he is going to say something. But there are no words. Instead, he points with one arm. Points up. I look. There’s an aeroplane up there, thousands of feet above us, so high its fuselage and wings are still lit by the setting sun. There’s no engine noise, no sound, nothing moving anywhere else. Just this small point of light crossing the sky until it passes over and is lost in the shadow of the world. And I look down again, and the boy that was my father is gone.
7
Invisibility
PRRT. PRRT. PRRT. One interrogatory note over and over again, like a telephone call from a bird deep in leaves. That’s what pulled me from sleep. The noise came from a chaffinch in the lime tree outside my window, and I lay watching the day grow bright listening to the sound move about in the tree behind the glass. It was a rain call, a beautiful name for a noise like an unanswered question. No one knows why chaffinches make it, but the name comes from an old tradition that it portends bad weather.
In the 1950s, in a small research station in Madingley a few miles north of where I lay, a scientist called Thorpe experimented on chaffinches to try to understand how they learned to sing. He reared young finches in total isolation in soundproofed cages, and listened, fascinated, to the rudimentary songs his broken birds produced. There was a short window of time, he found, in which the isolated chicks needed to hear the elaborate trills of adult song, and if that window was missed, they could never quite manage to produce it themselves. He tried exposing his isolated fledglings to looped tapes of the songs of other species: could they be persuaded to sing like tree pipits? It was a groundbreaking piece of research into developmental learning, but it was also a science soaked deep in Cold War anxieties. The questions Thorpe was asking were those of a post-war West obsessed with identity and frightened of brainwashing. How do you learn who you are? Can your allegiances be changed? Can you be trusted? What makes you a chaffinch? Where do you come from? Thorpe discovered that wild chaffinches from different places had different dialects. I listened carefully to the bird outside. Yes, its song was different from the song of Surrey chaffinches I’d learned as a child. It was thinner, less complicated; seemed to cut off before it was properly finished. I thought I would like to hear Surrey chaffinches again. I thought of sad birds in soundproofed cages, and how your earliest experiences teach you who you are. I thought of the house from my dream. I thought of home. And then, with a slow, luxuriant thrill, I realised that everything was different about the house I was in. It was the hawk. I shut my eyes. The hawk had filled the house with wildness as a bowl of lilies fills a house with scent. It was about to begin.