‘Yes.’
‘How’re you doing with her?’ asks Mandy. She’s sitting on my sofa rolling a cigarette, looking amazing, like a rural punk princess from an unlikely Thomas Hardy novel. I tell her that the hawk is surprisingly tame and everything’s going well. But it is a dreadful lie. When they’d knocked on the door and roused me from sleep I knew I had to maintain some desperate fiction of competence. And so far I’d managed this, though there’d been a nasty moment when Mandy looked at me with concern in her eyes and I realised my own were red and raw. It’s OK, I told myself. She’ll think I’ve been crying about Dad. I pick up the hawk and stand there like someone with a present at a party and no clear idea to whom I should hand it. ‘Lie down, Jess,’ says Stuart. The black and white English pointer they’ve brought flops onto the rug and lets out a sigh. I unhood Mabel. She stands on tiptoe, the tip of her beak pressed to her spangled and silvery chest, looking down at this new phenomenon that is a dog. The dog looks at her. So do we. There is a curious silence. I mistake it for anger. For disappointment. For anything but what it is: astonishment. A look of wonder passes over Stuart’s face. ‘Well,’ he says, eventually. ‘You’ve got gold, there. I thought she’d freak out completely. She’s very well manned.’
‘Really?’
‘She’s so calm, Helen!’ says Mandy.
It takes me a while to even half-believe them, but it helps that I manage to hood Mabel without too much fuss – and after two cups of tea and an hour in their company the world is bright again. ‘Don’t drag your feet,’ Stuart says as they leave. ‘Get her out of the house. Take her outside. Man her in the streets.’ I know he is right. It’s time for the next stage of training.
Carriage is what falconers call walking with a hawk to tame it, and all my books insisted it was the key to a well-trained gos. ‘The key to her management is to carry, carry, carry,’3 wrote Gilbert Blaine. It was ‘the grand secret of discipline’4 to Edward Michell. Back in the seventeenth century Edward Bert had explained that when you walk with a hawk ‘her eye doth still behold change of objects’, which is why carriage works – and why you can’t tame a hawk by keeping her indoors. Such a hawk ‘will endure nothing, because shee hath not beene made acquainted with any thing’,5 he says. Oh, Edmund Bert, I think. I wish it was still the seventeenth century. There’d have been fewer things out there to frighten my hawk.
But I knew that wasn’t true. There’d have been carts and horses and crowds and dogs and they’d have been just as frightening for a half-manned goshawk as buses and mopeds and students on bikes. The difference was that in 1615 no one would have paid me the slightest attention. Hawks on the streets of Cambridge would have been as unremarkable a sight as dogs on leads today. Walking with my hawk will be an open invitation for everyone to come up and stare, and enquire, and quiz me about the hawk, and what she is, and who I am, and why. And beneath my disinclination to engage in conversation there is a much simpler terror: people. Just people. I don’t want to see people at all. After the door is closed I look at it for a long while, rubbing my cheek where the cushion had left a deep, indented scar.