Serge looks at the man’s ears. He’s not exaggerating: his drums are caked with dried blood, and red streaks run down both sides of his neck.
“Sorry,” Serge murmurs.
“Not your fault. Wouldn’t hear them otherwise.”
“Oh, look,” says Serge, “the gas hasn’t killed all the insects.”
The wall behind the receiver has lice on it. So does the receiver, and the table, chair and floor.
“Curse of the trenches,” shrugs the operator. “Still, I wouldn’t swap with you people for all the world. Need to feel ground beneath my feet. Over my head as well, these days. I get all anxious if I’m in the open for too long—even way back from the lines, on leave or what have you: like something’s going to come and land on me …”
The man’s words give over to coughs. Serge runs his eye around the burrow. There are passages leading off from the main chamber, presumably to other chambers which in turn have passages connecting them. This chamber has a bed in it; beneath the bed, two tins of pork-meat and a tattered copy of A. E. Housman.
“You too?” asks Serge.
“Calms me down,” the operator tells him. “When the ordnance is falling, or taking off from here, or both. I think of Shropshire hedgerows …”
This is what the 104th men say as well. They’ve got at least two copies there—one in the mess, one on his houseboat. He saw a soldier reading Housman on the boat over from Folkestone too. Half the front must be thinking of Shropshire hedgerows. Serge doesn’t get it, and one day finds himself arguing the case out with the other officers, holding his ground against first one, then two, then three opponents.
“It’s deep,” Watson insists indignantly. “He looks at the cherry tree and has a vision of time passing.” Straightening his back and dropping his voice to a solemn register, he starts reciting:
Now, of my threescore years and ten
,
Twenty will not come again
,
And take from seventy springs a score
,
That only leaves me fifty more …
“Seventy minus twenty equals fifty,” Serge replies. “That’s deep.”
“You have no sense of poetry, Carrefax,” Baldwick joins in. “These things can take you away from all the rage around you, keep you safe …”
“Why would I want to be taken away?” asks Serge. “Where danger is, there rescue grows.”
“What?”
“Hölderlin.” He tosses Cécile’s copy onto Baldwick’s lap.
“This is a German book!” Baldwick gasps, recoiling.
“He was a German poet,” Serge replies.
“You could be …” stutters Baldwick, “I mean, it’s virtually …”
“It’s virtually treason,” Dickinson helps him out.
“You should read it,” Serge informs them. “Learn some phrases: help you if you get shot down behind enemy lines and they don’t understand what Shropshire hedgerows are …”
None of them take his offer up; the book lies around the mess unopened for one week, then gets returned to Cécile. Serge takes some of its lines into the air with him, though: they start jostling for space with the ones from the Pageant. He still hears the latter every time he shoots his gun; but when Gibbs turns, or dives, or pulls up suddenly and catapults him backwards to the sky, he hears the opening words of “Patmos”:
Nah ist
Und schwer zu fassen der Gott …
He feels the
schwer
inside his stomach, tightening like gravity; the
Nah
is a kind of measuring, a spacing-out of space in such a way that distant objects and locations loom up close and nearby ones expand, their edges hurtling away beyond all visible horizons to convey and deliver the contents of these to him. The
Gott’s
not a divine, Christian Creator, but a point within the planes and altitudes the machine’s cutting through—and one of several: the god, not God. And
fassen … fassen
is like locking onto something: a signal, frequency or groove. The word speaks itself inside his ear each time he taps his spark set or amends his clock-code chart. When arcing shells respond and hit their target, another phrase of Hölderlin’s hums in the struts and wires, its syntax rattling and breaking with the pressure from the rising blasts: the line from “Die Titanen” about
der Allerschütterer
, the One Who Shakes All Things, reaching down into the deep to make it come to life:
Es komme der Himmlische
Zu Todten herab und gewaltig dämmerts
Im ungebundenen Abgrund
Im allesmerkenden auf
.
He thinks of the sky he’s held in as an
Abgrund:
an abyss, a without-ground—yet one that’s all-remarking,
allesmerkenden
, scored over by a thousand tracks and traces like the fallen earth below him. Which makes him
der Himmlische
, the Heavenly One, calling down light, causing it to burst forth and rise upwards, to the partings of the Father’s hair, so that …
wenn aber … und es gehet …
Here the sentences fade in and out, like wireless stations, before climaxing in a stanza that Serge once spends a whole night sitting on his houseboat’s deck translating:
und der Vogel des Himmels ihm
Es anzeigt. Wunderbar
Im Zorne kommet er drauf
.
and the bird of Heaven
Makes it known to him. Upon which,
Wonderful in anger, he comes.
These lines, and others, echo for him on another occasion too: his visit to the sounding range near Battery F. This visit’s not directive-prompted. Quite the opposite: it takes place by accident and, Serge suspects, against the orders of Headquarters, who have always maintained an air of secrecy about what goes on in the woods just north of Vitriers. He’s being driven in a Crossley truck to Nieppe one afternoon, to buy spare aerial copper from a local metalworker (ordering it up from England would take months) when the driver announces, on the way back, a short detour to drop off some piano wire in Sector Four.
“They’re playing pianos amidst all this racket?” Serge asks him, incredulous.
The driver smiles. They leave the road and slalom between tree trunks, pulling up eventually beside a small cluster of huts. As the driver carries the looped coils to one of these, Serge wanders off among the trees, unzips his trouser-fly and starts to urinate onto the ground—only to be chastised by a voice that issues from the foliage around him like some spirit of the woods:
“Don’t piss against the wire!”
“What wire?” he asks. “Who said that?”
The wood-spirit emerges: a short man with slender fingers.
“Just under the earth’s surface,” he says, before adding, no less obscurely: “You’ll cause interference from the mikes. Who are you?”
“Observer from 104th Squadron,” Serge tells him. “I stopped by to drop off the wire.”
“The wires are already in place,” the slender-fingered man says, pointing at the ground. “Six of them, running from the microphones to here.”
“Microphones in the woods?”
“Yup: six mikes, one for each wire. They’re in cut-out barrels arranged in a semi-circle quarter of a mile away.”
“Attached to piano wire?” asks Serge.
“You brought new piano wire? Why didn’t you say so? Where is it?”
“Being carried into those huts,” Serge tells him.
The man hurries back towards the huts. Serge follows him. Inside the main one, he finds a huge square harp whose six strings are extended out beyond their wooden frame by finer wires that run through the hut’s air before breaching its boundary as well, cutting through little mouse-holes in the east-facing wall. In front of the harp, like an interrogation lamp, a powerful bulb shines straight onto it; behind it, lined up with each string, a row of prisms capture and deflect the light at right angles, through yet another hole cut in the hut’s wall, into an unlit room adjoining this one. There’s a noise coming from the adjoining room: sounds like a small propeller on a stalled plane turning from the wind’s pressure alone.
“What is this place?” Serge asks.
“You’re an observer, right?” the slender-fingered man says. Serge nods.
“Well, you know how, when you’re doing Battery Location flights, you send down K.K. calls each time you see an enemy gun flash?”
“Oh yes,” Serge answers. “I’ve always wondered why we have to do that …”
“Wonder no more,” the man says with an elfin smile. “The receiving operator presses a relay button each time he gets one of those; this starts the camera in the next room rolling; and the camera captures the sound of the battery whose flash you’ve just
K.K.
’d to us. You with me?”
“No,” Serge answers. “How can it do that?”
“Each gun-boom, when it’s picked up by a mike, sends a current down the wires you just pissed on,” the man continues, “and the current makes the piano wire inside this room heat up and give a little kick, which gets diffracted through the prisms into the next room, and straight into the camera.”
“So you’re
filming
sound?” Serge asks.
“You could say that, I suppose,” the man concurs.
“What’s the point of that?”
“Here, follow me.”
He leads Serge from this hut towards another. Pausing at the door of this, he knocks; then, when a voice inside shouts “Enter,” opens it no more than a slit’s width and ushers Serge inside. The interior’s suffused with red light. At a trough propped up against the far wall, a man with rolled-up sleeves is dunking yards of film into developing liquid, then feeding it on from there into a fixing tank. As the film’s end emerges from this tank in turn, he holds it up, inspects it and tears off sections, clipping these with clothes pegs to a short stretch of washing line, from where they drip onto the discarded strips on the room’s floor below them.
“Yuk,” Serge whispers beneath his breath.
“What?” the slender-fingered man asks.
“Nothing,” he replies.
“Look here,” Serge’s guide says, unclipping a strip of the developed film and pointing at dark lines that run, lengthways and continuous, along its surface. The lines—six of them—are for the most part flat; occasionally, though, they erupt suddenly, and rise and fall in jagged waves, like some strange Persian script, for half an inch, before settling down and running flat again. On the film’s bottom edge, beside the punch-holes, a time-code is marked, one inch or so for every second. The jagged eruptions appear at different points along each line: staggered, each wave the same shape as the one on the line below it, but occurring a quarter of an inch (or three-tenths of a second) later.
“So,” Serge’s elfin guide continues, “these kicks are made by the sound hitting each mike; and they get laid out on the film at intervals that correspond to each mike’s distance from the sound. You see them?”
“Yes,” Serge answers. “But I still don’t—”
“These ones ready to take through?” the guide asks the developer.
The other man nods; with his piano-player’s fingers, the guide unclips the other drip-dried strips, then leads Serge out to yet another hut. This one’s wall has a large-scale map taped to it; stuck in the map in a neat semi-circle are six pins. Two men are going through a pile of torn-off, line-streaked film-strips, measuring the gaps between the kicks with lengths of string; then, moving the string over to the map slowly, careful to preserve the intervals, they transfer the latter onto its surface by fixing one end of the string to the pin and holding a pencil to the other, swinging it from side to side to mark a broad arc on the map.
“Each pin’s a microphone,” the slender-fingered man explains. “Where the arcs intersect, the gun site must be.”
“So the strings are time, or space?” Serge asks.
“You could say either,” the man answers with a smile. “The film-strip knows no difference. The mathematical answer to your question, though, is that the strings represent the asymptote of the hyperbola on which the gun lies.”
“But there are several guns,” Serge says.
“And several types of kick on the film,” the man replies. “You can tell from their shape and thickness which are primary and which secondary, tertiary and so on. You just keep plotting all the intersections and eventually the whole thing maps itself out. It changes every few days, of course: soon as you people take one battery out, another one pops up for us to pinpoint …”
The Crossley’s engine comes to life outside. Walking back to it, Serge is acutely conscious of his feet percussing on the ground, and starts to tiptoe lest he cause more interference to the wires, even though the truck’s noise is much louder. On the way home, once they’ve left the woods and joined the road, he starts to drift off. To his mind, held in a web of strings and arcs above a darkness lit up by diffracted flashes, it seems that the groaning of the guns now comes as much from below as above. He sees it travelling through earth on worm-like cords, then seeping out like methane. As it rises past him, its vibrations make the truck’s metal bars pronounce, over and over again, the word
Allerschütterer;
then it rises further, up towards a high spot where a keen ear inclines above a battlefield that’s turned into a giant sounding-board. Just before he loses consciousness entirely, Serge sees Dr. Filip’s thin, filament-eyes glow above metal-grey whiskers—and hears, at a pitch barely audible and issuing from a spot that no amount of intersecting arcs could pinpoint, a little not-quite-German, not-quite-English voice describing twangling instruments humming about his ears.
iii
On days when they’re assigned to Artillery Patrol, Serge and Gibbs fly further over on the German side than the machines on Art Obs duties, sending zone-call rather than clock-code signals back. The sequences are longer, running into double-figured strings of numbers, letters, dots and spaces:
BY.NF.B30 C 8690; BY.COL.FAN NW B30C8690…
His fingers ache by the end of every mission. When he’s not tapping sigs out, he’s photographing the ground with a camera attached to the plane’s lower wing. They have to fly in pre-set patterns and maintain a stable altitude to keep their photographs in sequence and to scale. They liaise with the photographic unit regularly; it’s in a former slaughterhouse two miles behind the airfield.
“I’d say this emplacement’s a dummy one,” Lieutenant Pietersen opines as he passes the monocular to Serge. “The tracks leading to the copse are so clear you could see them from ten thousand feet up. They may as well have drawn an arrow on the ground …”
“I see flashes from there a lot,” Serge tells him, “but they never seem quite right. Haven’t got that forward kick …”
“Stage effects,” Pietersen tuts. “Smoke and mirrors.”
He pins the photo to a board—askew, and covering the bottom corner of another photo which is slanted to the other side. Eight or nine more photos cling together to produce a mosaic of landscape across which lines—straight, curved and dotted—cut and swirl like markings on butterflies’ wings.
“Now, this part’s changed since yesterday,” Pietersen says, replacing one tile of the mosaic with a new one that contains a dark, concentric set of ripples moving outwards from a spot covered by trees. “But I’m not sure we’ve knocked the big gun out. When you fly over it tomorrow, try to ascertain whether the scorch marks fall along the main diameter of all these circles, or if they’re off-centre.”
“I’ll snap the area, but I don’t know if I’ll be able to tell that with my naked eye, through all the smoke,” Serge replies.
“Try rubbing cocaine in it,” Pietersen tells him.
“Cocaine?” Serge asks. “Isn’t that for teeth?”
“Yes, but it works wonders on your vision: sharpens it no end. Go pick some up from the Field Hospital in Mirabel.”
Serge does so. He’s given a small make-up tin of white powder, a little of which he daubs onto his retina just prior to take-off the next day. It takes effect as they’re clearing their own kite balloon, which starts beaming up at him taut and alert, a big white eyeball. The lines of tracer-fire stand out more starkly a few seconds later, their velocity and inclination bold, insistent. The mesh of trenches, the coloured flames of guns and flares, distant roads and railway lines, the markings on the ground: all these things come at him more cleanly, more pronounced—but then so do Archie puffs, vapour trails and cordite smoke-clouds, not to mention the real clouds above him and the sky’s deep blue.
“Did it work?” Pietersen asks him next time he visits the slaughterhouse.
“I’m not sure,” he answers.
“You can get a stronger effect by snorting it,” Pietersen tells him.
“What, like snuff?”
“Knock a little out across a table top or mirror,” Pietersen says. “Lay it in a line, and snort it through a rolled-up banknote. I’m afraid the scorch-marks are off-centre.”
“Sorry?”
Pietersen’s finger taps the mosaic on the board. This shows the same territory as it did yesterday, but most of the landmarks on this have mutated: changed their shape, grown blast-wrinkles, become scarred by craters or even, in some cases, simply disappeared. Sliding his mind’s gaze between the old images and these updated ones, Serge has a flickering apprehension that the landscape’s somehow moving, as though animated.
“Like a cat’s leg,” he says.
“What is? Which bit?”
“The whole thing.”
Pietersen steps back and tilts his head at the elongated spit of land formed by the collated images. After a while he nods and murmurs:
“I suppose it does have that shape, a little.”
The next day, Serge taps a small mound of cocaine onto his shaving mirror, pushes it into a line, rolls up a twenty-franc note and breathes the powder up towards his cranium. It stings behind his eyes, then numbs the upper part of his face. As Gibbs takes off, Serge feels a lump of phlegm grow in his throat. He swallows; it tastes bitter, chemical. The tracer-lines this time are vibrant and electric: it’s as though the air were laced with wires. Higher up, the vapour trails of SE5s form straight white lines against the blue, as though the sky’s surface were a mirror too. Scorch-marks and crater contours on the ground look powdery; it seems that if he swooped above them low enough, then he could breathe them up as well, snort the whole landscape into his head. The three hours pass in minutes. As they dip low to strafe the trenches on the way back, he feels the blood rush to his groin. He whips his belt off, leaps bolt upright and has barely got his trousers down before the seed shoots from him, arcs over the machine’s tail and falls in a fine thread towards the slit earth down below.
“From all the Cs!” he shouts. “The bird of Heaven!”
From this day onwards, he develops a keen interest in the contents of the medicine box in the RE8’s cabin, tucked between the aerial’s copper reel and the second set of controls. He experiments with benzoic acid, amyl nitrate, ether and bromide before discovering diacetylmorphine. Held in injectable phials, the liquid floods him with euphoria each time he pushes it into his flesh: a murky, earthy warmth that spreads out from his abdomen in waves. Then everything slows down and seems to float: the tracers rise towards him languidly, like bubbles in a glass; Archie puff-clouds hang about his head like party bunting. He likes it when the bullets come close—really close, so that they’re almost grazing the machine’s side: when this happens he feels like he’s a matador being passed by the bull’s horn, the two previously antagonistic objects brought together in an arrangement of force and balance so perfectly proportioned that it’s been removed from time, gathered up by a pantheon of immortals to adorn their walls. The sky takes on a timeless aspect too: the intersecting lines of ordnance residue and exhaust fumes form a grid in which all past manoeuvres have become recorded and in which, by extension, history itself seems to hang suspended. Flashes tincture the lines green, lace them with yellow, spatter them with incandescent reds. The colours look synthetic, as though they’d been daubed and splashed on from bottles, like Carlisle’s oils, aquarelles and acrylics; it seems to Serge that if he had a jar of turpentine or camphor and a sponge then he could wipe the whole sky clear …
In states such as this, he finds his attention captivated by the German kite balloons. He’ll gaze at them for endless stretches, measuring his position not from the grid squares on his map but from these strange, distended objects as they rotate to his view. Unlike the English ones, they’re coloured the dark, putrid tone of rotting flesh. They may have the shape of intestines, but their rising, falling and eventual deflation makes him think of lungs—diseased ones, like the catarrh-ridden lungs of the burrow dwellers whose flashes they pinpoint. When he sees one being inflated on the ground, it calls to his mind the image of ticks swelling as they gorge themselves on blood. He fires on airborne ones that come into his range not out of hatred or a sense of duty, but to see what happens when the bullets touch their surface, in the way a child might poke an insect. When flame-tendrils push outwards from inside the balloons and climb up their surface before bursting into bloom, he watches the men in their baskets throw their parachutes over the side and jump. Often they get stuck halfway down, tangled in the ropes and netting. Seeing them wriggling as the flame crawls down the twine towards them, he thinks of flies caught in spiders’ webs; when they roast, they look like dead flies, round and blackened.
He starts picturing the batteries he’s targeting as insects too, ticks that have burrowed into the ground’s skin and embedded themselves there: his task’s unpicking them. Pinned to the slaughterhouse’s wall, the photographs take on the air of dermatological slides.
“I don’t think that one’ll be troubling our boys much more,” Pietersen declares triumphantly, tapping a deeply pockmarked patch on his mosaic. “The whole sector’s dead now.”
“Dead?” asks Serge.
“Yes,” Pietersen replies. “You’ve killed it.”
“I don’t see it that way,” Serge murmurs back.
“You think there’s still an emplacement there?”
“That’s not what I mean … It’s just that …”
He can’t explain it. What he means is that he doesn’t think of what he’s doing as a deadening. Quite the opposite: it’s a quickening, a bringing to life. He feels this viscerally, not just intellectually, every time his tapping finger draws shells up into their arcs, or sends instructions buzzing through the woods to kick-start piano wires for whirring cameras, or causes the ground’s scars and wrinkles to shift and contort from one photo to another: it’s an awakening, a setting into motion. In these moments Serge is like the Eiffel Tower, a pylon animating the whole world, calling the zero hour of a new age of metal and explosive, geometry and connectedness—and calling it over and over again, so that its birth can be played out in votive repetition through these elaborate and ecstatic acts of sacrifice …
And in the background of these iterations, like a relic of an old order, the sun: intoxicated, spewing gas and sulphur, black with cordite smoke and tar. As the summer months draw on, it seems to sicken. Rising beneath him on early-morning flights, its light’s infected by the ghostly pallor of the salient’s mists, driven a nauseous hue by green and yellow flashes. It darkens, not lightens, as each day progresses and the puffballs, vapour clouds and tracer-lines build up. Its transit through the air seems laboured, as though the whirring mechanism that dragged it along its tracks were damaged and worn out. As afternoons run into evenings, it becomes so saturated with the toxins all around it that it can no longer hold itself up and, grown heavy and feeble, sinks. Serge watches it die time and time again, watches its derelict disc slip into silvery, metallic marshland, where it drowns and dissolves. When this happens, a chemical transformation spreads across land and sky, turning both acidic. In these moments, he feels better than he’s ever felt before—as though his rising were commensurate with the sun’s sinking. As space runs out backwards like a strip of film from his tail, the world seems to anoint him, through its very presence, as the gate, bulb, aperture and general projection point that’s brought it about: a new, tar-coated orb around which all things turn.