A young man named Geoffrey Clifton had met a friend at Oxford1 who had mentioned what we were doing. Hecontacted me, got married the next day, and two weeks later flew with his wife to Cairo. They were on the lastdays of their honey.moon. That was the beginning of our story.
When I met Katharine she was married. A married woman. Clifton climbed out of the plane and then,unexpected, for we had planned the expedition with just him in mind, she emerged. Khaki shorts, bony knees. Inthose days she was too ardent6 for the desert. I liked his youth more than the eager.ness of his new young wife.
He was our pilot, messenger, reconnaissance. He was the New Age, flying over and drop.ping codes of longcoloured ribbon to advise us where we should be. He shared his adoration8 of her constantly. Here were four menand one woman and her husband in his verbal joy of honeymoon9. They went back to Cairo and returned a monthlater, and it was almost the same. She was quieter this time but he was still the youth. She would squat10 on somepetrol cans, her jaw11 cupped in her hands, her elbows on her knees, staring at some constantly flapping tarpaulin12,and Clif.ton would be singing her praises. We tried to joke him out of it, but to wish him more modest wouldhave been against him and none of us wanted that.
After that month in Cairo she was muted, read constantly, kept more to herself, as if something had occurred orshe realized suddenly that wondrous13 thing about the human being, it can change. She did not have to remain asocialite who had married an adventurer. She was discovering herself. It was painful to watch, because Cliftoncould not see it, her self-education. She read everything about the desert. She could talk about Uweinat and thelost oasis14, had even hunted down marginal articles.
I was a man fifteen years older than she, you understand. I had reached that stage in life where I identified withcynical villains16 in a book. I don’t believe in permanence, in relation.ships that span ages. I was fifteen yearsolder. But she was smarter. She was hungrier to change than I expected.
What altered her during their postponed17 honeymoon on the Nile estuary18 outside Cairo? We had seen them for afew days —they had arrived two weeks after their Cheshire wedding. He had brought his bride along, as hecouldn’t leave her and he couldn’t break the commitment to us. To Madox and me. We would have devouredhim. So her bony knees emerged from the plane that day. That was the burden of our story. Our situation.
Clifton celebrated19 the beauty of her arms, the thin lines of her ankles. He described witnessing her swim. Hespoke about the new bidets in the hotel suite21. Her ravenous22 hunger at breakfast.
To all that, I didn’t say a word. I would look up sometimes as he spoke20 and catch her glance, witnessing myunspoken exasperation24, and then her demure25 smile. There was some irony26. I was the older man. I was the man ofthe world, who had walked ten years earlier from Dakhla Oasis to the Gilf Kebir, who charted the Farafra, whoknew Cyrenaica and had been lost more than twice in the Sand Sea. She met me when I had all those labels. Orshe could twist a few degrees and see the labels on Madox. Yet apart from the Geographical27 Society we wereunknown; we were the thin edge of a cult28 she had stumbled onto because of this marriage.
The words of her husband in praise of her meant nothing. But I am a man whose life in many ways, even as anexplorer, has been governed by words. By rumours29 and legends. Charted things. Shards31 written down. The tactof words. In the desert to repeat something would be to fling more water into the earth. Here nuance32 took you ahundred miles.
Our expedition was about forty miles from Uweinat, and Madox and I were to leave alone on a reconnaissance.
The Cliftons and the others were to remain behind. She had con2.sumed all her reading and asked me for books. Ihad nothing but maps with me. “That book you look at in the evenings?” “Herodotus. Ahh. You want that?” “Idon’t presume. If it is private.” “I have my notes within it. And cuttings. I need it with me.” “It was forward ofme, excuse me.” “When I return I shall show it to you. It is unusual for me to travel without it.”
All this occurred with much grace and courtesy. I explained it was more a commonplace book, and she bowed tothat. I was able to leave without feeling in any way selfish. I acknowl.edged her graciousness. Clifton was notthere. We were alone. I had been packing in my tent when she had approached me. I am a man who has turnedmy back on much of the social world, but sometimes I appreciate the delicacy34 of manner.
We returned a week later. Much had happened in terms of findings and piecings together. We were in goodspirits. There was a small celebration at the camp. Clifton was always one to celebrate others. It was catching36.
She approached me with a cup of water. “Congratulations, I heard from Geoffrey already—” “Yes!” “Here, drinkthis.” I put out my hand and she placed the cup in my palm. The water was very cold after the stuff in thecanteens we had been drinking. “Geoffrey has planned a party for you. He’s writing a song and wants me to reada poem, but I want to do something else.” “Here, take the book and look through it.” I pulled it from myknapsack and handed it to her.
After the meal and herb teas Clifton brought out a bottle of cognac he had hidden from everyone till thismoment. The whole bottle was to be drunk that night during Madox’s ac.count of our journey, Clifton’s funnysong. Then she began to read from The Histories—the story of Candaules and his queen. I always skim past thatstory. It is early in the book and has little to do with the places and period I am interested in. But it is of course afamous story. It was also what she had chosen to talk about.
This Candaules had become passionately37 in love with his own wife; and having become so, he deemed that hiswife was fairer by far than all other women. To Gyges, the son of Daskylus (for he of all his spearmen was themost pleasing to him), he used to describe the beauty of his wife, praising it above all measure.
“Are you listening, Geoffrey?”
“Yes, my darling.”
He said to Gyges: “Gyges, I think that you do not believe me when I tell you of the beauty of my wife, for ithappens that men’s ears are less apt of belief than their eyes. Contrive38 therefore means by which you may lookupon her naked.”
There are several things one can say. Knowing that even.tually I will become her lover, just as Gyges will be thequeen’s lover and murderer of Candaules. I would often open Herod.otus for a clue to geography. But Katharinehad done that as a window to her life. Her voice was wary40 as she read. Her eyes only on the page where the storywas, as if she were sinking within quicksand while she spoke.
“I believe indeed that she is of all women the fairest and I entreat41 you not to ask of me that which it is not lawfulfor me to do.” But the King answered him thus: “Be of good courage, Gyges, and have no fear, either of me, thatI am saying these words to try you, or of my wife, lest any harm may happen to you from her. For I will contriveit so from the first that she shall not perceive that she has been seen by you.”
This is a story of how I fell in love with a woman, who read me a specific story from Herodotus. I heard thewords she spoke across the fire, never looking up, even when she teased her husband. Perhaps she was justreading it to him. Perhaps there was no ulterior motive42 in the selection except for them.selves. It was simply astory that had jarred her in its familiar.ity of situation. But a path suddenly revealed itself in real life. Eventhough she had not conceived it as a first errant step in any way. I am sure.
“I will place you in the room where we sleep, behind the open door; and after I have gone in, my wife will alsocome to lie down. Now there is a seat near the entrance of the room and on this she lays her garments as shetakes them off one by one; and so you will be able to gaze at her at full leisure.”
But Gyges is witnessed by the queen when he leaves the bedchamber. She understands then what has been doneby her husband; and though ashamed, she raises no outcry... she holds her peace.
It is a strange story. Is it not, Caravaggio? The vanity of a man to the point where he wishes to be envied. Or hewishes to be believed, for he thinks he is not believed. This was in no way a portrait of Clifton, but he became apart of this story. There is something very shocking but human in the husband’s act. Something makes us believeit.
The next day the wife calls in Gyges and gives him two choices.
“There are now two ways open to you, and I will give you the choice which of the two you will prefer to take.
Either you must slay44 Candaules and possess both me and the King.dom of Lydia, or you must yourself here onthe spot be slain45, so that you mayest not in future, by obeying Candaules in all things, see that which you shouldnot. Either he must die who formed this design, or you who have looked upon me naked.”
So the king is killed. A New Age begins. There are poems written about Gyges in iambic trimeters. He was thefirst of the barbarians46 to dedicate objects at Delphi. He reigned47 as King of Lydia for twenty-eight years, but westill remember him as only a cog in an unusual love story.
She stopped reading and looked up. Out of the quicksand. She was evolving. So power changed hands.
Meanwhile, with the help of an anecdote48, I fell in love.
Words, Caravaggio. They have a power.
When the Cliftons were not with us they were based in Cairo. Clifton doing other work for the English, Godknows what, an uncle in some government office. All this was before the war. But at that time the city had everynation swimming in it, meeting at Groppi’s for the soiree concerts, dancing into the night. They were a popularyoung couple with honour be.tween them, and I was on the periphery49 of Cairo society. They lived well. Aceremonial life that I would slip into now and then. Dinners, garden parties. Events I would not normally havebeen interested in but now went to because she was there. I am a man who fasts until I see what I want.
How do I explain her to you? With the use of my hands? The way I can arc out in the air the shape of a mesa orrock? She had been part of the expedition for almost a year. I saw her, conversed50 with her. We had each beencontinually in the presence of the other. Later, when we were aware of mutual51 desire, these previous momentsflooded back into the heart, now suggestive, that nervous grip of an arm on a cliff, looks that had been missed ormisinterpreted.
I was at that time seldom in Cairo, there about one month in three. I worked in the Department of Egyptology onmy own book, Recentes Explorations dans le Desert Libyque, as the days progressed, coming closer and closerto the text as if the desert were there somewhere on the page, so I could even smell the ink as it emerged from thefountain pen. And simul.taneously struggled with her nearby presence, more obsessed52 if truth be known withher possible mouth, the tautness53 be.hind33 the knee, the white plain of stomach, as I wrote my brief book, seventypages long, succinct54 and to the point, complete with maps of travel. I was unable to remove her body from thepage. I wished to dedicate the monograph55 to her, to her voice, to her body that I imagined rose white out of a bedlike a long bow, but it was a book I dedicated56 to a king. Believing such an obsession57 would be mocked,patronized by her polite and em.barrassed shake of the head.
I began to be doubly formal in her company. A characteristic of my nature. As if awkward about a previouslyrevealed na.kedness. It is a European habit. It was natural for me—having translated her strangely into my textof the desert—now to step into metal clothing in her presence.
The wild poem is a substituteFor the woman one loves or ought to love,One wild rhapsody a fake for another.
On Hassanein Bey’s lawn—the grand old man of the 1923 expedition—she walked over with the governmentaide Roun-dell and shook my hand, asked him to get her a drink, turned back to me and said, “I want you toravish me.” Roundell returned. It was as if she had handed me a knife. Within a month I was her lover. In thatroom over the souk, north of the street of parrots.
I sank to my knees in the mosaic-tiled hall, my face in the curtain of her gown, the salt taste of these fingers inher mouth. We were a strange statue, the two of us, before we be.gan to unlock our hunger. Her fingersscratching against the sand in my thinning hair. Cairo and all her deserts around us.
Was it desire for her youth, for her thin adept58 boyishness? Her gardens were the gardens I spoke of when I spoketo you of gardens.
There was that small indentation at her throat we called the Bosphorus. I would dive from her shoulder into theBos-phorus. Rest my eye there. I would kneel while she looked down on me quizzical as if I were a planetarystranger. She of the quizzical look. Her cool hand suddenly against my neck on a Cairo bus. Taking a closed taxiand our quick-hand love between the Khedive Ismail Bridge and the Tipperary Club. Or the sun through herfingernails on the third-floor lobby at the museum when her hand covered my face.
As far as we were concerned there was only one person to avoid being seen by.
But Geoffrey Clifton was a man embedded59 in the English machine. He had a family genealogy60 going back toCanute. The machine would not necessarily have revealed to Clifton, married only eighteen months, his wife’sinfidelity, but it began to encircle the fault, the disease in the system. It knew every move she and I made fromthe first day of the awkward touch in the porte cochere of the Semiramis Hotel.
I had ignored her remarks about her husband’s relatives. And Geoffrey Clifton was as innocent as we were aboutthe great English web that was above us. But the club of body.guards watched over her husband and kept himprotected. Only Madox, who was an aristocrat61 with a past of regimental associations, knew about such discreetconvolutions. Only Madox, with considerable tact3, warned me about such a world.
I carried Herodotus, and Madox—a saint in his own mar5.riage—carried Anna Karenina, continually rereadingthe story of romance and deceit. One day, far too late to avoid the machinery62 we had set in motion, he tried toexplain Clifton’s world in terms of Anna Karenina’s brother. Pass me my book. Listen to this.
Half Moscow and Petersburg were relations or friends of Oblonsky. He was born into the circle of people whowere, or who became, the great ones of this earth. A third of the official world, the older men, were his father’sfriends and had known him from the time he was a baby in petticoats.... Conse.quently, the distributors of theblessings of this world were all friends of his. They could not pass over one of their own.... It was only necessarynot to raise objections or be envious64, not to quarrel or take offence, which in accordance with his nat.uralkindliness he never did.
I have come to love the tap of your fingernail on the syringe, Caravaggio. The first time Hana gave me morphinein your company you were by the window, and at the tap of her nail your neck jerked towards us. I know acomrade. The way a lover will always recognize the camouflage65 of other lovers.
Women want everything of a lover. And too often I would sink below the surface. So armies disappear undersand. And there was her fear of her husband, her belief in her honour, my old desire for self-sufficiency, mydisappearances, her sus.picions of me, my disbelief that she loved me. The paranoia66 and claustrophobia ofhidden love.
“I think you have become inhuman67,” she said to me.
“I’m not the only betrayer.”
“I don’t think you care—that this has happened among us. You slide past everything with your fear and hate ofowner.ship, of owning, of being owned, of being named. You think this is a virtue68. I think you are inhuman. If Ileave you, who will you go to? Would you find another lover?”
I said nothing.
“Deny it, damn you.”
She had always wanted words, she loved them, grew up on them. Words gave her clarity, brought reason, shape.
Whereas I thought words bent69 emotions like sticks in water.
She returned to her husband.
From this point on, she whispered, we will either find or lose our souls.
Seas move away, why not lovers? The harbours of Ephesus, the rivers of Heraclitus disappear and are replacedby estuaries70 of silt71. The wife of Candaules becomes the wife of Gyges. Libraries burn.
What had our relationship been? A betrayal of those around us, or the desire of another life?
She climbed back into her house beside her husband, and I retired72 to the zinc73 bars.
I’ll be looking at the moon,but I’ll be seeing you.
That old Herodotus classic. Humming and singing that song again and again, beating the lines thinner to bendthem into one’s own life. People recover from secret loss variously. I was seen by one of her retinue74 sitting witha spice trader. She had once received from him a pewter thimble that held saffron. One of the ten thousandthings.
And if Bagnold—having seen me sitting by the saffron trader—brought up the incident during dinner at the tablewhere she sat, how did I feel about that? Did it give me some comfort that she would remember the man who hadgiven her a small gift, a pewter thimble she hung from a thin dark chain around her neck for two days when herhusband was out of town? The saffron still in it, so there was the stain of gold on her chest.
How did she hold this story about me, pariah75 to the group after some scene or other where I had disgracedmyself, Bag.nold laughing, her husband who was a good man worrying about me, and Madox getting up andwalking to a window and looking out towards the south section of the city. The conver.sation perhaps moved toother sigh tings. They were mapmak-ers, after all. But did she climb down into the well we helped dig togetherand hold herself, the way I desired myself towards her with my hand?
We each now had our own lives, armed by the deepest treaty with the other.
“What are you doing?” she said running into me on the street. “Can’t you see you are driving us all mad.”
To Madox I had said I was courting a widow. But she was not a widow yet. When Madox returned to Englandshe and I were no longer lovers. “Give my greetings to your Cairo widow,” Madox murmured. “Would’ve likedto have met her.” Did he know? I always felt more of a deceiver with him, this friend I had worked with for tenyears, this man I loved more than any other man. It was 1939, and we were all leaving this country, in any case,to the war.
And Madox returned to the village of Marston Magna, Somerset, where he had been born, and a month later satin the congregation of a church, heard the sermon in honour of war, pulled out his desert revolver and shothimself.
I, Herodotus of Halicarnassus, set forth76 my history, that time may not draw the colour from what Man hasbrought into being, nor those great and wonderful deeds manifested by both Greeks and Barbarians... togetherwith the reason they fought one another.
Men had always been the reciters of poetry in the desert. And Madox—to the Geographical Society—had spokenbeau.tiful accounts of our traversals and coursings. Bermann blew theory into the embers. And I? I was the skillamong them. The mechanic. The others wrote out their love of solitude77 and meditated78 on what they found there.
They were never sure of what I thought of it all. “Do you like that moon?” Madox asked me after he’d known mefor ten years. He asked it tentatively, as if he had breached79 an intimacy80. For them I was a bit too cunning to be alover of the desert. More like Odysseus. Still, I was. Show me a desert, as you would show another man a river,or another man the metropolis81 of his childhood.
When we parted for the last time, Madox used the old farewell. “May God make safety your companion.” And Istrode away from him saying, “There is no God.” We were utterly82 unlike each other.
Madox said Odysseus never wrote a word, an intimate book. Perhaps he felt alien in the false rhapsody of art.
And my own monograph, I must admit, had been stern with accuracy. The fear of describing her presence as Iwrote caused me to burn down all sentiment, all rhetoric83 of love. Still, I described the desert as purely84 as I wouldhave spoken of her. Madox asked me about the moon during our last days together before the war began. Weparted. He left for England, the probability of the oncoming war interrupting everything, our slow un.earthing ofhistory in the desert. Good-bye, Odysseus, he said grinning, knowing I was never that fond of Odysseus, lessfond of Aeneas, but we had decided85 Bagnold was Aeneas. But I was not that fond of Odysseus either. Good-bye,I said.
I remember he turned back, laughing. He pointed86 his thick finger to the spot by his Adam’s apple and said, “Thisis called the vascular87 sizood.” Giving that hollow at her neck an official name. He returned to his wife in thevillage of Marston Magna, took only his favourite volume of Tolstoy, left all of his compasses and maps to me.
Our affection left unspoken.
And Marston Magna in Somerset, which he had evoked88 for me again and again in our conversations, had turnedits green fields into an aerodrome. The planes burned their exhaust over Arthurian castles. What drove him to theact I do not know. Maybe it was the permanent noise of flight, so loud to him now after the simple drone of theGypsy Moth89 that had putted over our silences in Libya and Egypt. Someone’s war was slashing90 apart his delicatetapestry of companions. I was Odysseus, I understood the shifting and temporary vetoes of war. But he was aman who made friends with difficulty. He was a man who knew two or three people in his life, and they hadturned out now to be the enemy.
He was in Somerset alone with his wife, who had never met us. Small gestures were enough for him. One bulletended the war.
It was July 1939. They caught a bus from their village into Yeovil. The bus had been slow and so they had beenlate for the service. At the back of the crowded church, in order to find seats they decided to sit separately. Whenthe sermon began half an hour later, it was jingoistic91 and without any doubt in its support of the war. The priestintoned blithely92 about battle, blessing63 the government and the men about to enter the war. Madox listened as thesermon grew more im.passioned. He pulled out the desert pistol, bent over and shot himself in the heart. He wasdead immediately. A great si.lence. Desert silence. Planeless silence. They heard his body collapse93 against thepew. Nothing else moved. The priest fro.zen in a gesture. It was like those silences when a glass funnel94 round acandle in church splits and all faces turn. His wife walked down the centre aisle95, stopped at his row, mutteredsomething, and they let her in beside him. She knelt down, her arms enclosing him.
How did Odysseus die? A suicide, wasn’t it? I seem to recall that. Now. Maybe the desert spoiled Madox. Thattime when we had nothing to do with the world. I keep thinking of the Russian book he always carried. Russiahas always been closer to my country than to his. Yes, Madox was a man who died because of nations.
I loved his calmness in all things. I would argue furiously about locations on a map, and his reports wouldsomehow speak of our “debate” in reasonable sentences. He wrote calmly and joyfully96 about our journeys whenthere was joy to describe, as if we were Anna and Vronsky at a dance. Still, he was a man who never enteredthose Cairo dance halls with me. And I was the man who fell in love while dancing.
He moved with a slow gait. I never saw him dance. He was a man who wrote, who interpreted the world.
Wisdom grew out of being handed just the smallest sliver98 of emotion. A glance could lead to paragraphs oftheory. If he witnessed a new knot among a desert tribe or found a rare palm, it would charm him for weeks.
When we came upon messages on our travels—any wording, contemporary or ancient, Arabic on a mud wall, anote in English written in chalk on the fender of a jeep—he would read it and then press his hand upon it as if totouch its possible deeper meanings, to become as intimate as he could with the words.
He holds out his arm, the bruised99 veins100 horizontal, facing up, for the raft of morphine. As it floods him he hearsCaravaggio drop the needle into the kidney-shaped enamel102 tin. He sees the grizzled form turn its back to him andthen reappear, also caught, a citizen of morphia with him.
There are days when I come home from arid103 writing when all that can save me is “Honeysuckle Rose” byDjango Rein-hardt and Stephane Grappelly performing with the Hot Club of France. 1935. 1936. 1937. Greatjazz years. The years when it floated out of the Hotel Claridge on the Champs-Elysees and into the bars ofLondon, southern France, Mo.rocco, and then slid into Egypt, where the rumour30 of such rhythms was introducedin a hush104 by an unnamed Cairo dance band. When I went back into the desert, I took with me the evenings ofdancing to the 78 of “Souvenirs” in the bars, the women pacing like greyhounds, leaning against you while youmuttered into their shoulders during “My Sweet.” Courtesy of the Societe Ultraphone Franchise105 record company.
1938. 1939. There was the whispering of love in a booth. There was war around the corner.
During those final nights in Cairo, months after the affair was over, we had finally persuaded Madox into a zincbar for his farewell. She and her husband were there. One last night. One last dance. Almasy was drunk andattempting an old dance step he had invented called the Bosphorus hug, lifting Katharine Clifton into his wiryarms and traversing the floor until he fell with her across some Nile-grown aspidistras.
Who is he speaking as now? Caravaggio thinks.
Almasy was drunk and his dancing seemed to the others a brutal106 series of movements. In those days he and shedid not seem to be getting on well. He swung her from side to side as if she were some anonymous107 doll, andsmothered with drink his grief at Madox’s leaving. He was loud at the tables with us. When Almasy was like thiswe usually dispersed108, but this was Madox’s last night in Cairo and we stayed. A bad Egyptian violinistmimicking Stephane Grappelly, and Almasy like a planet out of control. “To us—the planetary strangers,” helifted his glass. He wanted to dance with everyone, men and women. He clapped his hands and announced,“Now for the Bosphorus hug. You, Bernhardt? Hetherton?” Most pulled back. He turned to Clifton’s young wife,who was watching him in a courteous110 rage, and she went forward as he beckoned111 and then slammed into her, histhroat already at her left shoul.der on that naked plateau above the sequins. A maniac’s tango ensued till one ofthem lost the step. She would not back down from her anger, refused to let him win by her walking away andreturning to the table. Just staring hard at him when he pulled his head back, not solemn but with an attackingface. His mouth muttering at her when he bent his face down, swearing the lyrics112 of “Honeysuckle Rose,”
perhaps.
In Cairo between expeditions no one ever saw much of Almasy. He seemed either distant or restless. He workedin the museum during the day and frequented the South Cairo market bars at night. Lost in another Egypt. It wasonly for Madox they had all come here. But now Almasy was dancing with Katharine Clifton. The line of plantsbrushed against her slimness. He pivoted113 with her, lifting her up, and then fell. Clifton stayed in his seat, halfwatching them. Almasy lying across her and then slowly trying to get up, smoothing back his blond hair,kneeling over her in the far corner of the room. He had at one time been a man of delicacy.
It was past midnight. The guests there were not amused, except for the easily amused regulars, accustomed tothese ceremonies of the desert European. There were women with long tributaries114 of silver hanging off their ears,women in sequins, little metal droplets115 warm from the bar’s heat that Almasy in the past had always been partialtowards, women who in their dancing swung the jagged earrings116 of silver against his face. On other nights hedanced with them, carry.ing their whole frame by the fulcrum117 of rib7 cage as he got drunker. Yes, they wereamused, laughing at Almasy’s stom.ach as his shirt loosened, not charmed by his weight, which leaned on theirshoulders as he paused during the dance, col.lapsing118 at some point later during a schottische onto the floor.
It was important during such evenings to proceed into the plot of the evening, while the human constellationswhirled and skidded119 around you. There was no thought or fore39.thought. The evening’s field notes came later, inthe desert, in the landforms between Dakhla and Kufra. Then he would remember that doglike yelp120 at which helooked around for a dog on the dance floor and realized, now regarding the compass disc floating on oil, that itmay have been a woman he had stepped on. Within sight of an oasis he would pride himself on his dancing,waving his arms and his wristwatch up to the sky.
Cold nights in the desert. He plucked a thread from the horde121 of nights and put it into his mouth like food. Thiswas during the first two days of a trek122 out, when he was in the zone of limbo123 between city and plateau. After sixdays had passed he would never think about Cairo or the music or the streets or the women; by then he wasmoving in ancient time, had adapted into the breathing patterns of deep water. His only connection with theworld of cities was Herodotus, his guidebook, ancient and modern, of supposed lies. When he discovered thetruth to what had seemed a lie, he brought out his glue pot and pasted in a map or news clipping or used a blankspace in the book to sketch124 men in skirts with faded unknown animals alongside them. The early oasis dwellershad not usually depicted125 cattle, though Herodotus claimed they had. They worshipped a pregnant goddess andtheir rock portraits were mostly of pregnant women.
Within two weeks even the idea of a city never entered his mind. It was as if he had walked under the millimetreof haze126 just above the inked fibres of a map, that pure zone between land and chart between distances and legendbetween nature and storyteller. Sandford called it geomorphology. The place they had chosen to come to, to betheir best selves, to be unconscious of ancestry127. Here, apart from the sun compass and the odometer mileage128 andthe book, he was alone, his own invention. He knew during these times how the mirage129 worked, the fatamorgana, for he was within it.
He awakens130 to discover Hana washing him. There is a bureau at waist level. She leans over, her hands bringingwater from the porcelain131 basin to his chest. When she finishes she runs her wet fingers through her hair a fewtimes, so it turns damp and dark. She looks up and sees his eyes are open, and smiles.
When he opens his eyes again, Madox is there, looking ragged132, weary, carrying the morphinic injection, havingto use both hands because there are no thumbs. How does he give it to himself? he thinks. He recognizes the eye,the habit of the tongue fluttering at the lip, the clearness of the man’s brain catching all he says. Two old coots.
Caravaggio watches the pink in the man’s mouth as he talks. The gums perhaps the light iodine133 colour of therock paintings discovered in Uweinat. There is more to discover, to divine out of this body on the bed,nonexistent except for a mouth, a vein101 in the arm, wolf-grey eyes. He is still amazed at the clarity of discipline inthe man, who speaks sometimes in the first person, sometimes in the third person, who still does not admit thathe is Almasy.
“Who was talking, back then?”
“ ‘Death means you are in the third person.
All day they have shared the ampoules of morphine. To unthread the story out of him, Caravaggio travels withinthe code of signals. When the burned man slows down, or when Caravaggio feels he is not catching everything—the love af.fair, the death of Madox—he picks up the syringe from the kidney-shaped enamel tin, breaks theglass tip off an ampoule with the pressure of a knuckle134 and loads it. He is blunt about all this now with Hana,having ripped the sleeve off his left arm completely. Almasy wears just a grey singlet, so his black arm lies bareunder the sheet.
Each swallow of morphine by the body opens a further door, or he leaps back to the cave paintings or to a buriedplane or lingers once more with the woman beside him under a fan, her cheek against his stomach.
Caravaggio picks up the Herodotus. He turns a page, comes over a dune135 to discover the Gilf Kebir, Uweinat,Gebel Kissu. When Almasy speaks he stays alongside him reordering the events. Only desire makes the storyerrant, flickering136 like a compass needle. And this is the world of nomads137 in any case, an apocryphal138 story. Amind travelling east and west in the disguise of sandstorm.
On the floor of the Cave of Swimmers, after her husband had crashed their plane, he had cut open and stretchedout the parachute she had been carrying. She lowered herself onto it, grimacing139 with the pain of her injuries. Heplaced his fingers gently into her hair, searching for other wounds, then touched her shoulders and her feet.
Now in the cave it was her beauty he did not want to lose, the grace of her, these limbs. He knew he already hadher nature tight in his fist.
She was a woman who translated her face when she put on makeup140. Entering a party, climbing into a bed, shehad painted on blood lipstick141, a smear142 of vermilion over each eye.
He looked up to the one cave painting and stole the colours from it. The ochre went into her face, he daubed bluearound her eyes. He walked across the cave, his hands thick with red, and combed his fingers through her hair.
Then all of her skin, so her knee that had poked143 out of the plane that first day was saffron. The pubis. Hoops144 ofcolour around her legs so she would be immune to the human. There were traditions he had discovered inHerodotus in which old warriors145 celebrated their loved ones by locating and holding them in whatever worldmade them eternal—a colourful fluid, a song, a rock drawing.
It was already cold in the cave. He wrapped the parachute around her for warmth. He lit one small fire andburned the acacia twigs146 and waved smoke into all the corners of the cave. He found he could not speak directlyto her, so he spoke formally, his voice against the bounce of the cave walls. I’m going for help now, Katharine.
Do you understand? There is an.other plane nearby, but there is no petrol. I might meet a caravan147 or a jeep,which means I will be back sooner. I don’t know. He pulled out the copy of Herodotus and placed it beside her.
It was September 1939. He walked out of the cave, out of the flare148 of firelight, down through darkness and intothe desert full of moon.
He climbed down the boulders149 to the base of the plateau and stood there.
No truck. No plane. No compass. Only moon and his shadow. He found the old stone marker from the past thatlocated the direction of El Taj, north-northwest. He memo150.rized the angle of his shadow and started walking.
Seventy miles away was the souk with the street of clocks. Water in a skin bag he had filled from the ain hungfrom his shoulder and sloshed like a placenta.
There were two periods of time when he could not move. At noon, when the shadow was under him, and attwilight, between sunset and the appearance of the stars. Then every.thing on the disc of the desert was thesame. If he moved, he might err43 as much as ninety degrees off his course. He waited for the live chart of stars,then moved forward reading them every hour. In the past, when they had had desert guides, they would hang alantern from a long pole and the rest of them would follow the bounce of light above the star reader.
A man walks as fast as a camel. Two and a half miles an hour. If lucky, he would come upon ostrich151 eggs. Ifunlucky, a sandstorm would erase152 everything. He walked for three days without any food. He refused to thinkabout her. If he got to El Taj he would eat abra, which the Goran tribes made out of colocynth, boiling the pips toget rid of bitterness and then crushing it along with dates and locusts153. He would walk through the street of clocksand alabaster154. May God make safety your companion, Madox had said. Good-bye. A wave. There is God only inthe desert, he wanted to acknowledge that now. Outside of this there was just trade and power, money and war.
Financial and military despots shaped the world.
He was in broken country, had moved from sand to rock. He refused to think about her. Then hills emerged likeme.diaeval castles. He walked till he stepped with his shadow into the shadow of a mountain. Mimosa shrubs155.
Colocynths. He yelled out her name into the rocks. For echo is the soul of the voice exciting itself in hollowplaces.
Then there was El Taj. He had imagined the street of mirrors for most of his journey. When he got to theoutskirts of the settlements, English military jeeps surrounded him and took him away, not listening to his storyof the woman injured at Uweinat, just seventy miles away, listening in fact to noth.ing he said.
“Are you telling me the English did not believe you? No one listened to you?”
“No one listened.”
“Why?”
“I didn’t give them a right name.”
“Yours?”
“I gave them mine.”
“Then what—”
“Hers. Her name. The name of her husband.”
“What did you say?”
He says nothing.
“Wake up! What did you say?”
“I said she was my wife. I said Katharine. Her husband was dead. I said she was badly injured, in a cave in theGilf Kebir, at Uweinat, north of the Ain Dua well. She needed water. She needed food. I would go back withthem to guide them. I said all I wanted was a jeep. One of their damn jeeps... Perhaps I seemed like one of thosemad desert prophets after the journey, but I don’t think so. The war was beginning already. They were justpulling spies in out of the desert. Everyone with a foreign name who drifted into these small oasis towns wassuspect. She was just seventy miles away and they wouldn’t listen. Some stray English outfit156 in El Taj. I musthave gone berserk then. They were using these wicker prisons, size of a shower. I was put into one and moved bytruck. I was flailing157 around in there until I fell off onto the street, still in it. I was yelling Katharine’s name.
Yelling the Gilf Kebir. Whereas the only name I should have yelled, dropped like a calling card into their hands,was Clifton’s.
“They hauled me up into the truck again. I was just another possible second-rate spy. Just another internationalbastard.”
Caravaggio wants to rise and walk away from this villa15, the country, the detritus158 of a war. He is just a thief. WhatCara.vaggio wants is his arms around the sapper and Hana or, better, people of his own age, in a bar where heknows every.one, where he can dance and talk with a woman, rest his head on her shoulder, lean his headagainst her brow, whatever, but he knows first he must get out of this desert, its architec.ture of morphine. Heneeds to pull away from the invisible road to El Taj. This man he believes to be Almasy has used him and the morphine to return to his own world, for his own sadness. It no longer matters which side he was on during thewar.
But Caravaggio leans forward.
“I need to know something.”
“What?”
“I need to know if you murdered Katharine Clifton. That is, if you murdered Clifton, and in so doing killed her.”
“No. I never even imagined that.”
“The reason I ask is that Geoffrey Clifton was with British Intelligence. He was not just an innocent Englishman,I’m afraid. Your friendly boy. As far as the English were con.cerned, he was keeping an eye on your strangegroup in the Egyptian-Libyan desert. They knew the desert would some.day be a theatre of war. He was anaerial photographer. His death perturbed159 them, still does. They still raise the question. And Intelligence knewabout your affair with his wife, from the beginning. Even if Clifton didn’t. They thought his death may havebeen engineered as protection, hoisting160 up the draw.bridge. They were waiting for you in Cairo, but of courseyou turned back into the desert. Later, when I was sent to Italy, I lost the last part of your story. I didn’t knowwhat had hap35.pened to you.”
“So you have run me to earth.”
“I came because of the girl. I knew her father. The last person I expected to find here in this shelled nunnery wasCount Ladislaus de Almasy. Quite honestly, I’ve become more fond of you than most of the people I workedwith.”
The rectangle of light that had drifted up Caravaggio’s chair was framing his chest and head so that to theEnglish patient the face seemed a portrait. In muted light his hair appeared dark, but now the wild hair lit up,bright, the bags under his eyes washed out in the pink late daylight.
He had turned the chair around so he could lean forward on its back, facing Almasy. Words did not emergeeasily from Caravaggio. He would rub his jaw, his face creasing161 up, the eyes closed, to think in darkness, andonly then would he blurt162 out something, tearing himself away from his own thoughts. It was this darkness thatshowed in him as he sat in the rhomboid frame of light, hunched163 over a chair beside Almasy’s bed. One of thetwo older men in this story.
“I can talk with you, Caravaggio, because I feel we are both mortal. The girl, the boy, they are not mortal yet. Inspite of what they have been through. Hana was greatly distressed164 when I first met her.”
“Her father was killed in France.”
“I see. She would not talk about it. She was distant from everybody. The only way I could get her tocommunicate was to ask her to read to me... Do you realize neither of us has children?”
Then pausing, as if considering a possibility.
“Do you have a wife?” Almasy asked.
Caravaggio sat in the pink light, his hands over his face to erase everything so he could think precisely165, as if thiswas one more gift of youth that did not come so easily to him any longer.
“You must talk to me, Caravaggio. Or am I just a book? Something to be read, some creature to be tempted166 outof a loch and shot full of morphine, full of corridors, lies, loose vegetation, pockets of stones.”
“Thieves like us were used a great deal during this war. We were legitimized. We stole. Then some of us beganto advise. We could read through the camouflage of deceit more natu.rally than official intelligence. We createddouble bluffs167. Whole campaigns were being run by this mixture of crooks168 and intellectuals. I was all over theMiddle East, that’s where I first heard about you. You were a mystery, a vacuum on their charts. Turning yourknowledge of the desert into German hands.”
“Too much happened at El Taj in 1939, when I was rounded up, imagined to be a spy.”
“So that’s when you went over to the Germans.”
Silence.
“And you still were unable to get back to the Cave of Swim.mers and Uweinat?”
“Not till I volunteered to take Eppler across the desert.”
“There is something I must tell you. To do with 1942, when you guided the spy into Cairo ...”
“Operation Salaam169.”
“Yes. When you were working for Rommel.”
“A brilliant man.... What were you going to tell me?”
“I was going to say, when you came through the desert avoiding Allied170 troops, travelling with Eppler—it washeroic. From Gialo Oasis all the way to Cairo. Only you could have gotten Rommel’s man into Cairo with hiscopy of Rebecca.”
“How did you know that?”
“What I want to say is that they did not just discover Eppler in Cairo. They knew about the whole journey. AGerman code had been broken long before, but we couldn’t let Rommel know that or our sources would havebeen discovered. So we had to wait till Cairo to capture Eppler.
“We watched you all the way. All through the desert. And because Intelligence had your name, knew you wereinvolved, they were even more interested. They wanted you as well. You were supposed to be killed... If youdon’t believe me, you left Gialo and it took you twenty days. You followed the buried-well route. You couldn’tget near Uweinat be.cause of Allied troops, and you avoided Abu Ballas. There were times when Eppler haddesert fever and you had to look after him, care for him, though you say you didn’t like him....
“Planes supposedly ‘lost’ you, but you were being tracked very carefully. You were not the spies, we were thespies. Intelligence thought you had killed Geoffrey Clifton over the woman. They had found his grave in 1939,but there was no sign of his wife. You had become the enemy not when you sided with Germany but when youbegan your affair with Katharine Clifton.”
“I see.”
“After you left Cairo in 1942, we lost you. They were sup.posed to pick you up and kill you in the desert. Butthey lost you. Two days out. You must have been haywire, not rational, or we would have found you. We hadmined the hidden jeep. We found it exploded later, but there was nothing of you. You were gone. That must havebeen your great journey, not the one to Cairo. When you must have been mad.”
“Were you there in Cairo with them tracking me?”
“No, I saw the files. I was going into Italy and they thought you might be there.”
“Here.”
“Yes.”
The rhomboid of light moved up the wall leaving Caravaggio in shadow. His hair dark again. He leaned back, hisshoulder against the foliage171.
“I suppose it doesn’t matter,” Almasy murmured.
“Do you want morphine?”
“No. I’m putting things into place. I was always a private man. It is difficult to realize I was so discussed.”
“You were having an affair with someone connected with Intelligence. There were some people in Intelligencewho knew you personally.”
“Bagnold probably.”
“Yes.”
“Very English Englishman.”
“Yes.”
Caravaggio paused.
“I have to talk to you about one last thing.”
“I know.”
“What happened to Katharine Clifton? What happened just before the war to make you all come to the Gilf Kebiragain? After Madox left for England.”
I was supposed to make one more journey to the Gilf Kebir, to pack up the last of the base camp at Uweinat. Ourlife there was over. I thought nothing more would happen between us. I had not met her as a lover for almost ayear. A war was preparing itself somewhere like a hand entering an attic172 win.dow. And she and I had alreadyretreated behind our own walls of previous habit, into seeming innocence173 of relation.ship. We no longer saweach other very much.
During the summer of 1939 I was to go overland to the Gilf Kebir with Gough, pack up the base camp, andGough would leave by truck. Clifton would fly in and pick me up. Then we would disperse109, out of the trianglethat had grown up among us.
When I heard the plane, saw it, I was already climbing down the rocks of the plateau. Clifton was alwaysprompt.
There is a way a small cargo174 plane will come down to land, slipping from the level of horizon. It tips its wingswithin desert light and then sound stops, it drifts to earth. I have never fully97 understood how planes work. I havewatched them approach me in the desert and I have come out of my tent always with fear. They dip their wingsacross the light and then they enter that silence.
The Moth came skimming over the plateau. I was waving the blue tarpaulin. Clifton dropped altitude and roaredover me, so low the acacia shrubs lost their leaves. The plane veered175 to the left and circled, and sighting me againrealigned itself and came straight towards me. Fifty yards away from me it suddenly tilted176 and crashed. I startedrunning towards it.
I thought he was alone. He was supposed to be alone. But when I got there to pull him out, she was beside him.
He was dead. She was trying to move the lower part of her body, looking straight ahead. Sand had come inthrough the cockpit window and had filled her lap. There didn’t seem to be a mark on her. Her left hand hadgone forward to cushion the collapse of their flight. I pulled her out of the plane Clifton had called Rupert andcarried her up into the rock caves. Into the Cave of Swimmers, where the paintings were. Latitude177 23°3o’ on themap, longitude178 25°!5’. I buried Geoffrey Clifton that night.
Was I a curse upon them? For her? For Madox? For the desert raped179 by war, shelled as if it were just sand? TheBar.barians versus180 the Barbarians. Both armies would come through the desert with no sense of what it was. Thedeserts of Libya. Remove politics, and it is the loveliest phrase I know. Libya. A sexual, drawn-out word, acoaxed well. The b and the y. Madox said it was one of the few words in which you heard the tongue turn acorner. Remember Dido in the deserts of Libya? A man shall be as rivers of water in a dry place....
I do not believe I entered a cursed land, or that I was ensnared in a situation that was evil. Every place and personwas a gift to me. Finding the rock paintings in the Cave of Swimmers. Singing “burdens” with Madox duringexpedi.tions. Katharine’s appearance among us in the desert. The way I would walk towards her over the redpolished concrete floor and sink to my knees, her belly181 against my head as if I were a boy. The gun tribe healingme. Even the four of us, Hana and you and the sapper.
Everything I have loved or valued has been taken away from me.
I stayed with her. I discovered three of her ribs182 were bro.ken23. I kept waiting for her wavering eye, for her brokenwrist to bend, for her still mouth to speak.
How did you hate me? she whispered. You killed almost everything in me.
Katharine... you didn’t—Hold me. Stop defending yourself. Nothing changes you.
Her glare was permanent. I could not move out of the target of that gaze. I will be the last image she sees. Thejackal in the cave who will guide and protect her, who will never de.ceive her.
There are a hundred deities183 associated with animals, I tell her. There are the ones linked to jackals—Anubis,Duamutef, Wepwawet. These are creatures who guide you into the after.life—as my early ghost accompaniedyou, those years before we met. All those parties in London and Oxford. Watching you. I sat across from you asyou did schoolwork, holding a large pencil. I was there when you met Geoffrey Clifton at two a.m. in the Oxfordunion Library. Everybody’s coats were strewn on the floor and you in your bare feet like some heron pickingyour way among them. He is watching you but I am watching you too, though you miss my presence, ignore me.
You are at an age when you see only good-looking men. You are not yet aware of those outside your sphere ofgrace. The jackal is not used much at Oxford as an escort. Whereas I am the man who fasts until I see what Iwant. The wall behind you is covered in books. Your left hand holds a long loop of pearls that hangs from yourneck. Your bare feet picking their way through. You are looking for something. You were more plump in thosedays, though aptly beautiful for university life.
There are three of us in the Oxford union Library, but you find only Geoffrey Clifton. It will be a whirlwindromance. He has some job with archaeologists in North Africa, of all places. “A strange old coot I’m workingwith.” Your mother is quite delighted at your adventure.
But the spirit of the jackal, who was the “opener of the ways,” whose name was Wepwawet or Almasy, stood inthe room with the two of you. My arms folded, watching your attempts at enthusiastic small talk, a problem asyou both were drunk. But what was wonderful was that even within the drunkenness of two a.m., each of yousomehow recognized the more permanent worth and pleasure of the other. You may have arrived with others,will perhaps cohabit this night with others, but both of you have found your fates.
At three a.m. you feel you must leave, but you are unable to find one shoe. You hold the other in your hand, arose-coloured slipper184. I see one half buried near me and pick it up. The sheen of it. They are obviously favouriteshoes, with the indentation of your toes. Thank you, you say accepting it, as you leave, not even looking at myface.
I believe this. When we meet those we fall in love with, there is an aspect of our spirit that is historian, a bit of apedant, who imagines or remembers a meeting when the other had passed by innocently, just as Clifton mighthave opened a car door for you a year earlier and ignored the fate of his life. But all parts of the body must beready for the other, all atoms must jump in one direction for desire to occur.
I have lived in the desert for years and I have come to believe in such things. It is a place of pockets. The trompe1’oeil of time and water. The jackal with one eye that looks back and one that regards the path you considertaking. In his jaws185 are pieces of the past he delivers to you, and when all of that time is fully discovered it willprove to have been already known.
Her eyes looked at me, tired of everything. A terrible wea.riness. When I pulled her from the plane her stare hadtried to receive all things around her. Now the eyes were guarded, as if protecting something inside. I movedcloser, and sat on my heels. I leaned forward and put my tongue against the right blue eye, a taste of salt. Pollen186.
I carried that taste toher mouth. Then the other eye. My tongue against the fine porousness187 of the eyeball, wiping off the blue; when Imoved back there was a sweep of white across her gaze. I parted the lips on her mouth, this time I let the fingersgo in deeper and prised the teeth apart, the tongue was “withdrawn,” and I had to pull it forward, there was athread, a breath of death in her. It was almost too late. I leaned forward and with my tongue carried the bluepollen to her tongue. We touched this way once. Nothing happened. I pulled back, took a breath and then wentforward again. As I met the tongue there was a twitch188 within it.
Then the terrible snarl189, violent and intimate, came out of her upon me. A shudder190 through her whole body like apath of electricity. She was flung from the propped191 position against the painted wall. The creature had enteredher and it leapt and fell against me. There seemed to be less and less light in the cave. Her neck flipping192 this wayand that.
I know the devices of a demon193. I was taught as a child about the demon lover. I was told about a beautifultemptress who came to a young man’s room. And he, if he were wise, would demand that she turn around,because demons194 and witches have no back, only what they wish to present to you. What had I done? Whatanimal had I delivered into her? I had been speaking to her I think for over an hour. Had I been her demon lover?
Had I been Madox’s demon friend? This country—had I charted it and turned it into a place of war?
It is important to die in holy places. That was one of the secrets of the desert. So Madox walked into a church inSomerset, a place he felt had lost its holiness, and he commit.ted4 what he believed was a holy act.
When I turned her around, her whole body was covered in bright pigment195. Herbs and stones and light and the ashof acacia to make her eternal. The body pressed against sacred colour. Only the eye blue removed, madeanonymous, a naked map where nothing is depicted, no signature of lake, no dark cluster of mountain as there isnorth of the Borkou-Ennedi-Tibesti, no lime-green fan where the Nile rivers enter the open palm of Alexandria,the edge of Africa.
And all the names of the tribes, the nomads of faith who walked in the monotone of the desert and sawbrightness and faith and colour. The way a stone or found metal box or bone can become loved and turn eternalin a prayer. Such glory of this country she enters now and becomes part of. We die containing a richness oflovers and tribes, tastes we have swal.lowed, bodies we have plunged196 into and swum up as if rivers of wisdom,characters we have climbed into as if trees, fears we have hidden in as if caves. I wish for all this to be marked onmy body when I am dead. I believe in such cartography— to be marked by nature, not just to label ourselves on amap like the names of rich men and women on buildings. We are communal197 histories, communal books. We arenot owned or monogamous in our taste or experience. All I desired was to walk upon such an earth that had nomaps.
I carried Katharine Clifton into the desert, where there is the communal book of moonlight. We were among therumour of wells. In the palace of winds.
Almasy’s face fell to the left, staring at nothing—Caravag-gio’s knees perhaps.
“Do you want some morphine now?”
“No.”
“Can I get you something?”
“Nothing.”
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收听单词发音
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Oxford
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| n.牛津（英国城市） | |
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con
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| n.反对的观点，反对者，反对票，肺病；vt.精读，学习，默记；adv.反对地，从反面；adj.欺诈的 | |
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tact
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| n.机敏，圆滑，得体 | |
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ted
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| vt.翻晒，撒，撒开 | |
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mar
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| vt.破坏，毁坏，弄糟 | |
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ardent
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| adj.热情的，热烈的，强烈的，烈性的 | |
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rib
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| n.肋骨，肋状物 | |
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adoration
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| n.爱慕，崇拜 | |
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honeymoon
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| n.蜜月（假期）；vi.度蜜月 | |
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squat
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| v.蹲坐，蹲下；n.蹲下；adj.矮胖的，粗矮的 | |
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jaw
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| n.颚，颌，说教，流言蜚语；v.喋喋不休，教训 | |
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tarpaulin
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| n.涂油防水布，防水衣，防水帽 | |
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wondrous
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| adj.令人惊奇的，奇妙的；adv.惊人地；异乎寻常地；令人惊叹地 | |
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oasis
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| n.（沙漠中的）绿洲，宜人的地方 | |
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villa
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| n.别墅，城郊小屋 | |
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villains
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| n.恶棍( villain的名词复数 )；罪犯；（小说、戏剧等中的）反面人物；淘气鬼 | |
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postponed
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| vt.& vi.延期，缓办，（使）延迟vt.把…放在次要地位；[语]把…放在后面（或句尾）vi.（疟疾等）延缓发作（或复发） | |
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estuary
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| n.河口，江口 | |
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celebrated
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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suite
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| n.一套(家具)；套房；随从人员 | |
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ravenous
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| adj.极饿的，贪婪的 | |
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ken
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| n.视野，知识领域 | |
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exasperation
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demure
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irony
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| n.反语，冷嘲；具有讽刺意味的事，嘲弄 | |
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geographical
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| adj.地理的；地区(性)的 | |
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cult
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| n.异教，邪教；时尚，狂热的崇拜 | |
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rumours
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| n.传闻( rumour的名词复数 )；风闻；谣言；谣传 | |
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30
rumour
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| n.谣言，谣传，传闻 | |
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31
shards
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| n.（玻璃、金属或其他硬物的）尖利的碎片( shard的名词复数 ) | |
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32
nuance
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| n.(意义、意见、颜色)细微差别 | |
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33
hind
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| adj.后面的，后部的 | |
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34
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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35
hap
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| n.运气；v.偶然发生 | |
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36
catching
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| adj.易传染的，有魅力的，迷人的，接住 | |
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37
passionately
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| ad.热烈地，激烈地 | |
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38
contrive
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| vt.谋划，策划；设法做到；设计，想出 | |
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39
fore
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| adv.在前面；adj.先前的；在前部的；n.前部 | |
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40
wary
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| adj.谨慎的，机警的，小心的 | |
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41
entreat
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| v.恳求，恳请 | |
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42
motive
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| n.动机，目的；adv.发动的，运动的 | |
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43
err
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| vi.犯错误，出差错 | |
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44
slay
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| v.杀死，宰杀，杀戮 | |
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45
slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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46
barbarians
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| n.野蛮人( barbarian的名词复数 )；外国人；粗野的人；无教养的人 | |
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47
reigned
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| vi.当政，统治（reign的过去式形式） | |
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48
anecdote
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| n.轶事，趣闻，短故事 | |
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49
periphery
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| n.(圆体的)外面；周围 | |
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50
conversed
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| v.交谈，谈话( converse的过去式 ) | |
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51
mutual
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| adj.相互的，彼此的；共同的，共有的 | |
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52
obsessed
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| adj.心神不宁的,鬼迷心窍的,沉迷的 | |
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53
tautness
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| 拉紧，紧固度 | |
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54
succinct
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| adj.简明的，简洁的 | |
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55
monograph
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| n.专题文章，专题著作 | |
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56
dedicated
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|
| adj.一心一意的；献身的；热诚的 | |
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57
obsession
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| n.困扰，无法摆脱的思想(或情感) | |
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58
adept
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| adj.老练的，精通的 | |
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59
embedded
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| a.扎牢的 | |
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60
genealogy
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| n.家系，宗谱 | |
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61
aristocrat
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| n.贵族，有贵族气派的人，上层人物 | |
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62
machinery
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| n.(总称)机械，机器；机构 | |
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63
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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64
envious
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| adj.嫉妒的，羡慕的 | |
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65
camouflage
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| n./v.掩饰，伪装 | |
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66
paranoia
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|
| n.妄想狂，偏执狂；多疑症 | |
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67
inhuman
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| adj.残忍的，不人道的，无人性的 | |
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68
virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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69
bent
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| n.爱好，癖好；adj.弯的；决心的，一心的 | |
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70
estuaries
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| （江河入海的）河口，河口湾( estuary的名词复数 ) | |
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71
silt
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|
| n.淤泥，淤沙，粉砂层，泥沙层；vt.使淤塞；vi.被淤塞 | |
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72
retired
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| adj.隐退的，退休的，退役的 | |
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73
zinc
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|
| n.锌；vt.在...上镀锌 | |
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74
retinue
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| n.侍从；随员 | |
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75
pariah
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|
| n.被社会抛弃者 | |
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76
forth
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| adv.向前；向外，往外 | |
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77
solitude
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| n. 孤独; 独居,荒僻之地,幽静的地方 | |
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78
meditated
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| 深思，沉思，冥想( meditate的过去式和过去分词 )； 内心策划，考虑 | |
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79
breached
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| 攻破( breach的现在分词 )； 破坏，违反 | |
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80
intimacy
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| n.熟悉，亲密，密切关系，亲昵的言行 | |
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81
metropolis
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| n.首府；大城市 | |
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82
utterly
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|
| adv.完全地，绝对地 | |
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83
rhetoric
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|
| n.修辞学，浮夸之言语 | |
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84
purely
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|
| adv.纯粹地，完全地 | |
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85
decided
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|
| adj.决定了的，坚决的；明显的，明确的 | |
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86
pointed
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|
| adj.尖的，直截了当的 | |
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87
vascular
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|
| adj.血管的，脉管的 | |
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88
evoked
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| [医]诱发的 | |
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89
moth
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|
| n.蛾，蛀虫 | |
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90
slashing
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|
| adj.尖锐的；苛刻的；鲜明的；乱砍的v.挥砍( slash的现在分词 )；鞭打；割破；削减 | |
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91
jingoistic
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|
| adj.强硬外交政策的，侵略分子的 | |
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92
blithely
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|
| adv.欢乐地，快活地，无挂虑地 | |
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93
collapse
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|
| vi.累倒；昏倒；倒塌；塌陷 | |
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94
funnel
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|
| n.漏斗；烟囱；v.汇集 | |
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95
aisle
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|
| n.（教堂、教室、戏院等里的）过道，通道 | |
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96
joyfully
|
|
| adv. 喜悦地, 高兴地 | |
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97
fully
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|
| adv.完全地，全部地，彻底地；充分地 | |
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98
sliver
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|
| n.裂片，细片，梳毛；v.纵切，切成长片，剖开 | |
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99
bruised
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| [医]青肿的，瘀紫的 | |
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100
veins
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|
| n.纹理；矿脉( vein的名词复数 )；静脉；叶脉；纹理 | |
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101
vein
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|
| n.血管，静脉；叶脉，纹理；情绪；vt.使成脉络 | |
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102
enamel
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|
| n.珐琅，搪瓷，瓷釉；(牙齿的)珐琅质 | |
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103
arid
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|
| adj.干旱的；(土地)贫瘠的 | |
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104
hush
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|
| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
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105
franchise
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|
| n.特许，特权，专营权，特许权 | |
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106
brutal
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|
| adj.残忍的，野蛮的，不讲理的 | |
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107
anonymous
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|
| adj.无名的；匿名的；无特色的 | |
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108
dispersed
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|
| adj. 被驱散的, 被分散的, 散布的 | |
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109
disperse
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| vi.使分散；使消失；vt.分散；驱散 | |
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110
courteous
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|
| adj.彬彬有礼的，客气的 | |
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111
beckoned
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| v.（用头或手的动作）示意，召唤( beckon的过去式和过去分词 ) | |
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112
lyrics
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| n.歌词 | |
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113
pivoted
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|
| adj.转动的，回转的，装在枢轴上的v.（似）在枢轴上转动( pivot的过去式和过去分词 )；把…放在枢轴上；以…为核心，围绕（主旨）展开 | |
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114
tributaries
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|
| n. 支流 | |
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115
droplets
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| n.小滴( droplet的名词复数 ) | |
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116
earrings
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| n.耳环( earring的名词复数 )；耳坠子 | |
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117
fulcrum
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| n.杠杆支点 | |
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118
lapsing
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| v.退步( lapse的现在分词 )；陷入；倒退；丧失 | |
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119
skidded
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| v.（通常指车辆） 侧滑( skid的过去式和过去分词 )；打滑；滑行；（住在）贫民区 | |
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120
yelp
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| vi.狗吠 | |
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121
horde
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| n.群众，一大群 | |
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122
trek
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| vi.作长途艰辛的旅行；n.长途艰苦的旅行 | |
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123
limbo
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| n.地狱的边缘；监狱 | |
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124
sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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125
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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126
haze
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| n.霾，烟雾；懵懂，迷糊；vi.(over)变模糊 | |
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127
ancestry
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| n.祖先，家世 | |
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128
mileage
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| n.里程，英里数；好处，利润 | |
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129
mirage
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| n.海市蜃楼，幻景 | |
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130
awakens
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| v.（使）醒( awaken的第三人称单数 )；（使）觉醒；弄醒；（使）意识到 | |
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131
porcelain
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|
| n.瓷；adj.瓷的，瓷制的 | |
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132
ragged
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| adj.衣衫褴褛的，粗糙的，刺耳的 | |
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133
iodine
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| n.碘，碘酒 | |
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134
knuckle
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| n.指节；vi.开始努力工作；屈服，认输 | |
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135
dune
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| n.(由风吹积而成的)沙丘 | |
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136
flickering
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|
| adj.闪烁的，摇曳的，一闪一闪的 | |
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137
nomads
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| n.游牧部落的一员( nomad的名词复数 )；流浪者；游牧生活；流浪生活 | |
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138
apocryphal
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|
| adj.假冒的，虚假的 | |
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139
grimacing
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| v.扮鬼相，做鬼脸( grimace的现在分词 ) | |
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140
makeup
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|
| n.组织；性格；化装品 | |
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141
lipstick
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| n.口红，唇膏 | |
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142
smear
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|
| v.涂抹；诽谤，玷污；n.污点；诽谤，污蔑 | |
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143
poked
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|
| v.伸出( poke的过去式和过去分词 )；戳出；拨弄；与（某人）性交 | |
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144
hoops
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| n.箍( hoop的名词复数 )；（篮球）篮圈；（旧时儿童玩的）大环子；（两端埋在地里的）小铁弓 | |
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145
warriors
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| 武士，勇士，战士( warrior的名词复数 ) | |
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146
twigs
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| 细枝，嫩枝( twig的名词复数 ) | |
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147
caravan
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| n.大蓬车；活动房屋 | |
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148
flare
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| v.闪耀，闪烁；n.潮红；突发 | |
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149
boulders
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|
| n.卵石( boulder的名词复数 )；巨砾；（受水或天气侵蚀而成的）巨石；漂砾 | |
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150
memo
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| n.照会，备忘录；便笺；通知书；规章 | |
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151
ostrich
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| n.鸵鸟 | |
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152
erase
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| v.擦掉；消除某事物的痕迹 | |
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153
locusts
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|
| n.蝗虫( locust的名词复数 )；贪吃的人；破坏者；槐树 | |
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154
alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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155
shrubs
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| 灌木( shrub的名词复数 ) | |
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156
outfit
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| n.（为特殊用途的）全套装备，全套服装 | |
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157
flailing
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| v.鞭打( flail的现在分词 )；用连枷脱粒；（臂或腿）无法控制地乱动；扫雷坦克 | |
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158
detritus
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|
| n.碎石 | |
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159
perturbed
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|
| adj.烦燥不安的v.使（某人）烦恼，不安( perturb的过去式和过去分词 ) | |
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hoisting
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| 起重，提升 | |
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161
creasing
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| （使…）起折痕，弄皱( crease的现在分词 )； （皮肤）皱起，使起皱纹； 挑檐 | |
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162
blurt
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| vt.突然说出，脱口说出 | |
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hunched
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| （常指因寒冷、生病或愁苦）耸肩弓身的，伏首前倾的 | |
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distressed
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| 痛苦的 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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167
bluffs
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| 恐吓( bluff的名词复数 )； 悬崖； 峭壁 | |
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168
crooks
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| n.骗子( crook的名词复数 )；罪犯；弯曲部分；（牧羊人或主教用的）弯拐杖v.弯成钩形( crook的第三人称单数 ) | |
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169
salaam
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| n.额手之礼，问安，敬礼；v.行额手礼 | |
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allied
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| adj.协约国的；同盟国的 | |
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171
foliage
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| n.叶子，树叶，簇叶 | |
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attic
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| n.顶楼，屋顶室 | |
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innocence
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| n.无罪；天真；无害 | |
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174
cargo
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| n.(一只船或一架飞机运载的)货物 | |
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veered
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| v.（尤指交通工具）改变方向或路线( veer的过去式和过去分词 )；（指谈话内容、人的行为或观点）突然改变；（指风） （在北半球按顺时针方向、在南半球按逆时针方向）逐渐转向；风向顺时针转 | |
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176
tilted
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| v. 倾斜的 | |
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177
latitude
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| n.纬度，行动或言论的自由(范围)，(pl.)地区 | |
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178
longitude
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| n.经线，经度 | |
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179
raped
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| v.以暴力夺取，强夺( rape的过去式和过去分词 )；强奸 | |
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versus
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| prep.以…为对手，对；与…相比之下 | |
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181
belly
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| n.肚子，腹部；(像肚子一样)鼓起的部分，膛 | |
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182
ribs
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| n.肋骨( rib的名词复数 )；（船或屋顶等的）肋拱；肋骨状的东西；（织物的）凸条花纹 | |
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183
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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184
slipper
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| n.拖鞋 | |
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185
jaws
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| n.口部；嘴 | |
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186
pollen
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| n.[植]花粉 | |
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187
porousness
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| 多孔性 | |
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188
twitch
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| v.急拉，抽动，痉挛，抽搐；n.扯，阵痛，痉挛 | |
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189
snarl
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| v.吼叫，怒骂，纠缠，混乱；n.混乱，缠结，咆哮 | |
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190
shudder
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| v.战粟，震动，剧烈地摇晃；n.战粟，抖动 | |
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191
propped
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| 支撑，支持，维持( prop的过去式和过去分词 ) | |
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192
flipping
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| 讨厌之极的 | |
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193
demon
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| n.魔鬼，恶魔 | |
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194
demons
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| n.恶人( demon的名词复数 )；恶魔；精力过人的人；邪念 | |
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195
pigment
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| n.天然色素，干粉颜料 | |
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196
plunged
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| v.颠簸( plunge的过去式和过去分词 )；暴跌；骤降；突降 | |
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communal
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| adj.公有的，公共的，公社的，公社制的 | |
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