Chapter 1 The Last Day of the Year 31st December, 1919 Dorset Cristabel picks up the stick. It fits well in her hand. She is in the garden, waiting with the rest of the household for her father to return with her new mother. Uniformed servants blow on cold fingers. Rooks caw half-heartedly from the trees surrounding the house. It is the last day of December, the dregs of the year. The afternoon is fading and the lawn a quagmire of mud and old snow, which three-year-old Cristabel stamps across in her lace-up leather boots, holding the stick like a sword, a miniature sentry in a brass-buttoned winter coat. She swishes the stick to and fro, enjoying the vvvp vvp sound it makes, uses it to spoon a piece of grubby snow to her mouth. The snow is as chilly on her tongue as the frost flowers that form on her attic window, but less clinging. It tastes disappointingly nothingy. Somewhere too far away to be bothered about, her nanny is calling her name. Cristabel puts the noise away from her with a blink. She spies snowdrops simpering at the edge of the garden. Cristabel's father, Jasper Seagrave, and his new bride are, at that moment, seated side by side in a horse-drawn carriage, travelling up the driveway towards Jasper's family home: Chilcombe, a many-gabled, many-chimneyed, ivy-covered manor house with an elephantine air of weary grandeur. In outline, it is a series of sagging triangles and tall chimney stacks, and it has huddled on a wooded cliff overhanging the ocean for four hundred years, its leaded windows narrowed against sea winds and historical progress, its general appearance one of gradual subsidence. The staff at Chilcombe say today will be a special day, but Cristabel is finding it dull. There is too much waiting. Too much straightening up. It is not a day that would make a good story. Cristabel likes stories that feature blunderbusses and dogs, not brides and waiting. As she picks up the remains of the snowdrops, she hears the bone crunch of gravel beneath wheels. Her father is the first to disembark from the carriage, as round and satisfied as a broad bean popped from a pod. Then a single foot in a button-boot appears, followed by a velvet hat, which tilts upwards to look at the house. Cristabel watches her father's whiskery face. He too is looking upwards, gazing at the young woman in the hat, who, while still balanced on the step of the carriage, is significantly taller than him. Cristabel marches towards them through the snow. She is almost there when her nanny grabs her, hissing, "What have you got in your hands? Where are your gloves?" Jasper turns. "Why is the child so dirty?" The dirty child ignores her father. She is not interested in him. Grumpy, angry man. Instead, she approaches the new mother, offering a handful of soil and snowdrop petals. But the new mother is adept at receiving clumsy gifts; she has, after all, accepted the blustering proposal of Jasper Seagrave, a rotund widower with an unmanageable beard and a limp. "For me," says the new mother, and it is not a question. "How novel." She steps down from the carriage and smiles, floating about her a hand which comes to rest on Cristabel's head, as if that were what the child is for. Beneath her velvet hat, the new mother is wrapped in a smart wool travelling suit and a mink fur stole. Jasper turns to the staff and announces, "Allow me to present my new wife: Mrs. Rosalind Seagrave." There is a ripple of applause. Cristabel finds it odd that the new mother should have the name Seagrave, which is her name. She looks at the soil in her hand, then turns it over, allowing it to fall onto the new mother's boots, to see what happens then. Rosalind moves away from the unsmiling girl. A motherless child, she reminds herself, lacking in feminine guidance. She wonders if she should have brought some ribbons for its tangled black hair, or a tortoiseshell comb, but then Jasper is at her side, leading her to the doorway. "Finally got you here," he says. "Chilcombe's not quite at its best. Used to have a splendid set of iron gates at the entrance." As they cross the threshold, he is talking about the coming evening's celebrations. He says the villagers are delighted by her arrival. A marquee has been erected behind the house, a pig will be roasted, and everyone will toast the nuptials with tankards of ale. He winks at her now, bristling in his tweed suit, and she is unsure what is meant by this covering and uncovering of one eye, this stagey wince. Rosalind Seagrave, née Elliot, twenty-three years old, described in the April 1914 edition of Tatler magazine as "a poised London debutante," walks through the stone entranceway of Chilcombe into a wood-panelled galleried room that extends upwards like a medieval knights' hall. It is a hollow funnel, dimly lit by flickering candles in brass wall brackets, and the air has the unused quality of empty chapels in out-of-the-way places. It is a peculiar feeling, to enter a strange house knowing it contains her future. Rosalind looks around, trying to take it in before it notices her. There is a fireplace at the back of the hall: large, stone and unlit. Crossed swords hang above it. There is not much in the way of furniture and it does not attract her as she hoped. A carved oak coffer with an iron hinge. A suit of armour holding a spear in its metal hand. A grandfather clock, a moulting Christmas tree, and a grand piano topped by a vase of lilies. The piano, she knows, is a wedding present from her husband, but it has been put to one side beneath the stuffed head of a stag. Around the walls droop more mounted animal heads, glass-eyed lions and antelopes, along with ancient tapestries showing people in profile gesticulating with arrows. As blue is the last colour to fade in tapestry, what were once cheerful depictions of battle are now mournful, undersea scenes. To the right of the fireplace is a curving wooden staircase leading to the upper floors of the house, while on either side of her, worn Persian rugs lead through arched doorways into dark rooms that lead to more doorways to dark rooms, and so it goes on, like an illustration of infinity. The heel of her boot catches on a rug as she steps forward. They will have to move the rugs, she thinks, when they have parties. Jasper appears beside her, talking to the butler. "Tell me, Blythe, has my errant brother arrived? Couldn't be bothered to show his face at the wedding." The butler gives an almost imperceptible shake of his head, for this is how Chilcombe is run, with gestures so familiar and worn down they have become the absence of gestures--the impression of something that used to be there; the shape of the fossil left in the stone. Jasper sniffs, addresses his wife. "The maids will show you to your room." Rosalind is escorted up the staircase, passing a series of paintings depicting men in ruffs pausing mid-hunt to have their portraits done, resting stockinged calves on the still-warm bodies of boars. Cristabel watches from a corner. She has tucked herself behind a wooden umbrella stand in the shape of a little Indian boy; his outstretched arms make a circle to hold umbrellas, riding crops and her father's walking sticks. She waits until the new mother is out of sight, then runs across the hall to the back staircase, which is concealed from view behind the main staircase. This takes her down to below stairs, the servants' realm: the kitchen, scullery, storerooms and cellars. Here, in the roots of the house, she can find a hiding place and examine her new treasures: the stick and the crescents of soil beneath her fingernails. On this day, below stairs is a clamorous place, the tiled kitchen echoing with activity. The servants are excited about the evening celebrations, anxious about hosting the wedding party, and full of gossip about the new wife. Cristabel crawls under the kitchen table and listens. Items of interest spark like lightning across her consciousness: favourite words like "horse" and "pudding"; voices she recognizes surfacing in the melee. Her attention is caught by Maudie Kitcat, the youngest kitchen maid, saying, "Maybe Miss Cristabel will be getting a little brother soon." Cristabel hadn't seen a little brother get out of the carriage, but perhaps one would be coming later. She would like a brother very much. For games and battles. She also likes the kitchen maid Maudie Kitcat. They both sleep in the attic and practise their letters together. Cristabel often asks Maudie to write the names of people she knows in the condensation on the attic windows, and Maudie will comply, squeakingly shaping the words with a single finger--M-A-U-D-I-E, D-O-G, N-A-N-N-Y, C-O-O-K--so Cristabel can trace her own small finger along them or rub them out if they have displeased her. Sometimes, Maudie will visit her in the night if Cristabel has one of the dreams that make her shout, and Maudie will stroke her head and say shhh, little one, shhh now, don't cry. In the kitchen, Cook is saying, "An heir to the estate, eh? Let's hope Jasper Seagrave's still got it in him." Bellows of laughter follow. A male voice shouts, "If he can't manage it, I'll step in and have a go." There is more laughter, then a crash, something thrown. The sound of servants roaring at this incomprehensible exchange is a thunderous wave washing over Cristabel. She decides to use her stick to write her letters, tracing a circle in the flour on the flagstone floor, round and round. O. O. O. O. Time away from her interfering nanny is rare, she must not waste it. O. O. O. O for "oh." O for "ohnoCristabelwhathaveyoudonenow." Upstairs on the first floor, Rosalind sits at the dressing table in her new bedroom, although she hardly can call it new, for everything in it appears to be ancient. It is a room of aggressively creaking floorboards and fragile mahogany furniture lit by smoke-stained oil lamps: a collection of items that cannot bear to be touched. She hears laughter coming from elsewhere in the house and feels it as a rising tension in her shoulders. A maid stands behind her, brushing out Rosalind's ink-dark hair, while another unpacks her cases, carefully extracting items of lingerie that have been folded into perfumed satin pads. Rosalind is aware of being examined, assessed. She wishes she could open her own luggage. Rosalind checks her reflection in the dressing table mirror; composes herself. She has the pert face of a favoured child. Wide eyes, an upturned nose. This is complemented by her self-taught habit of clasping her hands beneath her chin, as if delighted by unexpected gifts. She does this now. She has done well, despite everything; she must believe this. There had been sharp talk in London. Intimations of unwise dalliances. Suggestions she'd ruined her chances fraternizing with one too many beaux. But all those men had gone now. One by one, all the charming boys she had danced with and strolled with and dined with had disappeared. At first, it was awful, and then it was usual, which was worse than awful, but less tiring. After a while, it was simply what happened. They left, waving, on trains and went into the ground in places with foreign names that became increasingly familiar: Ypres, Arras, the Somme. The years of the war became an achingly monotonous time, with Rosalind perched on a stiff armchair, trying to finish a piece of embroidery while her mother intoned the names of eligible young men listed in The Times as dead or missing. There were stories in the newspapers about "surplus women"--millions of spinsters who would never marry due to the shortage of suitable husbands. Rosalind cut out magazine pictures of society brides and glued them into a scrapbook: an album of lucky escapees. She was fearful she would become a black-clad relic like her widowed mother, a woman alone, fussing over teacups and miniature monkey-faced dogs, entrapped by knitting baskets and petulant footstools. Even when the Great War ended, there was nobody left to celebrate with. The handful of passable men who did come home spent parties swapping battle stories with hearty girls who had been in uniform, while Rosalind stood against a wall, her dance card empty. So when she met Jasper Seagrave, a widower looking for a young wife to provide a son and heir, it seemed a space had been made for her, a tiny passage she could crawl through into the orange blossom light of a wedding day, where a house of her own would await her. And here she is. She has made it through. A winter wedding, not ideal, but still a wedding. Despite the sinus problems of the groom. Despite his insistence on the jolting carriage ride. Despite the view from the rattling carriage windows jerking backwards and forwards like scenery waved about by amateurish stagehands. Despite the clamping, clawing feeling in her heart. It could all be rectified. Rosalind lifts her new diamond earrings to her ears. She watches in the mirror as one of the maids lays out her ivory chiffon peignoir, arranging it with respectfully covetous hands on the four-poster bed, which has a high mattress like the one in the story of the princess and the pea. Outside the darkening window, there is the crackle of a bonfire, the murmur of voices as the villagers arrive, and the rich, burnt smell of roasting meat. Cristabel is standing in the garden by the fire, closely observing the suckling pig hung over the flames on a spit, a red apple jammed in its rotating mouth. She holds her stick in her right hand. Her left hand is in her coat pocket, fingers running over other newly acquired treasures found below stairs: a scrap of newspaper and a pencil stub. It is a kind of reassurance, to have these small things she can touch. She can hear her nanny crashing through the house looking for her, her angry nanny voice running ahead of her like a baying pack of hounds. Cristabel knows what will happen next. She will be taken upstairs to her bedroom without supper as a punishment for disappearing. The candle will be blown out and the door locked. The attic will become shadowy and endlessly cornered: a shifting blackness raked by the slow-moving searchlight of the moon, a great lidless eye. Excerpted from The Whalebone Theatre: A Novel by Joanna Quinn All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
