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  Souls in the Twilight

  Souls in the Twilight

  STORIES OF LOSS

  ROGER SCRUTON

  SOULS IN THE TWILIGHT

  Copyright © 2018 by Roger Scruton

  FIRST EDITION

  All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review.

  Excerpts from “Burnt Norton” and “Little Gidding” from FOUR QUARTETS by T.S. Eliot. Copyright (c) 1936, 1941 by T.S. Eliot, renewed by 1964, 1970 by Esme Valerie Eliot. Reprinted by permission of Houghton Mifflin Harcourt Publishing Company and Faber & Faber, Bloomsbury House. All Rights reserved

  Excerpts also appear from Spengler, Oswald. The Decline of the West. G. Allen & Unwin, 1932.

  Souls in the Twilight is a work of fiction. Places, incidents portrayed, and names are the work of the author’s imagination. Any resemblance to actual locales, events, or persons, living or dead, is coincidental.

  Library of Congress Cataloging-in-Publication Data on File

  Paperback: 9780825308840

  Ebook: 9780825307720

  For inquiries about volume orders, please contact:

  Beaufort Books

  27 West 20th Street, Suite 1102

  New York, NY 10011

  [email protected]

  Published in the United States by Beaufort Books

  www.beaufortbooks.com

  Distributed by Midpoint Trade Books

  www.midpointtrade.com

  Book designed by Mark Karis

  Printed in the United States of America

  CONTENTS

  Yusuf

  Veronica

  Guy

  Sarah

  Bill

  About the Author

  PREFACE

  These stories, written over a decade, describe a world that the Internet has yet to tear apart, and characters whose search for meaning sends no ripples into cyberspace. The narratives start, and end, in England. But the significant times and places, whether real or imaginary, are always elsewhere.

  MALMESBURY, DECEMBER 2017

  Yusuf

  WE TAKE THE TRAIN FROM LIVERPOOL STREET. It’s my favourite station: all light and space, and now with the shops and cafés, and the people in their city clothes. The girls so smart and clean, like they’ve just stepped out of adverts. Great! I borrow some cash from Fareed and buy an Oasis T-shirt, the one with the limousine in the swimming pool. It’s for the journey home. The girl smiles at me as she wraps it up, and when I ask, she gives me her phone number. Cool! Fareed buys a tie and a posh jacket in blue cotton, but she doesn’t smile at him. She’s called Jenny, short for Jennifer maybe.

  It’s the middle of the morning and the train is empty. I like trains: I like the people-smell, the soft seats, the big windows, and the other lives carried next to yours, only not quite touching. And just sitting there, with nothing to do and no one to trouble you! Great! Back home, Abba says, the trains are pulled by steam engines, smoke and smut in your eyes and nowhere to sit, wooden seats smothered by the bibis wrapped in black, people shouting and quarrelling, and long stops between stations where no one can get off and the sun roars down like a flame-thrower. He used to go every week to Algiers on the big train—the qitar kabir—and the way he says the words makes me think of a huge guitar, strumming quietly, and the long train snaking through the desert.

  Blue sky, spring sunshine, a clear light on the chimney stacks as we speed through Finsbury Park. Each tile on the roofs, each little panel of brickwork, picked out by sun and shadow. I love those queer houses—Edwardian, according to Abba—sash windows, terra-cotta doorways, sturdy chimneys like bread-ovens. Abba likes them too, and when he gets an extension-job for an Edwardian house, he goes down to the reclamation centre at the Elephant, searching for glazed bricks and stained-glass panels, so that everything will look like it’s always been there. He’s like that, Abba: wafi, the servant of Allah and his work.

  We pass a big house with parkland and a lake: beautiful, like a dream. And then more suburbs, some factories, marshy waste-land full of rusting cars and rubbish, and then a mosque—just look at it, four great minarets suddenly pricking the sky above a row of tired old houses and grubby washing-lines! I feel a stab of joy and I can’t stop myself from laughing aloud. Fareed frowns at me.

  “Yusuf! Be discreet!” he says, in a whisper.

  “But there’s no one else on the train!”

  “All the same...”

  He looks at me as he did six months ago, when he gave that lecture on Ami’s people and what they lost, and how I had promised Ami revenge when she was dying. As though I need reminding. I mean it’s only common sense. I begin to recite the Surah of the Sun, whose light pours over those minarets and washes them so clean and white in the morning sky.

  wa ash-shams wa duhaaha,

  wa al-qamar idha talaaha...

  But I forget the rest and feel annoyed with myself. Fareed goes on giving me his solemn frown. You can’t deny that Fareed is good-looking in his Egyptian way, with those almond eyes and chiselled nostrils, and the soft brown hair always blowing this way and that across his forehead. He reminds me of Omar Sharif in Lawrence of Arabia. And when he frowns his whole face seems to pucker, as though someone were gripping it from behind at a point in the centre of the neck. It’s a really dignified frown, a super-frown, the frown of an angel suddenly looking down at you out of the clouds. So I feel annoyed with myself and turn again to the window. There are churches now, with their spires of chiselled stone, and here and there a block of flats rising above the tiled roof-tops. They remind me of those seaside postcards that make Abba laugh, I don’t know why, with hideous fat-thighed women paddling in shallow water. How strange the world is, and how full of signs!

  Then, all of a sudden, we’re there: a little station with two narrow platforms and an old booking office in brick, boarded up now, and covered over with posters. A couple of blacks are standing on the platform and glare at us. There’s a girl too, beautiful, with blond hair and tight trousers, who is sitting on a bench reading a book. She doesn’t look up, and I can tell from her eyelashes that not looking up is a policy. Sometimes you want to touch people, to make them know you are on their side. That’s how it is with me! But of course I just walk on as though I hadn’t noticed her.

  The sun is warm on my face. I am really looking forward to changing into the T-shirt with the drowned limousine. Fareed strides on, very serious, very determined, while I want to linger here and there, to look into the strange gardens, many of them already with flowers. The houses are such a muddle!—some with pebble-dash veneer and metal-frame windows, some with stone porches and stained-glass fanlights, some tall and swanky with high windows and witch-cap towers. And all glowing in this fantastic sunlight, like a vision. Amazing! Up high there’s a plane; it catches the sunlight and shines like fire. I stand to watch it, shielding my eyes: a flaming sword in the sky. The sky opens to let it pass and then closes behind it, so neat and seamless and pure. Days like this you feel able to fly, up among the angels and looking down on the world. This is the bright forenoon in the surah of the forenoon, the dawn in the surah of the dawn! There was this fantastic poem we learned at school: “he who kisses the joy as it flies / Lives in eternity’s sunrise.” That’s how to live!

  “Hurry, they’re waiting!”

  Fareed’s voice calling me to order: nothing new in that. You have to admire Fareed. He studies the world, finds his place in it, is always exactly where he should be at the time required. Compared with him I’m a bum and a layabout. Ex
cept for helping Abba, I’ve never had a job; never turn up for Friday prayers except in Ramadan; never start the day with a clear agenda—except for this day, the great day, the day when it’s all going to happen and Ami will at last forgive me. I could dawdle in these streets all morning: Fareed makes sure I am going somewhere, moving on, making waves. Thanks, Fareed: my hero!

  There’s this fantastic cat just sitting on top of a gate-post, a kind of greenish-gold colour with burning orange eyes like traffic lights. It watches me as I pass and when I put out a hand to stroke it, the cat starts up and boxes me off with its paw. We spar like old partners, like we’ve known each other for years. One of those electric milk-floats has stopped at the house next door, and there’s the milkman in a black-and-white striped apron, manhandling bottles down the drive. I want to call out to him, to remind him—I mean to let him know that he isn’t alone. It all seems so new, so fresh, so joyous. And then Fareed, turning round again and again, gesticulating impatiently, not wanting to shout my name.

  We’re there. What a disappointment! No garden, just a concrete yard with an old stone bowl that looks like a disused fountain. The rendering on the facade has been picked out in white paint, the window frames are turquoise: and this on a three-storey terrace house. I could just imagine what Abba would say: souqi, cheap and nasty! But then second thoughts: charitable thoughts. It’s all so innocent, so neat and proud and tidy. Really it’s like it should be, all simplicity and goodness. How brilliant of Fareed to discover these people!

  An old grandfather opens the door. He has a thin white beard like a goat, and his watery eyes are grey and slightly unfocused. His hands on Fareed’s shoulders are like polished bones and he seems to peer into the sky as he reaches up for Fareed to kiss him. His name is Anwar; he’s from Baghdad and speaks with an accent. We’re shown into the front room, crowded with furniture: low tables with mock lapis-lazuli tops and plastic legs in the shape of elephant trunks; mirrors framed by arabesques of gold plaster; divans covered in mock-silk and spread with bright red and gold carpets. On the walls framed verses from the Holy Koran in kufic script, and in one corner an enormous television raised on a gilded trestle and draped with a cloth of orange silk.

  Now we’re drinking mint tea and conversing with Anwar, his son Fadil, and Fadil’s wife Zeynab, a fat lady in cheap English clothes, with a long dress of printed yellow flowers. How pretty the flowers are in the light from the window, and how I enjoy looking at Zeynab’s face, with its dimpled cheeks shaped by laughter, and each black eye set like a jewel in its frame of black wrinkles. She’s from Hama in Syria, and her brother died there, she tells us, when Hafiz el-Assad massacred the Muslim Brotherhood. “Jabaan al-asad,” she says, cowardly lion. They all like to play on Assad’s name, as Abba does. How the conversation has come round to such a topic I don’t know. But Zeynab tells the story cheerfully, as though granted her revenge, and Fareed is soon asking her about some cloth she wanted. One thing I really admire about Fareed is how practical he is; he will never miss a business opportunity, and knows how to turn friendship to profit and—what is even better—profit to friendship. His eyes light up as he bargains, and his questions begin to explore the feelings of the other party, pinning back layer after layer like a surgeon until the heart lies exposed. Zeynab is clearly loving it, and I am loving it too.

  Fadil, however, is silent. He is a small, hunched man, with liquid eyes like his father and a greying moustache. Perhaps he is not in the best of health, because every now and then he shifts uncomfortably on his leather cushion and utters a small troubled sigh. Once, when Fareed nods in his direction, he nods back, as though confirming some secret deal between them. And often he turns in my direction, not to talk, but to survey me with a kind of quiet astonishment, as though not quite sure that I am here. I smile at him, and he smiles back. But that’s all.

  And then it happens. Without warning the door opens and the most beautiful girl in the world glides through it, like a spirit wafted on the air. She is smiling at me, from soft sand-coloured lips in a perfect oval face, and her dark eyes glow with interest. Fareed looks away. Maybe he doesn’t want to see the spark that passes between us. Zeynab leans back happily and says

  “Halima, come and meet Yusuf.”

  I jump to my feet as she approaches. The blood has drained from my face and my lips tremble. I search for words. And still she smiles, keeping her distance as she must, bowing slightly and crossing her hands on her breast. How not to look at her is all my effort: how not to defile her with my eyes or my words or my thoughts. Eventually I am able to call down Allah’s blessing on her and hers. She bows again and looks up at me through her eyelashes. Then she lowers her arms, shows firm pointed breasts before turning quickly away and retreating to the door. She beckons to her mother to follow her, and in a moment the men are alone.

  I stand trembling, like one who has received a vision. Everything that has been planned for this day ends in her. It is for Halima’s sake that I will do it: she’s the cause, the goal, the prize. I turn to her father who is again surveying me from astonished eyes.

  “A lovely girl,” I stutter. “You must have hopes for her.”

  He makes a serious face.

  “Well, you know how it is. We shan’t be throwing our treasure away.”

  I try to find words for her: bint al-Hilaal sounds cheap—it’s the language of a marriage broker. She’s not even a girl for me, but something holy, untouchable, zulaal—the cool, clear water of paradise, in which I shall bathe when my work is done. Yet she’s already promised: that surely is the meaning of Fadil’s words. All of a sudden I feel tears welling within me. I want to lie on the floor and give way to my grief. I catch sight of Fareed, commanding me with his immovable frown. I sit down and swallow my passion, and it burns in my throat like whisky.

  Grandfather Anwar has begun to speak. Soon, he says, his grandson Qasim would arrive and we could eat our meal. Qasim is to bring the Gift, and he would show me how to use it. Until then it is best to speak of other things. He describes the days at the end of the war, during the British occupation, when he was a student in Baghdad. He joined a society of intellectuals called jamaa‘at al-waqt al-Da’i‘—the society of wasted time! I tell him I have belonged to that club all my life, and today I am offering my resignation. And all at once I am happy again, recalling Halima’s smile and knowing that it was meant only for me. Whatever happens, she will be mine: we shall find a way. I look up and laugh at Anwar’s story, although it has become so involved I can’t follow it.

  The door opens and a young man in jeans walks softly across to us, places a plastic hold-all on the carpet, and shakes hands in silence. He has his sister’s warm, dark eyes and her oval face, but he doesn’t smile. His manner is withdrawn and enigmatic. He sits down and begins to talk about the match: he just can’t believe that Hopkins could have flunked that final penalty. He had been betting on victory: a draw means twenty quid lost, and he is even wondering whether he should go with Arsenal now. But then, it’s early days. Maybe Spurs will pick up over the summer.

  Then I have an idea. I ask them if I could change. She’ll know I am wearing the T-shirt for her. Qasim takes me out into the hallway and points to a door on the landing. It is the dark side of the house, and from the bathroom window I have a view over gardens, most of them full of junk: fridges, telly sets, the frames of gutted motorbikes. The bathroom is real kitsch: more turquoise (basins this time), Aladdin lamps in copper alloy, pink carpets and a fluffy lambs-wool cover on the toilet. But there are only man-things round the sink: razors, shaving soap, after-shave. I am glad of that. I didn’t want to think of her sharing a bathroom with the men. I get into the jeans and the T-shirt, and stand in front of the mirror: fantastic!

  Nobody makes any remark when I re-enter the living room. In fact, they hardly seem to notice me. Anwar is still talking about Baghdad, saying what a fantastic education he got there—the old British curriculum, German, French, science too. Of course, that’s all finis
hed now, he says. Take Halima, for instance: she has got to GCSE in French, but can’t speak a word of it, and when they took her away from school two years ago it was because of a thing called Health Education which was all about, well, about things girls shouldn’t know. I go hot and cold, and my fists are clenching and unclenching in my pockets. Fareed is nodding agreement, and Qasim just sits on the divan, with a cold, concentrated stare that suggests he has heard his granddad banging on like this for far too long.

  But then Zeynab pokes her head round the door and everything changes. Ghada’ is ready, and we exchange sudden greetings and smiles. Zeynab comes across and embraces me like a son, chiding me for being so thin, teasing me about the T-shirt. Qasim takes my hand and calls me brother, and Granddad lapses into a gentle smile as we go through the door to the kitchen. How good they seem, so simple with each other, so full of kindness. And there to wait on us is Halima, who looks furtively in my direction and blushes.

  There’s a big table in the centre of the kitchen, spread with food: labneh, hummus, kibbeh, meat-balls with tahini and piles of unleavened bread. Halima and Zeynab stand at the stove, whispering to each other as they prepare each plate. I can hardly eat, and all my thought is how not to look at her. Yet I do look, and a flame shoots through me, seeing that she’s in the same predicament! Yes, Halima is turning her eyes in every direction except the one towards which they steal of their own accord! I try to attend to what the men are saying, but it all seems so remote, so fantastic—part of a world I have left behind. Of course I have to know how to operate the Gift; but we made these things at school, and they all worked on a single principle. I listen to Qasim’s instructions and nod, but my thoughts are elsewhere.

  My eyes roam the kitchen. This is her space, the space she shares with Zeynab. Every object speaks of love, family and joy: the gilded coffee cups on their polished tray; the wooden bread bowl and the plastic-topped sideboard beneath it; the ornamental fruit-crusher just like the one brought from back home by Ami, may the peace and blessing of Allah be upon her. And beyond the long window the sunlight full of promise. All that Fareed has planned for me is good, since it comes from here. And I’ll earn the right to Halima regardless of her father’s schemes. Fadil is pushing dishes in my direction, making gestures with his open hand. This and all his house will be mine.