The pond lay to the south of the house. To get there you went out the back entrance, and down the narrow twisting path, pushing past the overgrown bracken that, in the early autumn, would still be blocking your way. Or if there were no guardians around, you could take a short cut through the rhubarb patch. Anyway, once you came out to the pond, you'd find a tranquil atmosphere waiting, with ducks and bulrushes and pond-weed. It wasn't, though, a good place for a discreet conversation--not nearly as good as the lunch queue. For a start you could be clearly seen from the house. And the way the sound travelled across the water was hard to predict; if people wanted to eavesdrop, it was the easiest thing to walk down the outer path and crouch in the bushes on the other side of the pond. But since it had been me that had cut him off in the lunch queue, I supposed I had to make the best of it. It was well into October by then, but the sun was out that day and I decided I could just about make out I'd gone strolling aimlessly down there and happened to come across Tommy.
Maybe because I was keen to keep up this impression--though I'd no idea if anyone was actually watching--I didn't try and sit down when I eventually found him seated on a large flat rock not far from the water's edge. It must have been a Friday or a weekend, because I remember we had on our own clothes. I don't remember exactly what Tommy was wearing--probably one of the raggy football shirts he wore even when the weather was chilly--but I definitely had on the maroon track suit top that zipped up the front, which I'd got at a Sale in Senior 1. I walked round him and stood with my back to the water, facing the house, so that I'd see if people started gathering at the windows. Then for a few minutes we talked about nothing in particular, just like the lunch-queue business hadn't happened. I'm not sure if it was for Tommy's benefit, or for any onlookers', but I'd kept my posture looking very provisional, and at one point made a move to carry on with my stroll. I saw a kind of panic cross Tommy's face then, and I immediately felt sorry to have teased him, even though I hadn't meant to. So I said, like I'd just remembered: "By the way, what was that you were saying earlier on? About Miss Lucy telling you something?"
"Oh..." Tommy gazed past me to the pond, pretending too this was a topic he'd forgotten all about. "Miss Lucy. Oh that."
Miss Lucy was the most sporting of the guardians at Hailsham, though you might not have guessed it from her appearance. She had a squat, almost bulldoggy figure, and her odd black hair, when it grew, grew upwards so it never covered her ears or chunky neck. But she was really strong and fit, and even when we were older, most of us--even the boys--couldn't keep up with her on a fields run. She was superb at hockey, and could even hold her own with the Senior boys on the football pitch. I remember watching once when James B. tried to trip her as she went past him with the ball, and he was the one sent flying instead. When we'd been in the Juniors, she'd never been someone like Miss Geraldine who you turned to when you were upset. In fact, she didn't tend to speak much to us when we were younger. It was only in the Seniors, really, we'd started to appreciate her brisk style.
"You were saying something," I said to Tommy. "Something about Miss Lucy telling you it was all right not to be creative."
"She did say something like that. She said I shouldn't worry. Not mind what other people were saying. A couple of months ago now. Maybe longer."
Over at the house, a few Juniors had stopped at one of the upstairs windows and were watching us. But I now crouched down in front of Tommy, no longer pretending anything.
"Tommy, that's a funny thing for her to say. Are you sure you got it right?"
"Of course I got it right." His voice lowered suddenly. "She didn't just say it once. We were in her room and she gave me a whole talk about it."
When she'd first asked him to come to her study after Art Appreciation, Tommy explained, he'd expected yet another lecture about how he should try harder--the sort of thing he'd had already from various guardians, including Miss Emily herself. But as they were walking from the house towards the Orangery--where the guardians had their living quarters--Tommy began to get an inkling this was something different. Then, once he was seated in Miss Lucy's easy chair--she'd remained standing by the window--she asked him to tell her the whole story, as he saw it, of what had been happening to him. So Tommy had begun going through it all. But before he was even half way she'd suddenly broken in and started to talk herself. She'd known a lot of students, she'd said, who'd for a long time found it very difficult to be creative: painting, drawing, poetry, none of it going right for years. Then one day they'd turned a corner and blossomed. It was quite possible Tommy was one of these.
Tommy had heard all of this before, but there was something about Miss Lucy's manner that made him keep listening hard.
"I could tell," he told me, "she was leading up to something. Something different."
Sure enough, she was soon saying things Tommy found difficult to follow. But she kept repeating it until eventually he began to understand. If Tommy had genuinely tried, she was saying, but he just couldn't be very creative, then that was quite all right, he wasn't to worry about it. It was wrong for anyone, whether they were students or guardians, to punish him for it, or put pressure on him in any way. It simply wasn't his fault. And when Tommy had protested it was all very well Miss Lucy saying this, but everyone did think it was his fault, she'd given a sigh and looked out of her window. Then she'd said: "It may not help you much. But just you remember this. There's at least one person here at Hailsham who believes otherwise. At least one person who believes you're a very good student, as good as any she's ever come across, never mind how creative you are."
"She wasn't having you on, was she?" I asked Tommy. "It wasn't some clever way of telling you off?"
"It definitely wasn't anything like that. Anyway..." For the first time he seemed worried about being overheard and glanced over his shoulder towards the house. The Juniors at the window had lost interest and gone; some girls from our year were walking towards the pavilion, but they were still a good way off. Tommy turned back to me and said almost in a whisper: "Anyway, when she said all this, she was shaking."
"What do you mean, shaking?"
"Shaking. With rage. I could see her. She was furious. But furious deep inside."
"Who at?"
"I wasn't sure. Not at me anyway, that was the most important thing!" He gave a laugh, then became serious again. "I don't know who she was angry with. But she was angry all right."
I stood up again because my calves were aching. "It's pretty weird, Tommy."
"Funny thing is, this talk with her, it did help. Helped a lot. When you were saying earlier on, about how things seemed better for me now. Well, it's because of that. Because afterwards, thinking about what she'd said, I realised she was right, that it wasn't my fault. Okay, I hadn't handled it well. But deep down, it wasn't my fault. That's what made the difference. And whenever I felt rocky about it, I'd catch sight of her walking about, or I'd be in one of her lessons, and she wouldn't say anything about our talk, but I'd look at her, and she'd sometimes see me and give me a little nod. And that's all I needed. You were asking earlier if something had happened. Well, that's what happened. But Kath, listen, don't breathe a word to anyone about this, right?"
I nodded, but asked: "Did she make you promise that?"
"No, no, she didn't make me promise anything. But you're not to breathe a word. You've got to really promise."
"All right." The girls heading for the pavilion had spotted me and were waving and calling. I waved back and said to Tommy: "I'd better go. We can talk more about it soon."
But Tommy ignored this. "There's something else," he went on. "Something else she said I can't quite figure out. I was going to ask you about it. She said we weren't being taught enough, something like that."
"Taught enough? You mean she thinks we should be studying even harder than we are?"
"No, I don't think she meant that. What she was talking about was, you know, about us. What's going to happen to us one day. Donations and all that."
"But we have been taught about all that," I said. "I wonder what she meant. Does she think there are things we haven't been told yet?"
Tommy thought for a moment, then shook his head. "I don't think she meant it like that. She just thinks we aren't taught about it enough. Because she said she'd a good mind to talk to us about it herself."
"About what exactly?"
"I'm not sure. Maybe I got it all wrong, Kath, I don't know. Maybe she was meaning something else completely, something else to do with me not being creative. I don't really understand it."
Tommy was looking at me as though he expected me to come up with an answer. I went on thinking for a few seconds, then said: "Tommy, think back carefully. You said she got angry..."
"Well, that's what it looked like. She was quiet, but she was shaking."
"All right, whatever. Let's say she got angry. Was it when she got angry she started to say this other stuff? About how we weren't taught enough about donations and the rest of it?"
"I suppose so..."
"Now, Tommy, think. Why did she bring it up? She's talking about you and you not creating. Then suddenly she starts up about this other stuff. What's the link? Why did she bring up donations? What's that got to do with you being creative?"
"I don't know. There must have been some reason, I suppose. Maybe one thing reminded her of the other. Kath, you're getting really worked up about this yourself now."
I laughed, because he was right: I'd been frowning, completely lost in my thoughts. The fact was, my mind was going in various directions at once. And Tommy's account of his talk with Miss Lucy had reminded me of something, perhaps a whole series of things, little incidents from the past to do with Miss Lucy that had puzzled me at the time.
"It's just that..." I stopped and sighed. "I can't quite put it right, not even to myself. But all this, what you're saying, it sort of fits with a lot of other things that are puzzling. I keep thinking about all these things. Like why Madame comes and takes away our best pictures. What's that for exactly?"
"It's for the Gallery."
"But what is her gallery? She keeps coming here and taking away our best work. She must have stacks of it by now. I asked Miss Geraldine once how long Madame's been coming here, and she said for as long as Hailsham's been here. What is this gallery? Why should she have a gallery of things done by us?"
"Maybe she sells them. Outside, out there, they sell everything."
I shook my head. "That can't be it. It's got something to do with what Miss Lucy said to you. About us, about how one day we'll start giving donations. I don't know why, but I've had this feeling for some time now, that it's all linked in, though I can't figure out how. I'll have to go now, Tommy. Let's not tell anyone yet, about what we've been saying."
"No. And don't tell anyone about Miss Lucy."
"But will you tell me if she says anything else to you like that?"
Tommy nodded, then glanced around him again. "Like you say, you'd better go, Kath. Someone's going to hear us soon."
The gallery Tommy and I were discussing was something we'd all of us grown up with. Everyone talked about it as though it existed, though in truth none of us knew for sure that it did. I'm sure I was pretty typical in not being able to remember how or when I'd first heard about it. Certainly, it hadn't been from the guardians: they never mentioned the Gallery, and there was an unspoken rule that we should never even raise the subject in their presence.
I'd suppose now it was something passed down through the different generations of Hailsham students. I remember a time when I could only have been five or six, sitting at a low table beside Amanda C., our hands clammy with modelling clay. I can't remember if there were other children with us, or which guardian was in charge. All I remember is Amanda C.--who was a year older than me--looking at what I was making and exclaiming: "That's really, really good, Kathy! That's so good! I bet that'll get in the Gallery!"
I must by then have already known about the Gallery, because I remember the excitement and pride when she said that--and then the next moment, thinking to myself: "That's ridiculous. None of us are good enough for the Gallery yet."
As we got older, we went on talking about the Gallery. If you wanted to praise someone's work, you'd say: "That's good enough for the Gallery." And after we discovered irony, whenever we came across any laughably bad work, we'd go: "Oh yes! Straight to the Gallery with that one!"
But did we really believe in the Gallery? Today, I'm not sure. As I've said, we never mentioned it to the guardians and looking back, it seems to me this was a rule we imposed on ourselves, as much as anything the guardians had decided. There's an instance I can remember from when we were about eleven. We were in Room 7 on a sunny winter's morning. We'd just finished Mr. Roger's class, and a few of us had stayed on to chat with him. We were sitting up on our desks, and I can't remember exactly what we were talking about, but Mr. Roger, as usual, was making us laugh and laugh. Then Carole H. had said, through her giggles: "You might even get it picked for the Gallery!" She immediately put her hand over her mouth with an "oops!" and the atmosphere remained light-hearted; but we all knew, Mr. Roger included, that she'd made a mistake. Not a disaster, exactly: it would have been much the same had one of us let slip a rude word, or used a guardian's nickname to his or her face. Mr. Roger smiled indulgently, as though to say: "Let it pass, we'll pretend you never said that," and we carried on as before.
If for us the Gallery remained in a hazy realm, what was solid enough fact was Madame's turning up usually twice--sometimes three or four times--each year to select from our best work. We called her "Madame" because she was French or Belgian--there was a dispute as to which--and that was what the guardians always called her. She was a tall, narrow woman with short hair, probably quite young still, though at the time we wouldn't have thought of her as such. She always wore a sharp grey suit, and unlike the gardeners, unlike the drivers who brought in our supplies--unlike virtually anyone else who came in from outside--she wouldn't talk to us and kept us at a distance with her chilly look. For years we thought of her as "snooty," but then one night, around when we were eight, Ruth came up with another theory.
"She's scared of us," she declared.
We were lying in the dark in our dorm. In the Juniors, we were fifteen to a dorm, so didn't tend to have the sort of long intimate conversations we did once we got to the Senior dorms. But most of what became our "group" had beds close together by then, and we were already getting the habit of talking into the night.
"What do you mean, scared of us?" someone asked. "How can she be scared of us? What could we do to her?"
"I don't know," Ruth said. "I don't know, but I'm sure she is. I used to think she was just snooty, but it's something else, I'm sure of it now. Madame's scared of us."
We argued about this on and off for the next few days. Most of us didn't agree with Ruth, but then that just made her all the more determined to prove she was right. So in the end we settled on a plan to put her theory to the test the next time Madame came to Hailsham.
Although Madame's visits were never announced, it was always pretty obvious when she was due. The lead-up to her arrival began weeks before, with the guardians sifting through all our work--our paintings, sketches, pottery, all our essays and poems. This usually went on for at least a fortnight, by the end of which four or five items from each Junior and Senior year would have ended up in the billiards room. The billiards room would get closed during this period, but if you stood on the low wall of the terrace outside, you'd be able to see through the windows the haul of stuff getting larger and larger. Once the guardians started laying it out neatly, on tables and easels, like a miniature version of one of our Exchanges, then you knew Madame would be coming within a day or two.
That autumn I'm now talking about, we needed to know not just the day, but the precise moment Madame turned up, since she often stayed no longer than an hour or two. So as soon as we saw the stuff getting displayed in the billiards room, we decided to take turns keeping look-out.
This was a task made much easier by the way the grounds were laid out. Hailsham stood in a smooth hollow with fields rising on all sides. That meant that from almost any of the classroom windows in the main house--and even from the pavilion--you had a good view of the long narrow road that came down across the fields and arrived at the main gate. The gate itself was still a fair distance off, and any vehicle would then have to take the gravelled drive, going past shrubs and flowerbeds, before at last reaching the courtyard in front of the main house. Days could sometimes go by without us seeing a vehicle coming down that narrow road, and the ones that did were usually vans or lorries bringing supplies, gardeners or workmen. A car was a rarity, and the sight of one in the distance was sometimes enough to cause bedlam during a class.
The afternoon Madame's car was spotted coming across the fields, it was windy and sunny, with a few storm clouds starting to gather. We were in Room 9--on the first floor at the front of the house--and when the whisper went around, poor Mr. Frank, who was trying to teach us spelling, couldn't understand why we'd suddenly got so restless.
The plan we'd come up with to test Ruth's theory was very simple: we--the six of us in on it--would lie in wait for Madame somewhere, then "swarm out" all around her, all at once. We'd all remain perfectly civilised and just go on our way, but if we timed it right, and she was taken off-guard, we'd see--Ruth insisted--that she really was afraid of us.
Our main worry was that we just wouldn't get an opportunity during the short time she was at Hailsham. But as Mr. Frank's class drew to an end, we could see Madame, directly below in the courtyard, parking her car. We had a hurried conference out on the landing, then followed the rest of the class down the stairs and loitered just inside the main doorway. We could see out into the bright courtyard, where Madame was still sitting behind the wheel, rummaging in her briefcase. Eventually she emerged from the car and came towards us, dressed in her usual grey suit, her briefcase held tightly to herself in both arms. At a signal from Ruth we all sauntered out, moving straight for her, but like we were all in a dream. Only when she came to a stiff halt did we each murmur: "Excuse me, Miss," and separate.
I'll never forget the strange change that came over us the next instant. Until that point, this whole thing about Madame had been, if not a joke exactly, very much a private thing we'd wanted to settle among ourselves. We hadn't thought much about how Madame herself, or anyone else, would come into it. What I mean is, until then, it had been a pretty light-hearted matter, with a bit of a dare element to it. And it wasn't even as though Madame did anything other than what we predicted she'd do: she just froze and waited for us to pass by. She didn't shriek, or even let out a gasp. But we were all so keenly tuned in to picking up her response, and that's probably why it had such an effect on us. As she came to a halt, I glanced quickly at her face--as did the others, I'm sure.
And I can still see it now, the shudder she seemed to be suppressing, the real dread that one of us would accidentally brush against her. And though we just kept on walking, we all felt it; it was like we'd walked from the sun right into chilly shade. Ruth had been right: Madame was afraid of us. But she was afraid of us in the same way someone might be afraid of spiders. We hadn't been ready for that. It had never occurred to us to wonder how we would feel, being seen like that, being the spiders.
By the time we'd crossed the courtyard and reached the grass, we were a very different group from the one that had stood about excitedly waiting for Madame to get out of her car. Hannah looked ready to burst into tears. Even Ruth looked really shaken. Then one of us--I think it was Laura--said: "If she doesn't like us, why does she want our work? Why doesn't she just leave us alone? Who asks her to come here anyway?"
No one answered, and we carried on over to the pavilion, not saying anything more about what had happened.
Thinking back now, I can see we were just at that age when we knew a few things about ourselves--about who we were, how we were different from our guardians, from the people outside-- but hadn't yet understood what any of it meant. I'm sure somewhere in your childhood, you too had an experience like ours that day; similar if not in the actual details, then inside, in the feelings. Because it doesn't really matter how well your guardians try to prepare you: all the talks, videos, discussions, warnings, none of that can really bring it home. Not when you're eight years old, and you're all together in a place like Hailsham; when you've got guardians like the ones we had; when the gardeners and the delivery men joke and laugh with you and call you "sweetheart."
All the same, some of it must go in somewhere. It must go in, because by the time a moment like that comes along, there's a part of you that's been waiting. Maybe from as early as when you're five or six, there's been a whisper going at the back of your head, saying: "One day, maybe not so long from now, you'll get to know how it feels." So you're waiting, even if you don't quite know it, waiting for the moment when you realise that you really are different to them; that there are people out there, like Madame, who don't hate you or wish you any harm, but who nevertheless shudder at the very thought of you--of how you were brought into this world and why--and who dread the idea of your hand brushing against theirs. The first time you glimpse yourself through the eyes of a person like that, it's a cold moment. It's like walking past a mirror you've walked past every day of your life, and suddenly it shows you something else, something troubling and strange.