Authors: Rupert Thomson
PRAISE FOR
KATHERINE CARLYLE
“
Katherine Carlyle
left me stunned and amazed. Thomson’s ability to create a world that feels entirely original and untouched by any other mind is at full strength in this strange and haunting book. The story proceeds with perfect logic from mystery to mystery, and takes the reader with it, unable to stop reading or guess where it will go next. The title character is utterly convincing, and her quest expresses with great clarity and power the strangeness of her origins. It’s a masterpiece.”
—PHILIP PULLMAN,
AUTHOR OF THE BEST-SELLING HIS DARK MATERIALS TRILOGY
“Written with the verve and detail of a spy novel, sleek and oddly honest, this is the fascinating story of Katherine Carlyle, who mysteriously decides that instead of university and a privileged life she will erase her identity and much of her emotions and go untraceably to the most remote settlement of the Russian north. She is not seeking love. She is determined to have abandoned it.”
—JAMES SALTER,
AUTHOR OF
ALL THAT IS
“Smart, stylish, inventive, and always entertaining, Rupert Thomson displays enormous range as a novelist. His prose is consistently sharp, his ideas consistently intriguing. I would read any book that Thomson wrote.”
—LIONEL SHRIVER,
BEST-SELLING AUTHOR OF
BIG BROTHER
AND
WE NEED TO TALK ABOUT KEVIN
“Rupert Thomson’s twilight worlds have long enchanted many readers, and this road trip through a snow dome of mesmeric hallucinations is Thomson at his best.”
—RICHARD FLANAGAN,
AUTHOR OF THE MAN BOOKER PRIZE–WINNING
THE NARROW ROAD TO THE DEEP NORTH
“If the mind best comprehends the heart through metaphor, what new ways of imagining ourselves and our loves are offered by technologies earlier undreamt of? This is the question Rupert Thomson seeks to answer in this stealthy, intelligent, surreptitiously affective novel. With a narrative that moves from the sophisticated milieux of Rome and Berlin to the startling lower reaches of the Arctic Circle, delivered in prose that is spare, cinematic, and masterfully controlled,
Katherine Carlyle
is at once seductively contemporary and suggestively fable-like:
Frozen
for grown-ups.”
—REBECCA MEAD,
AUTHOR OF
MY LIFE IN MIDDLEMARCH
“This riveting and visionary story haunted me long after I finished the last page.
Katherine Carlyle
is an extraordinary novel.”
—DEBORAH MOGGACH,
BEST-SELLING AUTHOR OF
THE BEST EXOTIC MARIGOLD HOTEL
FICTION
Secrecy
Death of a Murderer
Divided Kingdom
The Book of Revelation
Soft
The Insult
Air and Fire
The Five Gates of Hell
Dreams of Leaving
NONFICTION
This Party’s Got to Stop
Copyright © 2014 by Rupert Thomson
Wallace Stevens poetry excerpt on
this page
from “The Auroras of Autumn,” in
The Auroras of Autumn
(New York: Alfred A. Knopf, 1950).
André Gide excerpt on
this page
from
Fruits of the Earth
(Harmondsworth, England: Penguin Books Ltd, 1970). First published by Secker & Warburg, 1949.
“Me and Bobby McGee” lyric on
this page
by Kris Kristofferson and Fred L. Foster, copyright © Sony/ATV Music Publishing LLC.
Production editor: Yvonne E. Cárdenas
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without written permission from Other Press LLC, except in the case of brief quotations in reviews for inclusion in a magazine, newspaper, or broadcast. For information write to Other Press LLC, 2 Park Avenue, 24th Floor, New York, NY 10016.
Or visit our Web site:
www.otherpress.com
The Library of Congress has cataloged the printed edition as follows:
Thomson, Rupert.
Katherine Carlyle / Rupert Thomson.
pages; cm
ISBN 978-1-59051-738-3 — ISBN 978-1-59051-739-0 (ebook)
1. Cryonics—Fiction. 2. Self-realization in women—Fiction. 3. Self-actualization
(Psychology) in women—Fiction. I. Title.
PR6070.H685K38 2015
823’.914—dc23
2014047900
Publisher’s note:
This is a work of fiction. Names, characters, places, and incidents either are the product of the author’s imagination or are used fictitiously, and any resemblance to actual persons, living or dead, events, or locales is entirely coincidental.
v3.1
For Judith Gurewich
How slowly the time passes here
,
encompassed as I am by frost and snow!
— MARY SHELLEY
Everything is torment, everything is song
I would love to be loved
And belong to someone
Belong to someone
—ENDRE ADY
I was made in a small square dish. The temperature was 37 degrees Celsius, like the inside of a human body. Like a womb. The dish had four shallow wells or indentations, and the word
NUNC
was stamped along one edge. My mother’s eggs were placed in the wells, no more than three in each, and then my father’s sperm was introduced, the sperm allowed to seek the eggs in a simulacrum of the reproductive process. The ingredients were all scrupulously harvested, meticulously screened. Something of hers, something of his — a precious pinch of each. Pale-blue figures drifted high above, like clouds.
Within a matter of hours I was transferred to a solution or “culture medium,” where I was supposed to “cleave.”
Medium, cleave
— these are the technical terms. During the next five days I divided into a blastocyst, consisting of approximately sixty cells. My progress was monitored by the figures dressed in blue. Sometimes they reached down and removed embryos that were judged to be nonviable. Not me, though. I remained untouched. This happened on the fourth floor of a West London hospital, in the Assisted Conception Unit.
Though I was one of several “Grade 1” embryos — clear cells, tight junctions, no evidence of fragmentation or “blebbing” — the
technicians did not select me for immediate implantation. I was preserved instead.
Freezing me took an hour and a half.
Afterwards, I was stored in a squat steel barrel, vacuum-lined like a thermos flask and filled with liquid nitrogen. They put me in a microscopic transparent straw with air gaps on either side of me. The straw was slotted into a cane. Both the straw and the cane were labeled with the name and date of birth of the patient — my mother. I was suspended in a bath of cryoprotectant and assorted nutrients, and exposed to a temperature that was constant and extreme — minus 196 Centigrade.
At that time, in the 1980s, there was some dispute as to how long a frozen embryo was good for. Different governments held different views. In the UK frozen embryos were routinely disposed of when they were ten years old. The belief was that our cells deteriorated, forfeiting the resilience necessary to survive the thawing process. But no one really knew. The science was still in its infancy, and research had yet to produce definitive results. Such a curious notion, to be the defunct or superannuated version of something that hadn’t even existed. Like being a ghost, only the wrong way round. A ghost is somebody who has died but will not disappear. Can a ghost also be somebody who has never lived? Are there ghosts at either end of life?
The years went by.
Every now and then, and just for a few seconds, the lid was lifted off the storage tank and a torrent of white light poured down through the swirling mist. A number of embryos would be removed, but I remained where I was, in my see-through straw. The lid was replaced. Darkness descended once again.
Another beautiful September. The sun richer, more tender, the color of old wedding rings. Rome filling up again, people back at work after the holidays. I ride through the city, over potholes and cobbles, the sky arranged in hard blue blocks above the rooftops. The swallows have returned as well, flashing between the buildings in straight lines as if fired from a gun. I park my Vespa outside the station and walk in through the entrance.
It was spring when I first started noticing the messages. Back then, they were cryptic, teasing. While crossing Piazza Farnese, I found a fifty-euro note that had been folded into a triangle. A few days later, at the foot of the Spanish Steps, I found a small gray plastic elephant with a piece of frayed string round its neck. I found any number of coins, keys, and playing cards. None of these objects had anything specific to communicate. They were just testing my alertness. They were nudges. Pokes. Nonetheless, I felt a thrill each time, a rocket-fizzle through the darkness of my body, and I took photos of them all and stored them on my laptop, in a file marked
INTELLIGENCE
. The weeks passed, and the world began to address me with more precision. In May I stopped for a
macchiato
near the Pantheon. On my table was a scrap of paper with a phone number on it. I recognized the prefix — Bologna — and called the number. A woman answered, her voice hectic, a baby
crying in the background. I hung up. The scrap of paper was a message, but not one I needed to pay attention to. In June I entered a changing cubicle in a shop on Via del Corso. Lying on the floor was a brochure for a French hotel. “Conveniently located for the A8,” the Hôtel Allure offered a “high standard of accommodation.” I borrowed my friend Daniela’s car on a Friday afternoon and drove for seven hours straight, past Florence and Genoa, and on around the coast to Nice. At midnight the hotel’s neon sign floated into view, the black air rich with jasmine and exhaust. I spent most of the next day by the pool. The hot white sky. The rush of traffic on La Provençale. In the early evening a man pulled into the car park in a silver
BMW
. He stood at the water’s edge, his shirtsleeves rolled back to the elbow. His name was Pascal, and he worked in telecommunications. When he asked me out to dinner — when he put that question — I somehow realized he wasn’t relevant. If the Hôtel Allure was a mistake, though, it was a useful one. I’ve been imagining a journey ever since.