Nicholas Spice

Of all the raw deals meted out in the Bible – not excluding Job’s or that blighted fig tree’s – Moses surely suffered the meanest. After all he had gone through for Yaweh and the Chosen People, his exclusion from the Promised Land within sight of it was cruelly unfair. Or so it seemed to my child’s mind, as repeatedly in Scripture classes and Sunday school we rehearsed the story of the Exodus, the 40 years wandering in the wilderness and the entry of the Children of Israel into the Land of Canaan. My sense of solidarity with the patriarch, in which I am sure I was not alone, was mixed with awe that this sort of thing could happen to grown-ups too, and behind that a dim perception that perhaps it was in the nature of promised lands and the bid to reach them that they should entail a high vulnerability to disappointment and dashed hopes. Clearly, growing up was no solution, unless growing up meant putting by such longings altogether.’

‘A novel must be a house,’ wrote Iris Murdoch in 1960, ‘fit for free characters to live in.’ The Good Apprentice carries within it an apt image of itself as a house. Seegard stands in a coastal fen within sight of the sea. Architecturally it is singular and original, the creation of Jesse Baltram, an artist of disputed greatness who specialises in paintings with a heavily symbolic content. ‘A long high almost windowless building’ connects at one end to something that looks like an 18th-century house, and at the other to a tall, hexagonal, concrete tower. From the outside, Seegard is a ‘weird-looking object’ with features that can only be understood when one has explored it thoroughly from within. From a distance, it is hard to ‘read’:

‘Il Figlio dell’Uomo’, ‘The Son of Man’, an essay by Natalia Ginzburg written in 1946 for the paper Unita, begins: ‘There has been a war and people have seen so many houses reduced to rubble that they no longer feel safe in their own homes which once seemed so quiet and secure. This is something that is incurable and will never be cured no matter how many years go by.’ Thirty-six years went by and in 1982, in Holland, Harry Mulisch published De Aanslag, a novel in which Anton Steenwijk, aged 12, watches his family home, the house he has grown up in, reduced, in a matter of minutes, to rubble, by the action of a couple of German grenades and a flamethrower. Standing around in the dark and the cold, ‘laughing and talking’, members of the Grüne Polizei warm themselves at the fire that is consuming Anton’s world, where only a moment earlier, quiet and secure, he had been playing ludo with his mother and brother before going up to bed. As the house collapses ‘under a fountain of sparks as high as a tower’, Anton hears a burst of machine-gun fire. He never sees his mother and father and brother again.

As a biology teacher at a large comprehensive school, my sister was given the job of taking the second-formers for sex education. To unblock inhibitions in the first lesson, she decided on a mild form of aversion therapy: covering the blackboard with taboo words, words normally out of bounds in the discourse between a teacher and her twelve-year-old pupils. She tried to include everything likely to embarrass them. But a small boy, anxious for the completeness of the inventory, put up his hand. ‘Please, miss,’ he mumbled, ‘you’ve missed something out.’ Scanning the shameless lexicon on the board and wracking her brains for obvious omissions, my sister asked the boy what he was thinking of, but no amount of persuasion would get him to say. After the lesson, when his peers were gone, he managed to tell her what he had in mind. ‘Breasts, miss,’ he hissed, ‘breasts’.

Norman Tebbit, Conservative Party Chairman, was displeased by television coverage of the American attack on Libya. British public opinion had swung so decisively against the raid, he said, because of the pictures people had seen on their television sets. Not pictures of bombed-out military installations, which would have been all right, but pictures of dead and wounded civilians. Pictures, in fact, not unlike those pictures of Mr Tebbit which became emblematic of the Brighton bombing two years ago, and which doubtless did a lot to turn the public against the justice of that assault too.