pulled from the sea.
The first is that Liam was wearing a short fluorescent yellow jacket when he died, like the ones railway workers and cyclists wear.
The second is that he had stones in his pockets.
The third is that he had no underpants on under his jeans, and no socks in his leather shoes.
The tides in Brighton are fast and they range far. He wore the jacket so he would be seen going into the water, and his body would be easily found. Liam, who could not organise a box of matches, was, on this occasion, fully organised.
The stones explain themselves.
It is the lack of underpants that makes me cry. Liam was never together, but he was always clean, and though he lived in various pits, they always had running water, he always knew where the nearest launderette might be found. He used an old-fashioned pink soap, with an industrial smell–I have no idea what it was called. I remember standing in the supermarket sniffing all the bars through the paper, ending up with some odourless stuff which he would not use. He put Coal Tar shampoo on his hair, and Listerine on his gums. He sprinkled anti-fungal powder everywhere and made demands for wet wipes beside the toilet. He flossed. His anti-perspirant would strip paint.
Liam took his underpants off because they were not clean. He took his socks off because they were not clean. He probably thought, as the cold water flooded his shoes, cleansing thoughts.
I know, as I write about these three things: the jacket, the stones, and my brother’s nakedness underneath his clothes, that they require me to deal in facts. It is time to put an end to the shifting stories and the waking dreams. It is time to call an end to romance and just say what happened in Ada’s house, the year that I was eight and Liam was barely nine.
Here is Ada’s good front room in Broadstone. The door is painted a white gloss, going yellow. Inside, the room is papered a dusty pink. There is a clapped-out sofa and the two stiff wing-chairs, but Ada has put a fantastic array of cushions on the dark slip-covers, and instead of pictures on the walls she has signed theatre photographs in their frames. The room is slap up against this street, so there is a beige roller blind as well as lace curtains, and from ceiling to floor, there are drapes of theatrical red. The window is the first thing you see as you walk in, it makes everything else seem dim, except for the mirror over the mantelpiece which reflects a bright slice of room. The door opens inwards and is near the hall door, so you have to walk right in to see who is there: Charlie asleep on the sofa–sometimes in his pyjamas–or Ada reading in the wing-chair that is set against the window for good light, or Mr Nugent sitting in the other wing-chair, on a Friday, while Ada avoids him in the kitchen, putting biscuits on a plate.
Some weeks she was not there for him at all. You never really knew where she was. We didn’t hang around Ada, who had a sharp enough way about her, and always had something to do. Ada liked her cup of tea, and when she sat for her cup of tea you could talk to her as much as you liked. The rest of the time we were, as all children were in those days, ‘in the way’.
So I spent much of my time moving from room to room, looking for something or avoiding something, it was hard to say what.
‘What are you doing there?’ Ada would say. ‘What are you doing there?’
There was a terrible boredom about the house, and I could never rid myself of it. Boredom lurked in the corners, and in the path to the garage, and in the little back yard. On this particular day I was variously bored on the stairs, or at the dining-room table, or in the hall, before I got bored again and decided to go into the good room.
What struck me was the strangeness of what I saw, when I opened the door. It was as if Mr Nugent’s penis, which was sticking straight out of his flies, had grown strangely, and flowered at the tip to produce the large and unwieldy shape of a boy, that boy being my brother Liam, who, I finally saw, was not an extension of the man’s