‘That’s right. You can tell Lorna the memorial should be ready tomorrow.’
‘Excellent. Gerry, Lorna’s so grateful you’ve agreed to say a few words about Billy. The sense of a community coming together is so important at a time like this.’
The sense of a community coming close together was very much what Sam was getting. And maybe she was being neurotic, but she felt a sense of relief here too, as at a problem solved or at least sidelined.
She said, ‘I’ll get out of your hair. Thanks again for your help. Have a nice day.’
Not perhaps the most apt form of farewell to men about to screw down a coffin and get ready for a funeral, but if it confirmed them in their Pom prejudices that she was an uncouth young Aussie who stuck her nose in where she wasn’t wanted and fell off ladders, that was OK by her.
Outside she saw that the grave-digger with the odd name—Laal Gowder, was it?—had disappeared, his job presumably completed. It was to be hoped so, as the church gate now screeched open to admit what were presumably the first of the mourners.
The wind had become intermittent, but a sudden gust strong enough to support Thor Winander’s theory sent a chill down her body. She glanced down and realized that the soaking she’d given herself from the font had left her looking like an entrant in a wet T-shirt competition. Not a very strong entrant, in view of her shallow frontage, but hardly what a grieving family might want to encounter so close to the dead boy’s grave.
She headed round the back of the church, thinking she might find another way out here. But when she put the building between herself and the road, she pulled up short.
Here, at the centre of a quincunx formed with four yew trees which overshaded but did not overpower it, stood what must be the famous cross mentioned by Mrs Appledore.
It was at least fifteen feet high. Its shaft was ornately carved with intricate knotwork patterns interspersed with panels depicting various human and animal forms. The most striking image, both because of the vigour of the carving and its position at the centre of the wheelhead crosspiece, was a wolf’s head. Its gaping jaws were wedged open by a sword, but the one huge visible eye seemed to glare straight down at Sam, tracking her hesitant approach, promising that this state of impotence was temporary.
She broke eye contact to look at the Guide. This informed her in measured prose that the cross was Viking of the ninth century. Like many similar crosses, it made use of old Norse mythology to convey the new Christian message. The Reverend Peter K. commended the craftsman’s skill and gave a detailed interpretation of the symbols used.
The huge snake coiled around the lowest section of the shaft base devouring its own tail was at the same time Satan seducing Eve, and Jormungand, the great serpent which encircles Midgard in the northern legends, while the figure leaning out of a boat and beating the serpent’s head with a hammer was both the thunder god, Thor, and Christ harrowing Hell. As for the wolf, this was the beast Fenrir, which the Nordic gods thought they had rendered impotent by setting a bridle round its neck and a sword in its jaws. Eventually, however, it would break loose to join in that destruction of the physical universe called by pagans Ragnarokk or the Twilight of the Gods, by Christians Judgment Day.
Whether this meant the wolf was a good or a bad thing wasn’t all that clear.
There were two other problematic areas. One was a front panel from which the image had disappeared almost completely. This defacement, Peter K. theorized, probably occurred in 1571 when a group of iconoclasts toppled the Wolf-Head Cross. It lay in several pieces for nearly twenty years and it was only when it was repaired and re-erected that the second problematic inscription was discovered on the lowest vertical of the stepped base. The symbols revealed didn’t look like anything else on the cross. A series of vertical lines with a stroke through them (runic? postulated Peter K.); an inverted V, and another with the lines slightly extended to form a disproportioned cross (Greek?); an oval with two wavy lines through it (hieroglyphic?); and a surround of swirls and whorls.
Sam was amused by the number and variety of ‘expert’ interpretations: a prayer for the soul of a local bishop; a verse from a hymn to an Irish saint; a magical invocation.
That was always the trouble. Like some proofs in maths, once you got started, the sky was the limit, but often it was finding the right place to start that was the big hold-up.
Illthwaite, she told herself firmly, was a wrong start point. All she could hope was that the dark man at the Stranger House would let her enjoy a good night’s sleep, then up in the morning and on to Newcastle.
And if there was nothing new there, then maybe it was time to follow Pa’s example and let the dead take care of the dead.
With her back to the church she took a last look up at the Wolf-Head Cross. What had this remote and eerie place been like when those distant inhabitants had decided fifteen feet of carved granite was what they needed to make life comprehensible? Indeed, what had attracted them to settle in this dark and dreary valley in the first place?
Well, whatever it was, it looked like it had worked. Centuries later, and their descendants were still here, though maybe more under the earth than over it.
She shivered at the thought and forced her gaze away from the intricate scrollery of the carving which led you round and round into places you didn’t want to go, and eventually, inevitably, back to the eye of the wolf. She checked out the high wall beyond for another exit gate but found none. What she did notice was that the sheep-grazed neatness and order which prevailed elsewhere was scutched here by an outcrop of briar and nettles and rosebay willowherb against a small section of the wall. As the gusting wind moved among this vegetation, out of the corner of her eye she got a brief impression of lines more regular than those provided by the curved stones with their tracery of mortar. She advanced beyond the cross and squatted to take a closer look.
The briar was studded with such ferocious hooks that she could see why the sheep avoided grazing here. It was hard enough for her to brush aside the veiling vegetation but she finally succeeded at the price of several scratches and stings.
Her reward was to discover her glimpse of regularity hadn’t been delusive. On a huge base stone someone had carved a quatrain of verse, arranging it in a perfect square.
She read the first line and felt the ground tremble beneath her feet as though the ancient dead were turning in their long sleep.
Here lies Sam Flood
She steadied herself with one hand on the cool damp turf and blinked to bring the stone back into focus. Then she read on.
Here lies Sam FloodWhose nature bid himTo do much good.Much good it did him.
Nothing else. No date, no pious farewell, not even an RIP.
She stood up and watched as the wind rearranged the briars and nettles till the carving was once more invisible.
She thought she heard a noise and turned quickly. She was sure she glimpsed a movement on the tower. Well, almost sure. That bloody tower could easily become an obsession. She certainly wasn’t going to interrupt the funeral service to take a look. Probably it was pure fancy, and the sound had come from the stomach of a nearby sheep.
But suddenly the cross, the four dark yews, the crouching building, were an insupportable burden.
She hurried round the side of the church and up the path to the gate.
As she reached it, suddenly there was a burst of sound from behind, the voices of what must be a large congregation upraised in a hymn. There didn’t seem to be any musical accompaniment but she could make out the words quite clearly.
Day of wrath! O day of mourning!See fulfilled the prophet’s warning!Heav’n and earth in ashes burning!
Above the