Fleet was even suspicious – although this was sheer paranoia on his part – that the leaky roof scenario was yet another complex gambit they’d suddenly dreamed up to foil his progress (since his quality time alone with the cathedral had been profoundly undermined by it).
The truth was that Elen and Dory hadn’t particularly minded the cathedral – at least, not at first. They’d found it charming; extraordinary, even (although – as was only to be expected – their tolerance of ‘difference’, or – worse still – of ‘eccentricity’, was entirely predicated by Isidore’s own mental health scenario. The question of heredity was naturally an explosive one).
Fleet’s burgeoning ‘obsession’ with structure (and they didn’t even dare use this key word in private together) had been some time in the making, although Isidore held himself chiefly responsible for initiating this current phase (which they both thought especially severe), after he’d idly bought Fleet a small, Airfix aeroplane from a closing-down sale in a local toy shop.
His son had always been a frail, cerebral little creature – physically unadventurous – and his father (in whom nature found the perfect, working definition of ‘robust’) battled constantly to try and toughen him up. He’d take him out for walks, or cycling, or to the park to mess around on the Adventure Playground. He tried to interest him in competitive sports.
Fleet absolutely dreaded these activity-based excursions, would be sullen, uncooperative, virtually monosyllabic. When his father threw a ball at him, he’d simply neglect to raise his hands, and if it hit him, he would buckle and fall, without a sound (like a tragic young soldier in a silent film, mown down, in his prime, on the front line).
Sometimes his mother joined them (acting as a buffer between her husband’s enthusiasm and her son’s recalcitrance) and he’d cling miserably to her skirts, begging her, in urgent whispers, to help him, to save him, to just take him home again.
Isidore felt like the whole world was alien to his son; that he was a stranger, dispositionally; that there was a quality within him which was fundamentally ‘foreign’ (this was something which he understood only too well himself – and why on earth wouldn’t he? It was the keynote of his own existence; something, as a German, an outlander, that he battled constantly to overcome). Yet he found Fleet’s total inability to fit in – the boy’s effortless facility for bucking and chafing against even the most basic of social conventions – unbelievably infuriating.
Home life wasn’t much better. When they’d moved to the new Cedar Wood development, Fleet had been inconsolable for weeks; kept feeling for the familiar walls of the old house whenever he walked in his sleep – as he sometimes would, when he was especially stressed – calling out, in sheer terror, when he couldn’t locate them; or, worse still, they’d discover him, pushing, exhaustedly (tears streaking his cheeks, panting for breath) against a solid surface, as if fully expecting that it might desolidify in front of him…(or that he might, even).
During his waking hours he rigorously avoided the new kitchen appliances, quivered at the bathroom taps, baulked at the low-flush toilet and the dimmer switches. He even had to re-learn how to use his fork (exactly the same fork he’d used at their previous address); would hold it, loosely, in his hand, head tipped on one side, like a suspicious young thrush, inspecting the prongs with a mixture of fury and wonder.
It was all a matter of context, Isidore felt, and a question of adaptation. Neither of these concepts had any kind of hold on him. His dreamy, impish mind would simply wriggle free and he’d be set loose in the world again, unconstrained by anything.
It was an awful kind of liberty.
Model building – on the other hand – was something they could share in, something simple and quiet and relaxing; a perfect opportunity – or so Dory thought – for a little gentle father and son bonding. After the plane they’d made a tank (Isidore still taking the lead at this stage, Fleet mainly standing by, standing back, observing), then a sports car.
They’d graduated on to aquatic vehicles – a hovercraft, a submarine. Finally, a boat. A big one. Fleet chose the model himself (as a special fifth birthday treat). He plumped for a clipper (a 200 foot-er).
He built the bulk of the main structure, virtually single-handed, in just under three days (the age recommendation of the box specified twelve years and over) then got caught up in the rigging – tangled, knotted – spent hours on end perfecting the whole thing, even adding – much to Isidore’s amazement – several home-made modifications where, apparently, ‘the model wasn’t proper.’
They’d visited the Cutty Sark, in Greenwich, as a family, when Fleet was just a toddler, and he’d completed a school project on deep sea diving (earning himself a much-coveted gold star), but these meagre, boat-related provenances were barely adequate – Dory felt – to justify the extent of his son’s precocity.
There were – inevitably – a few gaps in Dory’s memory at this stage (which didn’t really matter – he told himself – since even the most superficially straightforward child’s developmental progress was rarely – if ever – entirely linear) but the next thing he knew, Fleet was experimenting with the idea of making objects ‘from scratch’. They’d messed around with clay (Fleet had screwed up his face; the clay was too gloopy, too glutinous, he was far too fastidious), then wood (Elen had stepped in and insisted – much to Fleet’s irritation – that the boy was too small to handle sharp tools responsibly).
Then, finally, on an especially boring Sunday morning, Isidore had grabbed hold of a box of kitchen matches, rattled it, speculatively, tipped the matches out on to the table-top, unearthed a stray tube of glue in a nearby drawer, and quickly built a sentry box for one of Fleet’s highly prized, enamelled Beefeaters.
That was it.
Fleet dived straight on in (not a whiff of uncertainty, no whining or faltering) and carefully began constructing a long, formal, looping creation (like an early piece of lace or crochet, or a dramatically enlarged chromosome – a cell, or a gene – cut open, stretched out, unwound). It was flat-topped, 2 inches wide, several feet long. It was beautiful.
‘The Bridge’, he called it. His parents watched on in quiet bewilderment.
Elen immediately divined (it was a curious feeling, a familiar feeling) that something primal was connecting within him. She didn’t know what or why. But she could see that he was spanning some kind of a divide (mentally, physically, symbolically), that this behaviour was unusual, that it was out of the ordinary.
Suddenly, without warning, ‘The Bridge’ was quietly placed aside and superseded (no fuss, no fanfare) by a menacing, fortress-style basilica. And with the arrival of this ‘cathedral’ it became patently obvious that parental participation was no longer an issue.
Isidore wasn’t entirely certain (as a play-mate, or as a father) just how much of an influence he’d actually been on his son; whether Fleet’s obsession reflected well (or badly) on him. He had a nagging – an uncomfortable – feeling about the whole affair. Had he led the boy, or had the boy – somehow, ineluctably – led him?
Fleet seemed happy (at least, to start off with), and that (they told themselves) was the important part. He seemed more confident, more at ease, was ‘opening up’ (asking for things, making lists, barking out instructions if anyone dared to try and join in).
As parents (as guardians, even, with a vested interest in his welfare) their enthusiasm had waned marginally when he’d expanded his architectural portfolio to include not only ‘The Bridge’ and ‘The Cathedral’, but a cluster of brand-new, subsidiary properties (a large, secondary building – down what was now ‘The Hill’ a-way – which he described as ‘The Palace’, then, shortly after, another