XXXIX

In Which We Step Forward in Time

THERE IS A HOUSE on the outskirts of a town far from Biddlecombe, a house old and full of character. Its gardens are neatly tended, but there is space in them, too, for ancient trees and blackberry bushes, for a little chaos amid the order. On this day the sun is shining, and the house is filled with people. There are children, and grandchildren, and even some great-grandchildren. A man and woman, both still lively and bright despite their years, are celebrating their fiftieth wedding anniversary. There will be cake, and songs, and laughter.

A small table has been cleared in the living room, and on the table sits their wedding album. It contains all of the usual photographs that one might expect to see from such an occasion: the bride arriving, the ceremony, the couple leaving the church in a cloud of confetti, the hotel, the dinner, the dancing. Here are the parents of the bride and the parents of the groom, basking in the happiness of their children; there, guests cheering and raising glasses. It is a record not only of one day, but of many lives lived until that moment, of friends made and not forgotten.

The final photograph is a group picture: all of those in attendance are gathered together, row upon row: tallest at the back, shortest at the front. Most people who leaf through the album just glance at it and move on. They have seen enough photos by then. There is food to be eaten, and champagne to be drunk. There is even some beer, for Spiggit’s has brewed a special ale for the occasion. It is called Spiggit’s Old Faithful, and those who have tried it swear that it is very good once their memory has returned. The brewers are here somewhere, too. They are giving rides on their backs to small children, who don’t care that they smell a little odd and can only say “Hurh!”

But those who take the time to look more closely at this last photograph in the album might pick out what appears to be a small, gelatinous being in the bottom right-hand corner. He is wearing a top hat, and has borrowed a bow tie for the occasion. To his left, wearing a suit with one sleeve on fire, is a man disguised as a ferret, or a ferret disguised as a man. Whatever he is, he is grinning broadly, mostly because he has not yet noticed the flames.

The bride and groom stand in the middle of the front row. Maria looks beautiful, and Samuel looks like a man who knows that the woman beside him is beautiful, and that she loves him, and he loves her. At their feet sits a small dachshund. He is not Boswell—for Boswell has gone to another place—but the son of Boswell, and yet the spirit of his father lives on in him.

To Samuel’s right is a figure dressed in a very elegant dark suit. His skin has a slightly greenish tinge to it, although that might just be a problem with the camera. His chin is very long, and tilts upward at the end so that, in profile, he resembles a crescent moon. He has a white flower in his buttonhole, and he is content.