Nikki Gemmell’s Threesome: The Bride Stripped Bare, With the Body, I Take You. Nikki Gemmell
22
making a noise is of itself healthy, when no one is inconvenienced or annoyed by it
Sometimes you wonder if your husband really likes women. He speaks dismissively of your girlfriends and female colleagues, doesn’t want a wife who’s pushy or loud, gets annoyed if you talk to your girlfriends too boomingly on the phone and winces if you shriek. He doesn’t like excesses in women of any kind. He niggles when you don’t dry yourself thoroughly after the bath, says it’s so moist down there you must be growing a jungle. His genitals smell unoffensive, milder than your own.
Cole’s parents are very together, very solidly, defensively middle class. They don’t think you’ll look after their son well enough. His mother communicates all her vigour through her cooking and is horrified you’ve only recently learnt how to do a roast. She sends correspondence, persistently, to Mr and Mrs C. McCain despite you telling her you haven’t changed your name.
Cole thinks your family is eccentric. It used to be delightfully, exotically so, until he got to know them. Your great-great-grandfather made his fortune importing tea from India and your father’s cousin frittered away the remains of the family wealth on drinking and drugs. Your father was from the poor side of the family and was meant to work but never got around to it. He was charming and roguish, all blond hair and cheekbones in his youth, until drink sapped his looks. You adored him because you never saw him enough. He survived by periodically cashing in shares of the family business until he died, when you were nineteen, of drunkenness and poverty and a spineless life.
It broke your heart. Seeing him during your teenage years seemed to consist, almost entirely, of a series of journeys to and from school. He’d pick you up in his old black Mercedes that looked like a relic from some totalitarian regime, and drive and drive, picking the smallest, most winding country lanes to get you to London. It was only in the car that you ever seemed to talk, because his girlfriend, Karen, always made it difficult when you were in their flat; butting into your time and crying over God knows what. Your father’s affection was reserved for the road or the odd moments when Karen was out of the room, when he’d lean across and whisper I love you as if it was a secret between you. His voice, now, is what you remember most.
Your parents’ marriage lasted four months. Your mother left its volatility two weeks after you were conceived, left it to hunt for fossils. She’d studied palaeontology at university but had halted the career to be the wife. Your father refused to live anywhere but London even though your mother was an asthmatic who dreamt of a light that would sing in her lungs. Work provided that, and so as a child you lived in a succession of places that were singed by the sky until the courts intervened, at your father’s orders (the only thing he ever managed to do in his life, snapped your mother, more than once) and you were sent back to England, the land of soft days, and, when you grew up, orgasmless fucks.
People who know nothing of your family find it fascinating and charming and extreme but Cole now knows the truth, that little of that extremity has rubbed off on you; it’s only reinforced your own caution. You’ve had to be sensible, had to make a living amid all the chaos.
Cole says your mother is bruised by bitterness, that she’s menopausal and mad and he fears you’ll turn into her. He doesn’t enjoy visiting her cottage on the north Yorkshire coast, an area that’s rich in the fossils of marine reptiles and fish. It’s wilfully remote and she’s hardly ever home because she’s always off on a dig. He doesn’t enjoy the way she absently picks up his toothbrush to scrub at a piece of sandstone she’s working on (or perhaps deliberately, but you could never tell Cole that) and clutters her house with old bones and rocks. Cole finds her selfish and sloppy: she’s the type of person who washes up in lukewarm water, he said once, and you laughed at the time but didn’t forget.
You’ve tried hard to be nestled within Cole’s family, to be the good wife, but they never trust you enough. Cole doesn’t understand that a stable family’s one of the most desirable things of all when you’ve come from a fractured childhood, doesn’t understand the terrible, Grand Canyon loneliness you feel within his. But you have each other, a sure path, a certainty. Home fills his heart when Cole’s on the road, he just longs for the vivid tranquillity of your flat. It’s his sanctuary from all the anxiety of the world: paintings too traumatised to repair and canny fakes and deadlines impossible to meet. You’re careful not to butt anything too unsettling into his stressful life for you’re so lucky, you know that. Your husband’s a modern man who’s generous and thoughtful, who cooks and cleans; who’s devoted, Theo says, you’re one of the few couples who are truly happy. And she should know. She’s seen a lot of couples. When the women bring their men for coaching sessions to her studio she literally gets into the bed with them both, armed with a pair of latex gloves and a vibrator.
I’d love to have a session with you guys, she’s said, as if she wants to bottle the secrets of why your relationship works.
God no, you’d replied, laughing, appalled. You’ve never been able to shit in a public loo if another woman was in the room, let alone have sex. When you shared a shower with Theo, at the age of thirteen, it was so excruciating that you vowed you’d never get yourself into such a situation again. You could strip off at a doctor’s surgery or in a public gym, where you were utterly anonymous, but it was another matter entirely with someone you knew, and so well.
No one, though, has any idea of the churn of a secret life. Your desire to crash catastrophe into your world is like a tugging at your skirt. But only sometimes, and then it’s gone. With the offer of a bath, or a cup of tea, or the dishes done.
the importance of needlework and knitting
You have a book given to you by your grandfather that’s a delicious catalogue of unseemly thoughts:
That a wife should take another man if her husband is disappointing in the sack.
That a woman’s badness is better than a man’s goodness.
That women are more valiant than men.
That Adam was more sinful than Eve.
It was written anonymously, in 1603. It’s scarcely bigger than the palm of your hand. The paper is made of rag, not wood pulp, and the pages crackle with brittleness as they’re turned. You love that sound, it’s like the first lickings of a flame taking hold. The book is tided A Treatise proveinge by sundrie reasons a Woemans worth and its words were contained once by two little locks that at some point have been snapped off. It smells of confinement and secret things.
You imagine a chaste and good wife writing secretly, gleefully, late at night and in the long hours of the afternoon. A beautiful, decorative border of red and black ink hems each page. It’s a fascinating, disobedient labour of love. You wear cotton gloves to open it. You’ll never sell it.
It’s been in the family for generations. A rumour persists that the author’s skeleton was found in some cupboard under a staircase, that she’d been locked into it after her husband discovered her book. Your father told you stories of her scrabbling at a door and crying out and of her despairing nail marks gouged into the wood, but you suspect the reality is much more prosaic: that your great-grandfather acquired the book at auction, as a curiosity, and it may even have been written by a man, as an enigmatic joke.
Cole calls it The Heirloom, or alternatively, The Scary Book. He teases that he’ll toss it in the bin if you’re naughty, or lock you in the cupboard and never let you out. You love all this banter between you; he makes you laugh so much. You never see any irony in it. He calls the bits and pieces of your father’s furniture dotted about the flat The Ruins. And you, affectionately, The Old Boot. It never fails to get a rise out of you; Cole loves seeing that.