with time and with his dreams. The difficulty of sleeping, even in a darkened room, disturbed everyone – there was the sense of time wasted and yet time unpassed as the sun hung stationary in the sky – but Halliday in particular found himself obsessed by his broken dreams. Time and again he would wake with an image before his eyes of the moonlit squares and classical façades of an ancient Mediterranean town, and of a woman who walked through colonnades in a world without shadows.
This warm night world he could find only by moving south. Two hundred miles to the east of Trondheim the dusk line was a corridor of freezing wind and ice, stretching on into the Russian steppe, where abandoned cities lay under the glaciers like closed jewels. By contrast, in Africa the night air was still warm. On the west of the dusk line was the boiling desert of the Sahara, the sand seas fused into lakes of glass, but along the narrow band of the terminator a few people lived in the old tourist towns.
It was here, at Columbine Sept Heures, an abandoned town beside the drained river five miles from Leptis Magna, that he first saw Gabrielle Szabo walking towards him as if out of his dreams. Here, too, he met Leonora Sully, the fey unconcerned painter of bizarre fantasies, and Dr Richard Mallory, who tried to help Halliday and bring back his dreams to him.
Why Leonora was at Columbine Sept Heures Halliday could understand, but sometimes he suspected that Dr Mallory’s motives were as ambiguous as his own. The tall aloof physician, eyes forever hidden behind the dark glasses that seemed to emphasize his closed inner life, spent most of his time sitting in the white-domed auditorium of the School of Fine Arts, playing through the Bartok and Webern quartets left behind in the albums.
This music was the first sound Halliday heard when he arrived at the desert town. In the abandoned car park near the quay at Tripoli he found a new Peugeot left behind by a French refinery technician and set off south along the seven o’clock line, passing through the dusty towns and the half-buried silver skeletons of the refineries near the drained river. To the west the desert burned in a haze of gold under the unmoving sun. Rippled by the thermal waves, the metal vanes of the waterwheels by the empty irrigation systems seemed to revolve in the hot air, swerving toward him.
To the east the margins of the river were etched against the dark horizon, the ridges of exposed limestone like the forestage of the twilight world. Halliday turned toward the river, the light fading as he moved eastward, and followed the old metal road that ran near the bank. The centre of the channel, where white rocks jutted from the drifts of pebbles, lay like the spine of an ancient saurian.
A few miles from the coast he found Columbine Sept Heures. Four tourist hotels, their curtain walls like dead mirrors, stood among the dunes that drifted through the streets and overran the chalets and swimming pools near the Fine Arts School. The road disappeared from sight outside the Oasis Hotel. Halliday left the car and walked up the steps to the dust-filled lobby. The sand lay in lacelike patterns across the tiled floor, silting against the pastelcoloured elevator doors and the dead palms by the restaurant.
Halliday walked up the stairway to the mezzanine, and stood by the cracked plateglass window beyond the tables. Already half submerged by the sand, what remained of the town seemed displaced by the fractured glass into another set of dimensions, as if space itself were compensating for the landscape’s loss of time by forcing itself into this bizarre warp.
Already decided that he would stay in the hotel, Halliday went out to search for water and whatever food supplies had been left behind. The streets were deserted, choked with the sand advancing toward the drained river. At intervals the clouded windows of a Citroën or Peugeot emerged from the dunes. Stepping along their roofs, Halliday entered the drive of the Fine Arts School. Against the cerise pall of the dusk, the angular building rose into the air like a white bird.
In the students’ gallery hung the fading reproductions of a dozen schools of painting, for the most part images of worlds without meaning. However, grouped together in a small alcove Halliday found the surrealists Delvaux, Chirico and Ernst. These strange landscapes, inspired by dreams that his own could no longer echo, filled Halliday with a profound sense of nostalgia. One above all, Delvaux’s ‘The Echo’, which depicted a naked Junoesque woman walking among immaculate ruins under a midnight sky, reminded him of his own recurrent fantasy. The infinite longing contained in the picture, the synthetic time created by the receding images of the woman, belonged to the landscape of his unseen night. Halliday found an old portfolio on the floor below one of the trestles and began to strip the paintings from the walls.
As he walked across the roof to the outside stairway above the auditorium music was playing below him. Halliday searched the faces of the empty hotels, whose curtain walls lifted into the sunset air. Beyond the Fine Arts School the chalets of the students’ quarter were grouped around two drained swimming pools.
Reaching the auditorium, he peered through the glass doors across the rows of empty seats. In the centre of the front row a man in a white suit and sunglasses was sitting with his back to Halliday. Whether he was actually listening to the music Halliday could not tell, but when the record ended three or four minutes later he stood up and climbed onto the stage. He switched off the stereogram and then strolled over to Halliday, his high face with its slightly inquisitorial look hidden behind the dark glasses.
‘I’m Mallory – Dr Mallory.’ He held out a strong but oblique hand. ‘Are you staying here?’
The question seemed to contain a complete understanding of Halliday’s motives. Putting down his portfolio, Halliday introduced himself. ‘I’m at the Oasis. I arrived this evening.’
Realizing that the remark was meaningless, Halliday laughed, but Mallory was already smiling.
‘This evening? I think we can take that for granted.’ When Halliday raised his wrist to reveal the old 24-hour Rolex he still wore, Mallory nodded, straightening his sunglasses as if looking at Halliday more closely. ‘You still have one, do you? What is the time, by the way?’
Halliday glanced at the Rolex. It was one of four he had brought with him, carefully synchronized with the master 24-hour clock still running at Greenwich Observatory, recording the vanished time of the once-revolving earth. ‘Nearly 7.30. That would be right. Isn’t this Columbine Sept Heures?’
‘True enough. A neat coincidence. However, the dusk line is advancing; I’d say it was a little later here. Still, I think we can take the point.’ Mallory stepped down from the stage, where his tall figure had stood over Halliday like a white gallows. ‘Seven-thirty, old time – and new. You’ll have to stay at Columbine. It’s not often one finds the dimensions locking like that.’ He glanced at the portfolio. ‘You’re at the Oasis. Why there?’
‘It’s empty.’
‘Cogent. But so is everything else here. Even so, I know what you mean, I stayed there myself when I first came to Columbine. It’s damned hot.’
‘I’ll be on the dusk side.’
Mallory inclined his head in a small bow, as if acknowledging Halliday’s seriousness. He went over to the stereogram and disconnected a motor car battery on the floor beside it. He placed the heavy unit in a canvas carryall and gave Halliday one of the handles. ‘You can help me. I have a small generator at my chalet. It’s difficult to re-charge, but good batteries are becoming scarce.’
As they walked out into the sunlight Halliday said, ‘You can have the battery in my car.’
Mallory stopped. ‘That’s kind of you, Halliday. But are you sure you won’t want it? There are other places than Columbine.’
‘Perhaps. But I take it there’s enough food for us all here.’ Halliday gestured with his wristwatch. ‘Anyway, the time is right. Or both times, I suppose.’
‘And as many spaces as you want, Halliday. Not all of them around you. Why have you come here?’
‘I don’t know yet. I was living at Trondheim; I couldn’t sleep there. If I can sleep again, perhaps I can dream.’
He started to explain himself but Mallory raised a hand to silence him. ‘Why do you think we’re all here, Halliday? Out of Africa,