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“Away from Lev, she craves his need for her. When with him, it enervates. Why is that? She cannot help it. Nothing to be done. Only with her sister is she unfettered. Tasha never makes her think about it, the terrible stature of love. Its shape, size, weight, the long shadows it casts. With Tasha she never goes cold as stones in a river, as Lev will accuse. You are suddenly so cold! Cold as stones in a river! What have I done wrong? he complains. Nothing. Nothing, my darling.”

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“In London, Alexander knows, they like neither his sister nor himself. Society considers the Tsar silly and vain, a ballroom dancer with golden curls and a lorgnette up his sleeve, an aloof monarch who turns a deaf ear, as Napolean said of him at Erfurt, to anything he does not want to hear. In effect, when the Tsar turns an ear, it is only to favour the right, as he is quite deaf in the left. Yes, Alexander loves to dance, he is myopic, he turns a deaf ear. What of it?”

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“He wonders aloud at the origins of valentining. 'You're right,' Rachel says. 'It is a verb. Can be. And birds valentine each other, make mating calls. And usually mate in mid-February. You see?' 'But why Valentine?' asks Zach. 'Why valentining?' 'There were many Saint Valentines,' offers Tasha. 'I don't know what the link is between their martyrdom and love letters.' Zach is not very interested in the old tradition or the archaic verb. He is not bothered by the mating calls of passerines or the saints named Valentine and their associated symbols—he is merely fishing. Does Rachel think the tradition silly? If he were to send her a valentine, how strange would that be?”

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“Rachel thinks, What long fingers Mama has, like wands in fairy tales. All the better to conduct with my dear! Ekaterina Wolff has conduits for fingers. Rachel muses on the conducting of music and the conducting of electricity, and of the yellow sign depicting a man falling, struck by a current. Danger of death! What fells the man? A powerful conduction of electricity? Of thought? Of sound? Which? Perhaps the man is felled by music. In the sign, he falls backwards.”

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“A fighter, muses Rachel, is a fighter through and through, consistently irregular, a fighting man on every scale. Fractal, fractious, with a rough complexity! Nothing she can do. A fractal, Papa once told her, is a way of seeing infinity. In Zachariah, she sees infinity. Mandelbrot famously wrote a paper called 'How Long Is the Coast of Britain?,' the answer to which, of course, is that it depends how you look at it. The closer one looks, the larger it is. And more and more intricate, on an infinite scale. There is a template for all things.”

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“A year later, there is another miscarriage, another lost boy, and then an operation, and Rachel is in a muddle. Another missed carriage, she hears, conjuring a vision of Mama in a typical dash from the house, hurrying for trains to other cities where she will conduct music and choirs. Rachel sees Katya on a railway platform, suitcase and baton box in hand, but Mama is too late, the train hurtles by, screaming through the arches, a great train of missed carriages. Rachel's night-time wish is granted then, that though Katya has left her once again, she must return home as quickly. She has missed her carriage. 'Mama,' Rachel whispers into the night bedroom air, 'Mama, hurry home!”

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“It is perfectly scientific,' Lev protests, rising to draw the heavy dining room curtains against the streetlamp light, reducing it to a glow that bleeds amber round the edges and between the panels of plum brocade. Lev turns back into the room but stays by the window a moment to observe the new play of light, the chandelier casting shards of glitter upon mahogany and bold shadows across the high brow and long sharp plains of Katya's timeless face. Oh my wife.”

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“The hours stretch out in summer, the evenings go on and on; has he lost track of hours? Where are you, Zachariah? Come home! Rachel stands by the windows again, listening to the thrum in Camden Road and the Gardens behind, everything noisier on long summer afternoons, streets and voices, people speaking louder even face-to-face as if fighting to be heard over the seasonal rush of blood, over the bright light and heightened smells and unusual clamour of days. The city transfigured this year almost overnight and it has not rained in weeks. How the sun shines, how the rain falls, the qualities of light and precipitation, London has a microclimate all its own. London weather has powers of change, change and conjuration.”

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“Rachel watches Zachariah and often, quite regularly, her heart skips a beat. If you map the ECG of the heart in phase space, its strange attractor resembles a spider. When Lev tutors Rachel in the principles of complexity, he has a dream of determinism, immanence. Through chaos, he shapes her. Through it he owns her. . . . When he teaches her to love the principles of complexity and see patterns in everything, the strange attractor that is Rachel and Zachariah is not what he had in mind; it is not a phase space he ever imagined.”

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“Rachel believes in it, the laws of of pattern formation and how they are universal: whatever she sees, crystallizing, a landscape of fractals, of emergence and symmetry, her world falling happily into shape where he must forge it, a pioneer of industry, sooty and scarred. For Rachel Wolff, quite simply, there are patterns everywhere, she can't help it; she is an illustrator, naturalist, cartographer—and her eye, a kaleidoscope.”

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