Last few paragraphs in the 'ATONEMENT'
                                                                    ----by IAN MCEWAN

' Now it is five in the morning and I am still at the writing desk, thinking over my strange two days. It 's true about the old not needing sleep - at least, not in the night. I still have so much to consider, and soon, within the year perhaps, I'll have far less of a mind to do it with. I've been thinking about my last novel, the one that should have been my first. The earliest version, January 1940, the lastest, March 1999, and in between, half a dozen different drafts. The second draft, June 1947, the third . . . who cares to know? My fifty - nine - year assignment is over. There was our crime - Lola's, Marshall's, mine - and from the second version onwards, I set out to describe it. I've regarded it as my duty to disguise nothing - the names, the places, the exact circumstances - I put it all there as a matter of historical record. But as a matter of legal reality, so various editors have told me over th years, my forensic memoir could never be published while my fellow criminals were alive. You may only libel yourself and the dead. The Marshalls have been active ab out the courts since the late forties, defending their good names with a most expensive ferocity. They could ruin a publishing house with ease form their current accounts. One might almost think they had something to hide. Think, yes but not write. The obvious suggestions have been made - displace, transmute, dissemble. Bring down the fogs of the imagination! What are novelists for? Go just so far as is necessary, set up vamp inches beyond the reach, the fingertips of the law. But no one knows these precise distances until a judgment is handed down. To be safe, one would have to be bland and obscure. I know I cannot publish until they are dead. And as of this morning, I accept that will not be until I am. o good, just one of them going. Even with Lord Marshall's bone - shrunk mug on the obituary pages a last, my cousin from the north would not tolerate an accusation of criminal conspiracy.

There was a crime. But there were also the lovers. Lovers and their happy ends have been on my mind all night long. As into the sunset we sail. And unhappy inversion. It occurs to me that I have not travelled so very far after all, since I wrote my little play. Or rather, I've made a huge digression and doubled back to my starting place. It is only in this last version that my lovers end well, standing side by side on a South London pavement as I walk away. All the preceding drafts were pitiless. But now I can no longer think what purpose would be served if, say, I tried to persuade my reader, by direct or indirect means, that Robbie Turner died of septicaemia at Bray Dunes on 1 June 1940, or that Cecilia was killed in September of the same year by the bomb that destroyed Balham Underground station. That I never saw them in that year. That my walk across London ended at the church on Clapham Common, and that a cowardly Briony limped back to he hospital, unable to confront her recently bereaved sister. That the letters the lovers wrote are in the archives of the War Museum. How could that constitute an ending? What sense or hope or satisfaction could a reader draw from such an account? Who would want to believe that they never met again, never fulfilled their love? Who would want to believe that, except in he service of the bleakest realism? I couldn't do it to them. I'm too old, too frightened, too much in love with the shred of life I have remaining. I face an incoming tide of forgetting, and then oblivion. I no longer possess the courage of my pessimism. When I am dead, and the Marshalls are dead, and the novel is finally published, we will only exist as my inventions. Briony will be as much of a fantasy as the lovers who shared a bed in Balham and enraged their landlady. No one will care what events and which individuals were misrepresented to make a novel. I know there's always a certain kind of reader who will be compelled to ask, But what really happened? The answer is simple: the lovers survive and flourish. As long as there is a single copy, a solitary typescript of my final draft, then my spontaneous, fortuitous sister and her medical prince survive to love.

The problem these fifty - nine years has been this: how can a novelist achieve atonement when, with her absolute power of deciding outcomes, she is also God? There is no one, no entity or higher form that she can appeal to, or be reconciled with, or that can forgive her. There is nothing outside her. In her imagination she has set the limits and the terms. No atonement for God, or novelists, even if they are atheists. It was always an impossible task, and that was precisely the point. The attempt was all.

I've been standing at the window, feeling waves of tiredness beat the remaining strength from my body. The floor seems to be undulating beneath my feet. I've been watching the first grey light bring into view the park and the bridges over the vanished lake. And the long narrow driveway down which they drove Robbie away, into the whiteness. I like to think that it isn't weakness or evasion, but a final act of kindness, a stand against oblivion and despair, to let my lovers live and to unite them at the end. I gave them happiness, but I was not so self - serving as to let them forgive me. Not quite, not yet. If I had the power to conjure them at my birthday celebration . . . Robbie and Cecilia, still alive, still in love, sitting side by side in the library, smiling at The Trials of Arabella? It's not impossible.

But now I must sleep.'

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Do everything you can to protect the hope until death.

<FIN.>