“Something fishy has occurred,” says my father.

There are now two cars in the front garden, and they are parked in such a way that my father has to squeeze up against the prickly pyracantha hedge to get to his front door. The thorns catch at his coat, and sometimes scratch his face and hands.

“This is ridiculous,” I say to my father. “She must take her cars away.”

I telephone Ms Carter, and she writes to Valentina’s solicitor. Still nothing happens. I telephone a second-hand dealer, and offer them for sale at an advantageous price. He is very interested in the Roller, but backs off as soon as I tell him there are no papers. I don’t even get to mention that there are also no keys.

“But couldn’t you just tow them away, and use them for parts or scrap?”

“You need a registration document, even to scrap a car.”

Valentina’s solicitor has stopped responding to our letters. How are we to persuade Valentina to move the car, when we do not even know where she lives? Vera recommends Justin, the five-o’clock-shadow man who delivered the divorce papers to Valentina. I have never hired a private detective before. The idea seems fantastic-something people in TV thrillers do.

“My dear, you will find him quite exciting,” says Vera.

“But won’t she recognise him? Won’t she spot the black BMW outside her house?”

“Oh, I’m sure he will go undercover. Probably he has an old Ford Escort he uses for such occasions.”

I contact Justin through Ms Carter and leave a long rambling message on his answering machine, for I have no idea what I really want to say. He rings me back in a few minutes. His voice is deep and confident, with traces of the Fenland accent that he has tried to iron out. He is sure he can help me. He has contacts in the police and in the council. He takes down all the details I can give him, her variously spelled names, her date of birth (unless she has made that up too), her National Insurance number (I found it on one of the papers in the car boot), Stanislav’s name and age, all I know about Bob Turner and Eric Pike. But he seems more interested in negotiating the fee. Do I want to pay by results, or by the day? I choose to pay by results. So much for her address, so much for details of her work, more for the evidence of a lover that will stand up in court. After I put the phone down I am pleased and excited. If Justin can find this information, it will be cheap at the price.

While I am busy trying to get rid of the Rolls-Royce, my father is eulogising machinery of another kind.

The end of the war was a time of extraordinary advance and progress in the history of tractors, as swords were once more beaten into ploughshares, and a hungry world began to consider how it would feed itself. For successful agriculture, as we now know, is the only hope of the human race, and in this, tractors have a central part to play.

The Americans entered the war only after the industries and populations of Europe had already been tested almost to annihilation. American tractors, which had formerly lagged behind their European counterparts in technical excellence, now seized the centre stage. Foremost among these was the John Deere.

John Deere himself was a blacksmith from Vermont, a tall man built like an ox, who in 1837 with his own hands fashioned a steel plough which was most excellent for turning the virgin soil of the American prairies. Thus it could be said that it was the Deere tractor, more than the foolish cowboys glorified in post-war cinema, that opened up the American West.

His great genius was less as an engineer than as a businessman, for by making deals and offering finance to buyers, this former workshop operation was by the time of his death in 1886 one of the biggest companies in America.

John Deere’s famous twin-cylinder model with 376-cubic-inch diesel engine was both economical to run and easy to handle. But it was the mighty Model G which up to 1953 was exported all over the world, and played its part in the American economic dominance which characterises the post-war period.

One afternoon in early October, my father is taking a break from his great work and snoozing in the armchair in the front room, when he becomes aware of an unusual sound that seeps into his dream. It is a soft repetitive mechanical whirr-quite a pleasant sound, which he says reminds him of his old Francis Barnett struggling to get started on a dewy morning. He lies suspended between sleep and wakefulness, listening to the sound, remembering the Francis Barnett, the winding Sussex lanes, wind in his hair, fragrant blossomy hedgerows, the scent of freedom. He listens intently, with pleasure, and then he picks up another sound, so quiet it is almost inaudible, a faint susurration-voices talking in whispers.

His senses are now fully alert. Someone is in the room. Lying perfectly still, he opens one eye. Two figures are moving about near the window. As they move into his line of vision, he recognises them: Valentina and Mrs Zadchuk. Quickly he closes the eye again. He hears their movement, their whispers, and another sound: the rustle of paper. He opens the other eye. Valentina is rifling through the dresser drawer where he keeps all his letters and documents. From time to time, she pulls out a sheet and passes it to Mrs Zadchuk. Now he recognises the other sound-the whirring mechanical sound. It is not the Francis Barnett, it is the small portable photocopier.

He stiffens. He cannot help himself. He opens both eyes, and finds himself staring straight into the Cleopatra-lined syrup-coloured eyes of Valentina.

“Ha!” she says. “The corpse is come to life, Margaritka.”

Mrs Zadchuk grunts and feeds more paper into the copier. It whirrs again.

Valentina bends down and puts her face very close to my father’s.

“You think you clever clever. Soon you will be dead, Mr Clever Engineer.”

My father lets out a shriek, and what he later describes as a ‘rear end discharge’.

“Already you look like corpse-soon you will be. You carcass of dog. You walking skeleton.”

She leans over him, pinioning him to the chair with one hand on each side of his head, while Mrs Zadchuk continues to photocopy the correspondence from Ms Carter. When she has finished, she bundles together the papers, unplugs the photocopier, and stows them all in a large Tesco carrier bag.

“Come, Valenka. We have all what we need. Leave this bad-stink corpse.”

Valentina stops in the doorway and blows him a mock kiss.

“You living dead. You graveyard escapee.”

Maybe Valentina knew, or maybe it was an inspired guess, but my father is indeed a graveyard escapee.

It happened in the summer of 1941 when the German troops swept into Ukraine and the Red Army fled eastwards, burning bridges and fields behind them. My father was in Kiev with his regiment. He was a reluctant soldier. They had shoved a bayonet into his hands and told him he had to fight for the motherland, but he didn’t want to fight-not for the motherland, not for the Soviet state, not for anybody. He wanted to sit at his desk with his slide rule and his sheets of blank paper and puzzle over the drag-lift equation. But there was no time for that-no time for anything except stab and run, shoot and run, dive for cover and run, and run and run. Eastwards, through the harvest-yellow wheat fields of Poltava, under a blazing blue sky, the army ran, to regroup finally at Stalingrad. Only the flag they followed wasn’t yellow and blue: it was scarlet with yellow.

Maybe this was why, or maybe he had just had enough, but my father didn’t go with them. He slipped away from his regiment and found a place to hide. In the old Jewish cemetery in a quiet leafy quarter of the city he lowered himself into a broken tomb, replacing the heavy stones behind him, and sheltered there, cheek to cheek with the dead. Sometimes, as he crouched in the dark, he could hear the voices of bereaved Jews wailing above his head. He stayed there in the cool, damp silence for almost a month, living on the food he had brought with him, and, when that ran out, on grubs, snails and frogs. He drank from the trickle of water that made a puddle in the earth when it rained, and contemplated his closeness to death, adjusting his eyes to the darkness.