Life in the West

‘Do we pick up your crew, if that’s what you call them, from The Lion?’

‘Yes, Mrs Squire. That’s where we are all staying. It’s picturesque.’

She accepted the drink from Squire without a glance in his direction. ‘You should have stayed with us. There’s room. This place has been like a nunnery with Tom away so much … Is your “Sex Symbol”, about whom I’ve heard so much, also staying at The Lion?’

‘Laura Nye? She’s in London overnight. Everyone else will be there. You’ll like Jenny Binns – she’s held us all together. Laura’s a good girl, too – as sweet as she looks. The series is her first television job. She’s had plenty of stage experience, worked with Ralph Richardson at one time.’

Teresa had developed a withdrawn look. Nellie flopped on the hearthrug.

‘Perhaps I’ll come,’ Teresa said.

Squire got the Jaguar out. It and the Peugeot drove into the village to collect the crew. Then they headed for the coast. The sun still shone, though cloud gathered. The evening appeared motionless. The tide was still out. The dinner was good.

Tom and Teresa rolled back to the Hall after midnight, leaving the car outside the house. They staggered indoors and Squire chained the door behind them. He went through to the kitchen to make tea while Teresa went upstairs to see that the girls were in bed. When he carried the mugs up, slopping tea on the carpets, Teresa was already undressing. A particularly brilliant dragonfly, with outstretched wings of crimson and viridian, glittered in a block of perspex on her side of the bed. She kept her gaze on it instead of looking at Squire.

‘Pleasant occasion, darling. Multo conviviality, as father used to say. I hope you enjoyed yourself as much as you appeared to be doing.’

‘It was all too apparent you weren’t enjoying yourself. That dreary doomed way you toyed with your Chicken Kiev …’

‘What do you mean? You could see I enjoyed myself. It was visible to all. And I ate up all my Chicken Kiev.’

‘Absent-mindedly.’

He removed his blazer, saying controlledly, ‘I drank a bit more than I intended. Grahame was well away, wasn’t he? Think he’d get back to The Lion safely?’

She made no answer. Instead, she disappeared behind her Chinese screen, in the shelter of which, since she had decided she was ‘getting too fat’, she preferred to undress.

‘Oh shit,’ he said, ‘if you’re refusing to talk to me, I’ll go downstairs and get myself another whisky. You’re brewing up for something – I know the expression “bottled fury” when I see it in the flesh. Tell me what the matter is, tell me what bloody mortal sin I’ve committed now.’

‘Don’t start swearing, Tommy.’ Her voice, heavy with reproof, from behind the gold-limned outline of a Cathaian mountainside. ‘It’s always a sign of guilt.’

‘Why do you damned well say I didn’t enjoy this evening? Any reason why I shouldn’t have enjoyed myself, apart from those hang-dog looks you kept giving me?’

‘You never even glanced at me, so how would you know?’

‘I did look; I was enjoying myself. I told you.’

Her face partially appeared, as if to get a sight on him, then withdrew behind the screen again. ‘You know what I mean. There’s enjoyment and enjoyment. Absent friends and all that …’

‘What absent friends, for heaven’s sake?’ He put his blazer on again. ‘You’re not insinuating that we should have taken your mother with us?’

‘I’ve long ago ceased to expect you to be decent or even civil to my mother. I mean, it wasn’t quite the same for you, was it, without that – that girl of yours, that Laura.’

‘If you’re referring to Laura Nye, I’ve not a clue what you’re talking about. You were told, she’s gone to London. Grahame told you.’

‘That’s what makes her an absent friend, isn’t it? Gone to sleep with some young stud of hers, I suppose. That’s what models are all about, isn’t it?’

He strode round the bed and dragged the screen back. Teresa stood there in her powder-blue dressing-gown, drawn to her modest full height, unmoving.

‘Come out of there if you’re going to insult me and Laura. She’s not a “model”, as you sneeringly call her. She has worked with Peter Brook and was in Shakespeare at the Old Vic for three years.’

‘I’d never trust anyone who was in Shakespeare for three years.’

‘Oh, this is just stupid, Tess. You’ve had too much gin. Let’s get to bed and go to sleep, and perhaps you’ll talk sense in the morning.’

She said, ‘I suppose you were playing Shakespeare on the beach this afternoon. What was it? You’re a bit long in the tooth for Romeo …’

It was very quiet outside. He went and peered through the curtains, over the balcony, at the garden and fields beyond, faintly visible in the starry night. Mist was gathering.

‘Come on, Tess, give it up. You’re spoiling for a fight and I’m not. You’re just making us miserable.’

She sat down on the side of the bed and selected a cigarette from the silver box she kept there. Lighting it with a shaking hand, she said, ‘How typical of you to pretend that I’m making the misery. You’ve been away all over the world, I’ve hardly seen you from one month’s end to the next. You come back, and I find you’ve got a new girl in tow. After all the trouble we had three years ago, I thought you’d learnt wisdom.’

He made to speak but she raised a hand. ‘I’m talking, aren’t I? You can have your say afterwards, though I’m not sure if I’ll listen. I’m fed up, Tom, utterly fed up. What sort of marriage is it? If you want to know, I drove up to the headland this afternoon and watched you with that woman through binoculars. I saw you mauling her about, cuddling her, kissing her, feeling her tits – in front of the others, too. How do you think I liked that, eh? You bastard!’

‘Christ!’ He ran the palm of his hand up his forehead and into his hair. ‘Teresa, you’re just being tiresome and exercising that suspicious nature of yours. Neither you nor I are anything to do with the world of television or show biz or whatever, and once “Frankenstein” is finished and in the can at the end of August, that will be the end of it as far as I’m concerned. I shall go back to work as usual.

‘But we both know about show biz. Different pressures, different moeurs. Sure, I did put my arm round Laura’s shoulder. It was breezy, she was cold, and she needed cheering up. Nothing more to it than that. So just drop the whole subject right here and now. Did you feel good, spying on me?

‘I admit I’ve been away a bit, but we agreed that this was my chance and I took it. “Frankenstein” is a marvellous opportunity and a new subject and I’m proud of it. But this period will shortly be over, then we’ll live a more normal sort of life. Simply let me sail through it without having emotional problems with you.’

Teresa came round the bed, shuffling her bare feet into fluffy slippers as she walked.

‘Men are such bloody liars. I tell you I saw you with her through the binoculars. Now you expect to jump into bed with me and screw me, don’t you? Whatever’s to hand, eh, Tommy Squire? You’ve been fucking that bitch in Singapore and all over the map, haven’t you?’

‘No.’ He regarded her woodenly, head down, face heavy, the flesh of his jowls creased as he faced her charge, his eyes defensive, angry.

His monosyllable – or his pose – stopped her before she reached him. She coughed furiously over the cigarette, fist to her mouth.

‘You bloody liar! Sagittarius woman with Cancer man – I should have known all along it would never work out. You’re a philanderer, you philander even with your mind, you’re rootless, you live only for yourself, don’t you? Well, why don’t you go back to Yugoslavia and live the way you used to live there?’

‘Don’t be silly, dear, you’re working yourself up for nothing. I’ve no wish to return to Yugoslavia. I’m too old, I want a peaceful life.’

‘A fine way you go about it. I suppose you’ll tell me you’re undergoing the male menopause next. That girl must have loved all that sort of thing – a case of Much Ado About Nothing, wasn’t it? Get out! I’m not having you in this bedroom with me. Go and sleep in one of the guest rooms. You’re no better than a guest.’

He moved slowly, like a man in a dream, picking up his pyjamas, his brass carriage clock from the bedside table, and his mug of tea.

‘The stars may be moving against us, Tess, but that is not my wish. We have to make our own decisions and not pretend we are helpless. You must behave less cruelly to me.’

‘It’s your behaviour not mine that’s at fault.’

Squire wandered for a while through the vacant rooms of the Hall, unable to rest. He was familiar with the dimensions of the house from childhood, could walk them unhesitatingly with his eyes closed. In the dead of night, this familiar substantial presence was doubly comforting. Every room held for him a different ambience; by its temperature, its smell, its silences, the very texture of its air or the creak of its oak floorboards, he could tell which room he was in, and respond to its character.

She had her difficulties, finding her way through life. All the astrological nonsense which recently had preoccupied her was simply a means by which she tried to manoeuvre round the hidden obstacles of her existence.

He thought back to an evening only three nights ago, before Grahame Ash, Laura Nye, and the crew had come down to Hartisham to film – only three nights ago, but now, separated from the present by the quarrel, a long way in the past. It had been so peaceful, so domestic: Tess and he, and the two girls, and Tess’s reliable friend, Matilda Rowlinson, sitting drinking coffee in his study after supper. Yet even then he had been dreaming of someone else …

Teresa was painting, copying a large butterfly. She used acrylics on a large pad, and worked deftly, occasionally looking up and smiling at Ann and Jane, who lolled by the fire with Nellie, the Dalmatian. Ann was just thirteen, her sister eleven; the sandy gene had run out with their elder brother; they had inherited their mother’s mouse, and their father’s enquiring nature.

‘You girls ought to be going to bed,’ Teresa said, as the grandfather clock in the hall struck ten.

‘We’re watching you,’ Ann said. ‘We’re fascinated, aren’t we, Nellie?’

‘You’re not.’

‘What sort of butterfly is it, anyway?’

Teresa appealed to Squire. He had bought the spectacular insect in its frame in a Singapore shop as a homecoming present for her.

‘It’s called a Bhutan Glory.’

‘You’re ruining the ecology of Singapore by buying that poor butterfly, Dad,’ Jane said. ‘There soon won’t be any left. How’d you like it if they came over here and bought all our butterflies?’

‘We’d have to exercise some controls.’

Teresa said in his defence, ‘Daddy helps to preserve the ecology of the Norfolk Broads, because they are our local responsibility, but you can’t expect him to butt in on Singapore’s affairs.’

‘It’s a pity we didn’t manage to stop the council pulling down the old almshouses,’ Matilda said. She was the vicar’s daughter, a tall pale woman in her early thirties and, with her plain looks and self-effacing manner, an embodiment of the traditional vicar’s daughter, until one became aware of her lucid way of thought.

‘They were tumbledown,’ Teresa said, ‘but the semi-detacheds that Ray Bond is building in their place are quite out of keeping with the rest of the village.’

‘I know, why don’t they build houses with green bricks instead of red ones?’ Jane said. ‘Then they’d merge with the landscape.’

‘Who’s ever heard of green bricks, Stupid?’ said her sister.

‘Well, they could invent them … Only I daresay they’d fade after a year and turn the colour of dog shit.’

‘I heard that Ray Bond was having an affair with two women at once,’ Ann said. ‘Both of them married. Isn’t that beastly, Dad?’

‘Beastly complicated.’

‘It’s disgusting. You girls shouldn’t listen to village gossip,’ Teresa told them.

Ann rolled onto her back, and pulled Nellie on top of her. With evening, a chilly wind was blowing in from the coast, and the big old electric fire was burning. She rested a slippered foot on top of it and announced, ‘I think I shall have affairs when I grow up. I’d like to have people gossiping about me.’

‘What, affairs with people like Ray Bond? You are nauseating,’ Jane said. ‘That’s just about your style.’

‘Oh, you can stick to your boring old ecology. You think caterpillars are more important than love, but I don’t. Grownups think love is important, don’t you, Mummy?’

‘Yes,’ said Teresa, and nothing more; so that Matilda, who sat quietly on a large Moroccan pouffe just beyond the compass of the light falling on Teresa’s paper, added, ‘Love can be a way of perception, like science or art, Ann, provided you don’t use it for power over people.’

‘To think I once used to be in love with that odious Robert Mais! I was only six then. I’ve got better taste now …’ Ann thought a while and then asked Squire, ‘Were you in love when you were very young, Dad?’

‘I don’t remember being in love at six. But I was at nine.’

Ann sat up. ‘Go on, don’t just stop there! True confessions … Who was she? Do we know her? I suppose she must be pretty ancient now.’

He laughed. ‘That’s true. Her name was Rachel. She lived here during the war. I loved her dearly.’

‘She lived here!’ Ann laughed. ‘I smell a rat! Did you have an affair with her, Dad? I mean, you know, a real flaming affair?’

‘Oh, shut up, Ann!’ Jane exclaimed. ‘You’re embarrassing poor Daddy, can’t you see? Nellie, eat her, go on, eat her! This conversation is getting too carnal entirely.’

They rolled together, shrieking. Teresa called to them ineffectually to stop.

‘Was it carnal, Dad? Tell us, we won’t tell anyone!’

He broke into laughter. ‘I just loved her, that’s all.’

Matilda, smiling, said, ‘Even carnal love can be a sign of someone’s yearning for Unity, though one can only really achieve unity with God.’

‘You’re bound to say that because you’re the Reverend Rowlinson’s daughter,’ said Ann, derisively. ‘I bet you’ve never had carnal knowledge – not even with Ray Bond, have you?’

‘That’s very rude, Ann. Apologize and go up to bed at once.’ Squire joined his wife with a shout of ‘Apologize!’

‘We’re only talking, Mummy,’ Jane said, soothingly.

But Ann had already shifted back to her original target. Jumping up, laughing, she demanded again, ‘Were you carnal, Pop – even when you were only nine?’

The noise of a woodcock roused Squire. For a moment he had a vision of happier things, imagining that his father was alive and moving about in his room; then his waking senses returned. His bladder was full. His body felt cold. Sighing, he sat up.

Light of another day filtered through the long windows. His carriage clock pronounced the time to be five-twenty. He was lying cramped on the chesterfield in his study, with a quarter-full glass of whisky standing on the carpet beside him. His head ached. His mouth was dry.

The pallid light seemed to cast a veil between Squire and a painting on the wall on which his sickened gaze rested. The painting dated from 1821, and had been executed by a nineteenth-century artist whom Squire had collected consistently over the past quarter century, Edward Calvert. Entitled ‘The Primaeval City’, it showed a scene which charmingly mingled the rural with the urban. A bullock cart trundled among trees into a city of thatch and domes and ruin, where figures could be seen in cameo, a bucolic pressing wine, a nun entering the church, a woman hanging out washing, a man pulling a donkey. In the background, garlanded with leaves, a gibbous moon rose like a planet above the crumbling rooftops, and a shepherd tended his sheep. In the foreground, dominating everything, stood a nude maiden in a leafy bower of pomegranate trees, having climbed from a brook. She looked over one shoulder without coquetry at the viewer, a bewitching mixture of flesh and spirit.

Recalling the previous evening, Squire turned his regard from these symbols and yawned.

Painfully, he got to his feet and staggered across to the french windows. When he twisted the latch, they opened with a squeal. He walked stealthily across the terrace, arms enfolding his chest to ward off the chill. He went on tiptoe down a gravel path and made his way barefoot over damp grass to the nearest clump of rhododendrons.

Down by the Guymell, faintly, he could see cattle standing without movement. Steam attended their flanks. All was still, artificial. The nearby cedars stood in a mist which rendered them as outlines. As a painter reduces a tree to a symbol which will function within his composition as a real tree does in a real landscape, so these outlines rendered the awakening world artificial. They and it had been sponged, as if Cotman were temporarily God.

As Squire turned after relieving himself, he saw the Jaguar standing at the front of the house, half-hidden by a corner of the building. Its two doors hung open. Something on the driver’s side had fallen out onto the gravel; a travel atlas, possibly.

In the mist-blurred wall of the house, fluorescent light spread towards the garden, where he had left on the kitchen lights when getting tea.

Looking up at the damp eaves as he picked his way back to the study, he observed that the bedroom light also was burning. The bedroom curtains had been pulled half-way back. The light spread a faded orange wash across the ceiling, a glow belonging to midnight rather than dawn, an ominous shade boding no good.

So she had not slept, or would not sleep, or could not sleep. Or was already prowling about the house. It had only been a minor tiff. He must eat humble pie, reassure her. All would be well again in a day or two.

He entered the study, shivering. As he turned from securing the windows, he discovered with a start that Teresa had entered the room while he was out of it; she stood in her dressing-gown, drawn up to her full height, by the door into the rear hall, in shadow. Her motionlessness was unnatural. She regarded Squire with fixed intensity.

‘You startled me, Tess. A Lady Macbeth act? Couldn’t you sleep?’

In a tone different from her usual tone, she said, ‘You have been getting into bed with that piece of goods, Laura, haven’t you?’

‘Yes. Yes, Teresa, I have. I’m sorry if it hurts you. It means very little to me but I could not resist the temptation. I have been to bed with her.’

Teresa said, as if that was the really important matter, ‘You lied to me last night, you rotten bastard.’

4

Conversation with ‘Drina’s’

Ermalpa, September 1978

Darkness had fallen. The first-floor corridor of the Grand Hotel Marittimo was littered with silver trays, lying forlorn with a mess of coffee-pots, used cups, and tousled napkins. As Thomas Squire left Room 143, a guest was in another room playing a violin behind locked doors.

After a half-an-hour suspended in sarvangasana, followed by a cold shower, Squire was feeling alert and ready for the evening. Downstairs, before turning into the bar, he took a stroll in the busy street. One of the Canadian delegates, seeing him walk towards the swing doors, said, in honest horror, ‘You’re not going out alone in Ermalpa after dark, Mr Squire? You know this place is the headquarters of the Mafia?’

Surviving a turn in the muggy air, Squire went to fulfil his seven o’clock appointment in the bar.

Selina Ajdini was there already. Several young Italians were talking to her, pressing round her armchair. She had changed her clothes, and now wore an ankle-length white jersey dress with long sleeves and edged with gold braid, its only decoration being a criss-cross pattern of braid with loose tassels which covered the bosom. Several thin gold bracelets hung at her slender right wrist, three rings glittered on her rather cruel-looking fingers. Her neat black hair, gathered into a thick tail, hung asymmetrically to one shoulder. She still carried her bulky bag.

The bar was full of the cheerful noises characteristic of a popular time. Three barmen in smart uniforms moved freely behind their gilded pallisades, smiling, exchanging jokes with each other and their customers as they worked; glass chinked against glass; the cash register whirred; wallpaper music played softly in the background; a waitress bustled among the customers, collecting glasses; and a murmur of many languages grew from all sides. A female voice called Squire’s name.

He turned and there was a small dark Italian lady he had watched earlier in the day. She was an efficient messenger for Frenza, the conference secretary, and spoke a little English. She had a minor administrative detail to sort out with Squire and, as she talked, he realized that she was Frenza’s wife; her well-turned ankles and heavy gold hair were immediately recognizable. Her name was Maria. She wore a neat black dress, had one bracelet on her wrist and two rings on her fingers. The smile she gave him was tired.

When they had settled the matter, he moved towards the bar. Ajdini had dismissed her retinue and sat smoking through a long holder, awaiting him. Although the bitter herb of her Huxley speech still flavoured his memory, he could not help smiling as he joined her, sinking into an armchair facing her.

The eroded bone was softened in artificial light. She said, ‘These Italians are so sociable, that we would talk with less disturbance in one of the rooms off the foyer. I have spoken about it to one of the barmen, who is very kind, and he will serve us with drinks as long as we are there.’

‘Very well.’

‘Let’s go, then.’

The room she referred to led off the passage where the case of silk ties stood. It was small, containing by way of ornament only a large marble bust of a general, whose remarkable cranial development alone was worth commemoration. Some earlier occupant of the room, perhaps idly waiting a tryst, had pencilled in the general’s pupils, making him appear cross-eyed.

‘This is a privilege for me,’ she said, lightly arranging the white dress as they sat down. ‘I suppose that any university in the capitalist world – and not only there – would be delighted to be able to address you face to face, Mr Squire. Your television series, and the book, which is a delight in its own right, does for the culture of today what Lord Clark’s Civilization did for the past.’

‘The series was the work of a team. They made it work – Grahame Ash, the director, in particular. Ash is a genius. He has a way with people and he thinks in pictures.’

‘Your work in general. Since the Hyde Park Expo – and before. What you do enables the various artists of today, and those who would not presume or care to call themselves artists, to go ahead with more confidence, as one always can when one sees oneself working within some kind of a tradition. You generously defined a revolutionary tradition. However, I must not embarrass you, a modest Englishman, with my praises, although I am aware they can have no significance for you.’

‘That is a mistaken assumption. I am delighted to have your good opinion. You have a higher opinion of the series than some critics. What man does not desire the good opinion of an attractive woman?’

She smiled, and the bangles rattled as she stretched out a hand. ‘Nor will I ask you if you are finding enjoyment in your world-wide success, since you must surely have become tired of such a question. Do you mind if I smoke?’

She was more striking than pretty, with a sharpness about her features which suggested wary intelligence. The sharpness, a quickness in her movements, a fleck of green in her irises, suggested wolf to Squire. He admired wolves; wolves were good to each other.

Her hair moved about her cheeks as she reached into the clumsy leather bag and brought out her cigarettes. He noticed immediately, with surprise, that they were Yugoslav, ‘Drina’ brand. He knew the name.

Whilst he was leaning forward to give her a light, the friendly waiter arrived. He cast an envious and distinctly unfriendly look at Squire. Squire stood his gold lighter on the table as he ordered drinks. After the waiter had left, dismissed by a brilliant smile from Ajdini, she picked up the lighter and inspected it as it lay in her narrow palm before pressing it into Squire’s hand.