The Way Inn

COPYRIGHT

Fourth Estate

An imprint of HarperCollinsPublishers

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London W6 8JB

4thestate.co.uk

First published in Great Britain by Fourth Estate 2014

Text © Will Wiles 2014

Will Wiles asserts his moral right to

be identified as the author of this work

‘The House of Asterion’ by Jorge Luis Borges, translated by James E. Irby, from Labyrinths, copyright © 1962, 1964 by New Directions Publishing Corp., reprinted by permission of New Directions Publishing Corp.; and by permission of Pollinger Ltd.

A catalogue record of this book is

available from the British Library

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Source ISBN: 9780007545551

Ebook Edition © June 2014 ISBN: 9780007545568

Version: 2015-01-28

DEDICATION

For Hazel and Guy,

with my love

EPIGRAPH

The house is the same size as the world; or rather, it is the world.

‘THE HOUSE OF ASTERION’,

JORGE LUIS BORGES

CONTENTS

COVER

TITLE PAGE

COPYRIGHT

DEDICATION

EPIGRAPH

PART ONE: THE CONFERENCE

PART TWO: THE HOTEL

PART THREE: THE INNER HOTEL

ACKNOWLEDGEMENTS

ALSO BY WILL WILES

ABOUT THE PUBLISHER

PART ONE

The bright red numbers on the radio-alarm clock beside my bed arranged themselves into the unfortunate shape of 6:12. Barely four hours since I went to sleep, I was abruptly awake. I remembered that I had been in the bar, and that I had seen the woman again.

Apart from the red digital display – 6:13 – the room was dark. And the preceding day was clear: I had seen her again, and I had spoken to her. Over the years I had come to believe that my memory was steadily enhancing this woman. Our first encounter was so out of the ordinary that it took on a completely unreal complexion in retrospect, and I suspected that I might be elaborating on it, on her, to make the whole bizarre incident more exotic. But there she was again, matching perfectly what I had assumed was an idealised vision. Her Amazonian height, and her pale skin and red hair – even in the flesh, there was something about her that didn’t quite match up to reality, as if she was too high definition. Just hours later our reunion had already taken on the qualities of a dream. One that had been interrupted before it was complete. Maurice. Maurice had ruined it.

A return to sleep seemed unlikely and unwise. It was less than an hour until the alarm would go off and I had no intention of oversleeping and being forced to head to the fair without a shower and breakfast.

The hotel room was well heated, the carpet soft and warm under my feet. It was quiet, almost silent, but the air conditioner hummed its low hum, and there was something else in the air – a kind of electromagnetic potential, a distorted echo beyond the audible range. Or nothing, just the membranes of the ear settling after being startled from sleep. Outside it would be cold. I opened the curtains but could see little. The sullen orange glow of the motorway to one side, an occluded sky untouched by dawn, and on the level of the horizon a shivering cluster of red lights that suggested, somehow, an oil refinery. Maybe the airport – radar towers, UHF antennae.

I switched on the room lights. Latte-coloured carpet, a cuboid black armchair, a desk with steel and wicker chair, a flat-screen TV on the wall and of course an insipid abstract painting. It was like every other hotel room I’ve stayed in: bland, familiar, noncommittal, unaligned to any style or culture. I once read that the colour schemes in large chain hotels were selected for how they looked under artificial light, on the understanding that the business people staying in the rooms would mostly be there outside daylight hours. And that principle must also apply to the art on the walls – and again I remembered the woman in the bar, what she had said about the paintings. The indistinct background hum seemed a little louder – it had to be the air-con, or the minibar under the desk. It was a benign sound, almost soothing, a suggestion that I was surrounded by advanced systems dedicated to keeping me comfortable.

Showering took the edge off my tiredness, and allowed me to ignore it. I put on a Way Inn bathrobe and returned to the bedroom, drying my hair with a Way Inn towel. The TV was on, but only showed the hotel screen that had greeted me on my arrival in the room last night.

WELCOME MR DOUBLE

Above this was the corporate logo, a stylised W in the official red. A stock photo of a group of Way Inn staff, or models playing Way Inn staff, smiled up at me. Room service numbers and pay-TV options were listed underneath. Today’s special in the restaurant was pan-seared salmon. The weather for today and tomorrow: fog and rain. Temperature scarce degrees above zero. I picked up the remote and found the BBC News.

The sky had lightened, but the view had not improved. The glass in the window was thick, presumably soundproofed against the nearby airport, and it gave the landscape a sea-green tint. Mucoid mist shrouded nearly everything. My room was on the second floor of the hotel. Outside was a strip of car park bounded by a chain-link fence, then an empty plot on which a few stacks of orange traffic barriers and half a dozen white vans were slowly sinking into mud. To the extreme right there was a road flanked by a long artificial ridge of earth scabbed with weeds, over which the streetlights of the motorway could be seen. The lights could also be seen reflected in the water-filled ruts that vehicles had left in the scraped-back land; under the mud everything waited to be made over again, more streetlights, more car parking, more windows to look out of.

Many people, I imagine, would find this a depressing scene. But not me. I love to wake in a hotel room. The anonymity, the fact the room could be anywhere – the features that fill others with gloom fill me with pleasure. I have loved hotels since the first time I set foot in one.

I dressed, half-listening to headlines coming from the TV. It was nothing, everything, all things I knew, had heard before. Events. People crushed against a wall, wailing women somewhere hot, an American ambulance boxy orange and white in that too-bright American style of TV footage, then more familiar video-texture from the UK, flowers zip-tied to a signpost beside a road, tears in camera flashes, an appeal for witnesses. The newsreader looked up from her screen and seemed, for a split second, to be surprised by the sight of cameras. World weather. A list of major cities with numbers beside them, little icons meaning sunshine and storms, a world reduced to a spreadsheet of data points. I flipped open my laptop and it came to life. Heavy black unread emails were heaped in my inbox. Invitations, press releases, mailing lists, flight and hotel bookings. More headlines refreshing in my readers. For a moment I was aware of everything, everything was in reach, and then the wifi symbol flashed and stuttered. A bubble warned me that my connection was lost, and I snapped my laptop shut. The TV was still on – a palm tree jerked and writhed, thrashing back and forth as debris passed it horizontally and the camera went dead. Unseasonal. The newsreader looked up, saw me, and told me the number of dead. I plucked my keycard from its plastic niche on the wall, killing the room.

Myself, reflected to infinity, bending away into an unseeable grey nothing on a twisted horizon.

The lift came to a smooth halt. My myriad reflections in its mirrored walls stopped looking at each other. The doors opened, revealing the bright lobby and a pot-bellied man with a moustache, who stared back at me as if astonished that I should be using his lift.

‘Sorry,’ I mumbled, a social reflex, and stepped out.

Music had been playing in the lift, softly, as if it was not meant to be heard. If it was not meant to be heard, why play it at all? To prevent silence, perhaps, to insulate the traveller from isolation and reflection, just as the opposing mirrors provided an unending army of companions that was best admired alone. But I had heard the music, and had been trying to identify it. The answer had come when the doors opened: ‘Jumpin’ Jack Flash’, instrumental, in a zero-cal easy-listening style.

Wet polymers hung in the air. The hotel was new, new, new, and the chemicals used to treat the upholstery and carpets perfumed the lobby. Box-fresh surfaces blazed under scores of LED bulbs. The lobby was a long, corridor-like space connecting the main entrance with one of the building’s courtyards. These courtyards were made up to look like Japanese Zen meditation gardens, a hollow square of benches enclosing an expanse of raked gravel, a dull little pond and a couple of artfully placed boulders, slate-slippery with rain. I have stayed in twenty or thirty Way Inn hotels and I have never seen anyone use those spaces to meditate. They use them to smoke. But that’s hotels, really – everything is designed for someone else. Meditation gardens you don’t meditate in, chairs you don’t sit in, drawers you don’t fill containing Bibles you don’t read. And I don’t know who’s using those shoe-cleaning machines.

Opposite the reception desk a line of trestle tables had been set up in the night, and were now staffed by public-relations blondes. Business-suited people and mild conversation filled the space between the PRs and the hotel staff, checking in, carrying bags in and out, picking up papers, shaking hands. Beyond a glazed wall, the restaurant was busy. A banner over the trestles read YOU CAN REGISTER HERE.

Very well then. I walked over; confident, unrecognised, at home. These moments, the first contact between myself and the target event, I treasure. They do not yet know who I am, what my role or meaning might be. But I know everything about them.

A blonde woman smiled at me from the other side of the table, over a laptop computer and a spread of hundreds of identical folders. ‘Good morning,’ I said, holding out a business card. ‘Neil Double.’

She took the card, studied it momentarily, and tapped at the keyboard of the laptop. Although I couldn’t see her screen, I knew exactly what she was looking at – my photograph, the personal details that had been fed into the ‘*required’ boxes of an online form six months ago, little else. ‘Mr Double,’ she said, English tinged with a Spanish accent, her smile a few calories warmer than before. ‘Welcome to Meetex.’

A tongue of white card spooled out of the printer connected to the woman’s laptop. In a practised, brisk move, she tore it off, slipped it into a clear plastic holder attached to a lanyard and handed it to me. ‘You’ll need this to get in and out of the centre,’ she said. I nodded, trying to convey the sense that I had done this before, that I had done it dozens of times this year alone, without being rude. But she pressed on, perhaps unable to change course, conditioned by repetition into reciting the script set for her, as powerless as the neat little printer in front of her. ‘Sure, sure,’ I said. Panic flickered in her eyes. ‘Just hang it around your neck – if you want to give your details to an exhibitor, they can scan the code here.’ A blocky QR code was printed next to my name and that of my deliciously inscrutable employer: NEIL DOUBLE. CONVEX.

‘Right,’ I said.

‘You can just hang it around your neck,’ she repeated, indicating the lanyard as if I might have missed it. In fact it was hard to ignore: a repellent egg-yolk yellow ribbon with the name of the conference centre stitched into it over and over. METACENTRE METACENTRE METACENTRE.

‘Right,’ I said, stuffing the pass into my jacket pocket.

‘Buses leave every ten or fifteen minutes. They stop right outside. And here’s your welcome pack.’ She handed me one of the folders, smiling like an LED.

I smiled back. ‘Thanks so much,’ I said. And I was fairly sincere about it. It’s a good idea to stay friendly with the staff at these conferences; I doubted I would see her again, but it was better to be on the safe side. Generally it was a waste of time trying to sleep with them, though – they often couldn’t leave their post, and they were kept busy. She had already moved on from me, directing her smile over my shoulder to whoever stood behind me. I saw that she had access to scores of disgusting emergency-services-yellow tote bags from a box beside her, but she had not offered one to me. A shrewd move on her part; I was pleased by her reading of my level of MetaCentre-tote-desire, which was clearly broadcasting at just the right pitch.

Breakfast was served in the restaurant, separated from the lobby by a sliding glazed wall. Flexible space, ready for expansion or division into a large number of different configurations. A long buffet table was loaded with pastries, bread, sliced fruit and cereals. Shiny steel containers sweated like steam-age robot wombs. Flat-screen TVs with the news on mute, subtitles appearing word by word. Current affairs karaoke. I poured coffee into an ungenerous cup from a pot warming next to jugs of orange, grapefruit and tomato juice, and put an apricot Danish and a fistful of sugar sachets on a plate. Then I started my hunt for somewhere to sit. Perhaps half of the seats were taken – lively conversation surrounded me. When a hotel is filled with people all attending the same conference, breakfast can present all sorts of diplomatic hurdles. I am rarely gregarious, and at breakfast time I am at my least social, always preferring to sit alone. This was in no way unusual – the hubbub disguised the fact that many of the diners here were alone, studying phones or newspapers or laptops. The first morning of an event can be the least social, before people fall into two-day friendships and ad hoc social bubbles. But I still had to be careful not to blank anyone who had come to recognise me. At other conferences, I might run into the same people once or twice a year. This one was different. These people I see all the time, everywhere; I am getting to know some of them; far worse, they are getting to know me. My detachment is a crucial part of what I do – these people don’t understand that. They love to think of themselves as a ‘community’; they thrive on ‘relationships’. No ‘community’ includes me. But try telling them that. Or rather, don’t try. Try telling them nothing. Adam had been most specific: keep a low profile.

But as I scanned the room looking for the right spot I realised, with a twinge of embarrassment, that I was not only looking out for people to politely evade – I was also trying to find the red-haired woman. But without luck. She was not in the restaurant.

A good spot presented itself. It was in a rank of small tables connected by a long banquette upholstered in white leather – a flexible seating arrangement, designed to suit both groups and lone diners. Two people I recognised were already sitting at one of the tables, and the chemistry of our acquaintance had about the right pH level. Phil’s company built the scanners that read bar codes and QR codes. We had talked at length before – it helps me to understand that sort of technology. His companion I knew less well – her name was Rosa or Rhoda, perhaps Rhonda, and she worked for a databasing service. I nodded to them as I sat, an acknowledgement carefully poised between amity and reserve. Let them make the first move. They smiled back, and their low-tempo conversation resumed. Were they sleeping together? Phil was at least fifteen years Rosa/Rhoda’s senior, and the ring finger of his left hand had shaped itself to his wedding band, but that meant almost nothing. Industry conventions dissolved other conventions. These events were often the Mardi Gras of their fiscal years: intervals of misrule, free zones where the usual professional and social boundaries were made fluid. At their worst they resembled the procreative frenzies of repressed aquatic creatures blessed with only one burst of heat per lifetime, seething with promiscuity and pursuit. And then, bleary-eyed, the attendees sat quietly on their planes and trains home, and opened their wallets not to buy more drinks, order oysters on room service or pay for another private dance, but to turn around the photos of their kids so they once again face outwards. What happened in Vegas, Milan, Shanghai, Luton, stayed there; it stayed where they had stayed, in Way Inn, Holiday Inn, Ibis, Sofitel, Hilton, where non-judgemental, faceless workers changed their sheets. But the body language between Phil and his companion didn’t support my hypothesis. Pretending to read the information pack I had been given, I watched them – I am of course adept at observing unobserved. There was no surreptitious touching, no encrypted smiles. They had the easy manner of friends, but they were talking business – data capture, facial recognition, RFID, retrieval technologies. Little of what they said conflicted with what I knew already.

Since I was staring at the conference programme, pretending to read it, I decided that I could divert some attention its way and give some thought to the day ahead. A couple of sessions on the timetable had been flagged up by my clients as mandatory – routine fare such as ‘The Austerity Conference’ and ‘Emerging Threats to the Meetings Industry’ – but it was always good to attend a few extra to get a rounded view of an event. No one expected a comprehensive report from every session – there were three halls of different sizes at the MetaCentre, with talks going on simultaneously in each, and further fringe events in function rooms in the hotels. All I needed was a sample. ‘Trap or Treat: Venue Contract Pitfalls and How to Avoid Them’. To avoid, I think. ‘China in Your Hands: Event Management in the Far East.’ That could be worth attending. By which, I don’t mean I expected to find it interesting – or that I did not. The things that interest me are not necessarily the things that will interest my clients. And these trade fair conferences are nearly always very boring. If they were not, I wouldn’t have a job. The boring-ness is what fascinates me. I soak it up: boring hotels, boring breakfasts, boring people, boring fucks, boring fairs, the boring seminars and roundtables and product demos and presentations and launches and plenary sessions and Pecha Kuchas, and then I … report. These people, the people sitting around me, the people whose work involves organising and planning the conferences I spend my life attending: if they knew what I was doing, and how I felt about what they did, they might not be pleased.

A tuft of polythene sprouted from a joint on the underside of my table. It had only just been unwrapped. That chemical smell rose from the white leather of the banquette, adulterated but not hidden by the breakfast aromas. Was it real leather or fake leather? Its softness under the fingertips, its over-generous tactility, felt fake, designed to approximate the better qualities of leather rather than actually possessing them, but I had no way of telling for sure. New leather, certainly. Everything new for a new hotel. Scores of identical chairs and tables. Multiplied across scores of identical hotels. It’s big business, making all those chairs and tables, ‘contract furniture’ they call it, carpet bought and sold by the square mile – and I attended those trade fairs and conferences too. If the leather was real, equipping all the hundreds of Way Inn hotels would mean bovine megadeath. But I remembered what the woman had said about the paintings in the bar, and thought instead of a single vast hide from a single unending animal …

That was why she was in the bar: she had been photographing the paintings. It was late, past midnight already, and I wanted a quick nightcap before going to my room. One of the night staff served me my whisky and returned to the lobby, where he chatted quietly with a colleague at the reception desk. I had registered that I was not alone in the darkened bar, but no more than that. What made me look up was the flash of her camera. I kept looking because I knew at once that I had seen her before – and, too exhausted for subtlety, I let the meter run out on my chance to gaze undetected, and she raised her head from her camera’s LCD display and saw me.

We had met before, I said – not met, exactly, but I had seen her before. She remembered the incident. How could she forget something like that? Naturally, as a mere spectator, I was not part of her memory of what had happened; I was just one of the background people. Her explanation of how she came to be there, in that state, made immediate, obvious sense, but left me embarrassed. To close the horrible chasm that had opened in the conversation, I asked why she was photographing the paintings.

A hobby, she said. The paintings were all over the hotel – in my room, here in the restaurant, out in the lobby, in the bar. And so it was in every Way Inn. They were all variations on an abstract theme: meshing coffee-coloured curves and bulging shapes, spheres within spheres, arcs, tangents, all inscrutable, suggestive of nothing. I had never really examined them – they were not there for admiring, they were there simply to occupy space without distracting or upsetting. They were an approximation of what a painting might look like, a stand-in for actual art. They worked best if they decorated without being noticed. All they had to do was show that someone had thought about the walls so that you, the guest, didn’t have to. An invitation not to be bothered. Now that she had drawn my attention to them, I could see that she was right – they were everywhere. How many in total? I felt uncomfortable even asking.

‘Thousands,’ she had said, as if sharing a delicious secret. ‘Tens of thousands. More. Way Inn has more than five hundred locations worldwide. They never have fewer than one hundred rooms. Each room has at least one painting. Add communal spaces. Bars, restaurants, fitness centres, business suites, conference rooms, and of course the corridors … At least a hundred thousand paintings. I believe more.’

I could see why this was a calculation she delighted in sharing with people – the implications of it were extraordinary. Where did all the paintings come from? Who was painting them? With chairs, tables, carpets, light fixtures, there were factories – big business. But works of art? They weren’t prints; you could see the brush marks in the paint. It was thoroughly beyond a single artist.

‘There is no painter,’ she said. ‘No one painter, anyway. It’s an industrial process. There’s a single vast canvas rolling out into a production line. Then it’s cut up into pieces and framed.’

As she said this, she showed me the other photos on her camera, the blip-blip-blip of her progress through the memory card keeping time in her conversation. She was tall, taller than my six foot, and leaned over me as she did this, red hair falling towards me – a curiously intimate stance. The paintings flicked past on the little screen, bright in the gloom. The same neutral tones. The same bland curves and formations. Sepia psychedelia. A giant painting rolling off the production line like a slab of pastry, ready to be stamped into neat rectangles and framed and hung on the wall of a chain hotel … there was something squalid about it.