Books Do Furnish A Room Part 7

'How one envies the rich quality of a reviewer's life. All the things to which those Fleet Street Jesuses feel superior. Their universal knowledge, exquisite taste, idyllic loves, happy married life, optimism, scholarship, knowledge of the true meaning of life, freedom from s.e.xual temptation, simplicity of heart, sympathy with the ma.s.ses, compa.s.sion for the unfortunate, generosity particularly the last, in welcoming with open arms every phoney who appears on the horizon. It's not surprising that in the eyes of most reviewers a mere writer's experiences seem so often trivial, sordid, lacking in meaning.'

Trapnel was thoroughly worked up. It was an odd spectacle. Bagshaw spoke soothingly.

'I know some of the critics are pretty awful, Trappy, but Nicholas wanted to talk to you about reviewing an occasional book yourself for Fission Fission. If you agree to do so, you'll at least have the opportunity of showing how it ought to be done.'

Trapnel saw that he had been caught on the wrong foot, and took this very well, laughing loudly. He may in any case have decided some apology was required for all this vehemence. All the earlier tension disappeared at once.

'For Christ's sake don't let's discuss reviews and reviewers. They're the most boring subject on earth. I expect I'll be writing just the same sort of c.r.a.p myself after a week or two. It's only they get me down sometimes. Look, I brought a short story with me. Could you let me know about it tomorrow, if I call you up, or send somebody along?'

Trapnel's personality began to take clearer shape after another round of drinks. He was a talker of quite unusual persistence. Bagshaw, notoriously able to hold his own in that field, failed miserably when once or twice he attempted to shout Trapnel down. Even so, the absolutely unstemmable quality of the Trapnel monologue, the impossibility of persuading him, as night wore on, to stop talking and go home, was a menace still to be learnt. He gave a few rather cursory imitations of his favourite film stars, was delighted to hear I had only a few days before met a man who resembled Valentino. Trapnel's mimicry was quite different from d.i.c.ky Umfraville's he belonged, of course, to a younger generation but showed the same tendency towards stylization of delivery. It turned out in due course that Trapnel impersonations of Boris Karloff were to be taken as a signal that a late evening must be brought remorselessly to a close.

A favourite myth of Trapnel's, worth recording at this early stage because it ill.u.s.trated his basic view of himself, was how a down-at-heel appearance had at one time or another excited disdain in an outer office, restaurant or bar, this att.i.tude changing to respect when he turned out to be a 'writer'. It might well be thought that most people, if they considered a man unreasonably dirty or otherwise objectionable, would regard the culpability aggravated rather than absolved by the fact that he had published a book, but possibly some such incident had really taken place in Trapnel's experience, simply because private fantasies so often seem to come into being at their owner's behest. This particular notion that respect should be accorded to a man of letters again suggested foreign rather than home affiliations.

When I left the pub, where it looked as if Bagshaw contemplated spending the evening, Trapnel stood up rather formally and extended his hand. I asked if he had a telephone number. He at once brushed aside any question of the onus of getting in touch again being allowed to rest with myself, explaining why that should be so.

'People can't very well reach me. I'm always moving about. I hate staying in the same place for long. It has a damaging effect on work. I'll ring you up or send a note. I rather enjoy the old-fashioned method of missive by hand of bearer.'

That sounded another piece of pure fantasy, but increased familiarity with Trapnel, and the way he conducted his life, modified this view. He really did send notes; the habit by no means one of his oddest. That became clear during the next few months, when we met quite often, while preparations went forward for the publication of the first number of Fission Fission, which was due at the end of the summer or beginning of autumn. Usually we had a drink together in one of his favourite pubs as with Bagshaw, these were elaborately graded and once he dined with us at home, staying till three in the morning, talking about himself, his girls and his writing. That was the first occasion when the Boris Karloff imitation went on record as indication that the best of the evening was over, the curtain should fall.

A pa.s.sionate interest in writing, or merely his taste for discussing it, set Trapnel aside from many if not most authors, on the whole unwilling to risk disclosure of trade secrets, or regarding such talk as desecration of sacred mysteries. Trapnel's att.i.tude was nearer that of a businessman or scientist, never tired of discussing his job from a professional angle. That inevitably included difficulties with editors and publishers. Many writers find such relationships delicate, even aggravating. Trapnel was particularly p.r.o.ne to discord in that field. He had, for example, managed to get himself caught up in a legal tangle with the publication of a conte conte, before the appearance of the Camel Camel. This long short story, to be published on its own by some small press, had not yet seen light owing to a contractual row. The story was left, as it were, in baulk; unproductive, unproduced, unread. There had apparently been trouble enough for Quiggin & Craggs to take over the rights of the Camel Camel.

'The next thing's the volume of short stories,' said Trapnel. 'Then the novel I'm already working on. That's really where my hopes are based. It's going to be bigger stuff than the Camel Camel. The question is whether Quiggin & Craggs have the sales organization to handle it properly.'

The question was more substantially how well Quiggin & Craggs would handle Trapnel himself. That looked like a tricky problem. Their premises were in Bloomsbury according to Bagshaw, reduced in price on account of bomb damage. An architecturally undistinguished exterior bore out that possibility. The building, reconditioned sufficiently for business to be carried on there, though not on a lavish scale, had housed small publishers for years, changing hands as successive firms went bankrupt or were absorbed by larger ones. There was no waiting room. Once through the door, you were confronted with the bare statement of the sales counter; beyond it the packing department, a grim den looking out on to a narrow yard. On the far side of this yard a kind of outhouse enclosed Fission Fission's editorial staff, that is to say Bagshaw and his secretary. Ada Leintwardine would sometimes cross the yard to lend a hand when the secretary, constantly replaced in the course of time, became too hara.s.sed by Bagshaw's frequent absences from the office to carry on unaided. Apart from that, an effort was made to keep the affairs of Fission Fission separate so far as possible from the publishing side, although Craggs and Quiggin sat on both boards. separate so far as possible from the publishing side, although Craggs and Quiggin sat on both boards.

'Ada's the king-pin of the whole organization,' said Bagshaw. 'Maybe I should say queen bee. She provides an oasis of much needed good looks in the office, and a few contacts with writers not sunk in middle age.'

Ada had made herself at home in London. In fact she was soon on the way to becoming an established figure in the 'literary world', such as it was, battered and reduced, but taking some shape again, over and above the heterogeneous elements that had kept a few embers smouldering throughout the war. London suited Ada. She dealt with her directors, especially Quiggin, with all the skill formerly shown in managing Sillery. She had begun to refer to 'Poor old Sillers.' I had not seen Sillery himself again, as it happened, before the period of research at the University came to an end, calling once at his college, but being told he had gone to London for several days to attend the House of Lords.

When he was not present, Bagshaw was also designated by Ada 'Poor old Books'. That did not prevent them from getting on pretty well with each other. Her emotional life had become a subject people argued about. Malcolm Crowding, the poet, not much older than herself, alleged that the novelist Evadne Clapham (niece of the publisher of that name, and by no means bigoted in a taste for her own s.e.x) had boasted of a 'success' with Ada. On the other hand, Nathaniel Sheldon, always on the look out, though advancing in years, spoke of encouragement offered him by Ada, when he was waiting to see Craggs. No doubt she made herself reasonably agreeable to anyone even Nathaniel Sheldon, as a reviewer likely to be useful to the firm. The fact that no one could speak definitely of lovers demonstrated an ability to be discreet. Ada herself was reported to be writing a novel, as Sillery had alleged.

In the humdrum surroundings of everyday business life, when, for example, one met them on the doorstep of the office, both Quiggin and Craggs showed themselves more changed than they had in the hurried, unaccustomed circ.u.mstances of Erridge's funeral. For instance, it was now clear Quiggin had settled down to be a publisher, intended to be a successful one, make money. He no longer spoke of himself producing a masterpiece. Unburnt Boats Unburnt Boats, his 'doc.u.mentary', had been well received, whatever Sillery might say, when the book appeared not long before the war, but there Quiggin's literary career was allowed to rest. He had lost interest in 'writing'. Instead, he now identified himself, body and soul, with his own firm's publications, increasingly convinced like not a few publishers that he had written them all himself.

Quiggin also considered that he had a right, even duty, to make such alterations in the books published by the firm as he saw fit; anyway in the case of authors prepared to be so oppressed. Certainly Trapnel would never have allowed anything of the sort. There were others who rebelled. These differences of opinion might have played a part in causing Quiggin again like many publishers to develop a detestation of authors as a tribe. On the contrary, nothing of the sort took place. As long as they were his own firm's authors, Quiggin would allow no breath of criticism, either of themselves or their books, to be uttered in his presence, collectively or individually. His old rebellious irritability, which used formerly to break out so violently in literary or political argument, now took the form of rage at best, extreme sourness directed against anyone, professional critic or too blunt layman, who wrote an unfavourable notice, dropped an unfriendly remark, calculated to discourage Quiggin & Craggs sales.

Craggs's att.i.tude towards publishing was altogether different. Craggs had been practising the art in one form or another for a long time. That made a difference. He did not care in the smallest degree about rude remarks made on the subject of 'his' authors, or 'his' books. In some respects, so far as the former were concerned, the more people abused them, the better Craggs was pleased. Certainly he had no great affection for authors as men for that matter, unless easily seducible, as women but, unlike Quiggin, his policy in this respect was not subjective; at least not entirely so. It cloaked a certain commercial shrewdness. Craggs, off his guard one day with Bagshaw, expressed the view that there were more ways of advertising a book than dwelling on the intellectual and moral qualifications of its author.

'What matters is getting authors talked about,' Craggs said. 'Let people know what they're really like. It whets the appet.i.te. Look at Alaric Kydd's odd tastes, for instance. I drop an occasional hint.'

Craggs was being unusually communicative when he let that out, because in general nowadays he affected the manner of a man distinguished in his own sphere, but vague almost to the point of senility. Such had been his conversation at Thrubworth, though more defensive than real, to be dropped immediately if swift action were required. There was evidence that he was making good use of his wartime contacts in the civil service. Widmerpool, for his part, seemed to be pulling his weight too in a trade that was new to him.

'He's laid hands on some extra paper,' said Bagshaw. 'Found it hidden away and forgotten in some warehouse in his const.i.tuency.'

Walking through Bloomsbury one day on the way to the Fission Fission office, I ran into Moreland. When I first caught sight of him coming towards me, he was laughing to himself. A shade more purple in the face than formerly, he looked otherwise much the same. We talked about what we had both been doing since we last met at the time of the outbreak of war. Moreland had always been fond of office, I ran into Moreland. When I first caught sight of him coming towards me, he was laughing to himself. A shade more purple in the face than formerly, he looked otherwise much the same. We talked about what we had both been doing since we last met at the time of the outbreak of war. Moreland had always been fond of The Anatomy of Melancholy The Anatomy of Melancholy. I told him how I was now occupied with its author.

'Gone for a Burton, in fact?'

'Books-do-furnish-a-room Bagshaw's already made that joke.'

'How extraordinary you should mention Bagshaw. He got in touch with me recently about a magazine he's editing.'

'I'm on my way there now to sort out the review copies.'

'He wanted an article on Existential Music. The last time I saw Bagshaw was coming home from a party soon after he returned from Spain. He was crawling very slowly on his hands and knees up the emergency exit stairs of a tube station Russell Square, could it have been?'

'He must have reached the top just in time for the war, because he was in the RAF, and now has a moustache.'

'A fighter-pilot?'

'PR in India.'

'Jane Harrigan's an' Number Nine, The Redd.i.c.k an' Grant Road? I should think there was a good deal of that. I refused to contribute, although I suspect I've been an existentialist for years without knowing it. Like suffering from an undiagnosed disease. The fact is I now go my own way. I've turned my back on contemporary life but what brings you to this forsaken garden? You can't know anybody who lives in Bloomsbury these days. Personally, I've been getting a picture framed, and am now trying to outstrip the ghosts that haunt the place and tried to commune with me. Comme le souvenir est voisin du remords.'

'Burton thought that too.'

'I've been reading Ben Jonson lately. He's a sympathetic writer, who reminds one that human life always remains the same. I remember Maclintick being very strong on that when mugging up Renaissance composers. Allowing for murder being then slightly easier, Maclintick believed a musician's life remains all but unchanged. How bored one gets with the a.s.sumption that people now are organically different from people in the past the Lost Generation, the New Poets, the Atomic Age, the last reflected in the name of your new magazine.

Fart upon Euclid, he is stale and antick.

Gi'e me the moderns.

It's the Moderns on whom I'm much more inclined to break wind.'

'If not too late, restrain yourself. As you've just pointed out, the Moderns no longer live round here.'

'Forgive my sneering at Youth, but what a lost opportunity within living memory. Every house stuffed with Moderns from cellar to garret. High-pitched voices adumbrating absolute values, rational states of mind, intellectual integrity, civilized personal relationships, significant form ... the Fitzroy Street Barbera is uncorked. Le Sacre du Printemps Le Sacre du Printemps turned on, a hand slides up a leg ... All are at one now, values and lovers. Talking of that sort of thing, you never see Lady Donners these days, I suppose?' turned on, a hand slides up a leg ... All are at one now, values and lovers. Talking of that sort of thing, you never see Lady Donners these days, I suppose?'

'I read about her doings in the paper sometimes.'

'Like myself. Ah, well. Bagshaw's request made me wonder whether I would not give up music, and take to the pen as a profession. What about The Popular Song from Lilliburllero to Lili Marlene The Popular Song from Lilliburllero to Lili Marlene? Of course one might extricate oneself from the whole musical turmoil, cut free of it altogether. Turn to autobiography. A Hundred Disagreeable s.e.xual Experiences A Hundred Disagreeable s.e.xual Experiences by the author of by the author of Seated One Day at an Organ Seated One Day at an Organ but I must be moving on. I'm keeping you from earning a living.' but I must be moving on. I'm keeping you from earning a living.'

I suggested another meeting, but he made excuses, murmuring something about a series of tiresome sessions with his doctor. Seen closer, he looked in less good health than suggested by the first impression.

'I've sacked Brandreth. My latest physician takes not the slightest interest in music, thank G.o.d, nor for that matter in any of the arts. He also has quite different ideas from Brandreth when it comes to a.s.sessing what's wrong with me. Life becomes more and more like an examination where you have to guess the questions as well as the answers. I'd long decided there were no answers. I'm beginning to suspect there aren't really any questions either, none at least of any consequence, even the old perennial, whether or not to stay alive.'

'Beyond Good and Evil, in fact?'

'Exactly one touch of Nietzsche makes the whole world kin.'

On that note (recalling Pennistone) we parted. Moreland went on his way. I continued towards Quiggin & Craggs, through sad streets and squares, cla.s.sical facades of grimy brick, faded stucco mansions long since converted to flats. Bagshaw had a piece of news that pleased him.

'Rosie Manasch is going to pay for a party to celebrate the First Number. That's scheduled for the last week in September. None of us have had a party for a long time.'

In the end, owing to the usual impediments, Fission Fission did not come to birth before the second week in October. The comparative headway made by then in establishment of the firm's position was reflected in the fact that, when I arrived at the Quiggin & Craggs office, where the party mentioned by Bagshaw was taking place, a member of the Cabinet was making his way up the steps. As he disappeared through the door, a taxi drove up, and someone called my name. Trapnel got out. The fare must have been already in his hand, because he pa.s.sed the money to the driver with a flourish, turned immediately, and waved his stick in greeting. He was wearing sun spectacles in which for everyday life he was something of an optical pioneer and looked rather fl.u.s.tered. did not come to birth before the second week in October. The comparative headway made by then in establishment of the firm's position was reflected in the fact that, when I arrived at the Quiggin & Craggs office, where the party mentioned by Bagshaw was taking place, a member of the Cabinet was making his way up the steps. As he disappeared through the door, a taxi drove up, and someone called my name. Trapnel got out. The fare must have been already in his hand, because he pa.s.sed the money to the driver with a flourish, turned immediately, and waved his stick in greeting. He was wearing sun spectacles in which for everyday life he was something of an optical pioneer and looked rather fl.u.s.tered.

'I thought I'd never get here. I'm temporarily living rather far out. Taxis are hard to find round there. I was lucky to pick up this one.'

The fact of his arriving by taxi at all did not at the time strike me as either remarkable or inevitable. I was still learning only slowly how near the knuckle Trapnel lived. The first few months of his acquaintance had been a period of comparative prosperity. They were not altogether representative. That did not prevent taxis playing a major role in his life. Trapnel used them when to the smallest degree in funds, always prepared to spend his last few shillings on this mode of transport, rather than descend to bus or tube. Later, when we were on sufficiently familiar terms to touch on so delicate a subject, he admitted that taxis also provided a security, denied to the man on foot, against bailiffs serving writs for debt. At the same time this undoubtedly represented as well an important factor in the practical expression of the doctrine of 'panache', which played a major part in Trapnel's method of facing the world. I did not yet fully appreciate that. We mounted the steps together.

'I don't think I'll risk leaving my stick down here,' he said. 'It might be pinched by some detective-story writer hoping to experiment with the perfect crime.'

No one was about by the trade counter. Guests already arrived had left coats and other belongings at the back, among the stacks of cardboard boxes and brown-paper parcels of the equally deserted packing department. A narrow staircase led to the floor above, where several small rooms communicated with each other. The doors were now all open, furniture pushed back against the wall, typewriters in rubber covers standing on steel cabinets, a table covered with stacks of the first number of Fission Fission. Apart from these, and a bookcase containing 'file' copies of a few books already published by the firm, other evidences of the publishing trade had been hidden away.

In the furthest room stood another table on which gla.s.ses, but no bottles, were to be seen. Ada Leintwardine was pouring drink from a jug. She had just filled a gla.s.s for the member of the Government who preceded us up the stairs. This personage, probably unused to parties given by small publishers, tasted what he had been given and smiled grimly. Craggs and Quiggin, one on either side, simultaneously engaged him in conversation. Bagshaw, not absolutely sober, waved. His editorial, perfectly competent, had spoken of the post-war world and its anomalies, making at least one tolerable joke. Trapnel's short story had the place of honour next to the editorial. We moved towards the drinks.

Bagshaw, like the Cabinet Minister, was taking on two at a time, in Bagshaw's case Bernard Shernmaker and Nathaniel Sheldon. This immediately suggested an uncomfortable situation, as these two critics had played on different sides in a recent crop of letters about h.o.m.os.e.xuality in one of the weeklies. In any case they were likely to be antipathetic to each other as representing opposite ends of their calling. Sheldon, an all-purposes journalist with a professional background comparable with Bagshaw's (Sheldon older and more successful) had probably never read a book for pleasure in his life. This did not at all handicap his laying down the law in a reasonably lively manner, and with brutal topicality, in the literary column of a daily paper. He would have been equally happy possibly happier, if the epithet could be used of him at all in almost any other journalistic activity. Chips Lovell, to whom Sheldon had promised a job before the war, then owing to some move in his own game withdrawn support, used often to talk about him.

Shernmaker represented literary criticism in a more eminent form. Indeed one of his goals was to establish finally that the Critic, not the Author, was paramount. He tended to offer guarded encouragement, tempered with veiled threats, to young writers; Trapnel, for example, when the Camel Camel had first appeared. There was a piece by him in had first appeared. There was a piece by him in Fission Fission contrasting Rilke with Mayakovsky, two long reviews dovetailed together into a fresh article. Shernmaker's reviews, unlike Sheldon's, would one day be collected together and published in a volume itself to be reviewed though not by Sheldon. That was quite certain. Yet was it certain? Their present differences could become so polemical that Sheldon might think it worth while lampooning Shernmaker in his column. If Sheldon did decide to attack him, Shernmaker would have no way of getting his own back, however rude Sheldon might be. However, even offensive admission into Sheldon's column was recognition that Shernmaker was worth abusing in the presence of a ma.s.s audience. That would to some extent spoil the pleasure for Sheldon, for Shernmaker allay the pain. contrasting Rilke with Mayakovsky, two long reviews dovetailed together into a fresh article. Shernmaker's reviews, unlike Sheldon's, would one day be collected together and published in a volume itself to be reviewed though not by Sheldon. That was quite certain. Yet was it certain? Their present differences could become so polemical that Sheldon might think it worth while lampooning Shernmaker in his column. If Sheldon did decide to attack him, Shernmaker would have no way of getting his own back, however rude Sheldon might be. However, even offensive admission into Sheldon's column was recognition that Shernmaker was worth abusing in the presence of a ma.s.s audience. That would to some extent spoil the pleasure for Sheldon, for Shernmaker allay the pain.

Publishers, especially Quiggin, endlessly argued the question whether Sheldon or Shernmaker 'sold' any of the hooks they discussed. The majority view was that no sales could take place in consequence of Sheldon's notices, because none of his readers read books. Shernmaker's readers, on the other hand, read books, but his sc.r.a.ps of praise were so n.i.g.g.ardly to the writers he scrutinized that he was held by some to be an equally ineffective medium. It was almost inconceivable for a writer to bring off the double-event of being mentioned, far less praised, by both of them.

The dangerous juxtaposition of Sheldon and Shernmaker was worrying Quiggin. He continually glanced in their direction, and, when Gypsy joined his group with Craggs and the Cabinet Minister, he allowed husband and wife to guide the statesman to a corner for a more private conversation, while he himself moved across the room. He paused briefly with Trapnel and myself.

'Where's your wife?'

He spoke accusingly, as if he considered a covert effort had been made to undermine the importance of the Fission Fission first number, also his own prestige as a director of the magazine. first number, also his own prestige as a director of the magazine.

'Our child's in bed with a cold. She sent many regrets at missing the party.'

Quiggin looked suspicious, but pursued the matter no further, as the Sheldon and Shernmaker situation had become more ominous. Bagshaw was reasonably well equipped to hold the balance between a couple like this, operating expertly on two fronts, provided the other parties did not too far overstep the bounds each felt the other allowed by convention, given the fact they were on bad terms. This rule appeared to have been observed so far, but Sheldon now began to embark on a detailed account of a recent visit to the Nuremberg trials, his report on which had already appeared in print. At this new development Shernmaker's features had taken on the agonized, fractious contours of a baby about to let out a piercing cry. Quiggin stepped quickly forward.

'Bernard, I'm going to take the liberty of sending you a proof copy of Alaric Kydd's new novel Sweetskin Sweetskin. It will interest you.'

Shernmaker showed he had heard this statement by swivelling his head almost imperceptibly in Quiggin's direction, at the same time signifying by an unaltered expression that nothing was less likely than that a work of Kydd's would hold his attention for a second. However, he took the opportunity of moving out of the immediate range of Sheldon's trumpeting narrative, giving Quiggin a look to denote rebuke for ever having allowed such an infliction to be visited on a sensitive critic's nerves. Quiggin seemed to expect nothing more welcoming than this reception.

'There may be trouble about certain pa.s.sages in Kydd's book two especially. If it has to be toned down through fear of prosecution, I'd like you to have read what the author originally wrote.'

Shernmaker continued his stern silence. If he allowed his face to relax at all, it was only to register deeper suspicion of publishers and all their works. Quiggin was by no means to be put off by such severity. He smiled encouragingly. Although not by nature ingratiating, he could be industrious at the process if worth while.

'Don't tell me you've washed your hands of Kydd's work, Bernard like Pilate?'

Shernmaker did not return the smile. He thought for a time. Quiggin, unlike Pilate for his part, awaited an answer. Shernmaker brought his own out at last.

'Pilate washed his hands did he wash his feet?'

It was now Quiggin's turn to withhold a smile. He was as practised a punch-line killer and saboteur of other people's witticisms as Shernmaker himself. This disrespect for one of the firm's new authors must also have annoyed him. A lot was expected from Kydd. Before further exchanges could take place, Quiggin's old friend Mark Members arrived. With him was a young man whose khaki shirt, corduroy trousers, generally buccaneering aspect, suggested guerrilla warfare in the Quiggin manner, though far more effectively. This was appropriate enough in Odo Stevens, an unlikely figure to turn up at a publisher's party, though apparently an already accepted acquaintance of Members. As Sillery had remarked, white locks suited Members. He allowed them to grow fairly long, which gave him the rather dramatic air of a nineteenth-century literary man who had loved and suffered, the mane of hair weighing down his slight, spare body. Stevens made a face expressing recognition, but, before we could speak, was at once b.u.t.tonholed by Quiggin, with whom he also appeared on the best of terms. Members now introduced Stevens to Shernmaker.

'I don't know whether you've met Odo Stevens, Bernard? You probably read his piece the other day about life with the Army of Occupation. Odo and I have just been discussing the most suitable European centre for cultural congress you know my organization is trying to get one on foot. Do you hold any views? Your own co-operation would, of course, be valuable.'

Shernmaker was still giving nothing away. Frowning, moving a little closer, he watched Members's face as if trying to detect potential insincerities; allowing at the same time a rapid glance at the door to make sure no one of importance was arriving while his attention was thus occupied. Shernmaker's party personality varied a good deal according to circ.u.mstance; this evening a man of iron, on guard against attempts to disturb his own profundities of thought by petty everyday concerns. His duty, this manner implied, was with a wider world than any offered by Quiggin & Craggs and their like; if a trifle sullen, he must be forgiven. He had already shown that, once committed to such inanities, the best defence was epigram. Members, who had known Shernmaker for years almost as long as he had known Quiggin evidently wanted to get something out of him, because he showed himself quite prepared to put up, anyway within reason, with the Shernmaker personality as then exercised.

'You'll agree, Bernard, that effective discussion of the Writer's Position in Society is impractical in unsympathetic surroundings. Artists are vulnerable to circ.u.mstance, never more so than when compulsorily confined to their native sh.o.r.es.'

Still Shernmaker did not answer. Members became more blunt in exposition.

'We're none of us ever going to get out of England again, except as emissaries of culture. That's painfully clear. We're caught in a trap. Unless something is done, we'll none of us ever see the Mediterranean again.'

Evadne Clapham, L. O. Salvidge and Malcolm Crowding, the last of whom had a poem in Fission Fission, had joined the group. All agreed with this deduction. Evadne Clapham went further. She clasped her hands together, and quoted: 'A Robin Redbreast in a Cage Puts all Heaven in a Rage.'

The lines suddenly brought Shernmaker to life. He stared at Evadne Clapham as if outraged. She smiled invitingly back at him.

'Rubbish.'

'You think Blake rubbish, Mr Shernmaker?'

'I disagree with him in this particular case.'

'How so?'

'A robin redbreast in a rage Puts all heaven in a cage.'

Evadne Clapham now unclasped her hands, and brought them together several times in silent applause.

'Very good, very good. You are quite right, Mr Shernmaker. I often notice what aggressive birds they are when I'm gardening. Your conclusion is, of course, that writers must not be held in check. Don't you agree, Mark? We must make ourselves heard. Do tell me about the young man you came in with. Isn't it true he's had a very glamorous war career, and is terribly naughty?'

This question was answered by Quiggin introducing Odo Stevens all round as the man who was writing a war book to make all other war books seem thin stuff. It was to be about Partisans in the Balkans. Quiggin was a little put out to find that Stevens and I had already met, but we were again prevented from talking by an incident taking place that was in a small way dramatic. Pamela Widmerpool, followed by her husband, had come into the room. Quiggin turned to greet them. Stevens was obviously as surprised to see Pamela at this party as I had been myself to find him there. As they came past he spoke to her.

'Why, hullo, Pam.'

She looked straight at, and through, him. It was not so much that she ignored what Stevens had said, as that she behaved as if he had never spoken, was not even there. She seemed to be looking at someone or something beyond him, unable to see Stevens himself at all. Stevens, by nature as sure of himself as a man could well be, was not in the least embarra.s.sed, but certainly taken aback. When he grasped what had happened, he turned towards me and grinned. We were not near enough for comment.

'There's someone I'd like you to meet, dear heart,' said Widmerpool. 'We'll talk business later, JG. There are two misprints in my own article, but on the whole Bagshaw must be agreed to have made a creditable job of the first number.'

Apart from her treatment of Stevens or signalizing it by that Pamela gave the impression of being on her best behaviour. She allowed herself to be piloted across to the Cabinet Minister. Cutting Stevens might be explained by the fact that, when last seen with him, she had slapped his face. It was quite possible that night, the first of the flying-bombs, had been also the last she had seen of him. To start again as total strangers was one way of handling such matters. The most recent news of her had been from Hugo Tolland. Pamela had appeared at his antique shop in the company of an unidentified man, who had paid cash for an Empire bidet bidet, later delivered to the Widmerpool flat in Victoria Street; a highly decorative piece of furniture, according to Hugo. Inevitably her sickness at Thrubworth had developed into a legend of pregnancy, cut short artificially and not occasioned by her husband, but that was probably myth.

Widmerpool's demeanour gave no impression of having emerged from a trying domestic experience, though it could be argued the truth had been kept from him. Not long before, a speech of his in a parliamentary debate on the reduction of interest rates had been the subject of satirical comment in a Daily Telegraph Daily Telegraph leader, but, at the stage of public life he had reached, no doubt any mention in print was better than none. Certainly he appeared well satisfied with himself, clapping Craggs on the back, and giving an amicable greeting to Gypsy, with whom he must have established some sort of satisfactory adjustment. The article he had written for leader, but, at the stage of public life he had reached, no doubt any mention in print was better than none. Certainly he appeared well satisfied with himself, clapping Craggs on the back, and giving an amicable greeting to Gypsy, with whom he must have established some sort of satisfactory adjustment. The article he had written for Fission Fission had been called had been called Affirmative Action and Negative Values Affirmative Action and Negative Values. Stevens came over to talk.

'Did you notice Pam's lack of recognition? Her all over. What the h.e.l.l's she doing here?'

He laughed heartily.

'Her husband's part of the Quiggin & Craggs set-up. Why did you hit on them for your book?'

'My agent thought they'd be the right sort of firm, as I was operating with the Commies most of the time I was in the Balkans. The publishers have only seen a bit of it. It's not finished yet. Will be soon. I'm spreading culture with Mark Members at the moment, but I hope to get out of an office if the book sells, and it will.'

'All about being "dropped"?'

'A murder or two. Some rather spicy political revelations. One of the former incidents mucked up my affairs rather lost me a DSO.'

'What did you haul in finally?'

'MC and bar, also one of the local gongs from the new regime. Don't know yet whether I'll be permitted to put it up. I shall anyway.'

'When did you get out of the army?'

'It was rather premature. I was never much of a hand at regimental life, even though I wasn't sure at one moment I wouldn't take up soldiering as a trade. So many temptations in Germany. The Colonel didn't behave too badly, but in the end he said I'd have to go. I agreed, so far as it went. I scrounged round for a bit selling s.p.a.ce and little articles, then got myself fixed up in this culture-toting outfit. At the moment I'm in liaison with Mark Members and his conference project. I hear you're doing the books on this mag. What about some reviewing for Odo?'

'Why not, Odo? Why should you be the only man in England who's not going to review for Fission Fission?'