Life in the West (4 page)

A separate dossier, on variously coloured papers, presented biographies of the main speakers, with Squire’s heading the list. He looked it through idly. It had been copied and abridged from
Who’s Who
or some similar work of reference; he reflected on how curiously little the curt sentences told of his real life.

Squire, Thomas Charles. C.B.E. (1969)

B. July, 1929.
Educ:
Orwell Park, Ipswich, 1937-42; Gresham School, Holt, 1942-45 (First XIV); King’s College, Cambridge, 1947-50.
Mar.
Teresa Rosemary Davies, 1951.
Ch.
John, b. 1953; George, b.1955 (d. 1959); Ann, b. 1965; Jane, 1966.

Nat. service.
Royal Mendips, 1945-46.

BIA, Belgrade, 1946; Exhib. ‘Restoration of Serbian Monasteries’ Wellcome Hall, 1950; ‘American Noises’, Newnham College, Camb., 1950; ‘Microgroovey: Style in L.P. Record Covers’, Verlaine Gallery, London, 1954-55; ‘Piranesi Goes Pop’, ICA, 1962; ‘On the Road Roadshow’, ICA, 1965.

Regal Insurance, dir., 1951-

Lect., Univ. of East Anglia, 1958-

Prs., Anglo-Yugoslav Assoc., 1964-

Ch. and dir., Hyde Park Pop Expo, 1968. Founder, Soc. for Pop. Aesthetics, 1969. Lect. in Pop Aesthetics at Berkeley (1971), Bahrain (1973), Austin, Texas (1975) Univs. Ch., Animals in the Popular Imagination Symp., Norwich, 1975.

Pubs
. Against Barbarism, 1960; Cult and Culture, 1975; Frankenstein Among the Arts, 1978.

Fellow,
King’s College, Cambridge; Wolfson, Oxford.

T.V.,
How Serbia Served the West, 1965. Frankenstein Among the Arts, 1978.

Clubs,
Travellers, Arts.

Home,
Pippet Hall, Hartisham, Norfolk, England.
Tel.,
Thursford 336.

The dessicated facts were followed by extracts from an interview published in
The Times
some years earlier. There was also a photograph, reproduced in green on yellow paper, but nevertheless distinct. It was, in its way, quite a famous photograph, having served as a still to advertise ‘Frankenstein Among the Arts’. Squire was dressed in a flapping canvas shirt and swimming trunks; beside him was Laura Nye in a bikini, hair streaming, in her role as Sex Symbol of the series; they were jumping through the shallow waves of the North Sea. The photo, more than the potted biog., said something about Squire’s life style.

Also included in the presentation folder were envelopes and a pad of A4 paper of good quality, handsomely decorated with the name of the Faculty of Iconographic Simulation, University of Ermalpa, Sicily. Below the inscription was the symbol of the conference, five red tulips on parallel stalks — or they could be lollipops or hearts — the iconography was deliberately ambiguous — with one stalk, the longest, branching off sideways at right angles, with a spearhead — or was it a rocketship with vapour trail? — neatly piercing a red sun. At the top of the paper on the other side, was another symbol, the symbol of the organization of which Thomas Squire was founder and president, SPA, the Society for Popular Aesthetics, with the S and the A buttressing the big P with a wide eye in its centre. Squire recognized the placing of this hieroglyph as at once a tribute to him and an insinuation. They wanted his organization.

One hundred and fifty delegates from fifteen countries were listed in the programme. The seating round the table, as a rapid computation showed, allowed for only half that number to appear. Fairly standard practice.

Squire watched the delegates seat themselves, observing their various ploys. An arrangement of pens. A watch removed from wrist and prominently displayed — LCD digital quartz most likely, to judge by its brutal shape, possibly new. A manly and immediate attack on the mineral-water bottle. Earnest writing of notes. Intense communication with one’s next-door neighbour. A deliberate stare towards the ornate ceiling. Someone whistling. Smiling. Frowning. Everything equally effective, really, in asserting one’s individuality, if one needed to do so.

Gianni Frenza, the secretary of the conference, said hello to Squire before sitting down. He was a decent solid man with a heavy face and thick shaggy hair which curled over his heavy spectacles. Probably a good family man.

Vasili Rugorsky entered with a colleague. Both bowed formally to Squire before sitting down. Rugorsky had written a curious book on Shakespeare and Evolution, which ranged Shakespearean characters on a sort of evolutionary ladder, starting with the ‘youth heroes’ like Romeo and Hamlet and proceeding through Mark Antony and Julius Caesar to Lear and Prospero. A curious work for a Russian critic. His book had been translated into French but not English. Rugorsky was a handsome man in a rather porcine way, his white hair brushed back over a good broad brow. He wore a blue double-breasted suit, with a white handkerchief protruding, neatly folded, from the breast pocket. A bit like a nineteen-forties big bandleader, thought Squire.

Rugorsky’s compatriot, according to the notice before him, which he was examining with blunt figures, was Georgi Kchevov. He was listed in the curriculum simply as ‘Leningrad critic’. Nobody knew his name. The editor who had been invited, a distinguished academician well known in the West, had not materialized; Kchevov had materialized instead. That too was fairly standard. Kchevov could be a truck driver, judging by his muscles and rugged looks. The gold-rimmed spectacles contributed a parody of a Weimar professor.

The Russians were escorted into the conference hall by one of the vulpine young academics from the University of Ermalpa who played some part in the organization of the conference. Squire observed that Kchevov spoke fluent Italian to this dignitary; Rugorsky maintained a watchful silence, blinking as he gazed about the room. He hardly looked up as the Ermalpan delegate bowed himself away.

When Jacques d’Exiteuil entered through the double doors, his copper hair gleaming, the chatter in the large room was slightly hushed. His arrival was a signal that business was about to begin. Slight but important, he smiled at all and sundry as he advanced, slipping easily from one language to another according to the nationality of the delegate he addressed. Even to the Greek...? Well, it sounded remarkably like it.

Using the biography list, Squire started to make a nationality count. Three quarters of the delegates were Italian, over half of them from the University of Ermalpa, which gave the proceedings the provincial air of which Morabito had spoken. There were ten French, five Americans, including the youthful Albert Russell Cantania, who had already made a name for himself in academic circles with his large structural work,
Form Behind Formula.
Had he been invited because he was likely to make a real contribution or because he had an Italian surname? Then a rabble of nationalities, including Squire himself, the only Englishman present. He was sorry to see there was no Yugoslav delegate.

The Americans, two Canadians, and two Australians, who were very young and studying in Ermalpa (and apparently invited along for the ride), all dressed in sloppy style, without ties or jackets; one Canadian wore an old T-shirt with an advertisement for something across his chest. They all seemed to be heavy smokers, lighting up as soon as they slumped into their chairs.

‘Are we going to be too hot in here, Tom?’ d’Exiteuil asked as he passed Squire and took his seat.

‘Temperature’s fine as far as I’m concerned.’

‘No windows, you notice. Poor psychological effect. Well, we will proceed. We can always scream for ice, I suppose.’

He dropped his head, looking at his watch; his hand rested on his knee. He studied it so hard that Squire looked at his own watch. Nine four on the morning of Wednesday, 13 September. It was the same time in Britain. And where was Teresa and what would she be doing? The possibilities which swam to mind in response to that question made him sigh. He took a deep breath and held it, diverting his attention. D’Exiteuil would not be studying the time but gathering his thoughts for his opening speech.

Something like calm settled round the table.

Frenza whispered to d’Exiteuil and then began speaking into his microphone without standing up. He sounded amiable and relaxed.

Putting on his headphones, Squire twiddled with the translation box. Instructions said Dial 3 for English. He switched to 3, but nothing happened. He noted that the other English-speakers were having trouble.

Then a girl’s voice entered his ear, saying in a foreign accent, ‘Sorry, he is saying some general words of welcome to delegates, from a number of important people — like the mayor of Ermalpa, I think he said, or maybe — yes, the mayor couldn’t be present. The Faculty of Icon — Iconographology Stimulation — well, yes, all from the great University here. The first ever of such international affairs on such a subject and of such an importance. To be in keeping with the modern age and find a way of accessing all the productions of all the mediums generally regarded as of little weight, which is in fact where culture, it begins. So first he’ll let Mr Sagrado from the Azienda Autonoma di Turismo di Ermalpa e Nontreale give his address to us.’

Squire glanced covertly at d’Exiteuil, but the chairman was staring ahead, following everything without headphones.

The man from the tourist office rose to his feet and spoke at some length. He praised the conference, its delegates, its objectives. He welcomed everyone to Ermalpa, and hoped that, despite the brevity of their stay, they would be able to forget work for a short while and see something of the beautiful coastline and the city and provinces which were, he could assure them, stuffed with antiquities, not only from Roman times but Norman, Arab, and Gothic periods. On the Sunday, at the close of the conference, there would be an excursion for delegates, in special luxury coaches provided by the Board of Tourism. He also expected that they would have a marvellous discussion in this room where Garibaldi was known to have been, and was only dismayed that he was unable to stay to hear their words of wisdom. He thanked them for listening and sent the mayor’s regrets.

Delegates clapped. They murmured among themselves.

The two Russians sitting on Squire’s left had remained looking straight ahead, arms folded, not even exchanging a word with each other. The Englishman was conscious of the bulk of Rugorsky in the next chair, and so prepared when the Russian turned to him and remarked, in French, ‘The speaker did not mention the cathedral at Nontreale, which is only some kilometres from here. Yet it is famous even in my country for its mosaics.’

‘I’ve heard the mosaics are very fine. I’ve not been there.’

‘Perhaps it will prove possible to go there. Perhaps one can get a coach.’

The impact of his gaze was considerable. For a moment, Squire received the impression that he recognized Rugorsky. The man’s eyes were hazel, with a golden gleam at their centre; they were fortified behind marked folds beneath the eye and cheeks positioned high on the face. Looking at Rugorsky, Squire remembered the old Russian saying, ‘Scratch a Russian and you will find a Tartar.’

‘Possibly we may talk together later.’

‘I’d be glad to. I enjoyed your book on Shakespeare.’

D’Exiteuil rose, clutching his beard.

He began to speak in English, then switched to his native language, then, with a small joke, to Italian. He spoke for about half-an-hour, about the nature of the conference and about what they should strive to achieve during the conference. He reminded delegates that they would not be allowed to talk for more than thirty minutes, because of pressure of time, but full or extended versions of their papers would be published later in the proceedings. There was tremendous interest all over the world in what had been termed ‘arts of no refinement’, the instant clichés and iconophilism in various media given off like radioactive particles by the bourgeois societies of the West. Whole genres were being born which invited categorization and scholarly attention, since these reservoirs of the dystopian imaginary were where we could go to learn most about the social dimensions of contemporary mondial life.

Changing tack slightly, and putting a small restless right hand into his trouser pocket, he went on to praise the University of Ermalpa for having established the Faculty of Iconographic Simulation, and for its foresight in setting Dottore Gianni Frenza at its head. Even better, the University had agreed — not without a couple of years of prompting from the present speaker in his watchdog role as editor of
Intergraphic Studies —
to host this present vitally needed conference. They had secured monies from the International Universities Foundation, for which they were most grateful. And the Ermalpa Tourist Board had been extremely helpful also. The Faculty felt that it was following parameters set down almost a decade ago by that doyen of popular culture, Thomas C. Squire, whose series of TV programmes, ‘Frankenstein Among the Arts’, had done much to further interest in a vital study area. They esteemed themselves very fortunate to have Tom Squire with them as guest of honour.

Squire appeared pleased at this, nodded to both sides of the table, and restrained himself from reaching for the water glass.

The small hand returned from its trip to the pocket and took a slow circuit through the air in a clockwise direction as d’Exiteuil explained that they hoped this First International Congress of Intergraphic Criticism would first of all promote deeper interest in polyvalent media throughout Italy, and then throughout the rest of the world, including the socialist countries.