The Alexandria Quartet (64 page)

PART IV

XII

D
espite the season the seafront of the city was gay with light — the long sloping lines of the Grande Corniche curving away to a low horizon; a thousand lighted panels of glass in which, like glorious tropical fish, the inhabitants of the European city sat at glittering tables stocked with glasses of mastic, aniseed or brandy. Watching them (I had eaten little lunch) my hunger overcame me, and as there was some time in hand before my meeting with Justine, I turned into the glittering doors of the Diamond Sutra and ordered a ham sandwich and a glass of. whisky. Once again, as always when the drama of external events altered the emotional pattern of things, I began to see the city through new eyes — to examine the shapes and contours made by human beings with the detachment of an entomologist studying a hitherto unknown species of insect. Here it was, the race, each member of it absorbed in the solution of individual preoccupations, loves, hates and fears. A woman counting money on to a glass table, an old man feeding a dog, an Arab in a red flowerpot drawing a curtain.

Aromatic smoke poured from the small sailor taverns along the seafront where the iron spits loaded with a freight of entrails and spices turned monotonously back and forth, or bellied from under the lids of shining copper cauldrons, giving off hot gusts of squid, cuttlefish and pigeon. Here one drank from the blue cans and ate with one's fingers as they do in the Cyclades even today.

I picked up a decrepit horse-cab and jogged along by the sighing sea towards the Aurore, drinking in the lighted darkness with regrets and fears so fugitive as to be beyond analysis; but underneath (like a toad under a cool stone, the surface airs of night) I still felt the stirrings of horror at the thought that Justine herself might be endangered by the love which ‘we bore one another'. I turned the thought this way and that in my mind, like a prisoner pressing with all his weight upon doors which denied him an exit from an intolerable bondage, trying to devise an issue from a situation which, it seemed, might as well end in her death as in mine.

The great car was waiting, drawn up off the road in the darkness under the pepper-trees. She opened the door for me silently and I got in, spellbound by my fears.

‘Well' she said at last, and giving a little groan which expressed everything, sank into my arms and pressed her warm mouth on mine. ‘Did you go? Is it over?'

‘Yes.'

She let in the clutch and the driving wheels spurned the gravel as the car moved out into the pearly nightfall and began to follow the coast road to the outer desert. I studied her harsh Semitic profile in the furry light flung back by the headlights from the common objects of the roadside. It belonged so much to the city which I now saw as a series of symbols stretching away from us on either side — minarets, pigeons, statues, ships, coins, camels and palms; it lived in a heraldic relation to the exhausted landscapes which enclosed it — the loops of the great lake: as proper to the scene as the Sphinx was to the desert.

‘My ring' she said. ‘You brought it?'

‘Yes.' I polished it once more on my tie and slipped it back once more on to its appropriate finger. Involuntarily I said now: ‘Justine, what is to become of us?'

She gave me a wild frowning look like a Bedouin woman, and then smiled that warm smile. ‘Why?'

‘Surely you see? We shall have to stop this altogether. I can't bear to think you might be in danger.… Or else I should go straight to Nessim and confront him with.…' With what? I did not know.

‘No' she said softly, ‘no. You could not do it. You are an Anglo-Saxon … you couldn't step outside the law like that, could you? You are not one of us. Besides, you could tell Nessim nothing he does not guess if not actually know.… Darling' she laid her warm hand upon mine, ‘simply wait… simply love, above all … and we shall see.'

It is astonishing now for me to realize, as I record this scene, that she was carrying within her (invisible as the already conceived foetus of a child) Pursewarden's death: that her kisses were, for all I know, falling upon the graven image of my friend — the death-mask of the writer who himself did not love her, indeed regarded her with derision. But such a demon is love that I would not be surprised if in a queer sort of way his death actually enriched our own love-making, filling it with the deceits on which the minds of women feed — the compost of secret pleasures and treacheries which are an inseparable part of every human relation.

Yet what have I to complain of? Even this half-love filled my heart to overflowing. It is she, if anyone, who had cause for complaint. It is very hard to understand these things. Was she already planning her flight from Alexandria then? ‘The power of woman is such' writes Pursewarden ‘that a single kiss can paraphrase the reality of man's life and turn it …' but why go on? I was happy sitting beside her, feeling the warmth of her hand as it lay in mine.

The blue night was hoary with stars and the attentive desert stretched away on either side with its grotesque amphitheatres — like the empty rooms in some great cloud-mansion. The moon was late and wan tonight, the air still, the dunes wind-carved. ‘What are you thinking?' said my lover.

What was I thinking? Of a passage in Proclus which says that Orpheus ruled over the silver race, meaning those who led a ‘silver' life; on Balthazar's mantelpiece presumably among the pipe-cleaners and the Indian wood-carving of monkeys which neither saw, spoke nor heard evil, under a magic pentacle from Pythagoras. What was I thinking? The foetus in its waxen wallet, the locust squatting in the horn of the wheat, an Arab quoting a proverb which reverberated in the mind. ‘The memory of man is as old as misfortune.' The quails from the burst cage spread upon the ground softly like honey, having no idea of escape. In the Scent Bazaar the flavour of Persian lilac.

‘Fourteen thousand years ago' I said aloud, ‘Vega in Lyra was the Pole Star. Look at her where she burns.'

The beloved head turned with its frowning deep-set eyes and once more I see the long boats drawing in to the Pharos, the tides running, the minarets a-glitter with dew; noise of the blind Hodja crying in the voice of a mole assaulted by sunlight; a shuffle-pad of a camel-train clumping to a festival carrying dark lanterns. An Arab woman makes my bed, beating the pillows till they fluff out like white egg under a whisk; a passage in Pursewarden's book which reads: ‘They looked at each other, aware that there was neither youth nor strength enough between them to prevent their separation.' When Melissa was pregnant by Nessim Amaril could not perform the abortion Nessim so much desired because of her illness and her weak heart. ‘She may die anyway' he said, and Nessim nodded curtly and took up his overcoat. But she did not die then, she bore the child.…

Justine is quoting something in Greek which I do not recognize:

Sand, dog-roses and white rocks

Of Alexandria, the mariner's sea-marks
,

Some sprawling dunes falling and pouring

Sand into water, water into sand
,

Never into the wine of exile

Which stains the air it is poured through;

Or a voice which stains the mind
,

Singing in Arabic: ‘A ship without a sail

Is a woman without breasts.' Only that. Only that
.

We walked hand in hand across the soft sand-dunes, laboriously as insects, until we reached Taposiris with its rumble of shattered columns and capitals among the ancient weather-eroded sea-marks. (‘Reliques of sensation' says Coleridge ‘may exist for an indefinite time in a latent state in the very same order in which they were impressed.') Yes, but the order of the imagination is not that of memory. A faint wind blew off the sea from the Grecian archipelago. The sea was smooth as a human cheek. Only at the edges it stirred and sighed. Those warm kisses remain there, amputated from before and after, existing in their own right like the frail transparencies of ferns or roses pressed between the covers of old books — unique and unfading as the memories of the city they exemplified and evoked: a plume of music from a forgotten carnival-guitar echoing on in the dark streets of Alexandria for as long as silence lasts.…

I see all of us not as men and women any longer, identities swollen with their acts of forgetfulness, follies, and deceits — but as beings unconsciously made part of place, buried to the waist among the ruins of a single city, steeped in its values; like those creatures of whom Empedocles wrote ‘Solitary limbs wandered, seeking for union with one another,' or in another place, ‘So it is that sweet lays hold of sweet, bitter rushes to bitter, acid comes to acid, warm couples with warm.' All members of a city whose actions lay just outside the scope of the plotting or conniving spirit: Alexandrians.

Justine, lying back against a fallen column at Taposiris, dark head upon the darkness of the sighing water, one curl lifted by the sea-winds, saying: ‘In the whole of English only one phrase means something to me, the words “Time Immemorial”.'

Seen across the transforming screens of memory, how remote that forgotten evening seems. There was so much as yet left for us all to live through until we reached the occasion of the great duckshoot which so abruptly, concisely, precipitated the final change — and the disappearance of Justine herself. But all this belongs to another Alexandria — one which I created in my mind and which the great Interlinear of Balthazar has, if not destroyed, changed out of all recognition.

‘To intercalate realities' writes Balthazar ‘is the only way to be faithful to Time, for at every moment in Time the possibilities are endless in their multiplicity. Life consists in the act of choice. The perpetual reservations of judgement and the perpetual choosing.'

From the vantage-point of this island I can see it all in its doubleness, in the intercalation of fact and fancy, with new eyes; and re-reading, re-working reality in the light of all I now know, I am surprised to find that my feelings themselves have changed, have grown, have deepened even. Perhaps then the destruction of my private Alexandria was necessary (‘the artifact of a true work of art never shows a plane surface'); perhaps buried in all this there lies the germ and substance of a truth — time's usufruct — which, if I can accommodate it, will carry me a little further in what is really a search for my proper self. We shall see.

XIII

‘C
lea and her old father, whom she worships. White-haired, erect, with a sort of haunted pity in his eyes for the young unmarried goddess he has fathered. Once a year, however, on New Year's eve, they dance at the Cecil, stately, urbanely. He waltzes like a clockwork man.' Somewhere I once wrote down these words. They bring to mind another scene, another sequence of events.

The old scholar comes to sit at my table. He has a particular weakness for me, I do not know why, but he always talks to me with humorous modesty as we sit and watch his beautiful daughter move around the room in the arms of an admirer, so graceful and so composed. ‘There is so much of the schoolgirl still about her — or the artist. Tonight her cape had some wine on it so she put a mackintosh over her ball gown and ate the toffees which she found in the pockets. I don't know what her mother would say if she were alive.' We drank quietly and watched the coloured lights flickering among the dancers. He said ‘I feel like an old procurer. Always looking out for someone to marry her.… Her happiness seems so important, somehow… I am going the right way about to spoil it I know, by meddling… yet I can't leave it alone … I've scraped a dowry together over the years.… The money burns my pocket.… When I see a nice Englishman like you my instinct is to say: “For God's sake take her and look after her.” … It has been a bitter pleasure bringing her up without a mother. Eh? No fool like an old fool.' And he walks stiffly away to the bar, smiling.

Presently that evening Clea herself came and sat beside me in the alcove, fanning herself and smiling. ‘Quarter of an hour to midnight. Poor Cinderella. I must get my father home before the clock strikes or he'll lose his beauty-sleep!'

We spoke then of Amar whose trial for the murder of de Brunel had ended that afternoon with his acquittal due to lack of direct evidence.

‘I know,' said Clea softly. ‘And I'm glad. It has saved me from a
crise de conscience
. I would not have known what to do if he had been convicted. You see, I know he didn't do it. Why? Because, my dear, I know who did and why.…' She narrowed those splendid eyes and went on. ‘A story of Alexandria — shall I tell you? But only if you keep it a secret. Would you promise me? Bury it with the old year — all our misfortunes and follies. You must have had a surfeit of them by now, must you not? All right. Listen. On the night of the carnival I lay in bed thinking about a picture — the big one of Justine. It was all wrong and I didn't know where. But I suspected the hands — those dark and shapely hands. I had got their position quite faithfully, but, well, something in the composition didn't go; it had started to trouble me at this time — months after the thing was finished. I can't think why. Suddenly I said to myself. “Those hands want thinking about,” and I had the thing lugged back to my room from the studio where I stood it against a wall. Well, to no effect, really; I'd spent the whole evening smoking over it, and sketching the hands in different positions from memory. Somehow I thought it might be that beastly Byzantine ring which she wears. Anyway, all my thinking was of no avail so about midnight I turned in, and lay smoking in bed with my cat asleep on my feet.