The Collector (20 page)

And there is the fact that he
is
a good painter, and I know he will be quite famous one day, and this influences me more than it should. Not only what he is, what he will be.

I remember later he said (Professor Higgins again). You don’t really stand a dog’s chance anyhow. You’re too pretty. The art of love’s your line: not the love of art.

I’m going to the Heath to drown myself, I said.

I shouldn’t marry. Have a tragic love
affaire
. Have your ovaries cut out. Something. And he gave me one of his really wicked looks out of the corners of his eyes. It wasn’t just that. It was frightened in a funny little-boy way, too. As if he’d said something he knew he shouldn’t have, to see how I would react. And suddenly he seemed much younger than me.

He so often seems young in a way I can’t explain. Perhaps it’s that he’s made me look at myself and see that what I believe is old and stuffy. People who teach you cram old ideas, old views, old ways, into you. Like covering plants with layer after layer of old earth; it’s no wonder the poor things so rarely come up fresh and green.

But G.P. has. I didn’t recognize it as fresh-green-shootiness for a long time. But now I do.

Another bad day. I made sure it was bad for Caliban, too. Sometimes he irritates me so much that I could scream at him. It’s not so much the way he looks, though that’s bad enough. He’s always so respectable, his trousers always have creases, his shirts are always clean. I really think he’d be happier if he wore starched collars. So utterly not with it. And he stands. He’s the most tremendous stander-around I’ve ever met. Always with that I’m-sorry expression on his face, which I begin to realize is
actually
contentment. The sheer joy of having me under his power, of being able to spend all and every day staring at me. He doesn’t care what I say or how I feel—my feelings are meaningless to him—it’s the fact that he’s got me.

I could scream abuse at him all day long; he wouldn’t mind at all. It’s me he wants, my look, my outside; not my emotions or my mind or my soul or even my body. Not anything
human
.

He’s a collector. That’s the great dead thing in him.

What irritates me most about him is his way of speaking. Cliche after cliche after cliche, and all so old-fashioned, as if he’s spent all his life with people over fifty. At lunch-time today he said, I called in with regard to those records they’ve placed on order. I said, Why don’t you just say, “I asked about those records you ordered?”

He said, I know my English isn’t correct, but I try to make it correct. I didn’t argue. That sums him up. He’s got to be correct, he’s got to do whatever was “right” and “nice” before either of us was born.

I know it’s pathetic, I know he’s a victim of a miserable Nonconformist suburban world and a miserable social class, the horrid timid copycatting genteel in-between class. I used to think D and M’s class the worst. All golf and gin and bridge and cars and the right accent and the right money and having been to the right school and hating the arts (the theatre being a pantomime at Christmas and
Hay Fever
by the Town Rep—Picasso and Bartok dirty words unless you wanted to get a laugh). Well, that is foul. But Caliban’s England is fouler.

It makes me sick, the blindness, deadness, out-of-dateness, stodginess and, yes, sheer jealous malice of the great bulk of England.

G.P. talks about the Paris rat. Not being able to face England any more. I can understand that so well. The feeling that England stifles and smothers and crushes like a steamroller over everything fresh and green and original. And that’s what causes tragic failures like Matthew Smith and Augustus John—they’ve done the Paris rat and they live ever after in the shadow of Gauguin and Matisse or whoever it may be—just as G.P. says he once lived under the shadow of Braque and suddenly woke up one morning to realize that all he had done for five years was a lie, because it was based on Braque’s eyes and sensibilities and not his own.

Photography.

It’s all because there’s so little hope in England that you have to turn to Paris, or somewhere abroad. But you have to force yourself to accept the truth—that Paris is always an escape
downwards
(G.P.’s words)—not saying anything against Paris, but you have to face up to England and the apathy of the environment (these are all G.P.’s words and ideas) and the great deadweight of the Calibanity of England.

And the real saints are people like Moore and Sutherland who fight to be English artists in England. Like Constable and Palmer and Blake.

Another thing I said to Caliban the other day—we were listening to jazz—I said, don’t you dig this? And he said, in the garden. I said he was so square he was hardly credible. Oh, that, he said.

Like rain, endless dreary rain. Colour-killing.

I’ve forgotten to write down the bad dream I had last night. I always seem to get them at dawn, it’s something to do with the stuffiness of this room after I’ve been locked in it for a night. (The relief—when he comes and the door is open, and the fan on. I’ve asked him to let me go straight out and breathe the cellar air, but he always makes me wait till I’ve had breakfast. As I think he might not let me have my half-hour in midmorning if he let me go out earlier, I don’t insist.)

The dream was this. I’d done a painting. I can’t really remember what it was like but I was very pleased with it. It was at home. I went out and while I was out I knew something was wrong. I had to get home. When I rushed up to my room M was there sitting at the pembroke table (Minny was standing by the wall—looking frightened, I think G.P. was there, too, and other people, for some peculiar reason) and the picture was in shreds—great long strips of canvas. And M was stabbing at the table top with her secateurs and I could see she was white with rage. And I felt the same. The most wild rage and hatred.

I woke up then. I have never felt such rage for M—even that day when she was drunk and hit me in front of that hateful boy Peter Catesby. I can remember standing there with her slap on my cheek and feeling ashamed, outraged, shocked, everything… but sorry for her. I went and sat by her bed and held her hand and let her cry and forgave her and defended her with Daddy and Minny. But this dream seemed so real, so terribly natural.

I’ve accepted that she tried to stop me from becoming an artist. Parents always misunderstand their children (no, I won’t misunderstand mine), I knew I was supposed to be the son and surgeon poor D never was able to be. Carmen will be that now. I mean I have forgiven them their fighting against my ambition for their ambitions. I won, so I must forgive.

But that hatred in that dream. It was so real.

I don’t know how to exorcise it. I could tell it to G.P. But there’s only the slithery scratch of my pencil on this pad.

Nobody who has not lived in a dungeon could understand how
absolute
the silence down here is. No noise unless I make it. So I feel near death. Buried. No outside noises to help me be living at all. Often I put on a record. Not to hear music, but to hear
something
.

I have a strange illusion quite often. I think I’ve become deaf. I have to make a little noise to prove I’m not. I clear my throat to show myself that everything’s quite normal. It’s like the little Japanese girl they found in the ruins of Hiroshima. Everything dead; and she was singing to her doll.

I must must must escape.

I spent hours and hours today thinking about it. Wild ideas. He’s so cunning, it’s incredible. Foolproof.

It must seem I never try to escape. But I can’t try every day, that’s the trouble. I have to space out the attempts. And each day here is like a week outside.

Violence is no good. It must be cunning.

Face-to-face, I can’t be violent. The idea makes me feel weak at the knees. I remember wandering with Donald somewhere in the East End after we’d been to the Whitechapel and we saw a group of teddies standing round two middle-aged Indians. We crossed the street, I felt sick. The teddies were shouting, chivvying and bullying them off the pavement on to the road. Donald said, what can one do, and we both pretended to shrug it off, to hurry away. But it was beastly, their violence and our fear of violence. If he came to me now and knelt and handed me the poker, I couldn’t hit him.

It’s no good. I’ve been trying to sleep for the last half-hour, and I can’t. Writing here is a sort of drug. It’s the only thing I look forward to. This afternoon I read what I wrote about G.P. the day before yesterday. And it seemed vivid. I know it seems vivid because my imagination fills in all the bits another person wouldn’t understand. I mean, it’s vanity. But it seems a sort of magic, to be able to call my past back. And I just can’t live in this present. I would go mad if I did.

I’ve been thinking today of the time I took Piers and Antoinette to meet him. The black side of him. No, I was stupid. They’d come up to Hampstead to have coffee and we were to go to the Everyman, but the queue was too long. So I let them bully me into taking them round.

It was vanity on my part. I’d talked too much about him. So that they began to hint that I couldn’t be so very friendly if I was afraid to take them round to meet him. And I fell for it.

I could see he wasn’t pleased at the door, but he asked us up. And oh, it was terrible.
Terrible
. Piers was at his slickest and cheapest and Antoinette was almost parodying herself, she was so sex-kittenish. I tried to excuse everyone to everyone else. G.P. was in such a weird mood. I knew he could withdraw, but he went out of his way to be rude. He could have seen Piers was only trying to cover up his feeling of insecurity.

They tried to get him to discuss his own work, but he wouldn’t. He started to be outrageous. Four-letter words. All sorts of bitter cynical things about the Slade and various artists—things I know he doesn’t believe. He certainly managed to shock me and Piers, but of course Antoinette just went one better. Simpered and trembled her eyelashes, and said something fouler still. So he changed tack. Cut us short every time we tried to speak (me too).

And then I did something even more stupid than the having gone there in the first place. There was a pause, and he obviously thought we would go. But I idiotically thought I could see Antoinette and Piers looking rather amused and I was sure it was because they felt I didn’t know him as well as I’d said. So I had to try to prove to them that I could manage him.

I said, could we have a record, G.P.?

For a moment he looked as if would he say no, but then he said, why not? Let’s hear someone saying something for a change. He didn’t give us any choice, he just went and put a record on.

He lay on the divan with his eyes closed, as usual, and Piers and Antoinette obviously thought it
was
a pose.

Such a thin strange quavering noise, and such a tense awkward atmosphere had built up; I mean it was the music on top of everything else. Piers started to smirk and Antoinette had a fit of—she can’t giggle, she’s too slinky, her equivalent—and I smiled. I admit it. Piers cleaned out his ear with his little finger and then leant on his elbow with his forehead on outstretched fingers—and shook his head every time the instrument (I didn’t know what it was then) vibrated. Antoinette half-choked. It was awful. I knew he would hear.

He did. He saw Piers cleaning his ears again. And Piers saw himself being seen and put on a clever sort of don’t-mind-us smile. G.P. jumped up and turned off the player. He said, you don’t like it? Piers said, have I got to like it?

I said, Piers, that wasn’t funny.

Piers said, I wasn’t making a noise, was I? Have we got to like it?

G.P. said, get out.

Antoinette said, I’m afraid I always think of Beecham. You know. Two skeletons copulating on a tin roof?

G.P. said (frightening, his face, he can look devilish), first, I’m delighted that you should admire Beecham. A pompous little duckarsed bandmaster who stood against everything creative in the art of his time. Second, if you can’t tell that from a harpsichord, Christ help you. Third (to Piers) I think you’re the smuggest young layabout I’ve met for years and you (me)—are
these
your friends?

I stood there, I couldn’t say anything, he made me furious, they made me furious and anyhow I was ten times more embarrassed than furious.

Piers shrugged, Antoinette looked bewildered, but vaguely amused, the bitch, and I was red. It makes me red again to think of it (and of what happened later—how could he?).

Take it easy, said Piers. It’s only a record. I suppose he was angry, he must have known it was a stupid thing to say.

You think that’s only a record, G.P. said. Is that it? It’s just a record? Are you like this stupid little bitch’s aunt—do you think Rembrandt got the teeniest bit bored when he painted? Do you think Bach made funny faces and giggled when he wrote that? Do you?

Piers looked deflated, almost frightened. Well, DO YOU? shouted G.P.

He was terrible. Both ways. He was terrible, because he had started it all, he had determined to behave in that way. And wonderfully terrible, because passion is something you never see. I’ve grown up among people who’ve always tried to hide passion. He was raw. Naked. Trembling with rage.

Piers said, we’re not as old as you are. It was pathetic, feeble. Showed him up for what he really is.

Christ, said G.P. Art students. ART students.

I can’t write what he said next. Even Antoinette looked shocked.

We just turned and went. The studio door slammed behind us when we were on the stairs. I hissed a damn-you at Piers at the bottom and pushed them out. Darling, he’ll murder you, said Antoinette. I shut the door and waited. After a moment I heard the music again. I went up the stairs and very slowly opened the door. Perhaps he heard, I don’t know, but he didn’t look up and I sat on a stool near the door until it was finished.