Dear Lady Anna,With deep repugnance I take up my pen, for certain things won’t bear thinking about, much less being written. But I feel that I owe you some explanation of my reasons for having come to the decision that I cannot permit your daughter to enter my house again, or my wife to visit Morton. I enclose a copy of your daughter’s letter to my wife, which I feel is sufficiently clear to make it unnecessary for me to write further, except to add that my wife is returning the two costly presents given her by Miss Gordon.I remain, Yours very truly,Ralph Crossby.
Dear Lady Anna,
With deep repugnance I take up my pen, for certain things won’t bear thinking about, much less being written. But I feel that I owe you some explanation of my reasons for having come to the decision that I cannot permit your daughter to enter my house again, or my wife to visit Morton. I enclose a copy of your daughter’s letter to my wife, which I feel is sufficiently clear to make it unnecessary for me to write further, except to add that my wife is returning the two costly presents given her by Miss Gordon.
I remain, Yours very truly,
Ralph Crossby.
Stephen stood as though turned to stone for a moment, not so much as a muscle twitched; then she handed the letter back to her mother without speaking, and in silence Anna received it. ‘Stephen—when you know what I’ve done, forgive me.’ The childish scrawl seemed suddenly on fire, it seemed to scorch Stephen’s fingers as she touched it in her pocket—so this was what Angela had done. In a blinding flash the girl saw it all; the miserable weakness, the fear of betrayal, the terror of Ralph and of what he would do should he learn of that guilty night with Roger. Oh, but Angela might have spared her this, this last wound to her loyal and faithful devotion; this last insult to all that was best and most sacred in her love—Angela had feared betrayal at the hands of the creature who loved her!
But now her mother was speaking again: ‘And this—read this and tell me if you wrote it, or if that man’s lying.’ And Stephen must read her own misery jibing at her from those pages in Ralph Crossby’s stiff and clerical handwriting.
She looked up: ‘Yes, Mother, I wrote it.’
Then Anna began to speak very slowly as though nothing of what she would say must be lost; and that slow, quiet voice was more dreadful than anger: ‘All your life I’ve felt very strangely towards you;’ she was saying, ‘I’ve felt a kind of physical repulsion, a desire not to touch or to be touched by you—a terrible thing for a mother to feel—it has often made me deeply unhappy. I’ve often felt that I was being unjust, unnatural—but now I know that my instinct was right; it is you who are unnatural, not I. . . .’
‘Mother—stop!’
‘It is you who are unnatural, not I. And this thing that you are is a sin against creation. Above all is this thing a sin against the father who bred you, the father whom you dare to resemble. You dare to look like your father, and your face is a living insult to his memory, Stephen. I shall never be able to look at you now without thinking of the deadly insult of your face and your body to the memory of the father who bred you. I can only thank God that your father died before he was asked to endure this great shame. As for you, I would rather see you dead at my feet than standing before me with this thing upon you—this unspeakable outrage that you call love in that letter which you don’t deny having written. In that letter you say things that may only be said between man and woman, and coming from you they are vile and filthy words of corruption—against nature, against God who created nature. My gorge rises; you have made me feel physically sick—’
‘Mother—you don’t know what you’re saying—you’re my mother—’
‘Yes, I am your mother, but for all that, you seem to me like a scourge. I ask myself what I have ever done to be dragged down into the depths by my daughter. And your father—what had he ever done? And you have presumed to use the word love in connection with this—with these lusts of your body; these unnatural cravings of your unbalanced mind and undisciplined body—you have used that word. I have loved—do you hear? I have loved your father, and your father loved me. That waslove.’
Then, suddenly, Stephen knew that unless she could, indeed, drop dead at the feet of this woman in whose womb she had quickened, there was one thing that she dared not let pass unchallenged, and that was this terrible slur upon her love. And all that was in her rose up to refute it; to protect her love from such unbearable soiling. It was part of herself, and unless she could save it, she could not save herself any more. She must stand or fall by the courage of that love to proclaim its right to toleration.
She held up her hand, commanding silence; commanding that slow, quiet voice to cease speaking, and she said: ‘As my father loved you, I loved. As a man loves a woman, that was how I loved—protectively, like my father. I wanted to give all I had in me to give. It made me feel terribly strong . . . and gentle. It was good, good,good—I’d have laid down my life a thousand times over for Angela Crossby. If I could have, I’d have married her and brought her home—I wanted to bring her home here to Morton. If I loved her the way a man loves a woman, it’s because I can’t feel that I am a woman. All my life I’ve never felt like a woman, and you know it—you say you’ve always disliked me, that you’ve always felt a strange physical repulsion. . . . I don’t know what I am; no one’s ever told me that I’m different and yet I know that I’m different—that’s why, I suppose, you’ve felt as you have done. And for that I forgive you, though whatever it is, it was you and my father who made this body—but what I will never forgive is your daring to try and make me ashamed of my love. I’m not ashamed of it, there’s no shame in me.’ And now she was stammering a little wildly, ‘Good and—and fine it was,’ she stammered, ‘the best part of myself—I gave all and I asked nothing in return—I just went on hopelessly loving—’ she broke off, she was shaking from head to foot, and Anna’s cold voice fell like icy water on that angry and sorely tormented spirit.
‘You have spoken, Stephen. I don’t think there’s much more that needs to be said between us except this, we two cannot live together at Morton—not now, because I might grow to hate you. Yes, although you’re my child, I might grow to hate you. The same roof mustn’t shelter us both any more; one of us must go—which of us shall it be?’ And she looked at Stephen and waited.
Morton! They could not both live at Morton. Something seemed to catch hold of the girl’s heart and twist it. She stared at her mother, aghast for a moment, while Anna stared back—she was waiting for her answer.
But quite suddenly Stephen found her manhood and she said: ‘I understand. I’ll leave Morton.’
Then Anna made her daughter sit down beside her, while she talked of how this thing might be accomplished in a way that would cause the least possible scandal: ‘For the sake of your father’s honourable name, I must ask you to help me, Stephen.’ It was better, she said, that Stephen should take Puddle with her, if Puddle would consent to go. They might live in London or somewhere abroad, on the pretext that Stephen wished to study. From time to time Stephen would come back to Morton and visit her mother, and during those visits, they two would take care to be seen together for appearances’ sake, for the sake of her father. She could take from Morton whatever she needed, the horses, and anything else she wished. Certain of the rent-rolls would be paid over to her, should her own income prove insufficient. All things must be done in a way that was seemly—no undue haste, no suspicion of a breach between mother and daughter: ‘For the sake of your father I ask this of you, not for your sake or mine, but for his. Do you consent to this, Stephen?’
And Stephen answered: ‘Yes, I consent.’
Then Anna said: ‘I’d like you to leave me now—I feel tired and I want to be alone for a little—but presently I shall send for Puddle to discuss her living with you in the future.’
So Stephen got up, and she went away, leaving Anna Gordon alone.
As thoughdrawn there by some strong natal instinct, Stephen went straight to her father’s study; and she sat in the old arm-chair that had survived him; then she buried her face in her hands.
All the loneliness that had gone before was as nothing to this new loneliness of spirit. An immense desolation swept down upon her, an immense need to cry out and claim understanding for herself, an immense need to find an answer to the riddle of her unwanted being. All around her were grey and crumbling ruins, and under those ruins her love lay bleeding; shamefully wounded by Angela Crossby, shamefully soiled and defiled by her mother—a piteous, suffering, defenceless thing, it lay bleeding under the ruins.
She felt blind when she tried to look into the future, stupefied when she tried to look back on the past. She must go—she was going away from Morton: ‘From Morton—I’m going away from Morton,’ the words thudded drearily in her brain: ‘I’m going away from Morton.’
The grave, comely house would not know her any more, nor the garden where she had heard the cuckoo with the dawning understanding of a child, nor the lakes where she had kissed Angela Crossby for the first time—full on the lips as a lover. The good, sweet-smelling meadows with their placid cattle, she was going to leave them; and the hills that protected poor, unhappy lovers—the merciful hills; and the lanes with their sleepy dog-roses at evening; and the little, old township of Upton-on-Severn with its battle-scarred church and its yellowish river; that was where she had first seen Angela Crossby. . . .
The spring would come sweeping across Castle Morton, bringing strong, clean winds to the open common. The spring would come sweeping across the whole valley, from the Cotswold Hills right up to the Malverns; bringing daffodils by their hundreds and thousands, bringing bluebells to the beech wood down by the lakes, bringing cygnets for Peter the swan to protect; bringing sunshine to warm the old bricks of the house—but she would not be there any more in the spring. In summer the roses would not be her roses, nor the luminous carpet of leaves in the autumn, nor the beautiful winter forms of the beech trees: ‘And on evenings in winter these lakes are quite frozen, and the ice looks like slabs of gold in the sunset, when you and I come and stand here in the winter. . . .’ No, no, not that memory, it was too much—‘when you and I come and stand here in the winter. . . .’
Getting up, she wandered about the room, touching its kind and familiar objects; stroking the desk, examining a pen, grown rusty from long disuse as it lay there; then she opened a little drawer in the desk and took out the key of her father’s locked bookcase. Her mother had told her to take what she pleased—she would take one or two of her father’s books. She had never examined this special bookcase, and she could not have told why she suddenly did so. As she slipped the key into the lock and turned it, the action seemed curiously automatic. She began to take out the volumes slowly and with listless fingers, scarcely glancing at their titles. It gave her something to do, that was all—she thought that she was trying to distract her attention. Then she noticed that on a shelf near the bottom was a row of books standing behind the others; the next moment she had one of these in her hand, and was looking at the name of the author: Krafft Ebing—she had never heard of that author before. All the same she opened the battered old book, then she looked more closely, for there on its margins were notes in her father’s small, scholarly hand and she saw that her own name appeared in those notes— She began to read, sitting down rather abruptly. For a long time she read; then went back to the bookcase and got out another of those volumes, and another. . . . The sun was now setting behind the hills; the garden was growing dusky with shadows. In the study there was little light left to read by, so that she must take her book to the window and must bend her face closer over the page; but still she read on and on in the dusk.
Then suddenly she had got to her feet and was talking aloud—she was talking to her father: ‘You knew! All the time you knew this thing, but because of your pity you wouldn’t tell me. Oh, Father—and there are so many of us—thousands of miserable, unwanted people, who have no right to love, no right to compassion because they’re maimed, hideously maimed and ugly—God’s cruel; He let us get flawed in the making.’
And then, before she knew what she was doing, she had found her father’s old, well-worn Bible. There she stood demanding a sign from heaven—nothing less than a sign from heaven she demanded. The Bible fell open near the beginning. She read: ‘And the Lord set a mark upon Cain. . . .’
Then Stephen hurled the Bible away, and she sank down completely hopeless and beaten, rocking her body backwards and forwards with a kind of abrupt yet methodical rhythm: ‘And the Lord set a mark upon Cain, upon Cain. . . .’ she was rocking now in rhythm to those words, ‘And the Lord set a mark upon Cain—upon Cain—upon Cain. And the Lord set a mark upon Cain. . . .’
That was how Puddle came in and found her, and Puddle said: ‘Where you go, I go, Stephen. All that you’re suffering at this moment I’ve suffered. It was when I was very young like you—but I still remember.’
Stephen looked up with bewildered eyes: ‘Would you go with Cain whom God marked?’ she said slowly, for she had not understood Puddle’s meaning, so she asked her once more: ‘Would you go with Cain?’
Puddle put an arm round Stephen’s bowed shoulders, and she said: ‘You’ve got work to do—come and do it! Why, just because you are what you are, you may actually find that you’ve got an advantage. You may write with a curious double insight—write both men and women from a personal knowledge. Nothing’s completely misplaced or wasted, I’m sure of that—and we’re all part of nature. Some day the world will recognize this, but meanwhile there’s plenty of work that’s waiting. For the sake of all the others who are like you, but less strong and less gifted perhaps, many of them, it’s up to you to have the courage to make good, and I’m here to help you to do it, Stephen.’
BOOK THREE
Apaleglint of sunshine devoid of all warmth lay over the wide expanse of the river, touching the funnel of a passing tug that tore at the water like a clumsy harrow; but a field of water is not for the sowing and the river closed back in the wake of the tug, deftly obliterating all traces of its noisy and foolish passing. The trees along the Chelsea Embankment bent and creaked in a sharp March wind. The wind was urging the sap in their branches to flow with a more determined purpose, but the skin of their bodies was blackened and soot clogged so that when touched it left soot on the fingers, and knowing this they were always disheartened and therefore a little slow to respond to the urge of the wind—they were city trees which are always somewhat disheartened. Away to the right against a toneless sky stood the tall factory chimneys beloved of young artists—especially those whose skill is not great, for few can go wrong over factory chimneys—while across the stream Battersea Park still looked misty as though barely convalescent from fog.
In her large, long, rather low-ceilinged study whose casement windows looked over the river, sat Stephen with her feet stretched out to the fire and her hands thrust into her jacket pockets. Her eyelids drooped, she was all but asleep although it was early afternoon. She had worked through the night, a deplorable habit and one of which Puddle quite rightly disapproved, but when the spirit of work was on her it was useless to argue with Stephen.
Puddle looked up from her embroidery frame and pushed her spectacles on to her forehead the better to see the drowsy Stephen, for Puddle’s eyes had grown very long-sighted so that the room looked blurred through her glasses.
She thought: ‘Yes, she’s changed a good deal in these two years—’ then she sighed half in sadness and half in contentment, ‘All the same she is making good,’ thought Puddle, remembering with a quick thrill of pride that the long-limbed creature who lounged by the fire had suddenly sprung into something like fame thanks to a fine first novel.
Stephen yawned, and readjusting her spectacles Puddle resumed her wool-work.
It was true that the two long years of exile had left their traces on Stephen’s face; it had grown much thinner and more determined, some might have said that the face had hardened, for the mouth was less ardent and much less gentle, and the lips now drooped at the corners. The strong rather massive line of the jaw looked aggressive these days by reason of its thinness. Faint furrows had come between the thick brows and faint shadows showed at times under the eyes; the eyes themselves were the eyes of a writer, always a little tired in expression. Her complexion was paler than it had been in the past, it had lost the look of wind and sunshine—the open-air look—and the fingers of the hand that slowly emerged from her jacket pocket were heavily stained with nicotine—she was now a voracious smoker. Her hair was quite short. In a mood of defiance she had suddenly walked off to the barber’s one morning and had made him crop it close like a man’s. And mightily did this fashion become her, for now the fine shape of her head was unmarred by the stiff clumpy plait in the nape of her neck. Released from the torment imposed upon it the thick auburn hair could breathe and wave freely, and Stephen had grown fond and proud of her hair—a hundred strokes must it have with the brush every night until it looked burnished. Sir Philip also had been proud of his hair in the days of his youthful manhood.
Stephen’s life in London had been one long endeavour, for work to her had become a narcotic. Puddle it was who had found the flat with the casement windows that looked on the river, and Puddle it was who now kept the accounts, paid the rent, settled bills and managed the servants; all these details Stephen calmly ignored and the faithful Puddle allowed her to do so. Like an ageing and anxious Vestal Virgin she tended the holy fire of inspiration, feeding the flame with suitable food—good grilled meat, light puddings and much fresh fruit, varied by little painstaking surprises from Jackson’s or Fortnum and Mason. For Stephen’s appetite was not what it had been in the vigorous days of Morton; now there were times when she could not eat, or if she must eat she did so protesting, fidgeting to go back to her desk. At such times Puddle would steal into the study with a tin of Brand’s Essence—she had even been known to feed the recalcitrant author piecemeal, until Stephen must laugh and gobble up the jelly for the sake of getting on with her writing.
Only one duty apart from her work had Stephen never for a moment neglected, and that was the care and the welfare of Raftery. The cob had been sold, and her father’s chestnut she had given away to Colonel Antrim, who had sworn not to let the horse out of his hands for the sake of his life-long friend, Sir Philip—but Raftery she had brought up to London. She herself had found and rented his stable with comfortable rooms above for Jim, the groom she had taken from Morton. Every morning she rode very early in the Park, which seemed a futile and dreary business, but now only thus could the horse and his owner contrive to be together for a little. Sometimes she fancied that Raftery sighed as she cantered him round and round the Row, and then she would stoop down and speak to him softly:
‘My Raftery, I know, it’s not Castle Morton or the hills or the big, green Severn Valley—but I love you.’
And because he had understood her he would throw up his head and begin to prance sideways, pretending that he still felt very youthful, pretending that he was wild with delight at the prospect of cantering round the Row. But after a while these two sorry exiles would droop and move forward without much spirit. Each in a separate way would divine the ache in the other, the ache that was Morton, so that Stephen would cease to urge the beast forward, and Raftery would cease to pretend to Stephen. But when twice a year at her mother’s request, Stephen must go back to visit her home, then Raftery went too, and his joy was immense when he felt the good springy turf beneath him, when he sighted the red brick stables of Morton, when he rolled in the straw of his large, airy loosebox. The years would seem to slip from his shoulders, he grew sleeker, he would look like a five-year-old—yet to Stephen these visits of theirs were anguish because of her love for Morton. She would feel like a stranger within the gates, an unwanted stranger there only on sufferance. It would seem to her that the old house withdrew itself from her love very gravely and sadly, that its windows no longer beckoned, invited: ‘Come home, come home, come inside quickly, Stephen!’ And she would not dare to proffer her love, which would burden her heart to breaking.
She must now pay many calls with her mother, must attend all the formal social functions—this for the sake of appearances, lest the neighbours should guess the breach between them. She must keep up the fiction that she found in a city the stimulus necessary to her work, she who was filled with a hungry longing for the green of the hills, for the air of wide spaces, for the mornings and the noontides and the evenings of Morton. All these things she must do for the sake of her father, aye, and for the sake of Morton.
On her first visit home Anna had said very quietly one day: ‘There’s something, Stephen, that I think I ought to tell you perhaps, though it’s painful to me to reopen the subject. There has been no scandal—that man held his tongue—you’ll be glad to know this because of your father. And Stephen—the Crossbys have sold The Grange and gone to America, I believe—’ she had stopped abruptly, not looking at Stephen, who had nodded, unable to answer.
So now there were quite different folk at The Grange, folk very much more to the taste of the county—Admiral Carson and his apple-cheeked wife who, childless herself, adored Mothers’ Meetings. Stephen must sometimes go to The Grange with Anna, who liked the Carsons. Very grave and aloof had Stephen become; too reserved, too self-assured, thought her neighbours. They supposed that success had gone to her head, for no one was now allowed to divine the terrible shyness that made social intercourse such a miserable torment. Life had already taught Stephen one thing, and that was that never must human beings be allowed to suspect that a creature fears them. The fear of the one is a spur to the many, for the primitive hunting instinct dies hard—it is better to face a hostile world than to turn one’s back for a moment.
But at least she was spared meeting Roger Antrim, and for this she was most profoundly thankful. Roger had gone with his regiment to Malta, so that they two did not see each other. Violet was married and living in London in the: ‘perfect duck of a house in Belgravia.’ From time to time she would blow in on Stephen, but not often, because she was very much married with one baby already and another on the way. She was somewhat subdued and much less maternal that she had been when first she met Alec.
If Anna was proud of her daughter’s achievement she said nothing beyond the very few words that must of necessity be spoken: ‘I’m so glad your book has succeeded, Stephen.’
‘Thank you, mother—’
Then as always these two fell silent. Those long and eloquent silences of theirs were now of almost daily occurrence when they found themselves together. Nor could they look each other in the eyes any more, their eyes were for ever shifting, and sometimes Anna’s pale cheeks would flush very slightly when she was alone with Stephen—perhaps at her thoughts.
And Stephen would think: ‘It’s because she can’t help remembering.’
For the most part, however, they shunned all contact by common consent, except when in public. And this studied avoidance tore at their nerves; they were now well-nigh obsessed by each other, for ever secretly laying their plans in order to avoid a meeting. Thus it was that these obligatory visits to Morton were a pretty bad strain on Stephen. She would get back to London unable to sleep, unable to eat, unable to write, and with such a despairing and sickening heart-ache for the grave old house the moment she had left it, that Puddle would have to be very severe in order to pull her together.
‘I’m ashamed of you, Stephen; what’s happened to your courage? You don’t deserve your phenomenal success; if you go on like this, God help the new book. I suppose you’re going to be a one-book author!’
Scowling darkly, Stephen would go to her desk—she had no wish to be a one-book author.
Yetas everything comes as grist to the mill of those who are destined from birth to be writers—poverty or riches, good or evil, gladness or sorrow, all grist to the mill—so the pain of Morton burning down to the spirit in Stephen had kindled a bright, hot flame, and all that she had written she had written by its light, seeing exceedingly clearly. As though in a kind of self-preservation, her mind had turned to quite simple people, humble people sprung from the soil, from the same kind soil that had nurtured Morton. None of her own strange emotions had touched them, and yet they were part of her own emotions; a part of her longing for simplicity and peace, a part of her curious craving for the normal. And although at this time Stephen did not know it, their happiness had sprung from her moments of joy; their sorrows from the sorrow she had known and still knew; their frustrations from her own bitter emptiness; their fulfilments from her longing to be fulfilled. These people had drawn life and strength from their creator. Like infants they had sucked at her breasts of inspiration, and drawn from them blood, waxing wonderfully strong; demanding, compelling thereby recognition. For surely thus only are fine books written, they must somehow partake of the miracle of blood—the strange and terrible miracle of blood, the giver of life, the purifier, the great final expiation.
Butone thing there was that Puddle still feared, and this was the girl’s desire for isolation. To her it appeared like a weakness in Stephen; she divined the bruised humility of spirit that now underlay this desire for isolation, and she did her best to frustrate it. It was Puddle who had forced the embarrassed Stephen to let in the Press photographers, and Puddle it was who had given the details for the captions that were to appear with the pictures: ‘If you choose to behave like a hermit crab I shall use my own judgment about what I say!’
‘I don’t care a tinker’s darn what you say! Now leave me in peace do, Puddle.’
It was Puddle who answered the telephone calls: ‘I’m afraid Miss Gordon will be busy working—what name did you say? Oh,The Literary Monthly! I see—well suppose you come on Wednesday.’ And on Wednesday morning there was old Puddle waiting to waylay the anxious young man who had been commanded to dig up some copy about the new novelist, Stephen Gordon. Then Puddle had smiled at the anxious young man and had shepherded him into her own little sanctum, and had given him a comfortable chair, and had stirred the fire the better to warm him. And the young man had noticed her charming smile and had thought how kind was this ageing woman, and how damned hard it was to go tramping the streets in quest of erratic, unsociable authors.
Puddle had said, still smiling kindly: ‘I’d hate you to go back without your copy, but Miss Gordon’s been working overtime lately, I dare not disturb her, you don’t mind, do you? Now if you could possibly make shift with me—I really do know a great deal about her; as a matter of fact I’m her ex-governess, so I really do know quite a lot about her.’
Out had come notebook and copying pencil; it was easy to talk to this sympathetic woman: ‘Well, if you could give me some interesting details—say, her taste in books and her recreations, I’d be awfully grateful. She hunts, I believe?’
‘Oh, not now!’
‘I see—well then, shedidhunt. And wasn’t her father Sir Philip Gordon who had a place down in Worcestershire and was killed by a falling tree or something? What kind of pupil did you find Miss Gordon? I’ll send her my notes when I’ve worked them up, but I really would like to see her, you know.’ Then being a fairly sagacious young man: ‘I’ve just readThe Furrow, it’s a wonderful book!’
Puddle talked glibly while the young man scribbled, and when at last he was just about going she let him out on to the balcony from which he could look into Stephen’s study.
‘There she is at her desk! What more could you ask?’ she said triumphantly, pointing to Stephen whose hair was literally standing on end, as is sometimes the way with youthful authors. She even managed occasionally, to make Stephen see the journalists herself.
Stephengot up, stretched, and went to the window. The sun had retreated behind the clouds; a kind of brown twilight hung over the Embankment, for the wind had now dropped and a fog was threatening. The discouragement common to all fine writers was upon her, she was hating what she had written. Last night’s work seemed inadequate and unworthy; she decided to put a blue pencil through it and to rewrite the chapter from start to finish. She began to give way to a species of panic; her new book would be a ludicrous failure, she felt it, she would never again write a novel possessing the quality ofThe Furrow.The Furrowhad been the result of shock to which she had, strangely enough, reacted by a kind of unnatural mental vigour. But now she could not react any more, her brain felt like over-stretched elastic, it would not spring back, it was limp, unresponsive. And then there was something else that distracted, something she was longing to put into words yet that shamed her so that it held her tongue-tied. She lit a cigarette and when it was finished found another and kindled it at the stump.
‘Stop embroidering that curtain, for God’s sake, Puddle. I simply can’t stand the sound of your needle; it makes a booming noise like a drum every time you prod that tightly stretched linen.’
Puddle looked up: ‘You’re smoking too much.’
‘I dare say I am. I can’t write any more.’
‘Since when?’
‘Ever since I began this new book.’
‘Don’t be such a fool!’
‘But it’s God’s truth, I tell you—I feel flat, it’s a kind of spiritual dryness. This new book is going to be a failure, sometimes I think I’d better destroy it.’ She began to pace up and down the room, dull-eyed yet tense as a tightly drawn bow string.
‘This comes of working all night,’ Puddle murmured.
‘I must work when the spirit moves me,’ snapped Stephen.
Puddle put aside her wool work embroidery. She was not much moved by this sudden depression, she had grown quite accustomed to these literary moods, yet she looked a little more closely at Stephen and something that she saw in her face disturbed her.
‘You look tired to death; why not lie down and rest?’
‘Rot! I want to work.’
‘You’re not fit to work. You look all on edge, somehow. What’s the matter with you?’ And then very gently: ‘Stephen, come here and sit down by me, please, I must know what’s the matter.’
Stephen obeyed as though once again they two were back in the old Morton schoolroom, then she suddenly buried her face in her hands: ‘I don’t want to tell you—why must I, Puddle?’
‘Because,’ said Puddle, ‘I’ve a right to know; your career’s very dear to me, Stephen.’
Then suddenly Stephen could not resist the blessèd relief of confiding in Puddle once more, of taking this great new trouble to the faithful and wise little grey-haired woman whose hand had been stretched out to save in the past. Perhaps yet again that hand might find the strength that was needful to save her.
Not looking at Puddle, she began to talk quickly: ‘There’s something I’ve been wanting to tell you, Puddle—it’s about my work, there’s something wrong with it. I mean that my work could be much more vital; I feel it, I know it, I’m holding it back in some way, there’s something I’m always missing. Even inThe FurrowI feel I missed something—I know it was fine, but it wasn’t complete because I’m not complete and I never shall be—can’t you understand? I’m not complete. . . .’ She paused unable to find the words she wanted, then blundered on again blindly: ‘There’s a great chunk of life that I’ve never known, and I want to know it, I ought to know it if I’m to become a really fine writer. There’s the greatest thing perhaps in the world, and I’ve missed it—that’s what’s so awful, Puddle, to know that it exists everywhere, all round me, to be constantly near it yet always held back—to feel that the poorest people in the streets, the most ignorant people, know more than I do. And I dare to take up my pen and write, knowing less than these poor men and women in the street! Why haven’t I got a right to it, Puddle? Can’t you understand that I’m strong and young, so that sometimes this thing that I’m missing torments me, so that I can’t concentrate on my work any more? Puddle, help me—you were young yourself once.’
‘Yes, Stephen—a long time ago I was young. . . .’
‘But can’t you remember back for my sake?’ And now her voice sounded almost angry in her distress: ‘It’s unfair, it’s unjust. Why should I live in this great isolation of spirit and body—why should I, why? Why have I been afflicted with a body that must never be indulged, that must always be repressed until it grows stronger much than my spirit because of this unnatural repression? What have I done to be so cursed? And now it’s attacking my holy of holies, my work—I shall never be a great writer because of my maimed and insufferable body—’ She fell silent, suddenly shy and ashamed, too much ashamed to go on speaking.
And there sat Puddle as pale as death and as speechless, having no comfort to offer—no comfort, that is, that she dared to offer—while all her fine theories about making good for the sake of those others; being noble, courageous, patient, honourable, physically pure, enduring because it was right to endure, the terrible birthright of the invert—all Puddle’s fine theories lay strewn around her like the ruins of some false and flimsy temple, and she saw at that moment but one thing clearly—true genius in chains, in the chains of the flesh, a fine spirit subject to physical bondage. And as once before she had argued with God on behalf of this sorely afflicted creature, so now she inwardly cried yet again to the Maker whose will had created Stephen: ‘Thine hands have made me and fashioned me together round about; yet Thou dost destroy me.’ Then into her heart crept a bitterness very hard to endure: ‘Yet Thou dost destroy me—’
Stephen looked up and saw her face: ‘Never mind,’ she said sharply, ‘it’s all right, Puddle—forget it!’
But Puddle’s eyes filled with tears, and seeing this, Stephen went to her desk. Sitting down she groped for her manuscript: ‘I’m going to turn you out now, I must work. Don’t wait for me if I’m late for dinner.’
Very humbly Puddle crept out of the study.
Soonafter the New Year, nine months later, Stephen’s second novel was published. It failed to create the sensation that the first had created, there was something disappointing about it. One critic described this as: ‘A lack of grip,’ and his criticism, on the whole, was a fair one. However, the Press was disposed to be kind, remembering the merits ofThe Furrow.
But the heart of the Author knoweth its own sorrows and is seldom responsive to false consolation, so that when Puddle said: ‘Never mind, Stephen, you can’t expect every book to beThe Furrow—and this one is full of literary merit,’ Stephen replied as she turned away: ‘I was writing a novel, my dear, not an essay.’
After this they did not discuss it any more, for what was the use of fruitless discussion? Stephen knew well and Puddle knew also that this book fell far short of its author’s powers. Then suddenly, that spring, Raftery went very lame, and everything else was forgotten.
Raftery was aged, he was now eighteen, so that lameness in him was not easy of healing. His life in a city had tried him sorely, he had missed the light, airy stables of Morton, and the cruel-hard bed that lay under the tan of the Row had jarred his legs badly.
The vet shook his head and looked very grave: ‘He’s an aged horse, you know, and of course in his youth you hunted him pretty freely—it all counts. Every one comes to the end of their tether, Miss Gordon. Yes, at times I’m afraid it is painful.’ Then seeing Stephen’s face: ‘I’m awfully sorry not to give a more cheerful diagnosis.’
Other experts arrived. Every good vet in London was consulted, including Professor Hobday. No cure, no cure, it was always the same, and at times, they told Stephen, the old horse suffered; but this she well knew—she had seen the sweat break out darkly on Raftery’s shoulders.
So one morning she went into Raftery’s loosebox, and she sent the groom Jim out of the stable, and she laid her cheek against the beast’s neck, while he turned his head and began to nuzzle. Then they looked at each other very quietly and gravely, and in Raftery’s eyes was a strange, new expression—a kind of half-anxious, protesting wonder at this thing men call pain: ‘What is it, Stephen?’
She answered, forcing back her hot tears: ‘Perhaps, for you, the beginning, Raftery. . . .’
After a while she went to his manger and let the fodder slip through her fingers; but he would not eat, not even to please her, so she called the groom back and ordered some gruel. Very gently she readjusted the clothing that had slipped to one side, first the under-blanket then the smart blue rug that was braided in red—red and blue, the old stable colours of Morton.
The groom Jim, now a thick-set stalwart young man, stared at her with sorrowful understanding, but he did not speak; he was almost as dumb as the beasts whom his life had been passed in tending—even dumber, perhaps, for his language consisted of words, having no small sounds and small movements such as Raftery used when he spoke with Stephen, and which meant so much more than words.
She said: ‘I’m going now to the station to order a horse-box for to-morrow, I’ll let you know the time we start, later. And wrap him up well; put on plenty of clothing for the journey, please, he mustn’t feel cold.’
The man nodded. She had not told him their destination, but he knew it already; it was Morton. Then the great clumsy fellow must pretend to be busy with a truss of fresh straw for the horse’s bedding, because his face had turned a deep crimson, because his coarse lips were actually trembling—and this was not really so very strange, for those who served Raftery loved him.
Rafterystepped quietly into his horse-box and Jim with great deftness secured the halter, then he touched his cap and hurried away to his third-class compartment, for Stephen herself would travel with Raftery on this last journey back to the fields of Morton. Sitting down on the seat reserved for a groom she opened the little wooden window into the box, whereupon Raftery’s muzzle came up and his face looked out of the window. She fondled the soft, grey plush of his muzzle. Presently she took a carrot from her pocket, but the carrot was rather hard now for his teeth, so she bit off small pieces and these she gave him in the palm of her hand; then she watched him eat them uncomfortably, slowly, because he was old, and this seemed so strange, for old age and Raftery went very ill together.
Her mind slipped back and back over the years until it recaptured the coming of Raftery—grey-coated and slender, and his eyes as soft as an Irish morning, and his courage as bright as an Irish sunrise, and his heart as young as the wild, eternally young heart of Ireland. She remembered what they had said to each other. Raftery had said: ‘I will carry you bravely, I will, serve you all the days of my life.’ She had answered: ‘I will care for you night and day, Raftery—all the days of your life.’ She remembered their first run with hounds together—she a youngster of twelve, he a youngster of five. Great deeds they had done on that day together, at least they had seemed like great deeds to them—she had had a kind of fire in her heart as she galloped astride of Raftery. She remembered her father, his protective back, so broad, so kind, so patiently protective; and towards the end it had stooped a little as though out of kindness it carried a burden. Now she knew whose burden that back had been bearing so that it stooped a little. He had been very proud of the fine Irish horse, very proud of his small and courageous rider: ‘Steady, Stephen!’ but his eyes had been bright like Raftery’s. ‘Steady on, Stephen, we’re coming to a stiff one!’ but once they were over he had turned round and smiled, as he had done in the days when the impudent Collins had stretched his inadequate legs to their utmost to keep up with the pace of the hunters.
Long ago, it all seemed a long time ago. A long road it seemed, leading where? She wondered. Her father had gone away into its shadows, and now after him, limping a little, went Raftery; Raftery with hollows above his eyes and down his grey neck that had once been so firm; Raftery whose splendid white teeth were now yellowed and too feeble to bite up his carrot.
The train jogged and swayed so that once the horse stumbled. Springing up, she stretched out her hand to soothe him. He seemed glad of her hand: ‘Don’t be frightened, Raftery. Did that hurt you?’ Raftery acquainted with pain on the road that led into the shadows.
Presently the hills showed over on the left, but a long way off, and when they came nearer they were suddenly very near on the right, so near that she saw the white houses on them. They looked dark; a kind of still, thoughtful darkness brooded over the hills and their low white houses. It was always so in the late afternoons, for the sun moved across to the wide Wye Valley—it would set on the western side of the hills, over the wide Wye Valley. The smoke from the chimney-stacks bent downwards after rising a little and formed a blue haze, for the air was heavy with spring and dampness. Leaning from the window she could smell the spring, the time of mating, the time of fruition. When the train stopped a minute outside the station she fancied that she heard the singing of birds; very softly it came but the sound was persistent—yes, surely, that was the singing of birds. . . .
Theytook Raftery in an ambulance from Great Malvern in order to spare him the jar of the roads. That night he slept in his own spacious loosebox, and the faithful Jim would not leave him that night; he sat up and watched while Raftery slept in so deep a bed of yellow-gold straw that it all but reached to his knees when standing. A last inarticulate tribute this to the most gallant horse, the most courteous horse that ever stepped out of stable.
But when the sun came up over Bredon, flooding the breadth of the Severn Valley, touching the slopes of the Malvern Hills that stand opposite Bredon across the valley, gilding the old red bricks of Morton and the weather-vane on its quiet stables, Stephen went into her father’s study and she loaded his heavy revolver.
Then they led Raftery out and into the morning; they led him with care to the big north paddock and stood him beside the mighty hedge that had set the seal on his youthful valour. Very still he stood with the sun on his flanks, the groom, Jim, holding the bridle.
Stephen said: ‘I’m going to send you away, a long way away, and I’ve never left you except for a little while since you came when I was a child and you were quite young—but I’m going to send you a long way away because of your pain. Raftery, this is death; and beyond, they say, there’s no more suffering.’ She paused, then spoke in a voice so low that the groom could not hear her: ‘Forgive me, Raftery.’
And Raftery stood there looking at Stephen, and his eyes were as soft as an Irish morning, yet as brave as the eyes that looked into his. Then it seemed to Stephen that he had spoken, that Raftery had said: ‘Since to me you are God, what have I to forgive you, Stephen?’
She took a step forward and pressed the revolver high up against Raftery’s smooth, grey forehead. She fired, and he dropped to the ground like a stone, lying perfectly still by the mighty hedge that had set the seal on his youthful valour.
But now there broke out a great crying and wailing: ‘Oh, me! Oh, me! They’ve been murderin’ Raftery! Shame, shame, I says, on the ’and what done it, and ’im no common horse but a Christian. . . .’ Then loud sobbing as though some very young child had fallen down and hurt itself badly. And there in a small, creaky, wicker bath-chair sat Williams, being bumped along over the paddock by a youthful niece, who had come to Morton to take care of the old and now feeble couple; for Williams had had his first stroke that Christmas, in addition to which he was almost childish. God only knew who had told him this thing; the secret had been very carefully guarded by Stephen, who, knowing his love for the horse, had taken every precaution to spare him. Yet now here he was with his face all twisted by the stroke and the sobs that kept on rising. He was trying to lift his half-paralysed hand which kept dropping back on to the arm of the bath-chair; he was trying to get out of the bath-chair and run to where Raftery lay stretched out in the sunshine; he was trying to speak again, but his voice had grown thick so that no one could understand him. Stephen thought that his mind had begun to wander, for now he was surely not screaming ‘Raftery’ any more, but something that sounded like: ‘Master!’ and again, ‘Oh, Master, Master!’
She said: ‘Take him home,’ for he did not know her; ‘take him home. You’d no business to bring him here at all—it’s against my orders. Who told him about it?’
And the young girl answered: ‘It seemed ’e just knowed—it was like as though Raftery told ’im. . . .’
Williams looked up with his blurred, anxious eyes. ‘Who be you?’ he inquired. Then he suddenly smiled through his tears. ‘It be good to be seein’ you, Master—seems like a long while. . . .’ His voice was now clear but exceedingly small, a small, far away thing. If a doll had spoken, its voice might have sounded very much as the old man’s did at that moment.
Stephen bent over him. ‘Williams, I’m Stephen—don’t you know me? It’s Miss Stephen. You must go straight home and get back to bed—it’s still rather cold on these early spring mornings—to please me, Williams, you must go straight home. Why, your hands are frozen!’
But Williams shook his head and began to remember. ‘Raftery,’ he mumbled, ‘something’s ’appened to Raftery.’ And his sobs and his tears broke out with fresh vigour, so that his niece, frightened, tried to stop him.
‘Now uncle be qui-et I do be-seech ’e! It’s so bad for ’e carryin’ on in this wise. What will auntie say when she sees ’e all mucked up with weepin’, and yer poor nose all red and dir-ty? I’ll be takin’ ’e ’ome as Miss Stephen ’ere says. Now, uncle dear, do be qui-et!’
She lugged the bath-chair round with a jolt and trundled it, lurching, towards the cottage. All the way back down the big north paddock Williams wept and wailed and tried to get out, but his niece put one hefty young hand on his shoulder; with the other she guided the lurching bath-chair.
Stephen watched them go, then she turned to the groom. ‘Bury him here,’ she said briefly.
Beforeshe left Morton that same afternoon, she went once more into the large, bare stables. The stables were now completely empty, for Anna had moved her carriage horses to new quarters nearer the coachman’s cottage.
Over one loosebox was a warped oak board bearing Collins’ stud-book title, ‘Marcus,’ in red and blue letters; but the paint was dulled to a ghostly grey by encroaching mildew, while a spider had spun a large, purposeful web across one side of Collins’ manger. A cracked, sticky wine bottle lay on the floor; no doubt used at some time for drenching Collins, who had died in a fit of violent colic a few months after Stephen herself had left Morton. On the window-sill of the farthest loosebox stood a curry comb and a couple of brushes; the comb was being eaten by rust, the brushes had lost several clumps of bristles. A jam pot of hoof-polish, now hard as stone, clung tenaciously to a short stick of firewood which time had petrified into the polish. But Raftery’s loosebox smelt fresh and pleasant with the curious dry, clean smell of new straw. A deep depression towards the middle showed where his body had lain in sleep, and seeing this Stephen stooped down and touched it for a moment. Then she whispered: ‘Sleep peacefully, Raftery.’
She could not weep, for a great desolation too deep for tears lay over her spirit—the great desolation of things that pass, of things that pass away in our lifetime. And then of what good, after all, are our tears, since they cannot hold back this passing away—no, not for so much as a moment? She looked round her now at the empty stables, the unwanted, uncared for stables of Morton. So proud they had been that were now so humbled, even unto cobwebs and dust were they humbled; and they had the feeling of all disused places that have once teemed with life, they felt pitifully lonely. She closed her eyes so as not to see them. Then the thought came to Stephen that this was the end, the end of her courage and patient endurance—that this was somehow the end of Morton. She must not see the place any more; she must, she would, go a long way away. Raftery had gone a long way away—she had sent him beyond all hope of recall—but she could not follow him over that merciful frontier, for her God was more stern than Raftery’s; and yet she must fly from her love for Morton. Turning, she hurriedly left the stables.
Annawas standing at the foot of the stairs. ‘Are you leaving now, Stephen?’
‘Yes—I’m going, Mother.’
‘A short visit!’
‘Yes, I must get back to work.’
‘I see. . . .’ Then after a long, awkward pause: ‘Where would you like him buried?’
‘In the large north paddock where he died—I’ve told Jim.’
‘Very well, I’ll see that they carry out your orders.’ She hesitated, as though suddenly shy of Stephen again, as she had been in the past; but after a moment she went on quickly: ‘I thought—I wondered, would you like a small stone with his name and some sort of inscription on it, just to mark the place?’
‘If you’d care to put one—I shan’t need any stone to remember.’
The carriage was waiting to drive her to Malvern. ‘Good-bye, Mother.’
‘Good-bye—I shall put up that stone.’
‘Thanks, it’s a very kind thought of yours.’
Anna said: ‘I’m so sorry about this, Stephen.’
But Stephen had hurried into the brougham—the door closed, and she did not hear her mother.
At anold-fashioned, Kensington luncheon party, not very long after Raftery’s death, Stephen met and renewed her acquaintance with Jonathan Brockett, the playwright. Her mother had wished her to go to this luncheon, for the Carringtons were old family friends, and Anna insisted that from time to time her daughter should accept their invitations. At their house it was that Stephen had first seen this young man, rather over a year ago. Brockett was a connection of the Carringtons; had he not been Stephen might never have met him, for such gatherings bored him exceedingly, and therefore it was not his habit to attend them. But on that occasion he had not been bored, for his sharp, grey eyes had lit upon Stephen; and as soon as he well could, the meal being over, he had made his way to her side and had remained there. She had found him exceedingly easy to talk to, as indeed he had wished her to find him.
This first meeting had led to one or two rides in the Row together, since they both rode early. Brockett had joined her quite casually one morning; after which he had called, and had talked to Puddle as if he had come on purpose to see her and her only—he had charming and thoughtful manners towards all elderly people. Puddle had accepted him while disliking his clothes, which were always just a trifle too careful; moreover she had disapproved of his cuff-links—platinum links set with tiny emeralds. All the same, she had made him feel very welcome, for to her it had been any port in a storm just then—she would gladly have welcomed the devil himself, had she thought that he might rouse Stephen.
But Stephen was never able to decide whether Jonathan Brockett attracted or repelled her. Brilliant he could be at certain times, yet curiously foolish and puerile at others; and his hands were as white and soft as a woman’s—she would feel a queer little sense of outrage creeping over her when she looked at his hands. For those hands of his went so ill with him somehow; he was tall, broad-shouldered, and of an extreme thinness. His clean-shaven face was slightly sardonic and almost disconcertingly clever; an inquisitive face too—one felt that it pried into everyone’s secrets without shame or mercy. It may have been genuine liking on his part or mere curiosity that had made him persist in thrusting his friendship on Stephen. But whatever it had been it had taken the form of ringing her up almost daily at one time; of worrying her to lunch or dine with him, of inviting himself to her flat in Chelsea, or what was still worse, of dropping in on her whenever the spirit moved him. His work never seemed to worry him at all, and Stephen often wondered when his fine plays got written, for Brockett very seldom if ever discussed them and apparently very seldom wrote them; yet they always appeared at the critical moment when their author had run short of money.
Once, for the sake of peace, she had dined with him in a species of glorified cellar. He had just then discovered the queer little place down in Seven Dials, and was very proud of it; indeed, he was making it rather the fashion among certain literary people. He had taken a great deal of trouble that evening to make Stephen feel that she belonged to these people by right of her talent, and had introduced her as ‘Stephen Gordon, the author ofThe Furrow.’ But all the while he had secretly watched her with his sharp and inquisitive grey eyes. She had felt very much at ease with Brockett as they sat at their little dimly lit table, perhaps because her instinct divined that this man would never require of her more than she could give—that the most he would ask for at any time would be friendship.
Then one day he had casually disappeared, and she heard that he had gone to Paris for some months, as was often his custom when the climate of London had begun to get on his nerves. He had drifted away like thistledown, without so much as a word of warning. He had not said good-bye nor had he written, so that Stephen felt that she had never known him, so completely did he go out of her life during his sojourn in Paris. Later on she was to learn, when she knew him better, that these disconcerting lapses of interest, amounting as they did to a breach of good manners, were highly characteristic of the man, and must of necessity be accepted by all who accepted Jonathan Brockett.
And now here he was back again in England, sitting next to Stephen at the Carringtons’ luncheon. And as though they had met but a few hours ago, he took her up calmly just where he had left her. ‘May I come in to-morrow?’
‘Well—I’m awfully busy.’
‘But I want to come, please; I can talk to Puddle.’
‘I’m afraid she’ll be out.’
‘Then I’ll just sit and wait until she comes in; I’ll be quiet as a mouse.’
‘Oh, no, Brockett, please don’t; I should know you were there and that would disturb me.’
‘I see. A new book?’
‘Well, no—I’m trying to write some short stories; I’ve got a commission fromThe Good Housewife.’
‘Sounds thrifty. I hope you’re getting well paid.’ Then after a rather long pause: ‘How’s Raftery?’
For a second she did not answer, and Brockett, with quick intuition, regretted his question. ‘Not . . . not. . . .’ he stammered.
‘Yes,’ she said slowly, ‘Raftery’s dead—he went lame. I shot him.’
He was silent. Then he suddenly took her hand and, still without speaking, pressed it. Glancing up, she was surprised by the look in his eyes, so sorrowful it was, and so understanding. He had liked the old horse, for he liked all dumb creatures. But Raftery’s death could mean nothing to him; yet his sharp, grey eyes had now softened with pity because she had had to shoot Raftery.
She thought: ‘What a curious fellow he is. At this moment I suppose he actually feels something almost like grief—it’s my grief he’s getting—and to-morrow, of course, he’ll forget all about it.’
Which was true enough. Brockett could compress quite a lot of emotion into an incredibly short space of time; could squeeze a kind of emotional beef-tea from all those with whom life brought him in contact—a strong brew, and one that served to sustain and revivify his inspiration.
Forten days Stephen heard nothing more of Brockett; then he rang up to announce that he was coming to dinner at her flat that very same evening.
‘You’ll get awfully little to eat,’ warned Stephen, who was tired to death and who did not want him.
‘Oh, all right, I’ll bring some dinner along,’ he said blithely, and with that he hung up the receiver.
At a quarter-past eight he arrived, late for dinner and loaded like a pack-mule with brown paper parcels. He looked cross; he had spoilt his new reindeer gloves with mayonnaise that had oozed through a box containing the lobster salad.
He thrust the box into Stephen’s hands. ‘Here, you take it—it’s dripping. Can I have a wash rag?’ But after a moment he forgot the new gloves. ‘I’ve raided Fortnum and Mason—such fun—I doloveeating things out of cardboard boxes. Hallo, Puddle darling! I sent you a plant. Did you get it? A nice little plant with brown bobbles. It smells good, and it’s got a ridiculous name like an old Italian dowager or something. Wait a minute—what’s it called? Oh, yes, a baronia—it’s so humble to have such a pompous name! Stephen, do be careful—don’t rock the lobster about like that. I told you the thing was dripping!’
He dumped his parcels on to the hall table.
‘I’ll take them along to the kitchen,’ smiled Puddle.
‘No, I will,’ said Brockett, collecting them again, ‘I’ll do the whole thing; you leave it to me. I adore other people’s kitchens.’
He was in his most foolish and tiresome mood—the mood when his white hands made odd little gestures, when his laugh was too high and his movements too small for the size of his broad-shouldered, rather gaunt body. Stephen had grown to dread him in this mood; there was something almost aggressive about it; it would seem to her that he thrust it upon her, showing off like a child at a Christmas party.
She said sharply: ‘If you’ll wait, I’ll ring for the maid.’ But Brockett had already invaded the kitchen.
She followed, to find the cook looking offended.
‘I want lots and lots of dishes,’ he announced. Then unfortunately he happened to notice the parlourmaid’s washing, just back from the laundry.
‘Brockett, what on earth are you doing?’
He had put on the girl’s ornate frilled cap, and was busily tying on her small apron. He paused for a moment. ‘How do I look? What a perfect duck of an apron!’
The parlourmaid giggled and Stephen laughed. That was the worst of Jonathan Brockett, he could make you laugh in spite of yourself—when you most disapproved you found yourself laughing.
The food he had brought was the oddest assortment: lobster, caramels, pâté de foies gras, olives, a tin of rich-mixed biscuits and a Camembert cheese that was smelling loudly. There was also a bottle of Rose’s lime-juice and another of ready-made cocktails. He began to unpack the things one by one, clamouring for plates and entrée dishes. In the process he made a great mess on the table by upsetting most of the lobster salad.
He swore roundly. ‘Damn the thing, it’s too utterly bloody! It’s ruined my gloves, and now look at the table!’ In grim silence the cook repaired the damage.
This mishap appeared to have damped his ardour, for he sighed and removed his cap and apron. ‘Can anyone open this bottle of olives? And the cocktails? Here, Stephen, you can tackle the cheese; it seems rather shy, it won’t leave its kennel.’ In the end it was Stephen and the cook who must do all the work, while Brockett sat down on the floor and gave them ridiculous orders.
Brockettit was who ate most of the dinner, for Stephen was too over-tired to feel hungry; while Puddle, whose digestion was not what it had been, was forced to content herself with a cutlet. But Brockett ate largely, and as he did so he praised himself and his food between mouthfuls.
‘Clever of me to have discovered this pâté—I’m so sorry for the geese though, aren’t you, Stephen? The awful thing is that it’s simply delicious—I wish I knew the esoteric meaning of these mixed emotions!’ And he dug with a spoon at the side that appeared to contain the most truffles.
From time to time he paused to inhale the gross little cigarettes he affected. Their tobacco was black, their paper was yellow, and they came from an unpropitious island where, as Brockett declared, the inhabitants died in shoals every year of some tropical fever. He drank a good deal of the Rose’s lime-juice, for this strong, rough tobacco always made him thirsty. Whiskey went to his head and wine to his liver, so that on the whole he was forced to be temperate; but when he got home he would brew himself coffee as viciously black as his tobacco.
Presently he said with a sigh of repletion: ‘Well, you two, I’ve finished—let’s go into the study.’
As they left the table he seized the mixed biscuits and the caramel creams, for he dearly loved sweet things. He would often go out and buy himself sweets in Bond Street, for solitary consumption.
In the study he sank down on to the divan. ‘Puddle dear, do you mind if I put my feet up? It’s my new bootmaker, he’s given me a corn on my right little toe. It’s too heart-breaking. It was such a beautiful toe,’ he murmured; ‘quite perfect—the one toe without a blemish!’
After this he seemed disinclined to talk. He had made himself a nest with the cushions, and was smoking, and nibbling rich-mixed biscuits, routing about in the tin for his favourites. But his eyes kept straying across to Stephen with a puzzled and rather anxious expression.
At last she said: ‘What’s the matter, Brockett? Is my necktie crooked?’
‘No—it’s not your necktie; it’s something else.’ He sat up abruptly. ‘As I came here to say it, I’ll get the thing over!’
‘Fire away, Brockett.’
‘Do you think you’ll hate me if I’m frank?’
‘Of course not. Why should I hate you?’
‘Very well then, listen.’ And now his voice was so grave that Puddle put down her embroidery. ‘You listen to me, you, Stephen Gordon. Your last book was quite inexcusably bad. It was no more like what we all expected, had a right to expect of you afterThe Furrow, than that plant I sent Puddle is like an oak tree—I won’t even compare it to that little plant, for the plant’s alive; your book isn’t. Oh, I don’t mean to say that it’s not well written; it’s well written because you’re just a born writer—you feel words, you’ve a perfect ear for balance, and a very good all-round knowledge of English. But that’s not enough, not nearly enough; all that’s a mere suitable dress for a body. And this time you’ve hung the dress on a dummy—a dummy can’t stir our emotions, Stephen. I was talking to Ogilvy only last night. He gave you a good review, he told me, because he’s got such a respect for your talent that he didn’t want to put on the damper. He’s like that—too merciful I always think—they’ve all been too merciful to you, my dear. They ought to have literally skinned you alive—that might have helped to show you your danger. My God! and you wrote a thing likeThe Furrow! What’s happened? What’s undermining your work? Because whatever it is, it’s deadly! it must be some kind of horrid dry rot. Ah, no, it’s too bad and it mustn’t go on—we’ve got to do something, quickly.’
He paused, and she stared at him in amazement. Until now she had never seen this side of Brockett, the side of the man that belonged to his art, to all art—the one thing in life he respected.
She said: ‘Do you really mean what you’re saying?’
‘I mean every word,’ he told her.
Then she asked him quite humbly: ‘What must I do to save my work?’ for she realized that he had been speaking the stark, bitter truth; that indeed she had needed no one to tell her that her last book had been altogether unworthy—a poor, lifeless thing, having no health in it.
He considered. ‘It’s a difficult question, Stephen. Your own temperament is so much against you. You’re so strong in some ways and yet so timid—such a mixture—and you’re terribly frightened of life. Now why? You must try to stop being frightened, to stop hiding your head. You need life, you need people. People are the food that we writers live on; get out and devour them, squeeze them dry, Stephen!’
‘My father once told me something like that—not quite in those words—but something very like it.’
‘Then your father must have been a sensible man,’ smiled Brockett. ‘Now I had a perfect beast of a father. Well, Stephen, I’ll give you my advice for what it’s worth—you want a real change. Why not go abroad somewhere? Get right away for a bit from your England. You’ll probably write it a damned sight better when you’re far enough off to see the perspective. Start with Paris—it’s an excellent jumping-off place. Then you might go across to Italy or Spain—go anywhere, only do get a move on! No wonder you’re atrophied here in London. I can put you wise about people in Paris. You ought to know Valérie Seymour, for instance. She’s very good fun and a perfect darling; I’m sure you’d like her, every one does. Her parties are a kind of human bran-pie—you just plunge in your fist and see what happens. You may draw a prize or you may draw blank, but it’s always worth while to go to her parties. Oh, but good Lord, there are so many things that stimulate one in Paris.’