These notes, typed by Walter, would be turned over to the fashionable historian, the alarming critic, the sound political figure unlikely to be thrown out of office between now and spring, whom Speck would invite to write the catalogue introduction. “Just a few notes,” Speck would say tactfully. “Knowing how busy you are.” Nothing was as inspiriting to him as the thought of his own words in print on a creamy catalogue page, even over someone else’s name.
Speck took out of his briefcase the Directoire snuffbox Henriette had given him about a fortnight before suddenly calling him “Fascist.” (Unexpected feminine generosity—first firm sign of adulterous love affair.) It contained three after-dinner tablets—one to keep him alert until bedtime, another to counter the stimulating effect of the first, and a third to neutralize the germ known as Warsaw flu now ravaging Paris, emptying schools and factories and creating delays in the postal service. He sat quietly, digesting, giving the pills a chance to work.
He could see the structure of the show, the sketchbooks and letters in glass cases. It might be worthwhile lacquering the walls black, concentrating strong spots on the correspondence, which straddled half a century, from Degas to Cocteau. The scrawl posted by Drieu la Rochelle just before his suicide would be particularly effective on black. Céline was good; all that crowd was back in vogue now. He might use the early photo of Céline in regimental dress uniform with a splendid helmet. Of course, there would be word from the left, too, with postcards from Jean Jaurès, Léon Blum, and Paul Éluard, and a jaunty get-well message from Louis Aragon and Elsa. In the first room Speck would hang the stiff, youthful landscapes and the portraits of the family, the artist’s first models—his brother wearing a sailor suit, the awkward but touching likeness of his sister (Germaine-Isabelle at the Window).
“Yes, yes,” Speck would hear in the buzz of voices at the opening. “Even from the beginning you can tell there was something.” The “something” became bolder, firmer in the second room. See his cities; watch how the streets turn into mazes, nets, prison corridors. Dark palette. Opaqueness, the whole canvas covered, immensities of indigo and black. “Look, 1929; he was doing it before What’s-His-Name.” Upstairs, form breaking out of shadow: bread, cheese, wine, wheat, ripe apples, grapes.
Hold it, Speck told himself. Hold the ripeness. This isn’t social realism.
He gathered up the pencils, the snuffbox, and the pad, and put them back in the briefcase. He placed seventy francs, tip included, in a saucer. Still he sat, his mind moving along to the second loggia room, the end room, the important one. Here on the neutral walls would be the final assurance, the serenity, the satire, the power, and the vision for which, at last, the time had come. For that was the one thing Speck was sure of: The bell had rung, the hour had struck, the moment was at hand.
Whose time? Which hour? Yes—whose, which, what? That was where he was stuck.
The street was now empty except for the policemen in their streaming capes. The bookstore had put up its shutter. Speck observed the walls of the three Marxist embassies. Shutters and curtains that once had shielded the particular privacy of the aristocracy—privacy open to servants but not to the street—now concealed the receptions and merry dinner parties of people’s democracies. Sometimes at this hour gleaming motorcars rolled past the mysterious gates, delivering passengers Speck’s fancy continued to see as the Duchesse de Guermantes and anyone she did not happen to despise. He knew that the chauffeurs were armed and that half the guests were spies; still, there was nothing to stop a foreign agent from having patrician tastes, or from admiring Speck’s window as he drove by.
“This gallery will be an oasis of peace and culture,” Walter had predicted as they were hanging the first show, “Little-Known Aspects of Post-Decorator Style.” “An oasis of peace and culture in the international desert.”
Speck breathed germ-laden night air. Boulevard theaters and music halls were deserted, their managers at home writing letters to the mayor of Paris deploring the decline of popular entertainment and suggesting remedies in the form of large cash subsidies. The sluggish river of autumn life congealed and stagnated around millions of television sets as Parisians swallowed aspirin and drank the boiling-hot Scotch believed to be a sovereign defense against Warsaw flu.
A few determined intellectuals slunk, wet, into the Métro on their way to cultural centers where, in vivid translations from the German, actors would address the occasional surly remark to the audience—that loyal, anxious, humorless audience in its costly fake working-class clothes. Another contingent, dressed in Burberry trench coats, had already fought its way into the Geographical Institute, where a lecture with colored slides, “Ramblings in Secret Greenland,” would begin, after a delay owing to trouble with the projection machine, at about nine-twenty. The advantage of slides over films was that they were not forever jumping about and confusing one, and the voice describing them belonged to a real speaker. When the lights went up, one could see him, talk to him, challenge him over the thing he had said about shamanism on Disko Island. What had drawn the crowd was not Greenland but the word “secret.” In no other capital city does the population wait more trustfully for the mystery to be solved, the conspiracy laid bare, the explanation of every sort of vexation to be supplied: why money slumps, why prices climb, why it rains in August, why children are ungrateful. The answers might easily come from a man with a box of slides.
In each of the city’s twenty administrative districts, Communists, distinguished by the cleanliness of their no-iron shirts, the sobriety of their washable neckties, and the modesty of their bearing, moved serenely toward their local cell meetings. I must persuade Walter to take out membership sometime, Speck thought. It might be useful and interesting for the gallery and it would take his mind off salvation.
Walter was at this moment in the Church of St. Gervais, across the Seine, where an ecumenical gathering of prayer, music, and debate on Unity of Faith had been marred the week before by ugly scuffling between middle-aged latecomers and young persons in the lotus position, taking up too much room. Walter had turned to his neighbor, a stranger to him, and asked courteously, “Is it a string ensemble tonight, or just the organ?” Mistaken for a traditionalist demanding the Latin Mass, he had been punched in the face and had to be led to a side chapel to mop up his nosebleed. God knows what they might do to him tonight, Speck thought.
As for Speck himself, nine-thirty found him in good company, briskly tying the strings of his Masonic apron. No commitment stronger than prudence kept him from being at St. Gervais, listening for a voice in the night of the soul, or at a Communist Party cell meeting, hoping to acquire a more wholesome slant on art in a doomed society, but he had already decided that only the Infinite could be everywhere at once. The Masonic Grand Architect of the Universe laid down no rules, appointed no prophets, required neither victims nor devotion, and seemed content to exist as a mere possibility. At the lodge Speck rubbed shoulders with men others had to be content to glimpse on television. He stood now no more than three feet away from Kléber Schaumberger, of the Alsatian Protestant banking Schaumbergers; had been greeted by Olivier Ombrine, who designed all the Arabian princesses’ wedding gowns; could see, without craning, the plume of white hair belonging to François-Xavier Blum-Bloch-Weiler—former ambassador, historian, member of the French Academy, author of a perennially best-selling book about Vietnam called When France Was at the Helm. Speck kept the ambassador’s family tree filed in his head. The Blum-Bloch-Weilers, heavy art collectors, produced statesmen, magistrates, anthropologists, and generals, and were on no account to be confused with the Blum-Weiler-Blochs, their penniless and mystical cousins, who produced poets, librarians, and Benedictine monks.
Tonight Speck followed the proceedings mechanically; his mind was set on the yellow pad in his briefcase, now lying on the backseat of his car. Direct address and supplication to the unknown were frowned on here. Order reigned in a complex universe where the Grand Architect, insofar as he existed, was
supposed to know what he was doing. However, having nowhere to turn, Speck decided for the first time in his life to brave whatever cosmic derangement might ensue and to unburden himself.
Whoever and whatever you are, said Speck silently, as many had said before him, remember in my favor that I have never bothered you. I never called your attention to the fake Laurencin, the stolen Magritte, the Bonnard the other gallery was supposed to have insured, the Maurice Denis notebook that slipped through my fingers, the Vallotton woodcut that got lost between Paris and Lausanne. All I want … But there was no point in his insisting. The Grand Architect, if he was any sort of omnipresence worth considering, knew exactly what Speck needed now: He needed the tiny, enduring wheel set deep in the clanking, churning machinery of the art trade—the artist himself.
Speck came out to the street refreshed and soothed, feeling that he had shed some of his troubles. The rain had stopped. A bright moon hung low. He heard someone saying, “… hats.” On the glistening pavement a group of men stood listening while Senator Antoine Bellefeuille told a funny story. Facts from the Bellefeuille biography tumbled through Speck’s mind: twenty years a deputy from a rich farming district, twice a cabinet minister, now senator; had married a sugar-beet fortune, which he inherited when his wife died; no children; his mother had left him majority shares in milk chocolate, which he had sold to invest in the first postwar plastics; owned a racing stable in Normandy, a château in Provence, one of the last fine houses of Paris; had taken first-class degrees in law and philosophy; had gone into politics almost as an afterthought.
What had kept the old man from becoming Prime Minister, even President of the Republic? He had the bearing, the brains, the fortune, and the connections. Too contented, Speck decided, observing his lodge brother by moonlight. But clever, too; he was supposed to have kept copies of files from the time he had been at Justice. He splashed around in the arts, knew the third-generation dealers, the elegant bachelor curators. He went to openings, was not afraid of new movements, but he never bought anything. Speck tried to remember why the wealthy Senator who liked art never bought pictures.
“She was stunning,” the Senator said. “Any man of my generation will tell you that. She came down Boulevard Saint-Michel on her husband’s arm. He barely reached her shoulder. She had a smile like a fox’s. Straight little animal teeth. Thick red-gold hair. A black hat tilted over one eye. And what a throat. And what hands and arms. A waist no larger than this,” said the Senator, making a circle with his hands. “As I said, in those days men wore hats. You tipped a bowler by the brim, the other sort you picked up by the crown. I was so dazzled by being near her, by having the famous Lydia Cruche smile at me, I forgot I was wearing a bowler and tried to pick it up by the crown. You can imagine what a fool I looked, and how she laughed.”
And of course they laughed, and Speck laughed, too.
“Her husband,” said the Senator. “Hubert Cruche. A face like a gargoyle. Premature senile dementia. He’d been kicked by Venus at some time or other”—the euphemism for syphilis. “In those days the cure was based on mercury—worse than the disease. He seemed to know me. There was light in his eyes. Oh, not the light of intelligence. It was too late for that, and he’d not had much to begin with. He recognized me for a simple reason. I had already begun to assemble my Cruche collection. I bought everything Hubert Cruche produced for sixteen years—the oils, the gouaches, the pastels, the watercolors, the etchings, the drawings, the woodcuts, the posters, the cartoons, the book illustrations. Everything.”
That was it, Speck remembered. That was why the Senator who liked art never bought so much as a wash drawing. The house was full of Cruches; there wasn’t an inch to spare on the walls.
With a monarch’s gesture, the Senator dismissed his audience and stepped firmly toward the chauffeur, who stood holding the door of his Citroën. He said, perhaps to himself, perhaps to Speck, thin and attentive in the moonlight, “I suppose I ought to get rid of my Cruches. Who ever thinks about Cruche now?”
“No,” said Speck, whom the Grand Architect of the Universe had just rapped over the head. The Senator paused—benevolent, stout. “Don’t get rid of the Cruches,” said Speck. He felt as if he were on a distant shore, calling across deep cultural waters. “Don’t sell! Hang on! Cruche is coming back!”
Cruche, Cruche, Hubert Cruche, sang Speck’s heart as he drove homeward. Cruche’s hour had just struck, along with Sandor Speck’s. At the core of the May-June retrospective would be his lodge brother’s key collection: “Our thanks, in particular … who not only has loaned his unique and invaluable … but who also … and who …” Recalling the little he knew of Cruche’s obscure career, Speck made a few changes in the imaginary catalogue, substituting with some disappointment The Power Station at Gagny-sur-Orme for Misia Sert on Her Houseboat, and Peasant Woman Sorting Turnips for Serge Lifar as Petrouchka. He wondered if he could call Cruche heaven-sent. No; he would not put a foot beyond coincidence, just as he had not let Walter dash from saint to saint once he had settled for St. Joseph. And yet a small flickering marsh light danced upon the low-lying metaphysical ground he had done so much to avoid. Not only did Cruche overlap to an astonishing degree the painter in the yellow notebook but he was exactly the sort of painter that made the Speck gallery chug along. If Speck’s personal collection consisted of minor works by celebrated artists, he considered them his collateral for a rainy, bank-loan day. Too canny to try to compete with international heavy-weights, unwilling to burden himself with insurance, he had developed as his specialty the flattest, palest, farthest ripples of the late-middle-traditional Paris school. This sensible decision had earned him the admiration given the devoted miniaturist who is no threat to anyone. “Go and see Sandor Speck,” the great lions and tigers of the trade would tell clients they had no use for. “Speck’s the expert.”
Speck was expert on barges, bridges, cafés at twilight, nudes on striped counterpanes, the artist’s mantelpiece with mirror, the artist’s street, his staircase, his bed made and rumpled, his still life with half-peeled apple, his summer in Mexico, his wife reading a book, his girlfriend naked and dejected on a kitchen chair. He knew that the attraction of customer to picture was always accidental, like love; it was his business to make it overwhelming. Visitors came to the gallery looking for decoration and investment, left it believing Speck had put them on the road to a supreme event. But there was even more to Speck than this, and if he was respected for anything in the trade it was for his knack with artists’ widows. Most dealers hated them. They were considered vain, greedy, unrealistic, and tougher than bulldogs. The worst were those whose husbands had somehow managed the rough crossing to recognition only to become washed up at the wrong end of the beach. There the widow waited, guarding the wreckage. Speck’s skill in dealing with them came out of a certain sympathy. An artist’s widow was bound to be suspicious and adamant. She had survived the discomfort and confusion of her marriage; had lived through the artist’s drinking, his avarice, his affairs, his obsession with constipation, his feuds and quarrels, his cowardice with dealers, his hypocrisy with critics, his depressions (which always fell at the most joyous seasons, blighting Christmas and spring); and then—oh, justice!—she had outlasted him.
Transfiguration arrived rapidly. Resurrected for Speck’s approval was an ardent lover, a devoted husband who could not work unless his wife was around, preferably in the same room. If she had doubts about a painting, he at once scraped it down. Hers was the only opinion he had ever trusted. His last coherent words before dying had been of praise for his wife’s autumnal beauty.
Like a swan in muddy waters, Speck’s ancient Bentley cruised the suburbs where his painters had lived their last resentful seasons. He knew by heart the damp villa, the gravel path, the dangling bellpull, the shrubbery containing dead cats and plastic bottles. Indoors the widow sat, her walls plastered with portraits of herself when young. Here she continued the struggle begun in the Master’s lifetime—the evictin
g of the upstairs tenant—her day made lively by the arrival of mail (dusty beige of anonymous threats, grim blue of legal documents), the coming and going of process servers, the outings to lawyers. Into this spongy territory Speck advanced, bringing his tactful presence, his subtle approximation of courtship, his gift for listening. Thin by choice, pale by nature, he suggested maternal need. Socks and cuff links suggested breeding. The drift of his talk suggested prosperity. He sent his widows flowers, wooed them with food. Although their taste in checks and banknotes ran to the dry and crisp, when it came to eating they craved the sweet, the sticky, the moist. From the finest pastry shops in Paris Speck brought soft macaroons, savarins soaked in rum, brioches stuffed with almond cream, mocha cake so tender it had to be eaten with a spoon. Sugar was poison to Speck. Henriette had once reviewed a book that described how refined sugar taken into one’s system turned into a fog of hideous green. Her brief, cool warning, “A Marxist Considers Sweets,” unreeled in Speck’s mind if he was confronted with a cookie. He usually pretended to eat, reducing a mille-feuille to paste, concealing the wreck of an éclair under napkin and fork. He never lost track of his purpose—the prying of paintings out of a dusty studio on terms anesthetizing to the artist’s widow and satisfactory to himself.
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