The Child's Child

by Barbara Vine

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  Contents

  2011

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  1929

  Chapter 1

  Chapter 2

  Chapter 3

  Chapter 4

  Chapter 5

  Chapter 6

  Chapter 7

  Chapter 8

  Chapter 9

  Chapter 10

  Chapter 11

  Chapter 12

  Chapter 13

  Chapter 14

  Chapter 15

  Chapter 16

  Chapter 17

  Chapter 18

  Chapter 19

  Chapter 20

  Chapter 21

  Chapter 22

  Chapter 23

  Chapter 24

  Chapter 25

  Chapter 26

  Chapter 27

  Chapter 28

  Chapter 29

  2011

  Chapter 1

  Chapter 2

  About Ruth Rendell

  I am indebted to The People’s War: Britain 1939–1945 by Angus Calder, published by Jonathan Cape, for information on the Second World War, particularly the ways in which the war affected the British public.

  Ruth Rendell

  1

  THE BOOK was on the table in front of us, along with the teapot, the two cups, and a plate of mince pies. It was a book and not the manuscript I expected and, if I’m honest, feared.

  “Privately printed, as you see,” Toby Greenwell said.

  “Your father had that done himself?”

  “Oh, yes.”

  He picked it up and handed it to me. Like many such books, it had no jacket but a shiny cover with a picture of a young girl with pigtails and wearing a gymslip. She was standing in a green meadow and the title of the novel had been amateurishly done in black letters by someone who was no expert in the art of Times Roman.

  “When we spoke,” I said, “you told me your father had mentioned this book to you but you never saw it till after he and your mother were dead. He was quite a distinguished novelist. He’d had—how many books published?”

  “Twelve. They weren’t bestsellers but they were—well, I think ‘widely acclaimed’ would be the phrase, don’t you?”

  Toby is not a writer himself and never has been. He is an architect, retired now, and living with his wife and the one remaining child still at home in a house he designed himself in the Surrey hills. We met in the Highgate house he’d inherited from his mother six months before, Victorian Gothic and not much admired by him, though he grew up there. Martin and Edith Greenwell lived there from sometime in the 1930s, a few years before Toby was born, until Martin and then Edith died. It was there, while going through the contents of the house, all of which now belonged to Toby, that in a bookcase in Martin’s study he found the privately printed novel. I asked him if he could remember what his father had said about The Child’s Child and the reasons he gave for its having never been published.

  “My dad told me the title,” Toby said, “and that’s how I knew what it was. He hadn’t said he’d had it printed and bound and—well, as you see it now. I was surprised to say the least. Less so when I remembered what he’d told me about it. You have to know that my mother was quite vehemently opposed to any attempts to have it published. I know that from him, not her. Apparently, she would never discuss it.”

  I asked Toby if he had spoken to her about it.

  “Oh, yes. After he was dead. I didn’t know about the bound book then. I thought it was somewhere among his papers in manuscript. My mother’s comments were memorable, to say the least. Perhaps you have to remember that she was born in the last years of the First World War, which made her very old when we spoke about the book.”

  “What did she say?”

  “That she had read it but was too disgusted to finish it. I think it was partly the fact that it was a true story or based on a true story, someone my father knew. If it were published, none of the people they knew would speak to them again, but she was sure no one would publish it. And she was right. He did try with the company that your brother works for—they had published all his previous books, there were nine by then—and his editor suggested he make certain changes. The character of Bertie could be made into a woman, for instance. Maud might be three years older than she is in the novel. But it was the homosexual element that they objected to. This was 1951, sixteen years before the act that made homosexual activity between consenting adults in private legal became law.”

  “I take it your father didn’t agree to modify the book?”

  “No, and when you read it, you can see why he wouldn’t. I’m no literary critic, but I can see that you have to try and get into the sort of climate that existed then to understand perhaps why he wanted to write it and why he wouldn’t change it. Hence, private printing. You see, it was not only about getting understanding for homosexuals that he was very keen on, but also about changing the attitude to illegitimacy and what he called ‘unmarried mothers.’ What would you call them now?”

  That made me smile. Toby had his naïve moments. “ ‘Single parents,’ I should think.”

  “But that’s fathers as well.”

  “I know. It’s called equality. It’s also called political correctness.”

  “Anyway, that’s the other theme of the novel. Would ‘theme’ be the word?”

  “I expect so,” I said. “Why not?”

  “One theme then is the injustice with which gay people were treated in the thirties and forties and the other the injustice with which—er, single parents and their offspring were treated. There’s a brother who’s gay—that’s the man my father knew—and his sister who has an illegitimate baby—”

  I interrupted him, “Don’t go on. Let me read it.” I had another glance at the book before putting it in my bag. “I’m not an agent, you know. Well, you do know. You know I’m a university lecturer, working for a PhD that happens to be more or less about one of the themes in this book.”

  “As you know, it was your brother who suggested you might be the right person to read it. I thought he’d read it, but as he reminded me, though he’s in publishing, it’s in marketing, not editorial.” Toby spoke almost humbly. “I just want you to tell me if you think it will find a publisher. I think I listened to my mother too much and I still hear in my head the things she said.”

  I said that of course I would read it, but it might take me a bit of time.

  “I think my dad would have liked you to look at it. He wanted it published, but as it stands, not expurgated, not neutralised to suit a narrow-minded readership.”

  “I’m not sure that narrow-minded is the term,” I said. “They were of their time. They were the society of the day. Whatever I think of your father’s book, I can guarantee no one is going to want to expurgate it. We live in an entirely different climate of morality and sexual behaviour, a whole world of difference.” I looked at him, guessing that he was thinking of his mother’s disapproval. “As you know, young people today, many of them or even most of them, wouldn’t understand what you and I have been talking about.”

  “That’s true. My own children wouldn’t.” In a burst of confidence, he said, “My mother is dead. It couldn’t have
been published during her lifetime, but it could now. I keep telling myself that and feeling more and more guilty about what I’m doing.”

  “Time enough to feel guilty if and when it’s published. Let me read it.”

  I took The Child’s Child home with me, where my grandmother had all twelve of Martin Greenwell’s novels in hardcover. They were first editions, all with their original jackets, each one a little work of art and all a world away in taste and design from the pigtailed child in the green field. I looked inside, but of course The Child’s Child wasn’t listed among Greenwell’s previous works. It occurred to me then that a friend’s mother had once told me how she’d smuggled a copy of Henry Miller’s Sexus through customs when coming home by sea from France sometime in the 1950s. A world away from today’s contraband, when it would be drugs, not a book.

  2

  WHILE TEACHING at a university in West London, I had been working for a PhD on a subject with which no one among my family and friends seemed to have any connection: single parents or, in the phrase Toby Greenwell had used, unmarried mothers. As my supervisor remarked after I chose the subject (and she reluctantly approved), it would be a bit absurd in a climate where nearly half of women remain unwed. So “Single Parents.” Such women in English literature was the idea, but I was still asking myself—and Carla, my supervisor—if this should be extended into life. Into reality. Would this make it too much like a social science tract?

  When my grandmother died, I had already begun reading every English novel I could find that dealt with illegitimacy or with the mothers of illegitimate children. I was living in a flat in West London that I shared with two other women and a man, a not unusual configuration in overcrowded oughties London. The day before her death I had visited her in hospital, where she had been for just a week. A stroke had incapacitated her without disfiguring her, but she could no longer speak. I held her hand and talked to her. She had been a great reader and knew all those works of Hardy and Elizabeth Gaskell and a host of others that I was reading for my thesis. But when I named them, she gave no sign of having heard, though just before I left I felt a light pressure on her hand from mine. The phone call from my mother came next morning. My grandmother, her mother, had died that night.

  She was eighty-five. A good age, as they say. No one ever says “a bad age,” but I suppose that would be mine, twenty-eight, or my brother’s, thirty. We were just the age when people tire of sharing flats with two or three others or crippling themselves with a huge mortgage for two or three rooms, but at the time of our grandmother’s death we could see no end to it. We mourned her. We went to the funeral, both of us in black, I because it is chic, Andrew because as a fashion-conscious gay man, he possessed a slender black suit. My mother wore a grey dress and cried all the time, unusual for her in any circumstances. Next day we heard from her solicitors that my grandmother had left her house in Hampstead jointly to my brother and me.

  I have been honest about why we wore black, so I may as well keep up the honesty and say we expected something. Verity Stewart—we had always called her Verity—had a son and a daughter to leave her considerable fortune to (and she did leave it to them), but as we were the only grandchildren, I thought we might get a bit each, enough, say, to help with getting on what’s called the property ladder. Instead we got the property itself, a fine big house near the Heath.

  Fay, my mother, and her partner, Malcolm, expected us to do the sensible thing, the practical thing: sell it and divide the proceeds. Instead, we did the unwise thing and kept it. Surely a house with four living-rooms, six bedrooms, and three bathrooms (and about three thousand books) was big enough for a man and a woman who had always got on with each other. We failed to take into account that there was only one kitchen, one staircase, and one front door, congratulating each other that neither of us played loud music or was likely to have a party to which the other was not invited. There was one thing we never thought about, though why not I don’t know. We were both young, and if we had none now, each had had several partners, and one of us, perhaps both, was likely to have a lover living in.

  In Andrew’s case that happened quite soon after we moved in.

  James Derain is a novelist, his books published by Andrew’s firm, as were Martin Greenwell’s, which is how Andrew knew about Martin’s literary output. They met at a publisher’s party. The occasion can’t have been the anniversary of Oscar Wilde’s birth or, come to that, his death, it was too late for that, but it was something to do with Wilde, a hero of James Derain’s. At that party James told Andrew about Martin Greenwell and a book he’d written but never published that was based on the life of James’s uncle or great-uncle. That party was the start of their friendship. It led to a relationship—and soon, a falling in love, which they celebrated with a trip to Paris for the weekend. They went to look at Wilde’s newly refurbished tomb. It had been restored to Epstein’s original pristine whiteness before its surface was damaged by the lipstick of all the women who came to kiss it over the years. Who would have supposed lipstick could scar marble? Andrew was happy about the lip imprints, saying it almost made up for all the women who spat at Wilde in the street after his downfall.

  Andrew and I had made a rough division of the house, the rooms on the left-hand side, upstairs and down, mine, and those on the right, his. That was all very well, I got one bathroom, he got two; I got three bedrooms and Verity’s study, he got my grandfather Christopher’s study and three bedrooms. But we had to share the kitchen, which was enormous, and on my side of the house.

  “How many places have you lived in,” Andrew asked, “where you’ve had to share the kitchen with two or three other people?”

  I thought about it, tried counting. “Four. It seems different in a place this size.”

  “Let’s give it a go. If we can’t stand it, we’ll have another kitchen put in.”

  It didn’t much concern me. The house was marvellous to live in—in those first weeks—and like my grandmother I spent most of my time blissfully reading. It was spring and warm and I sat reading out in the garden, comfortable in a cane chair with a stack of books on the table in front of me, all of them fictional accounts of unwanted pregnancies and illegitimate births. Sometimes I raised my eyes to “look upon verdure,” as Jane Austen has it. Only one such birth in her works, only one “natural child,” and that one Harriet Smith, for whom Emma attempts the hopeless task of encouraging a clergyman, and therefore a gentleman, to marry her. Harriet may be the daughter of a gentleman, but somehow her illegitimacy negates that and makes her fit to marry a farmer but no one higher up the social scale.

  One book I didn’t look at was The Child’s Child, and I wasn’t conscience-stricken, not then, though I did mention it to Andrew, who came out into the garden before going to work. He hadn’t exactly forgotten about the book but seemed to drag it up out of the depths of memory before light dawned.

  “It’s been lying in a cupboard for half a century,” he said. “No harm done if it hangs about for a bit longer.”

  Something happened that afternoon which was to have great importance in my life, as much as it has had in Andrew’s. I met James Derain.

  3

  THE FIRST thing anyone would notice about James was how handsome he was. Not like an actor, because actors aren’t necessarily good-looking the way they once were. Or film stars once were. Andrew had amassed a huge collection of DVDs of thirties and forties films, and the male stars, Clark Gable and Cary Grant and James Stewart and Gregory Peck, were all stunningly handsome and, when amalgamated, looked like James. Or he looked like them. Maybe more like Cary Grant than the others. I’ve heard that Cary Grant wasn’t very bright. If that’s so, the resemblance didn’t extend to his brains, for James was very bright indeed. He was—well, is—tall, slim, dark, and seems to have a permanent, perfectly natural tan. His eyes are dark blue; his teeth are like Americans’ teeth and have apparently been looked after by a dentist from Boston. He’s a flawless man with perfect, long-finger
ed hands and feet, which I saw bare in the garden on a hot day, strong and sinewy but as unblemished as a child’s.

  I’ve described him as if I found him attractive and I did, but only as one finds a man in a painting or a photograph desirable. Even if I had leanings that way, I’d have tried to suppress them because he was Andrew’s, and because I know how pointless it is for a woman to have sexual feelings for a gay man. I rather disliked him and I worked on suppressing that too.

  I encountered them in the hall. They had just come into the house and Andrew introduced us. James said a cool “Hi” and walked off ahead of Andrew towards the right, having already been told, I suppose, that the right-hand of the house was Andrew’s and the left-hand side mine.

  So I worked on it, telling myself that he might be shy or just awkward with women. He stayed the night but not, as far as I could tell, the next night. I found myself listening for his departure next morning, and when I heard Andrew seeing him off and from the study window saw him walking down the street, I felt relief. This I crushed down, telling myself I shouldn’t judge someone on an isolated meeting, and when he came back after a week or so, I concentrated on feeling how good this was for Andrew, who looked happy the minute James appeared.

  He began to be at Dinmont House much more often than he had been at first. That’s normal in a love affair, of course. If it isn’t going to fizzle out, it’s going to grow stronger. I realised I was thinking about it far too much, speculating about it, even watching them together for what signs I could spot that they were thinking of themselves as a couple rather than an item—stupid word but expressive of the start of something that might never become a relationship. Was this going to be that? The worst possible outcome, as far as I was concerned, was that they intended to live together. In other words, that James would come and live here. I could have asked Andrew but I told myself that I didn’t want to put ideas into his head. Stupid of me, because who could be made to live with a lover because his sister suggested it?