Pursewarden was not, I think, proof against the naturalness and charm of the tones in which she said this, for he went to the corner of the room and gazed at her bookshelf. The sight of his own books made him first pale and then red, though whether with shame or anger I could not tell. Turning back he seemed at first about to say something, but changed his mind. He turned back once more with an air of guilty chagrin to confront that tremendous shelf. Justine said: ‘If you wouldn’t consider it an impertinence I should so like you to autograph one for me’ but he did not reply. He stayed quite still, staring at the shelf, with his glass in his hand. Then he wheeled about and all of a sudden he appeared to have become completely drunk; he said in a fierce ringing tone: ‘The modern novel! The grumus merdae left behind by criminals upon the scene of their misdeeds.’ And quietly falling sideways, but taking care to place his glass upright on the floor he passed immediately into a profound sleep.
The whole of the long colloquy which ensued took place over this prostrate body. I took him to be asleep, but in fact he must have been awake for he subsequently reproduced much of Justine’s conversation in a cruel satirical short story, which for some reason amused Justine though it caused me great pain. He described her black eyes shining with unshed tears as she said (sitting at the mirror, the comb travelling through her hair, crackling and sputtering like her voice). ‘When I first met Nessim and knew that I was falling in love with him I tried to save us both. I deliberately took a lover — a dull brute of a Swede, hoping to wound him and force him to detach himself from his feeling for me. The Swede’s wife had left him and I said (anything to stop him snivelling): “Tell me how she behaves and I will imitate her. In the dark we are all meat and treacherous however our hair kinks or skin smells. Tell me, and I will give you the wedding-smile and fall into your arms like a mountain of silk.” And all the time I was thinking over and over again: “Nessim. Nessim.”’
I remember in this context, too, a remark of Pursewarden’s which summed up his attitude to our friends. ‘Alexandria!’ he said (it was on one of those long moonlit walks). ‘Jews with their caféteria mysticism! How could one deal with it in words? Place and people?’ Perhaps then he was meditating this cruel short story and casting about for ways and means to deal with us. ‘Justine and her city are alike in that they both have a strong flavour without having any real character.’
I am recalling now how during that last spring (forever) we walked together at full moon, overcome by the soft dazed air of the city, the quiet ablutions of water and moonlight that polished it like a great casket. An aerial lunacy among the deserted trees of the dark squares, and the long dusty roads reaching away from midnight to midnight, bluer than oxygen. The passing faces had become gem-like, tranced — the baker at his machine making the staff of tomorrow’s life, the lover hurrying back to his lodging, nailed into a silver helmet of panic, the six-foot cinema posters borrowing a ghastly magnificence from the moon which seemed laid across the nerves like a bow.
We turn a corner and the world becomes a pattern of arteries, splashed with silver and deckle-edged with shadow. At this far end of Kom El Dick not a soul abroad save an occasional obsessive policeman, lurking like a guilty wish in the city’s mind. Our footsteps run punctually as metronomes along the deserted pavements: two men, in their own time and city, remote from the world, walking as if they were treading one of the lugubrious canals of the moon. Pursewarden is speaking of the book which he has always wanted to write, and of the difficulty which besets a city-man when he faces a work or art.
‘If you think of yourself as a sleeping city for example… what? You can sit quiet and hear the processes going on, going about their business; volition, desire, will, cognition, passion, conation. I mean like the million legs of a centipede carrying on with the body powerless to do anything about it. One gets exhausted trying to circumnavigate these huge fields of experience. We are never free, we writers. I could explain it much more clearly if it was dawn. I long to be musical in body and mind. I want style, consort. Not the little mental squirts as if through the ticker-tape of the mind. It is the age’s disease, is it not? It explains the huge waves of occultism lapping round us. The Cabal, now, and Balthazar. He will never understand that it is with God we must be the most careful; for He makes such a powerful appeal to what is lowest in human nature — our feeling of insufficiency, fear of the unknown, personal failings; above all our monstrous egotism which sees in the martyr’s crown an athletic prize which is really hard to attain. God’s real and subtle nature must be clear of distinctions: a glass of spring-water, tasteless, odourless, merely refreshing: and surely its appeal would be to the few, the very few, real contemplatives?
‘As for the many it is already included in the part of their nature which they least wish to admit or examine. I do not believe that there is any system which can do more than pervert the essential idea. And then, all these attempts to circumscribe God in words or ideas.… No one thing can explain everything: though everything can illuminate something. God, I must be still drunk. If God were anything he would be an art. Sculpture or medicine. But the immense extension of knowledge in this our age, the growth of new sciences, makes it almost impossible for us to digest the available flavours and put them to use.
‘Holding a candle in your hand, I mean, you can throw the shadow of the retinal blood-vessels on the wall. It isn’t silent enough. It’s never dead still in there: never quiet enough for the trismegistus to be fed. All night long you can hear the rush of blood in the cerebral arteries. The loins of thinking. It starts you going back along the cogs of historical action, cause and effect. You can’t rest ever, you can’t give over and begin to scry. You climb through the physical body, softly parting the muscle-schemes to admit you — muscle striped and unstriped; you examine the coil ignition of the guts in the abdomen, the sweetbreads, the liver choked with refuse like a sink-filter, the bag of urine, the red unbuckled belt of the intestines, the soft horny corridor of the oesophagus, the glottis with its mucilage softer than the pouch of a kangaroo. What do I mean? You are searching for a co-ordinating scheme, the syntax of a Will which might stabilize everything and take the tragedy out of it. The sweat breaks out on your face, a cold panic as you feel the soft contraction and expansion of the viscera busy about their job, regardless of the man watching them who is yourself. A whole city of processes, a factory for the production of excrement, my goodness, a daily sacrifice. An offering to the toilet for every one you make to the altar. Where do they meet? Where is the correspondence? Outside in the darkness by the railway bridge the lover of this man waits for him with the same indescribable maggotry going on in her body and blood; wine swilling the conduits, the pylorus disgorging like a sucker, the incommensurable bacteriological world multiplying in every drop of semen, spittle, sputum, musk. He takes a spinal column in his arms, the ducts flooded with ammonia, the meninges exuding their pollen, the cornea glowing in its little crucible.…’
He begins now that shocking boyish laughter, throwing back his head until the moonlight plays upon his perfect white teeth under the trimmed moustache.
It was on such a night that our footsteps led us to Balthazar’s door, and seeing his light on, we knocked. The same night, on the old horn gramophone (with an emotion so deep that it was almost horror) I heard some amateur’s recording of the old poet reciting the lines which begin:
Ideal voices and much beloved
Of those who died, of those who are
Now lost for us like the very dead;
Sometimes within a dream they speak
Or in the ticking brain a thought revives them.…
These fugitive memories explain nothing, illuminate nothing: yet they return again and again when I think of my friends as if the very circumstances of our habits had become impregnated with what we then felt, the parts we then acted. The slither of tyres across the waves of the desert under a sky blue and frost-bound in winter; or in summer a fearful lunar bombardment which turned the s
ea to phosphorus — bodies shining like tin, crushed in electric bubbles; or walking to the last spit of sand near Montaza, sneaking through the dense green darkness of the King’s gardens, past the drowsy sentry, to where the force of the sea was suddenly crippled and the waves hobbled over the sand-bar. Or walking arm-in-arm down the long gallery, already gloomy with an unusual yellow winter fog. Her hand is cold so she has slipped it in my pocket. Today because she has no emotion whatsoever she tells me that she is in love with me — something she has always refused to do. At the long windows the rain hisses down suddenly. The dark eyes are cool and amused. A centre of blackness in things which trembles and changes shape. ‘I am afraid of Nessim these days. He has changed.’ We are standing before the Chinese paintings from the Louvre. ‘The meaning of space’ she says with disgust. There is no form, no pigment, no lens any more — simply a gaping hole into which the infinite drains slowly into the room: a blue gulf where the tiger’s body was, emptying itself into the preoccupied atmosphere of the studios. Afterwards we walk up the dark staircase to the top floor to see Sveva, to put on the gramophone and dance. The little model pretends that she is heartbroken because Pombal has cast her off after a ‘whirlwind romance’ lasting nearly a month.
My friend himself is a little surprised at the force of an attachment which could make him think of one woman for so long a time. He has cut himself while shaving and his face looks grotesque with a moustache of surgical tape stuck to it. ‘It is a city of aberrations’ he repeats angrily. ‘I very nearly married her. It is infuriating. Thank God that the veil lifted when it did. It was seeing her naked in front of the mirror. All of a sudden I was disgusted — though I mentally admitted a sort of Renaissance dignity in the fallen breasts, the waxy skin, the sunken belly and the little peasant paws. All of a sudden I sat up in bed and said to myself “My God! She is an elephant in need of a coat of whitewash!”’
Now Sveva is quietly sniffing into her handkerchief as she recounts the extravagant promises which Pombal has made her, and which will never be fulfilled. ‘It was a curious and dangerous attachment for an easy-going man’ (hear Pombal’s voice explaining). ‘It felt as if her cool murderous charity had eaten away my locomotive centres, paralysed my nervous system. Thank God I am free to concentrate on my work once more.’
He is troubled about his work. Rumours of his habits and general outlook have begun to get back to the Consulate. Lying in bed he plans a campaign which will get him crucified and promoted to a post with more scope. ‘I have decided that I simply must get my cross. I am going to give several skilfully graded parties. I shall count on you: I shall need a few shabby people at first in order to give my boss the feeling that he can patronize me socially. He is a complete parvenu of course and rose on his wife’s fortune and judicious smarming of powerful people. Worst of all he has a distinct inferiority complex about my own birth and family background. He has still not quite decided whether to do me down or not; but he has been taking soundings at the Quai D’Orsay to see how well padded I am there. Since my uncle died, of course, and my godfather the bishop was involved in that huge scandal over the brothel in Reims, I find myself rather less steady on my feet. I shall have to make the brute feel protective, feel that I need encouraging and bringing out. Pouagh! First a rather shabby party with one celebrity only. Oh, why did I join the service? Why have I not a small fortune of my own?’
Hearing all this in Sveva’s artificial tears and then walking down the draughty staircase again arm in arm thinking not of Sveva, not of Pombal, but of the passage in Arnauti where he says of Justine: ‘Like women who think by biological precept and without the help of reason. To such women how fatal an error it is to give oneself; there is simply a small chewing noise, as when the cat reaches the backbone of the mouse.’
The wet pavements are slick underfoot from the rain, and the air has become dense with the moisture so ardently longed for by the trees in the public gardens, the statues and other visitants. Justine is away upon another tack, walking slowly in her glorious silk frock with the dark lined cape, head hanging. She stops in front of a lighted shop-window and takes my arms so that I face her, looking into my eyes: ‘I am thinking about going away’ she says in a quiet puzzled voice. ‘Something is happening to Nessim and I don’t know what it is as yet.’ Then suddenly the tears come into her eyes and she says: ‘For the first time I am afraid, and I don’t know why.’
PART III
That second spring the khamseen was worse than I have ever known it before or since. Before sunrise the skies of the desert turned brown as buckram, and then slowly darkened, swelling like a bruise and at last releasing the outlines of cloud, giant octaves of ochre which massed up from the Delta like the drift of ashes under a volcano. The city has shuttered itself tightly, as if against a gale. A few gusts of air and a thin sour rain are the forerunners of the darkness which blots out the light of the sky. And now unseen in the darkness of shuttered rooms the sand is invading everything, appearing as if by magic in clothes long locked away, books, pictures and teaspoons. In the locks of doors, beneath fingernails. The harsh sobbing air dries the membranes of throats and noses, and makes eyes raw with the configurations of conjunctivitis. Clouds of dried blood walk the streets like prophecies; the sand is settling into the sea like powder into the curls of a stale wig. Choked fountain-pens, dry lips — and along the slats of the Venetian shutters thin white drifts as of young snow. The ghostly feluccas passing along the canal are crewed by ghouls with wrapped heads. From time to time a cracked wind arrives from directly above and stirs the whole city round and round so that one has the illusion that everything — trees, minarets, monuments and people have been caught in the final eddy of some great whirlpool and will pour softly back at last into the desert from which they rose, reverting once more to the anonymous wave-sculptured floor of dunes.…
I cannot deny that by this time we had both been seized by an exhaustion of spirit which had made us desperate, reckless, impatient of discovery. Guilt always hurries towards its complement, punishment: only there does its satisfaction lie. A hidden desire for some sort of expiation dictated Justine’s folly which was greater than mine; or perhaps we both dimly sensed that, bound as we were hand and foot to each other, only an upheaval of some sort could restore each to his vulgar right mind. These days were full of omens and warnings upon which our anxiety fed.
One-eyed Hamid told me one day of a mysterious caller who had told him that he must keep careful watch on his master as he was in great danger from some highly-placed personage. His description of the man might have been that of Selim, Nessim’s secretary: but it also might have been any of the 150,000 inhabitants of the province. Meanwhile Nessim’s own attitude to me had changed, or rather deepened into a solicitous and cloying sweetness. He shed his former reserve. When he spoke to me he used unfamiliar endearments and took me affectionately by the sleeve. At times as we spoke he would flush suddenly: or tears would come into his eyes and he would turn aside his head to hide them. Justine watched this with a concern which was painful to observe. But the very humiliation and self-reproach we felt at wounding him only drove us closer together as accomplices. At times she spoke of going away: at times I did the same. But neither of us could move. We were forced to await the outcome with a fatality and exhaustion that was truly fearful to experience.
Nor were our follies diminished by these warnings; rather did they multiply. A dreadful inadvertency reigned over our actions, an appalling thoughtlessness marked our behaviour. Nor did we (and here I realized that I had lost myself completely) even hope to avert whatever fate might be in store for us. We were only foolishly concerned lest we might not be able to share it — lest it might separate us! In this plain courting of martyrdom I realized that we showed our love at its hollowest, its most defective. ‘How disgusting I must seem to you’ said Justine once ‘with my obscene jumble of conflicting ideas: all this sickly preoccupation with God and a total inability to obey the smallest moral injunction
from my inner nature like being faithful to a man one adores. I tremble for myself, my dear one, I tremble. If only I could escape from the tiresome classical Jewess of neurology.… If only I could peel it off.’
During this period, while Melissa was away in Palestine on a cure (I had borrowed the money from Justine in order for her to go) we had several narrow escapes. For example, one day we were talking, Justine and I, in the great bedroom of the house. We had come in from bathing and had taken cold showers to get the salt off our skins. Justine sat on the bed naked under the bathroom towel which she had draped round her like a chiton. Nessim was away in Cairo where he was supposed to make a radio broadcast on behalf of some charity or other. Outside the window the trees nodded their dusty fronds in the damp summer air, while the faint huddle of traffic on Rue Fuad could be heard.
Nessim’s quiet voice came to us from the little black radio by the bed, converted by the microphone into the voice of a man prematurely aged. The mentally empty phrases lived on in the silence they invaded until the air seemed packed with commonplaces. But the voice was beautiful, the voice of someone who had elaborately isolated himself from feeling. Behind Justine’s back the door into the bathroom was open. Beyond it, a pane of clinical whiteness, lay another door leading to an iron fire-escape — for the house had been designed round a central well so that its bathrooms and kitchens could be connected by a cobweb of iron staircases such as span the engine-room of a ship. Suddenly, while the voice was still talking and while we listened to it, there came the light youthful patter of footsteps on the iron staircase outside the bathroom: a step unmistakably that of Nessim — or of any of the 150,000 inhabitants of the province. Looking over Justine’s shoulder I saw developing on the glass panel of the frosted door, the head and shoulders of a tall slim man, with a soft felt hat pulled down over his eyes. He developed like a print in a photographer’s developing-bowl. The figure paused with outstretched hand upon the knob of the door. Justine, seeing the direction of my glance, turned her head. She put one naked arm round my shoulders as both of us, with a feeling of complete calm whose core, like a heart beating, was a feverish impotent sexual excitement watched the dark figure standing there between two worlds, depicted as if on an X-ray screen. He would have found us absurdly posed, as if for a photograph, with an expression, not of fear but of guiltless relief upon our faces.
The Alexandria Quartet Page 14