For by now she knew her value. She liked the artistic life, it amused her to pose, and after the day's work was over she found it pleasant to go to the cafe and sit with painters, their wives and mistresses, while they discussed art, reviled dealers, and told bawdy stories. On this occasion, having seen the break coming, she had made her plans. She picked out a young man who was unattached and who, she thought, had talent. She chose her opportunity when he was alone at the cafe, explained the circumstances, and without further preamble suggested that they should live together.
'I'm twenty and a good housekeeper. I'll save you money there and I'll save you the expense of a model. Look at your shirt, it's a disgrace, and your studio is a mess. You want a woman to look after you.'
He knew she was a good sort. He was amused at her proposal and she saw he was inclined to accept.
'After all, there's no harm in trying,' she said. 'If it doesn't work we shall neither of us be worse off than we are now.'
He was a non-representative artist and he painted portraits of her in squares and oblongs. He painted her with one eye and no mouth. He painted her as a geometrical arrangement in black and brown and grey. He painted her in a criss-cross of lines through which you vaguely saw a human face. She stayed with him for a year and a half and left him of her own accord.
'Why?' I asked her. 'Didn't you like him?'
'Yes, he was a nice boy. I didn't think he was getting any further. He was repeating himself.'
She found no difficulty in discovering a successor. She remained faithful to artists.
'I've always been in painting,' she said. 'I was with a sculptor for six months, but I don't know why, it said nothing to me.'
She was pleased to think that she had never separated from a lover with unpleasantness. She was not only a good model, but a good housewife. She loved working about the studio she happened for a while to be living in and took pride in keeping it in apple-pie order. She was a good cook and could turn out a tasty meal at the smallest possible cost. She mended her lovers' socks and sewed buttons on their shirts.
'I never saw why because a man was an artist he shouldn't be neat and tidy.'
She only had one failure. This was a young Englishman who had more money than anyone she had known before and he had a car.
'But it didn't last long,' she said. 'He used to get drunk and then he was tiresome. I wouldn't have minded that if he'd been a good painter, but, my dear, it was grotesque. I told him I was going to leave him and he began to cry. He said he loved me.
'"My poor friend," I said to him. "Whether you love me or not isn't of the smallest consequence. What is of consequence is that you have no talent. Return to your own country and go into the grocery business. That is all you're fit for.'"
'What did he say to that?' I asked.
'He flew into a passion and told me to get out. But it was good advice I gave him, you know. I hope he took it, he wasn't a bad fellow; only a bad artist.'
Common sense and good nature will do a lot to make the pilgrimage of life not too difficult to a light woman, but the profession Suzanne had adopted had its ups and downs like any other. There was the Scandinavian for instance. She was so imprudent as to fall in love with him.
'He was a god, my dear,' she told me. 'He was immensely tall, as tall as the Eiffel Tower, with great broad shoulders and a magnificent chest, a waist that you could almost put your hands round, a belly flat, but flat like the palm of my hand, and muscles like a professional athlete's. He had golden, wavy hair and a skin of honey. And he didn't paint badly. I liked his brush work, it was bold and dashing, and he had a rich vivid palette.'
She made up her mind to have a child by him. He was against it, but she told him she would take the responsibility.
'He liked it well enough when it was born. Oh, such a lovely baby, rosy, fair-haired and blue-eyed like her papa. It was a girl.'
Suzanne lived with him for three years.
'He was a little stupid and sometimes he bored me, but he was very sweet and so beautiful that I didn't really mind.'
Then he got a telegram from Sweden to say his father was dying and he must come back at once. He promised to return, but she had a premonition that he never would. He left her all the money he had. She didn't hear from him for a month and then she got a letter from him saying that his father had died, leaving his affairs in confusion, and that he felt it his duty to remain by his mother and go into the lumber business. He enclosed a draft for ten thousand francs. Suzanne was not the woman to give way to despair. She came to the conclusion very quickly that a child would hamper her activities, so she took the baby girl down to her mother's and left her, along with the ten thousand francs, in her care.
'It was heart-rending, I adored that child, but in life one has to be practical.'
'What happened then?' I asked.
'Oh, I got along. I found a friend.'
But then came her typhoid. She always spoke of it as 'my typhoid' as a millionaire might speak of 'my place at Palm Beach' or 'my grouse moor'. She nearly died of it and was in the hospital for three months. When she left she was nothing but skin and bone, as weak as a rat, and so nervous that she could do nothing but cry. She wasn't much use to anyone then, she wasn't strong enough to pose and she had very little money.
'Oh la, la,' she said, 'I passed through some hard times. Luckily I had good friends. But you know what artists are, it's a struggle for them to make both ends meet, anyway. I was never a pretty woman, I had something of course, but I wasn't twenty any more. Then I ran into the cubist I'd been with; he'd been married and divorced since we lived together, he'd given up cubism and become a surrealist. He thought he could use me and said he was lonely; he said he'd give me board and lodgings and I promise you, I was glad to accept.'
Suzanne stayed with him till she met her manufacturer. The manufacturer was brought to the studio by a friend on the chance that he might buy one of the ex-cubist's pictures, and Suzanne, anxious to effect a sale, set herself out to be as agreeable to him as she knew how. He could not make up his mind to buy on the spur of the moment, but said he would like to come and see the pictures again. He did, a fortnight later, and this time she received the impression that he had come to see her rather than works of art. When he left, still without buying, he pressed her hand with unnecessary warmth. Next day the friend who had brought him waylaid her when she was on her way to market to buy the day's provisions and told her that the manufacturer had taken a fancy to her and wanted to know if she would dine with him next time he came to Paris, because he had a proposition to make to her.
'What does he see in me, d'you suppose?' she asked.
'He's an amateur of modern art. He's seen portraits of you. You intrigue him. He's a provincial and a businessman. You represent Paris to him, art, romance, everything that he misses in Lille.'
'Has he money?' she asked in her sensible way.
'Plenty.'
'Well, I'll dine with him. There's no harm hearing what he's got to say.'
He took her to Maxim's, which impressed her; she had dressed very quietly, and she felt as she looked at the women around her that she could pass very well for a respectable married woman. He ordered a bottle of champagne, and this persuaded her that he was a gentleman. When they came to coffee he put his proposition before her. She thought it very handsome. He told her that he came to Paris regularly once a fortnight to attend a board meeting, and it was tiresome in the evening to dine alone and if he felt the need of feminine society to go to a brothel. Being a married man with two children, he thought that an unsatisfactory arrangement for a man in his position. Their common friend had told him all about her and he knew she was a woman of discretion. He was no longer young and he had no wish to get entangled with a giddy girl. He was something of a collector of the modern school and her connexion with it was sympathetic to him. Then he came down to brass tacks. He was prepared to take an apartment for her and furnish it and provide her with an income of two thousand francs a
month. In return for this he wished to enjoy her company for one night every fourteen days. Suzanne had never had the spending of so much money in her life, and she quickly reckoned that on such a sum she could not only live and dress as such an advancement in the world evidently demanded, but provide for her daughter and put away something for a rainy day. But she hesitated for a moment. She had always been 'in painting', as she put it, and there was no doubt in her mind that it was a come-down to be the mistress of a businessman.
'C'est à prendre ou à laisser,' he said. 'You can take it or leave it.'
He was not repulsive to her and the rosette of the Legion of Honour in his buttonhole proved that he was a man of distinction. She smiled.
'Je prends,' she replied. 'I'll take it.'
8
Though Suzanne had always lived in Montmartre, she decided that it was necessary to break with the past, so she took an apartment in Montparnasse in a house just off the boulevard. It consisted of two rooms, a tiny kitchen, and a bathroom; it was on the sixth floor, but there was a lift. To her a bathroom and a lift, even though it only held two persons and moved at a snail's pace and you had to walk downstairs, represented not only luxury but style.
For the first few months of their union Monsieur Achille Gauvain, for such was his name, put up at a hotel on his fortnightly visits to Paris and, after spending such part of the night with Suzanne as his amorous inclination demanded, returned to it to sleep by himself till it was time for him to get up and catch his train to return to his business affairs and the sober pleasures of family life; but then Suzanne pointed out to him that he was throwing away money to no purpose and it would be both more economical and more comfortable if he stayed in the apartment till morning. He could not but see the force of this. He was flattered at Suzanne's thoughtfulness for his comfort – it was true, there was nothing agreeable in going out into the street and finding a taxi on a cold winter night – and he approved of her disinclination to put him to useless expense. It was a good woman who counted not only her own pennies but her lover's.
Monsieur Achille had every reason to feel pleased with himself. In general they went to dine at one of the better restaurants in Montparnasse, but now and then Suzanne prepared dinner for him in the apartment. The tasty food she gave him was very much to his liking. On warm evenings he would dine in his shirt-sleeves and feel deliciously wanton and bohemian. He had always had an inclination for buying pictures, but Suzanne would let him buy nothing that she did not approve of, and he soon found reason to trust her judgement. She would have no truck with dealers, but took him to the studios of the painters and thus enabled him to buy pictures for half the money he would otherwise have had to pay. He knew that she was putting something aside, and when she told him that year by year she was buying a bit of land in her native village, he felt a thrill of pride. He knew the desire to own land that is in the heart of every person of French blood, and his esteem for her was increased because she possessed it too.
On her side Suzanne was well satisfied. She was neither faithful to him nor unfaithful; that is to say, she took care not to form any permanent connexion with another man, but if she came across one who took her fancy she was not averse from going to bed with him. But it was a point of honour with her not to let him stay all night. She felt she owed that to the man of means and position who had settled her life in such an assured and respectable manner.
I had come to know Suzanne when she was living with a painter who happened to be an acquaintance of mine and had often sat in his studio while she posed; I continued to see her now and then at irregular intervals, but did not enter upon terms of any intimacy with her till she moved to Montparnasse. It appeared that Monsieur Achille, for this was how she always spoke of him and how she addressed him, had read one or two of my books in translation, and one evening he invited me to dine with them at a restaurant. He was a little man, half a head shorter than Suzanne, with iron-grey hair and a neat grey moustache. He was on the plump side, and he had a pot-belly, but only to the extent of giving him an air of substance. He walked with the short fat man's strut and it was plain that he was not displeased with himself. He gave me a fine dinner. He was very polite. He told me he was glad I was a friend of Suzanne's, he could see at a glance that I was comme il faut and he would be glad to think that I should see something of her. His affairs, alas! kept him tied to Lille and the poor girl was too often alone; it would be a comfort to him to know that she was in touch with a man of education. He was a businessman, but he had always admired artists.
'Ah, mon cher monsieur, art and literature have always been the twin glories of France. Along with her military prowess, of course. And I, a manufacturer of woollen goods, have no hesitation in saying that I put the painter and the writer on a level with the general and the statesman.'
No one could say handsomer than that.
Suzanne would not hear of having a maid to do the housework, partly for economy's sake and partly because (for reasons best known to herself) she didn't want anyone poking her nose into what was nobody's business but her own. She kept the tiny apartment, furnished in the most modern style of the moment, clean and neat, and she made all her own underclothes. But even then, now that she no longer posed, time hung heavily on her hands, for she was an industrious woman; and presently the idea occurred to her that, after having sat to so many painters, there was no reason why she should not paint too. She bought canvases, brushes, and paints and forthwith set to work. Sometimes when I was to take her out to dinner I would go early and find her in a smock busily at work. Just as the embryo in the womb recapitulates in brief the evolution of the species, so did Suzanne recapitulate the styles of all her lovers. She painted landscape like the landscape painter, abstractions like the cubist, and with the help of picture postcards sailing-boats lying at anchor like the Scandinavian. She could not draw, but she had an agreeable sense of colour, and if her pictures were not very good she got a lot of fun out of painting them.
Monsieur Achille encouraged her. It gave him a sense of satisfaction that his mistress should be an artist. It was on his insistence that she sent a canvas to the autumn salon and they were both very proud when it was hung. He gave her one bit of good advice.
'Don't try to paint like a man, my dear,' he said. 'Paint like a woman. Don't aim to be strong; be satisfied to charm. And be honest. In business sharp practice sometimes succeeds, but in art honesty is not only the best but the only policy.'
At the time of which I write the connexion had lasted for five years to their mutual content.
'Evidently he doesn't thrill me,' said Suzanne. 'But he's intelligent and in a good position. I've reached an age when it's necessary for me to think of my situation.'
She was sympathetic and understanding and Monsieur Achille conceived a high opinion of her judgement. She lent a willing ear when he discussed with her his business and domestic affairs. She condoled with him when his daughter failed in an examination and rejoiced with him when his son got engaged to a girl with money. He had himself married the only child of a man in his own line of business and the amalgamation of two rival firms had been a source of profit to both parties. It was naturally a satisfaction to him that his son was sensible enough to see that the soundest basis of a happy marriage is community of financial interests. He confided to Suzanne his ambition to marry his daughter into the aristocracy.
'And why not, with her fortune?' said Suzanne.
Monsieur Achille made it possible for Suzanne to send her own daughter to a convent where she would receive a good education, and he promised that at the proper age he would pay to have her suitably trained to earn her living as a typist and stenographer.
'She's going to be a beauty when she grows up,' Suzanne told me, 'but evidently it won't hurt her to have an education and to be able to pound a typewriter. She's so young it's too soon to tell, but it may be that she'll have no temperament.'
Suzanne had delicacy. She left it to my intelligence to infer her meani
ng. I inferred it all right.
9
A week or so after I had so unexpectedly run into Larry, Suzanne and I one night, having dined together and gone to a movie, were sitting in the Select on the Boulevard du Montparnasse, having a glass of beer, when he strolled in. She gave a gasp and to my surprise called out to him. He came up to the table, kissed her, and shook hands with me. I could see that she could hardly believe her eyes.
'May I sit down?' he said. 'I haven't had any dinner and I'm going to have something to eat.'
'Oh, but it's good to see you, mon petit,' she said, her eyes sparkling. 'Where have you sprung from? And why have you given no sign of life all these years? My God, how thin you are! For all I knew you might have been dead.'
'Well, I wasn't,' he answered, his eyes twinkling. 'How is Odette?'
That was the name of Suzanne's daughter.
'Oh, she's growing a big girl. And pretty. She still remembers you.'
The Razor's Edge Page 20