She was alone? Yes, always. She was not able to forget Rémy, and he did not forget her. Occasionally they wrote long letters. Three years after he was banished into the army in French Equatorial Africa, he came on leave, and visited her, but they were both so affected they decided never to meet again. He was already engaged to marry a girl from a suitable family.
This romantic story, the reader has probably long ago decided, is hardly unusual. Beautiful young women without family support, and disadvantaged – in this case doubly, being both illegitimate and coloured – have this kind of history. In the rich parts of the world. In the poor countries of the Third World most particularly. Even in the Second World (but where is that?), poor and pretty girls match dreams to expectations, but with their hearts, not their heads.
Julie’s head was far from weaker than her heart. As her journals show. And her self-portraits. And, not least, her music. While her unfortunately not unusual story unfolded itself, her mind remained – bad luck for her – above it all, as if Jane Austen were rewriting Jane Eyre, or Stendhal a novel by George Sand. An uncomfortable business, reading her journals, because one has to feel that it is bad enough she had to suffer all that pain and loneliness, without having to endure her own severe view of herself. She might have adored her lover Paul, and more than adored Rémy, but she often described these passions as if a busy physician were making notes about calamitous illnesses. Not that she dismissed these calamities as worthless or meaningless: on the contrary, she gave them all the weight and meaning they did have in her life.
Five years after the loss of her lover Rémy, she was asked in marriage by a man of fifty, Philippe Angers, the master of the printing works where she sold her pictures. He was well-off, a widower with grown-up children. She liked him. She wrote that talking with him was the best thing in her life, after her music. He visited her in her own house, openly, his horse and sometimes his carriage left standing under the pines and turkey oaks where the cart track ended. She walked with him in a public garden at Belles Rivières. They spent the day together at a fête in Nice. This was his way of telling the world that he approved of Julie and her way of life, and proposed to take her on regardless of public opinion. But by now people were pleased that this vagabond and disturber of minds should be made harmless at last.
She was writing, I like him so much, and everything about this proposition is sensible. Why then does it lack conviction? She mused that the word conviction was an interesting one in this context. Paul had been convincing, and Rémy most certainly was. What did she mean by it, though?
For a long sober year Julie and the master printer planned their marriage. His children met her and presumably approved. One of them was a farmer, Robert. She describes how Robert joined the printer and herself for a meal. I could love that one, she remarks. And he certainly could love me. When we looked at each other we knew it. That would have conviction, all right! But it doesn’t matter. He lives with his wife and his four children near Béziers. We shall probably never see each other.
Remarks about her future husband continue, and they are calm, sensible, one could say respectful. There is, however, an entry describing a day in her married life. I shall wake up in that comfortable bed beside him, when the maid comes in to do the fire. Just as his wife did. Then I will kiss him and I will get up to make the coffee, since he likes my coffee. Then I shall kiss him when he goes downstairs to the shop. Then I shall give the girl orders. At last I will go to the room he says I can have for myself and I shall paint. Oils if I like. I will be able to afford anything I like in that line. He usually doesn’t come to the midday meal, so I shall ignore it and walk in the gardens and make conversation with the citizens, who are longing to forgive me. Then I shall play the piano a little, or my flute. He has not heard the music I am writing these days. I don’t think he would like it. Dear Philippe, he is so warmhearted. He had tears in his eyes when the dog was sick. He will come in for supper and we will eat soup. He likes my soup, he likes how I cook. Then we will talk about his day. It is interesting, the work he does. Then we will talk about the newspapers. We shall often disagree. He certainly does not admire Napoleon! He goes to bed early. That will be the hardest, to be shut up in a house all night.
Not once is there a suggestion of a financial calculation. Yet she was quite alone in the world. Her mother had been killed in the Mount Pelée earthquake, having gone to visit a sister living at St Pierre, which was destroyed. It is not recorded whether Julie ever asked her father for help.
A week before the mayor, who was an old friend of Philippe’s, was to marry them at the town hall, she drowned herself in the pool where gossips said she had killed her baby. They did not believe she had killed herself. Why should she, now that all her problems were solved? Nor had she slipped and fallen, which was what the police decided. Absurd! – when she had been jumping around those woods for years, like a goat. No, she was murdered, and probably by a disappointed lover no one knew about. Living all by herself miles from any decent people, she had been asking for something of the sort.
There were suitable condolences for the citizen who had lost his love, for no one could doubt he adored her, but people said he was well out of it. The gendarmes collected up her papers, her sketches, her pictures, a good deal of sheet music, and for lack of a better idea put it all into a big packing case that went to stand in the cellar of the provincial museum. Then, in the 1970s, Rémy’s descendants found some of her music among their papers, were pleased with it, remembered there was a packing case in the museum, found more music there, and got it played at a local summer festival. That is where the Englishman Stephen Ellington-Smith heard it. As music lovers will know, Julie Vairon quickly became recognized as a composer unique in her time, an original, and people are already using the word great.
But she was not only a musician. The artistic world admires her. ‘A small but secure niche…’ is how she is currently evaluated. Some people think she will be remembered for her journals. Excerpts appeared in both France and England, and were at once praised: very much to the taste of this time. Three volumes of her journals were published in France, and one volume (the three abridged) in Britain, where no one disagreed with the French claim that she deserves to stand on the same shelf as Madame de Sévigné. But some people have too many talents for their own good. Perhaps better if she had been an artist with that modest sensitive unpretentious talent so becoming in women. Which brings us to the feminists for whom she is a contentious sister. For some she is the archetypal female victim, while others identify with her independence. And as a musician, so one critic complained, ‘the trouble is one doesn’t know how to categorize her.’ All very well to say now how modern she is, but her music was not of her time. She came from the West Indies, people remind each other, where there is all that loud and disturbing music and it was ‘in her blood’. No one forgets that ‘blood’, an asset now, if not then. No wonder her rhythms are not of Europe. But then, they aren’t African either. To add to the problem, her music had two distinct phases. The first kind is not hard to understand, though where it could have come from certainly is: nearest to it is the trouvère and troubadour music of the twelfth, thirteenth, and fourteenth centuries. But that music was not available in Julie’s time, as it is now, in recordings of arrangements made using the instruments of then and re-created from difficult-to-decipher manuscripts. There are ways of bringing that old music back to life. One tradition of Arab music has changed little in all those centuries from what was taken to Spain, whence it came to southern France and inspired the singers and musicians who wandered from castle to castle, court to court, with instruments that were the ancestors of the ones we know. Yet when music has to be inferred, recreated, ‘heard’, the interpretation of an individual has to be at least in part an original inspiration. The words of the Countess Dié are as she sang them, but exactly how did she sing them? Did Julie see old manuscripts somewhere? We all know the most unlikely things do happen. Where? Did the Rostand
family have ancient manuscripts in their possession? The trouble with this interesting theory – which postulates that this ancestor-loving, music-loving clan were so careless with a treasure from the past that they did not recognize its influences on Julie – is that Julie wrote that kind of music before knowing the family, for her songs of that time were fed by her grief over losing Paul. One may speculate harmlessly that among those solid middle-class families whose daughters she taught was one with an ancient chest full of…it is possible. Very well, then, how did this kind of singing come into her mind, living in her hilly solitude? What was she hearing, listening to? It was certain there were the sounds of running and splashing water, the noise of cicadas and crickets, owls and nightjars, and the high thin scream of a hawk on its rocky heights, and the winds of that region, which whine drily through hills where the troubadours went, making their singular music. There are those who say fancifully that she was visited by their essences during those long evenings alone, composing her songs. A music lover actually played them at a concert of trouvère and troubadour music, and everyone marvelled, for she could have been one of them. So that was her ‘first phase’, hard to explain but easy to listen to. Her ‘second phase’ was different, though there was a short period when the two kinds of music were in an uneasy alliance. Oil and water. Nothing African about the new phase. Long flowing rhythms go on, and very occasionally a primitive theme appears, if by that is meant sounds that remind one of dancing, of physical movement. But then it becomes only one of several themes weaving in and out, rather as the voices in late medieval music make patterns where no one voice is more important than another. Impersonal. Perhaps it is that which disturbs. The music of her ‘troubadour’ period complains right enough, but formally, within the limits of a form (like the fado or, for that matter, like the blues) which always sets bounds to the plaint of a little individual calling out for compassion, for surcease – for love. Her late music, cool and crystalline, could have been written by an angel, as a French critic said, but another riposted, No, by a devil.
It is hard, listening to her late music, to match it with what she said of herself in her journal, and with her self-portraits. Just before she threw herself into the pool, because that sensible marriage ‘lacked conviction’, she drew in pastels a wreath of portraits of herself, a satirical echo of those garlands of little cherubs or angels to be found on greeting cards. The sequence begins at top left with a pretty, wispy baby who is staring with intelligent black eyes straight back at the viewer – at, it must be remembered, Julie, as she worked. Next, the delightful little girl, her white muslin dress, the pink ribbons, vigorous black curls, and a smile that both seduces and mocks the viewer. Then an adolescent girl, and she is the only one who does not look directly back out of the picture. She is half turned away, with a proud poised profile, like an eaglet. Nothing comfortable about this girl, and one is glad to be spared her eyes, bound to demand strong reactions and sympathies. At the bottom, a spray of conventionalized leaves to match a bow of white ribbon at the top. At bottom right, opposite the eaglet, a young woman, seen as the apogee of this life, its achievement: she is not unlike Goya’s Duchess of Alba, but prettier, with black curls, a fresh vigorous figure, and black bold amused eyes, forcing you to stare back into them. On the opposing side to the adolescent girl, in her way matching or commenting on her, is a coolly smiling woman in her early thirties, handsome and composed, nothing remarkable about her except for the thoughtful gaze, which holds you until: Very well, then, what is it you want to say? There is a black line drawn between this portrait and the next two: two stages of her life she chose not to live. A plump middle-aged woman sits with folded hands, eyes lowered. All the energy of the picture is in a yellow scarf over her grey hair: she could be any woman of fifty-five. The old woman is only an old woman. There is no individuality there, as if Julie could not imagine herself old or did not care enough to think herself into being old. And having drawn that emphatic black line, she had walked out of her house through the trees and stood – for how long? – on the edge of the river, and then jumped into a pool full of sharp rocks.
This was just before the First World War, which so rapidly and drastically changed the lives of women. Supposing she had not jumped, decided to live?
Before jumping she put her pictures, her music, her journals, into tidy heaps. She did not seem to have destroyed anything, probably thought: Take it or leave it. She did write a helpful note for the police, telling them where to look for her body.
Oblivion, for three-quarters of the century. Then the summer recital in Belles Rivières where her music was played for the first time. Shortly after that, her work was included in an exhibition of women artists in Paris, which came successfully to London. A television documentary was made. A romantic biography was written by someone who had either not read the journals or decided to take no notice of them.
This was where Sarah Durham had entered the story. She read the English version of the journals, thought it unsatisfactory, sent to Paris for the French edition, and found herself captivated by Julie to the extent that she was actually making a draft of a play before discussing it with the other three. They were as intrigued as she was. Afterwards no one could remember who had suggested using Julie’s music; this kind of creative talk among people who work together is very much more than the sum of its parts. They could not stop talking about Julie. She had taken over The Green Bird. Sarah did another draft, with music. This was shown to potential backers, and at once Julie Vairon began to escalate. Then another play arrived, written by Stephen Ellington-Smith, who had done so much to ‘discover’ and then ‘promote’ Julie Vairon: ‘Julie’s Angel’.
They all read this new play, which was romantic, not to say sentimental, and no one would have given it another thought had Patrick not demanded a special meeting. Present were Sarah, Mary Ford, Roy Strether, Patrick Steele – the Founding Four. And, too, Sonia Rogers, an energetic redhead who was being ‘tried out’. They were still saying that she was being tried out when it was evident she was a fixture, because no one wanted to admit an era was over. Why Sonia? Why none of the other hopefuls who worked in and around the theatre, sometimes without payment or for very little? Well, it was because she was there. She was everywhere, in fact. ‘Turn the stone and there you find her,’ jested Patrick. She had come in as a ‘temp’ and had at once become indispensable. Simple. She was at this meeting because she had come into the office for something and was invited to stay. She perched on the top of a filing cabinet as if ready to fly away at one cross word.
Patrick opened fire with ‘What’s the matter with Stephen Whatsit’s play? It just needs a bit of tightening, that’s all.’
Mary sang, ‘ “She was poor but she was honest, victim of a rich man’s whim”.’
Roy said, ‘Two rich men, to be accurate.’
Sarah said, ‘Patrick, these days you simply can’t have a play with a woman as a victim – and that’s all.’
Patrick said, sounding, as he did so often, trapped, betrayed, isolated, ‘Why not? That’s what she was. Like poor Judy. Like poor Marilyn.’
‘I agree with Sarah,’ said Sonia. ‘We couldn’t have a play about Judy. We couldn’t do Marilyn – not just victims and nothing else. It’s not on.’
There was a considerable pause, of the kind when invisible currents and balances shift. Sonia had spoken with authority. She had said We. She wasn’t thinking of herself as temporary, on trial. Right, the Founding Four were thinking. And now that’s it. We have to accept it.
They all knew what each of the others was thinking. How could they not? They did not need even to exchange glances, or grimaces. They were feeling, were being made to feel, faded, shabby – past it. There sat this Sonia, as bright and glossy as a lion cub, and they were seeing themselves through her eyes.
‘I agree absolutely,’ said Mary, finally, assuming responsibility for the moment. And her smile at Sonia was such that the young woman showed her pleasure with a shor
t triumphant laugh, tossing her fiery head. ‘They wouldn’t do an opera about Madame Butterfly now.’ Mary went on.
‘Everyone goes to see Madame Butterfly,’ said Patrick.
‘Everyone?’ said Sonia, making a point they were meant to see was a political one.
‘How about Miss Saigon?’ said Patrick. ‘I’ve read the script.’
‘What’s it about?’ asked Sonia.
‘The same plot as Madame Butterfly,’ said Patrick. ‘You talk your way out of that one, Sarah Durham.’
‘It’s a musical,’ said Sarah. ‘Not our audience.’
‘Disgraceful,’ said Sonia. ‘Are you sure, Patrick?’
‘Absolutely.’
Patrick pressed his attack. ‘Then how about the Zimbabwe play? I don’t remember anyone saying it should be a musical.’
The Zimbabwe play, by black feminists, was about a village girl who longed to live in town, just like everyone else in Zimbabwe, but there is unemployment. Her aunt in Harare says no, her house is already over-full. This precipitates a moral storm in the village, because the aunt’s refusal is a break with the old ways, when the more fortunate members of a family had to keep any poor relation who asked. But the aunt says, I have already got twenty people in my house, with my children and my parents and I’m feeding everyone. She is a nurse. The village girl catches the eye of a local rich man, the owner of a lorry service. She gets pregnant. She kills the child. Everyone knows, but she is not prosecuted. She becomes an amateur prostitute. She never thinks of herself as one: ‘This time the man will love me and marry me.’ Another baby is left on the doorstep of the Catholic mission. She gets AIDS. She dies.
‘I saw it,’ said Sonia. ‘It was good.’
The Marriages Between Zones Three, Four, and Five Page 38