The Foundling's War

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The Foundling's War Page 13

by Michel Déon


  Photographs, then, began to be added to the stock of drawings in hell. Mostly they depicted young boys with erections. Their creator, an antifascist refugee called Alberto Senzacatso, lived in an artist’s studio on the top floor of a respectable building in Rue Caulaincourt. His models were occasionally to be encountered on the stairs, mostly the sons of the other residents, cheeky boys with roving eyes. Truth compels us to add that Alberto was not the sort of man to inspire repugnance, and might have resembled a fruit and vegetable wholesaler more than a maker of pornographic photographs if it had not been for the way his face lit up in a faintly mad way whenever he talked about his models. As a boy he had been force-fed with castor oil by Mussolini’s Blackshirts, and from the severe diarrhoea that had followed he had been left with an anal obsession that verged on mania. His models, all volunteers, emerged tight-lipped from their posing sessions and returned to their families on the floors below. Alberto’s customers sometimes bumped into them on the landings and recognised the models who were the subjects of the very special photographs they had just purchased.

  Their excitement can be imagined. The Italian lived alone in a studio stuffed with books and paintings. Open-minded and curious, he was writing a history of Mannerism which, after years of contemplation, he was hoping to reduce to three volumes of five hundred pages each. He counted a number of writers among his regular customers, whom he referred to only by their Christian names – Monsieur André, Monsieur Roger, Monsieur Julien – recognisable even to the uninitiated from the odd detail slyly slipped in by the garrulous photographer about their propensities. Two or three times he had been within a hair’s breadth of getting arrested, and Jean would find out later that he had succeeded in avoiding arrest by passing on details about his buyers. The police turned a blind eye and added to their files. Alberto showed no remorse. That was life, and staying in Paris was worth the occasional piece of information that in most cases was never used, the parties in question being protected by their standing and their periodic contributions to the Revue Littéraire de la Préfecture de Police,10 or in some cases their status as patrons of a non-profit-making organisation known as the Amicale des Gardiens de la Paix.11

  Alberto was a good judge of character and understood straight away how disgusting Jean found his business. Handing over an envelope containing around twenty photographs in exchange for a sum of money, he would move quickly on to another subject, for preference one of his choosing, which at that time meant Il Bronzino, whom he referred to familiarly as Agnolo and with whose painting he had a relationship that can only be described as love. He even claimed to have unearthed a very late sketch for the portrait of Jean, the son of Eleanor of Toledo, at the flea market. This modest canvas sat on an easel, mostly concealed under a piece of velvet. He uncovered the picture to talk about Bronzino, as though he was inspired by the inquisitive gaze of the child with the round face, and the plump hand laid upon the brocade dress of the beautiful Eleanor. Listening to him, Jean realised that, underneath his crude, kinky exterior, innocence and passion remained, that it was unfair not to give him some credit for such feelings, and that clearly life demanded, if only out of a sense of justice, as much indulgence as Manichaeism. But what about La Garenne? A full-blown shit, without the slightest outward sign of anything that might be considered a redeeming feature. And yet there was one.

  Sometimes in the afternoons, stifled and sickened by the gallery’s atmosphere, Jean slammed the door behind him and escaped to stroll the streets of Montmartre village, to breathe fresh air and banish the accumulated fetid vapours of hell. What he found most unendurable was not being able to see how he could get away from a society so fearfully turned in on itself. In Paris he knew only Jesús and Claude. And Madeleine, in her new life of affluence and suspect relations. The situations vacant in the newspapers were starting to offer work in Germany, but the world at war required specialists, die- and toolmakers … And to take the first job that came along, for the sake of being dramatic, would mean parting from Claude, which he could not bear. What would a single day without her be like? He would die of loneliness and fear of losing her, convinced that her charm and naivety would render her easy and innocent prey, forgetting in his blindness how much that lovely and tempting being had preserved of her own defences. But what she gave to him – however small it was – would she not give it to others? Did she really have a brother? One doubt led to another in a process that would be irreversible if he did not retrace his steps back to the start, to his trust in her candid and natural features. When, too unhappy to bear such thoughts alone, he opened his heart to Jesús, the Spaniard consoled him in his own way.

  ‘It’s true that the women are easily turnin’ into the ’ores!’ he said. ‘It’s subleemly true, and it’s a stupidity to make a man weep. En we, wha’ are we, the men? The sons of the ’ores, for sure! Claro! The women are in ou’ imáge! You, you is a good imáge. The wimmen in you’ life, they will be like you …’

  ‘What about Chantal?’

  ‘That one, se sowed ’erself to be a ’ore without knowin’ it. Don’ speak to me of ’er …’

  Jean could not quite believe that Chantal had been a whore. The idea wounded his self-esteem, despite everything being over between them. No, she had lost her head, like a little country girl, and now she was making amends the fashionable way, going back to the land, and when all was said and done that was a laudable way to atone for a moment of madness with a gigolo in a red Delahaye convertible. He must not think about her. Not ever, despite all the memories lurking in the lanes of Montmartre that he kept stumbling across, surprised to find they were still so vivid.

  When he returned from his brief forays away from the miasmas of the gallery, he would be greeted by La Garenne looking furious, but the gallery owner had kept his fury bottled up ever since he had been reminded that it was upon his salesman’s welfare that Jesús’s continued goodwill depended. It was Jean, too, who took care to deliver the fake Picassos and Utrillo from Jesús’s studio himself. Rudolf von Rocroy admired them and requested a few days to think about the purchase. When he returned to the gallery he was accompanied by a tall, severe-looking and haughty person. Jean learnt that this was Émile Dugard, an art critic who was highly regarded, whose services the German had enlisted. Dugard, showing no enthusiasm, examined minutely the signature and the composition of the sky over Rue Norvins and declared that the painting was a Utrillo from his early period, when he was still living under his mother’s influence. Subsequently, as he explained to Rocroy, who was listening attentively, Utrillo had weaned himself off alcohol but in the process had lost part of his genius and begun peopling his canvases with the famous little couple who walked hand in hand through the pale streets of Montmartre. As for the Picassos, there was absolutely no doubt about them either; they belonged to the so-called Synthetic Cubism era, almost monochrome, with different shades of brown playing off against each other. Rocroy left with the paintings. The following day Dugard presented himself at the gallery to collect his commission. Raised voices were heard coming from La Garenne’s office, and Dugard pretended to flounce out. If he had not achieved everything he had demanded this time, at least he had succeeded in agreeing the terms of his future services.

  Louis-Edmond felt the critic was robbing him blind and bared his soul to Jean with unfeigned indignation, forgetting that his listener knew better than anyone where the paintings had really come from.

  ‘Ponces and crooks, art critics, the lot of them! Sons of Barabbas, selling themselves to both sides, taking from every honest party. That Dugard is the worst, with his high and mighty airs. And tell me, young man, tell me if there’s a single man on earth who has the right to criticise Art? Eh? “Art critic” – it’s so pretentious you could die laughing. All ponces, I tell you. In my day … How old are you, actually?’

  ‘Twenty-one.’

  ‘I’m two and a half times your age … I was around when this buggers’ century started … I tell you, they were full of it
. It was going to be the triumph of civilisation, humankind delivered out of servitude by machines. And the sum total: two wars … Yes, in my day, Monsieur Arnaud, artists and their public had no need of bribed intermediaries – yes, you heard me, bribed – to reach each other. The spark jumped between them on its own. There were still patrons, truly inspired art lovers then. Now it’s all speculation, percentages – do you hear what I’m saying? Beggars with their hand out! A real racket, as the Americans say.’

  He waved his arms like a scarecrow to chase away the predators who wanted to wheel and deal in Art with a capital A. Blanche listened to him starry-eyed. She did love her Louis-Edmond! Especially when he let fly with a good rant, belabouring the middlemen, chasing the moneychangers from the Temple. His honesty would condemn him to poverty for life. But the defence of Art was a long ascent to Calvary, and at its summit one could not even be certain of seeing one’s efforts recognised. She would climb the path of that Calvary with him, bent beneath the world’s opprobrium, stooping to gather up crumbs of genius and the bitter tears of ingratitude.

  Jean shrugged his shoulders. What was the point of reminding La Garenne of the truth? Especially as a customer had just arrived, a tall, thin young man whose deep, dark gaze settled on those present with a gentleness that was too earnest to be genuine. Michel du Courseau was honouring Paris with a visit. Blanche thought he looked distinguished, but Louis-Edmond, scenting an artist in the gallery, prudently vanished into the ‘bosom of bosoms’. Michel favoured Jean with a rather formal hug and these words, which seemed to encapsulate an affection of long standing: ‘Dear old Jean!’

  ‘Steady on, people are going to expect us to start weeping in each other’s arms.’

  ‘I’ve found you again!’

  ‘And it’s not over yet.’

  ‘You’re still my little brother, you know.’

  ‘Your nephew, you mean.’

  ‘Ah yes, of course, you know the truth now: Antoinette told you everything.’

  ‘Antoinette has never kept anything from me.’

  He almost added, ‘not even her bottom’, but managed to stop himself, reining in his feelings of aggression in Michel’s presence; his uncle was, after all, his mother’s brother and Antoinette’s.

  ‘I don’t know that she should have!’ Michel said. ‘I hope you don’t find it painful being Geneviève’s son.’

  ‘Not a bit. I think she’s wonderful. Oedipus’s dream woman. Every chap would love a mother like her: her beauty, her charm, the pathos of a life threatened by tuberculosis. In short, an awfully modern story, a slightly muddled version of The Lady of the Camellias and The Bread Peddler. It’s a shame that she’s so elusive and maternal feelings aren’t her strong point, but you can’t have everything.’

  ‘One mustn’t blame her,’ Michel said sententiously. ‘She was left to her own devices. Maman was torn between Geneviève and us. In the end she chose us.’

  ‘I can’t quite see my mother sitting darning socks by the fire.’

  ‘Listen,’ Michel said. ‘We’ll talk about it another time. Now’s not the moment. Shall we have dinner this evening?’

  ‘I can’t. I’m busy.’

  ‘Tomorrow then?’

  ‘I’m busy every evening. We can have lunch if you like. The gallery’s closed from midday till two. Will you excuse me for just a moment?’

  Two German officers who had just walked in were asking to visit hell. They left swiftly, their choices made, concealing their Alberto Senzacatso prints under their arms. Michel had remained with Blanche de Rocroy, who had naively tried to interest him in a series of horrors: fishing boats against a setting sun, Parisian girls on a swing, flowers in a vase – paintings for innocent tourists.

  Seeing her look discouraged, Jean said, ‘There’s no reason you should know, but Michel is a real painter.’

  ‘Oh … in that case I’ll leave you alone.’

  She was not cross; she made mistakes all the time. The name meant nothing to her and all painters were real painters. Some just grabbed their chances better than others.

  As might have been imagined, Michel du Courseau’s visit was not without motive. After abandoning a singing career he had returned to Grangeville to devote himself to painting, though without an audience or friendly voice to encourage or guide him.

  ‘Solitude is very necessary for my work, but I need warmth too, particularly as I’ve started on a risky path: religious inspiration, you see, is the only kind that moves me. Secular subjects leave me cold. Art has lost its faith. I want to give it back …’

  ‘Listen,’ Jean said, ‘this gallery isn’t really the kind of place you need. I tremble at the thought that you might discover what we have for sale back there …’

  ‘You mean that old spinster—’

  ‘She’s not so old … only just forty. And it’s not her who sells the stuff in what we call hell, it’s me. The owner, Louis-Edmond de La Garenne, is a crook. Paris is a cut-throat place. Everyone’s on the fiddle. Only idiots don’t make anything. In this city honesty is an unforgivable sin.’

  Michel looked genuinely shocked. He had never come across anything like the situation Jean was describing.

  ‘I see now the terrible isolation our family has lived in. If I’m honest, all we know is our little Grangeville world, satisfied, happy, hiding its little wounds. If what you tell me is true, and if in coming to Paris I have to fall in with your pessimism, then it’s Maman who is guilty for having made me live too long in a state of innocence. What is so special about this hell of yours?’

  Jean supplied a full account, with a vulgarity we shall not venture to repeat. He enjoyed seeing Michel’s reaction.

  ‘Someone like that Italian,’ Michael said, paling, ‘should be denounced, and arrested instantly. He’s a criminal. He’s contaminating a society that he lives from by perverting it.’

  ‘This isn’t a time for denunciation.’

  What was Jean saying? He was still unaware of what had already started to happen, too rarely among his fellow Frenchmen to grasp the purulent frenzy of denunciation that had erupted in a country still stunned by the blow it had received. It was a shame he had not read Céline, who was hunched over a manuscript that very day, that very moment, writing, all illusions abandoned, with the penetrating acuity of the visionary: ‘Censors and informers are at every corner … France is a pitiful donkey, the Kommandantur stuffed with people who have come to denounce each other.’ He was heedless even of the gnawing unease corrupting a population tempted by an authority known for its prompt reactions; yet Michel’s threatening words chilled him. Denounce? Who to? How?

  ‘There is no right time for denouncing or not denouncing,’ Michel went on agitatedly. ‘Evil is evil, whether France is occupied or free.’

  ‘Now you’re annoying me,’ Jean said. ‘Go and enjoy your painting and leave me alone.’

  Michel flinched, wounded, cross and surprised. He had arrived with good intentions, wanting to bury an awkward past. Why was Jean unwilling to take the olive branch he was offering?

  ‘You sound bitter,’ he said.

  ‘Bitter? Well … now you mention it … I am. And it’s a very mediocre emotion. So forgive me. Did you bring any of your canvases?’

  ‘Five. Not enough for an exhibition, but I’ve several pictures in progress: a Last Supper that’s nearly finished, a “Suffer the little children …” I’ve just started. Nothing but sacred subjects. A great Christian revival has taken hold in France. Artists cannot stand idly by.’

  Jean suppressed a shrug of his shoulders. Generalised ideas like Michel’s bored him to death. He found his pompousness beneath sarcasm.

  ‘I’ll ask who you should introduce yourself to,’ he said. ‘La Garenne knows all that sort of thing. But don’t say he was the one who sent you. He’s a crook.’

  ‘In that case I don’t want to have anything to do with him.’

  ‘Save your fine words for later. At the moment he’s the only possibility I can offer
you.’

  ‘I’ll leave it to you in that case.’

  Jean walked a short distance down the street with Michel, and in doing so learnt that Antoinette had been ill with a stubborn bout of influenza that she could not shake off, that Marie-Thérèse du Courseau was astonishing Grangeville with her energy, and that there remained, as expected, no news of Antoine.

  ‘I suppose he’s in the southern zone,’ Michel said. ‘Antoinette knows his address, but she’d let herself be cut into little pieces before she’d tell Maman or me. Anyway, neither of us is insisting. Papa has gone from our life. Now that he can’t get hold of petrol to keep his Bugatti on the road, he must be a shadow of his old self. He’s one of those men who only have a personality when they’re behind the wheel. If you’d known Gontran Longuet better, you’d understand why I put them both in the same boat, or rather car. Did you know Gontran is currently impressing the Norman coast with a wood-gas car …’

 

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