When I left the pub, where it looked as if Bagshaw contemplated spending the evening, Trapnel stood up rather formally and extended his hand. I asked if he had a telephone number. He at once brushed aside any question of the onus of getting in touch again being allowed to rest with myself, explaining why that should be so.
‘People can’t very well reach me. I’m always moving about. I hate staying in the same place for long. It has a damaging effect on work. I’ll ring you up or send a note. I rather enjoy the old-fashioned method of missive by hand of bearer.’
That sounded another piece of pure fantasy, but increased familiarity with Trapnel, and the way he conducted his life, modified this view. He really did send notes; the habit by no means one of his oddest. That became clear during the next few months, when we met quite often, while preparations went forward for the publication of the first number of Fission, which was due at the end of the summer or beginning of autumn. Usually we had a drink together in one of his favourite pubs—as with Bagshaw, these were elaborately graded—and once he dined with us at home, staying till three in the morning, talking about himself, his girls and his writing. That was the first occasion when the Boris Karloff imitation went on record as indication that the best of the evening was over, the curtain should fall.
A passionate interest in writing, or merely his taste for discussing it, set Trapnel aside from many if not most authors, on the whole unwilling to risk disclosure of trade secrets, or regarding such talk as desecration of sacred mysteries. Trapnel’s attitude was nearer that of a businessman or scientist, never tired of discussing his job from a professional angle. That inevitably included difficulties with editors and publishers. Many writers find such relationships delicate, even aggravating. Trapnel was particularly prone to discord in that field. He had, for example, managed to get himself caught up in a legal tangle with the publication of a conte, before the appearance of the Camel. This long short story, to be published on its own by some small press, had not yet seen light owing to a contractual row. The story was left, as it were, in baulk; unproductive, unproduced, unread. There had apparently been trouble enough for Quiggin & Craggs to take over the rights of the Camel.
‘The next thing’s the volume of short stories,’ said Trapnel. ‘Then the novel I’m already working on. That’s really where my hopes are based. It’s going to be bigger stuff than the Camel. The question is whether Quiggin & Craggs have the sales organization to handle it properly.’
The question was more substantially how well Quiggin & Craggs would handle Trapnel himself. That looked like a tricky problem. Their premises were in Bloomsbury according to Bagshaw, reduced in price on account of bomb damage. An architecturally undistinguished exterior bore out that possibility. The building, reconditioned sufficiently for business to be carried on there, though not on a lavish scale, had housed small publishers for years, changing hands as successive firms went bankrupt or were absorbed by larger ones. There was no waiting room. Once through the door, you were confronted with the bare statement of the sales counter; beyond it the packing department, a grim den looking out on to a narrow yard. On the far side of this yard a kind of outhouse enclosed Fission’s editorial staff, that is to say Bagshaw and his secretary. Ada Leintwardine would sometimes cross the yard to lend a hand when the secretary, constantly replaced in the course of time, became too harassed by Bagshaw’s frequent absences from the office to carry on unaided. Apart from that, an effort was made to keep the affairs of Fission separate so far as possible from the publishing side, although Craggs and Quiggin sat on both boards.
‘Ada’s the king-pin of the whole organization,’ said Bagshaw. ‘Maybe I should say queen bee. She provides an oasis of much needed good looks in the office, and a few contacts with writers not sunk in middle age.’
Ada had made herself at home in London. In fact she was soon on the way to becoming an established figure in the ‘literary world’, such as it was, battered and reduced, but taking some shape again, over and above the heterogeneous elements that had kept a few embers smouldering throughout the war. London suited Ada. She dealt with her directors, especially Quiggin, with all the skill formerly shown in managing Sillery. She had begun to refer to ‘Poor old Sillers.’ I had not seen Sillery himself again, as it happened, before the period of research at the University came to an end, calling once at his college, but being told he had gone to London for several days to attend the House of Lords.
When he was not present, Bagshaw was also designated by Ada ‘Poor old Books’. That did not prevent them from getting on pretty well with each other. Her emotional life had become a subject people argued about. Malcolm Crowding, the poet, not much older than herself, alleged that the novelist Evadne Clapham (niece of the publisher of that name, and by no means bigoted in a taste for her own sex) had boasted of a ‘success’ with Ada. On the other hand, Nathaniel Sheldon, always on the look out, though advancing in years, spoke of encouragement offered him by Ada, when he was waiting to see Craggs. No doubt she made herself reasonably agreeable to anyone—even Nathaniel Sheldon, as a reviewer—likely to be useful to the firm. The fact that no one could speak definitely of lovers demonstrated an ability to be discreet. Ada herself was reported to be writing a novel, as Sillery had alleged.
In the humdrum surroundings of everyday business life, when, for example, one met them on the doorstep of the office, both Quiggin and Craggs showed themselves more changed than they had in the hurried, unaccustomed circumstances of Erridge’s funeral. For instance, it was now clear Quiggin had settled down to be a publisher, intended to be a successful one, make money. He no longer spoke of himself producing a masterpiece. Unburnt Boats, his ‘documentary’, had been well received, whatever Sillery might say, when the book appeared not long before the war, but there Quiggin’s literary career was allowed to rest. He had lost interest in ‘writing’. Instead, he now identified himself, body and soul, with his own firm’s publications, increasingly convinced—like not a few publishers—that he had written them all himself.
Quiggin also considered that he had a right, even duty, to make such alterations in the books published by the firm as he saw fit; anyway in the case of authors prepared to be so oppressed. Certainly Trapnel would never have allowed anything of the sort. There were others who rebelled. These differences of opinion might have played a part in causing Quiggin—again like many publishers—to develop a detestation of authors as a tribe. On the contrary, nothing of the sort took place. As long as they were his own firm’s authors, Quiggin would allow no breath of criticism, either of themselves or their books, to be uttered in his presence, collectively or individually. His old rebellious irritability, which used formerly to break out so violently in literary or political argument, now took the form of rage—at best, extreme sourness—directed against anyone, professional critic or too blunt layman, who wrote an unfavourable notice, dropped an unfriendly remark, calculated to discourage Quiggin & Craggs sales.
Craggs’s attitude towards publishing was altogether different. Craggs had been practising the art in one form or another for a long time. That made a difference. He did not care in the smallest degree about rude remarks made on the subject of ‘his’ authors, or ‘his’ books. In some respects, so far as the former were concerned, the more people abused them, the better Craggs was pleased. Certainly he had no great affection for authors as men—for that matter, unless easily seducible, as women—but, unlike Quiggin, his policy in this respect was not subjective; at least not entirely so. It cloaked a certain commercial shrewdness. Craggs, off his guard one day with Bagshaw, expressed the view that there were more ways of advertising a book than dwelling on the intellectual and moral qualifications of its author.
‘What matters is getting authors talked about,’ Craggs said. ‘Let people know what they’re really like. It whets the appetite. Look at Alaric Kydd’s odd tastes, for instance. I drop an occasional hint.’
Craggs was being unusually communicative when he let that out, b
ecause in general nowadays he affected the manner of a man distinguished in his own sphere, but vague almost to the point of senility. Such had been his conversation at Thrubworth, though more defensive than real, to be dropped immediately if swift action were required. There was evidence that he was making good use of his wartime contacts in the civil service. Widmerpool, for his part, seemed to be pulling his weight too in a trade that was new to him.
‘He’s laid hands on some extra paper,’ said Bagshaw. ‘Found it hidden away and forgotten in some warehouse in his constituency.’
Walking through Bloomsbury one day on the way to the Fission office, I ran into Moreland. When I first caught sight of him coming towards me, he was laughing to himself. A shade more purple in the face than formerly, he looked otherwise much the same. We talked about what we had both been doing since we last met at the time of the outbreak of war. Moreland had always been fond of The Anatomy of Melancholy. I told him how I was now occupied with its author.
‘Gone for a Burton, in fact?’
‘Books-do-furnish-a-room Bagshaw’s already made that joke.’
‘How extraordinary you should mention Bagshaw. He got in touch with me recently about a magazine he’s editing.’
‘I’m on my way there now to sort out the review copies.’
‘He wanted an article on Existential Music. The last time I saw Bagshaw was coming home from a party soon after he returned from Spain. He was crawling very slowly on his hands and knees up the emergency exit stairs of a tube station—Russell Square, could it have been?’
‘He must have reached the top just in time for the war, because he was in the RAF, and now has a moustache.’
‘A fighter-pilot?’
‘PR in India.’
‘Jane Harrigan’s an’ Number Nine, The Reddick an’ Grant Road? I should think there was a good deal of that. I refused to contribute, although I suspect I’ve been an existentialist for years without knowing it. Like suffering from an undiagnosed disease. The fact is I now go my own way. I’ve turned my back on contemporary life—but what brings you to this forsaken garden? You can’t know anybody who lives in Bloomsbury these days. Personally, I’ve been getting a picture framed, and am now trying to outstrip the ghosts that haunt the place and tried to commune with me. Comme le souvenir est voisin du remords.’
‘Burton thought that too.’
‘I’ve been reading Ben Jonson lately. He’s a sympathetic writer, who reminds one that human life always remains the same. I remember Maclintick being very strong on that when mugging up Renaissance composers. Allowing for murder being then slightly easier, Maclintick believed a musician’s life remains all but unchanged. How bored one gets with the assumption that people now are organically different from people in the past—the Lost Generation, the New Poets, the Atomic Age, the last reflected in the name of your new magazine.
Fart upon Euclid, he is stale and antick.
Gi’e me the moderns.
It’s the Moderns on whom I’m much more inclined to break wind.’
‘If not too late, restrain yourself. As you’ve just pointed out, the Moderns no longer live round here.’
‘Forgive my sneering at Youth, but what a lost opportunity within living memory. Every house stuffed with Moderns from cellar to garret. High-pitched voices adumbrating absolute values, rational states of mind, intellectual integrity, civilized personal relationships, significant form … the Fitzroy Street Barbera is uncorked. Le Sacre du Printemps turned on, a hand slides up a leg … All are at one now, values and lovers. Talking of that sort of thing, you never see Lady Donners these days, I suppose?’
‘I read about her doings in the paper sometimes.’
‘Like myself. Ah, well. Bagshaw’s request made me wonder whether I would not give up music, and take to the pen as a profession. What about The Popular Song from Lilliburllero to Lili Marlene? Of course one might extricate oneself from the whole musical turmoil, cut free of it altogether. Turn to autobiography. A Hundred Disagreeable Sexual Experiences by the author of Seated One Day at an Organ—but I must be moving on. I’m keeping you from earning a living.’
I suggested another meeting, but he made excuses, murmuring something about a series of tiresome sessions with his doctor. Seen closer, he looked in less good health than suggested by the first impression.
‘I’ve sacked Brandreth. My latest physician takes not the slightest interest in music, thank God, nor for that matter in any of the arts. He also has quite different ideas from Brandreth when it comes to assessing what’s wrong with me. Life becomes more and more like an examination where you have to guess the questions as well as the answers. I’d long decided there were no answers. I’m beginning to suspect there aren’t really any questions either, none at least of any consequence, even the old perennial, whether or not to stay alive.’
‘Beyond Good and Evil, in fact?’
‘Exactly—one touch of Nietzsche makes the whole world kin.’
On that note (recalling Pennistone) we parted. Moreland went on his way. I continued towards Quiggin & Craggs, through sad streets and squares, classical façades of grimy brick, faded stucco mansions long since converted to flats. Bagshaw had a piece of news that pleased him.
‘Rosie Manasch is going to pay for a party to celebrate the First Number. That’s scheduled for the last week in September. None of us have had a party for a long time.’
In the end, owing to the usual impediments, Fission did not come to birth before the second week in October. The comparative headway made by then in establishment of the firm’s position was reflected in the fact that, when I arrived at the Quiggin & Craggs office, where the party mentioned by Bagshaw was taking place, a member of the Cabinet was making his way up the steps. As he disappeared through the door, a taxi drove up, and someone called my name. Trapnel got out. The fare must have been already in his hand, because he passed the money to the driver with a flourish, turned immediately, and waved his stick in greeting. He was wearing sun spectacles—in which for everyday life he was something of an optical pioneer—and looked rather flustered.
‘I thought I’d never get here. I’m temporarily living rather far out. Taxis are hard to find round there. I was lucky to pick up this one.’
The fact of his arriving by taxi at all did not at the time strike me as either remarkable or inevitable. I was still learning only slowly how near the knuckle Trapnel lived. The first few months of his acquaintance had been a period of comparative prosperity. They were not altogether representative. That did not prevent taxis playing a major rôle in his life. Trapnel used them when to the smallest degree in funds, always prepared to spend his last few shillings on this mode of transport, rather than descend to bus or tube. Later, when we were on sufficiently familiar terms to touch on so delicate a subject, he admitted that taxis also provided a security, denied to the man on foot, against bailiffs serving writs for debt. At the same time this undoubtedly represented as well an important factor in the practical expression of the doctrine of ‘panache’, which played a major part in Trapnel’s method of facing the world. I did not yet fully appreciate that. We mounted the steps together.
‘I don’t think I’ll risk leaving my stick down here,’ he said. ‘It might be pinched by some detective-story writer hoping to experiment with the perfect crime.’
No one was about by the trade counter. Guests already arrived had left coats and other belongings at the back, among the stacks of cardboard boxes and brown-paper parcels of the equally deserted packing department. A narrow staircase led to the floor above, where several small rooms communicated with each other. The doors were now all open, furniture pushed back against the wall, typewriters in rubber covers standing on steel cabinets, a table covered with stacks of the first number of Fission. Apart from these, and a bookcase containing ‘file’ copies of a few books already published by the firm, other evidences of the publishing trade had been hidden away.
In the furthest room stood another table on whi
ch glasses, but no bottles, were to be seen. Ada Leintwardine was pouring drink from a jug. She had just filled a glass for the member of the Government who preceded us up the stairs. This personage, probably unused to parties given by small publishers, tasted what he had been given and smiled grimly. Craggs and Quiggin, one on either side, simultaneously engaged him in conversation. Bagshaw, not absolutely sober, waved. His editorial, perfectly competent, had spoken of the post-war world and its anomalies, making at least one tolerable joke. Trapnel’s short story had the place of honour next to the editorial. We moved towards the drinks.
Bagshaw, like the Cabinet Minister, was taking on two at a time, in Bagshaw’s case Bernard Shernmaker and Nathaniel Sheldon. This immediately suggested an uncomfortable situation, as these two critics had played on different sides in a recent crop of letters about homosexuality in one of the weeklies. In any case they were likely to be antipathetic to each other as representing opposite ends of their calling. Sheldon, an all-purposes journalist with a professional background comparable with Bagshaw’s (Sheldon older and more successful) had probably never read a book for pleasure in his life. This did not at all handicap his laying down the law in a reasonably lively manner, and with brutal topicality, in the literary column of a daily paper. He would have been equally happy—possibly happier, if the epithet could be used of him at all—in almost any other journalistic activity. Chips Lovell, to whom Sheldon had promised a job before the war, then owing to some move in his own game withdrawn support, used often to talk about him.
A Dance to the Music of Time: 2nd Movement Page 12