The Real Life of Sebastian Knight (4 page)

Two months had elapsed after Sebastian's death when this book was started. Well do I know how much he would have hated my waxing sentimental, but still I cannot help saying that my life-long affection for him, which somehow or other had always been crushed and thwarted, now leapt into new being with such a blaze of emotional strength — that all my other affairs were turned into flickering silhouettes. During our rare meetings we had never discussed literature, and now when the possibility of any sort of communication between us was barred by the strange habit of human death, I regretted desperately never having told Sebastian how much I delighted in his books. As it is I find myself helplessly wondering whether he had been aware I had ever read them.

But what actually did I know about Sebastian? I might devote a couple of chapters to the little I remembered of his childhood and youth — but what next? As I planned my book it became evident that I would have to undertake an immense amount of research, bringing up his life bit by bit and soldering the fragments with my inner knowledge of his character. Inner knowledge? Yes, this was a thing I possessed, I felt it in every nerve. And the more I pondered on it, the more I perceived that I had yet another tool in my hand: when I imagined actions of his which I heard of only after his death, I knew for certain that in such or such a case I should have acted just as he had. Once I happened to see two brothers, tennis champions, matched against one another; their strokes were totally different, and one of the two was far, far better than the other; but the general rhythm of their motions as they swept all over the court was exactly the same, so that had it been possible to draft both systems two identical designs would have appeared.

I daresay Sebastian and I also had some kind of common rhythm; this might explain the curious 'it-has-happened-before-feeling' which seizes me when following the bends of his life. And if, as often was the case with him, the 'whys' of his behaviour were as many Xs, I often find their meaning disclosed now in a subconscious turn of this or that sentence put down by me. This is not meant to imply that I shared with him any riches of the mind, any facets of talent. Far from it. His genius always seemed to me a miracle utterly independent of any of the definite things we may have both experienced in the similar background of our childhood. I may have seen and remembered what he saw and remembered, but the difference between his power of expression and mine is comparable to that which exists between a Bechstein piano and a baby's rattle. I would never have let him see the least sentence of this book lest he should wince at the way I manage my miserable English. And wince he would. Nor do I dare imagine his reactions had he learnt that 'before starting on his biography, his half-brother (whose literary experience had amounted till then to one or two chance English translations required by a motor-firm) had decided to take up a 'be-an-author' course buoyantly advertised in an English magazine. Yes, I confess to it — not that I regret it. The gentleman, who for a reasonable fee was supposed to make a successful writer of my person — really took the utmost pains to teach me to be coy and graceful, forcible and crisp, and if I proved a hopeless pupil — although he was far too kind to admit it — it was because from the very start I had been hypnotized by the perfect glory of a short story which he sent me as a sample of what his pupils could do and sell. It contained among other things a wicked Chinaman who snarled, a brave girl with hazel eyes, and a big quiet fellow whose knuckles turned white when someone really annoyed him. I would now refrain from mentioning this rather eerie business did it not disclose how unprepared I was for my task and to what wild extremities my diffidence drove me. When at last I did take pen in hand, I had composed myself to face the inevitable, which is but another way of saying I was ready to try to do my best.

There is still another little moral lurking behind this affair. If Sebastian had followed the same kind of correspondence course just for the fun of the thing, just to see what would have happened (he appreciated such amusements), he would have turned out an incalculably more hopeless pupil than I. Told to write like Mr Everyman he would have written like none. I cannot even copy his manner because the manner of his prose was the manner of his thinking and that was a dazzling succession of gaps; and you cannot ape a gap because you are bound to fill it in somehow or other — and blot it out in the process. But when in Sebastian's books I find some detail of mood or impression which makes me remember at once, say, a certain effect of lighting in a definite place which we two had noticed, unknown to one another, then I feel that in spite of the toe of his talent being beyond my reach we did possess certain psychological affinities which will help me out.

The tool was there, it must now be put to use. My first duty after Sebastian's death was to go through his belongings. He had left everything to me and I had a letter from him instructing me to bum certain of his papers. It was so obscurely worded that at first I thought it might refer to rough drafts or discarded manuscripts, but I soon found out that, except for a few odd pages dispersed among other papers, he himself had destroyed them long ago, for he belonged to that rare type of writer who knows that nothing ought to remain except the perfect achievement: the printed book; that its actual existence is inconsistent with that of its spectre, the uncouth manuscript flaunting its imperfections like a revengeful ghost carrying its own head under its arm; and that for this reason the litter of the workshop, no matter its sentimental or commercial value, must never subsist.

When for the first time in my life I visited Sebastian's small flat in London at 36 Oak Park Gardens, I had an empty feeling of having postponed an appointment until too late. Three rooms, a cold fireplace, silence. During the last years of his life he had not lived there very much, nor had he died there. Half a dozen suits, mostly old, were hanging in the wardrobe, and for a second I had an odd impression of Sebastian's body being stiffly multiplied in a succession of square-shouldered forms. I had seen him once in that brown coat; I touched its sleeve, but it was limp and irresponsive to that faint call of memory. There were shoes, too, which had walked many miles and had now reached the end of their journey. Folded shirts lying on their backs. What could all these quiet things tell me of Sebastian? His bed. A small old oil-painting, a little cracked (muddy road, rainbow, beautiful puddles) on the ivory white of the wall above. The eye-spot of his awakening.

As I looked about me, all things in that bedroom seemed to have just jumped back in the nick of time as if caught unawares, and now were gradually returning my gaze, trying to see whether I had noticed their guilty start. This was particularly the case with the low, white-robed armchair near the bed; I wondered what it had stolen. Then by groping in the recesses of its reluctant folds I found something hard: it turned out to be a Brazil nut, and the armchair again folding its arms resumed its inscrutable expression (which might have been one of contemptuous dignity).

The bathroom. The glass shelf, bare save for an empty talc-powder tin with violets figured between its shoulders, standing there alone, reflected in the mirror like a coloured advertisement.

Then I examined the two main rooms. The dining-room was curiously impersonal, like all places where people eat — perhaps because food is our chief link with the common chaos of matter rolling about us. There was, it is true, a cigarette end in a glass ashtray, but it had been left there by a certain Mr McMath, house agent.

The study. From here one got a view of the back garden or park, the fading sky, a couple of elms, not oaks, in spite of the street name's promise. A leather divan sprawling at one end of the room. Bookshelves densely peopled. The writing desk. There was almost nothing on it: a red pencil, a box of paper clips — it looked sullen and distant, but the lamp on its western edge was adorable. I found its pulse and the opal globe melted into light: that magic moon had seen Sebastian's white moving hand. Now I was really getting down to business. I took the key that had been bequeathed me and unlocked the drawers.

First of all I dislodged the two bundles of letters on which Sebastian had scribbled: to be destroyed. One was folded in such a fashion that I could not get a glimpse of the writing: the notepaper was egg-shell blue with a dark-blue rim. The other packet consisted of a medley of notepaper criss-crossed in a bold feminine scrawl. I guessed whose it was. For a wild instant I struggled with the temptation to examine closer both bundles. I am sorry to say the better man won. But as I was burning them in the grate one sheet of the blue became loose, curving backwards under the torturing flame, and before the crumpling blackness had crept over it, a few words appeared in full radiance, then swooned and all was over.

I sank down in an armchair and mused for some moments. The words I had seen were Russian words, part of a Russian sentence — quite insignificant in themselves, really (not that I might have expected from the flame of chance the slick intent of a novelist's plot). The literal English translation would be 'thy manner always to find...' — and it was not the sense that struck me, but the mere fact of its being in my language. I had not the vaguest inkling as to who she might be, that Russian woman whose letters Sebastian had kept in close proximity to those of Clare Bishop — and somehow it perplexed and bothered me. From my chair beside the fireplace, which was again black and cold, I could see the fair light of the lamp on the desk, the bright whiteness of paper brimming over the open drawer and one sheet of foolscap lying alone on the blue carpet, half in shade, cut diagonally by the limit of the light. For a moment I seemed to see a transparent Sebastian at his desk; or rather I thought of that passage about the wrong Roquebrune: perhaps he preferred doing his writing in bed?

After a while I went on with my business, examining and roughly classifying the contents of the drawers. There were many letters. These I set aside to be gone through later. Newspaper cuttings in a gaudy book, an impossible butterfly on its cover. No, none of them were reviews of his own books: Sebastian was much too vain to collect them; nor would his sense of humour allow him to paste them in patiently when they did come his way. Still, as I say, there was an album with cuttings, all of them referring (as I found out later when perusing them at leisure) to incongruous or dream-absurd incidents which had occurred in the most trivial places and conditions. Mixed metaphors too, I perceived, met with his approval, as he probably considered them to belong to the same faintly nightmare category. Between some legal documents I found a slip of paper on which he had begun to write a story — there was only one sentence, stopping short but it gave me the opportunity of observing the queer way Sebastian had — in the process of writing — of not striking out the words which he had replaced by others, so that, for instance, the phrase I encountered ran thus: .As he a heavy A heavy sleeper, Roger Rogerson, old Rogerson bought old Rogers bought, so afraid Being a heavy sleeper, old Rogers was so afraid of missing tomorrows. He was a heavy sleeper. He was mortally afraid of missing tomorrow's event glory early train glory so what he did was to buy and bring home in a to buy that evening and bring home not one but eight alarm clocks of different sizes and vigour of ticking nine eight eleven alarm clocks of different sizes ticking which alarm clocks nine alarm clocks as a cat has nine which he placed which made his bedroom look rather like a'

I was sorry it stopped here.

Foreign coins in a chocolate box: francs, marks, schillings, crowns — and their small change. Several fountain pens. An Oriental amethyst, unset. A rubber band. A glass tube of tablets for headache, nervous breakdown, neuralgia, insomnia, bad dreams, toothache. The toothache sounded rather dubious. An old notebook (1926) filled with dead telephone numbers. Photographs.

I thought I should find lots of girls. You know the kind — smiling in the sun, summer snapshots, continental tricks of shade, smiling in white on pavement, sand or snow — but I was mistaken. The two dozen or so of photographs I shook out of a large envelope with the laconic Mr H. written on top in Sebastian's hand, all featured one and the same person at different stages of his life: first a moonfaced urchin in a vulgarly cut sailor suit, next an ugly boy in a cricket-cap, then a pug-nosed youth, and so on till one arrived at a series of full-grown Mr H. — a rather repellent bulldog type of man, getting steadily fatter in a world of photographic backgrounds and real front gardens. I learnt who the man 'was supposed to be when I came 'across a newspaper clipping attached to one of the photographs:

'Author writing fictitious biography requires photos of gentleman, efficient appearance, plain, steady, teetotaller, bachelors preferred. Will pay for photos childhood, youth, manhood to appear in said work.'

That was a book Sebastian never wrote, but possibly he was still contemplating doing so in the last year of his life, for the last photograph of Mr H. standing happily near a brand-new car, bore the date 'March 1935' and Sebastian had died but a year later.

Suddenly I felt tired and miserable. I wanted the face of his Russian correspondent. I wanted pictures of Sebastian himself. I wanted many things.... Then, as I let my eyes roam around the room, I caught sight of a couple of framed photographs in the dim shadows above the bookshelves.

I got up and examined them. One was an enlarged snapshot of a Chinese stripped to the waist, in the act of being vigorously beheaded, the other was a banal photographic study of a curly child playing with a pup. The taste of their juxtaposition seemed to me questionable, but probably Sebastian had his own reasons for keeping and hanging them so.

I glanced too, at the books; they were numerous, untidy, and miscellaneous. But one shelf was a little neater than the rest and here I noted the following sequence which for a moment seemed to form a vague musical phrase, oddly familiar:
Hamlet, La morte d'Arthur, The Bridge of San Luis Rey, Doctor Jekyll and Mr Hyde, South Wind, The Lady with the Dog, Madame Bovary, The Invisible Man, Le Temps Retrouvé, Anglo-Persian Dictionary, The Author of Trixie, Alice in Wonderland, Ulysses, About Buying a Horse, King Lear....