The Swimming-Pool Library (38 page)
Read The Swimming-Pool Library Online
Authors: Alan Hollinghurst
September 27:
In a moment of foolishness I’d given Roy my telephone number. I was out most of the morning & didn’t return home until 5 or so, when I asked Taha if there had been any calls & he said ‘No Sir’ with a noticeably self-satisfied air. It wd have been wonderful to have had Roy again, but I found I was glad not to, & decided that if he shd get in touch I wd not see him. Any repetition wd lack the spontaneity & beauty of yesterday, & I wd rather remember it as one of those rare & wonderful days when two strangers come together in deliberate ignorance of each other for their mutual pleasure.
September 28:
A fairly terrible day, which seemed to have been designed as the counterpart to Tuesday, all choking catastrophe instead of the sentimental camaraderie & avoided intimacy of that brief afternoon. Taha went out for me after lunch to deliver some papers to GS & to find me if he cd some flowers—I had a sudden yearning for those great bronze chrysanthemums. As I sometimes do, I imagined him going through the streets on my behalf, saw him by some supernatural, aerial sixth sense moving among the people, pointing to the flowers, taking the long, top-heavy cone of paper in his hands … I knew how people noticed him, sometimes were rude or cruel, all of which only deepened my pride in him. It was a mystery—for as he ambled about
the prosaic London streets he moved too in the realm of my imagination, inviolable, invested with my love.
He took an age to return & when he finally did come in with the chrysanthemums in a vase I asked him if everything had passed off all right, feeling a little anxious at the confidentiality of the things I gave him to carry—not on his account, whom I trust utterly, but lest he shd be waylaid. He said he was very sorry and cd he ask me something. I said of course. He said he wanted to marry Niri. I congratulated him, shook his hand, wished him every happiness, & said I looked forward to meeting his intended. He went out & shut the door, & a minute or two later I heard him leave the house.
It was only then that I allowed myself to absorb the news, or rather to be transfixed by it, for it filled me with the most piercing anguish, & as he went out, wearing—I knew—his comical broad-brimmed hat, it was as if something within me had been released & I found myself gasping for breath, tears rolling down my face & the whole room & its furniture & pictures & books somehow sodden & heavy with the misery of it. It is true that the announcement of any marriage, however dear to me the couple & however perfectly suited to each other, invariably fills me with the blackest gloom; it may lift after a day or two, though not before an enduring sense has been instilled, not of the beginning of something new, but of the irrevocable ending of something innocent & old. But when the innocence is that of my own Taha … I felt it almost as if he had died—or worse, been magically translated into some other element. It was as if I saw him through field-glasses dancing & singing in a place so far away that when he opened his mouth, when his lips moved, no sound disturbed the silence.
I went round & round the room, mastering my feelings & then yielding to them again. I fetched up in front of the chrysanthemums, which he had arranged in the tall Tang vase that used to be in the hall at Polesden. They were utterly immaculate, ripe yet dry & glossy, the colour of their great clustering heads autumnal while their leaves were green. They might almost have been lacquered art-works, & one
had to squeeze them or pinch their petals to prove that they were perishable. I ran over the brief scene of a few minutes before again & again in my mind, each time with renewed pain, & recognised the unspeakable deference with which he had as it were offered the flowers & suppressed his own excitement. He showed, as so often, his tender & acute intimation of my feelings while not altogether being able to contain his own. I understood too in time why he had been so cocky for the last few days, pulled as he must have been between gaiety & apprehension. So the chrysanthemums—in that way that inanimate things have of implicating themselves in moments of crisis—swam before my eyes like emblems of his years of fidelity, and festive tokens of his future, now elegiac, now heartlessly splendid.
I pulled myself together & went into the study & swallowed a large glass of whisky. I tried to get on with the proofs of my Sudan book, as a mechanic exercise, but of course the merest table of figures seemed to speak of my sweet Taha & our past together, & sent the memory ferreting around for the tenderest spots, the purest moments of selflessness & mutual service. Perhaps these inspired me in a way—for I wrote him a cheque for £200, then thinking better of it wrote him one for £100 instead; then I tore them both up & wrote another for £500 and put it in an envelope, and trotted up to the attic to leave it in his room. It’s a room I’ve so rarely been into, & I had to hold myself back from maudlin pillow-stroking reverie. It reminded me too of a room in the Sudan, since there is nothing in it save the bed covered with its beautiful shawl, a rug on the bare boards, & a little table with a photograph of Murad, and that other taken just before we left Khartoum, outside the Sudan Club—he & I standing side by side, smiling against the sun. But I cd scarcely bear to look at it, & hurried out again. Such simple, reassuring things were turning against me.
So many changes will come about, things that I haven’t even begun to think of, can’t think of. Will Taha stay with me, will they want to live here? Niri, I believe, lives with her mother and an old uncle out west somewhere … I thought of the appalling magnanimity I will have to show &
realising I wd not be able to control myself if I saw him again so soon I went out, had a further drink or two at Wicks’s & then as evening came on found myself wandering somnambulistically towards Clarkson’s Cottage. It was welcome enough: I needed some narcotic, some soulless distraction.
The broken light has been replaced, so it was rather bright in there. There was a sort of businessman at one end in a raincoat & that thin, anxious little chap who’s always there & keeps Cave at the other. He reminds me of a college servant, making sure that the gentlemen are happy—his payment, I suppose, being the dubious pleasure of having a jolly good look. I took up my position in the middle & fiddled about for a bit as my brief mood of anticipation dwindled & then there was a familiar clippety-clop & Chancey Brough came in &
force majeure
took the stall on my right. He had the most tremendous & businesslike pee—he must have been saving it up for hours so as to seem (vain hope!) an authentic convenience-patron—& then weighed his immense tackle in the palm of his hand for a while. We obviously cdn’t remain where we were, but I knew his sticking-power & so I buttoned up & slipped off, tipping my hat with a polite ‘Good evening’ & best wishes to his wife.
I went along Old Compton Street, wishing Sandy were still there, & rather wanting a pal to get drunk with. The Leicester Square lavs seemed a possibility, so I popped in, but there were all the usual faces turning expectantly, Major Sprague & that butler from Kensington Palace & a few anxious youngsters on the make. Andrews tells me you can have a wonderful whirl at Victoria these days with all the tommies & tars; he picked up a couple of the latter there some time last week & had the night of his life, if he is to be believed. I wandered down towards Trafalgar Square, thinking I might get a bus, but the sunset came on & I was suddenly flooded with misery again & just gave it all up & went back to the Club for a chop & a glass of beer & was wretchedly rude to anybody who approached me.
———
It was with a mind worried by the gloom and misfortune of my friends and with my appearance newly toughened, Marine-style, by Mr Bandini that I went that evening to the view of Ronald Staines’s little exhibition. Normally I would have kept away, but James’s news made me realise I must put in an appearance. I had had to go through the rubbish bin to find the invitation again, a purple card with, scrawled on the back in white ink, the note ‘Sorry to lose you so soon the other evening—Ronnie’. I could quite happily have remained lost, but I needed to keep in with him and to secure from him those moody but surely incriminating photographs of Colin.
The exhibition was called
Martyrs
, and was hung at the Sigma Gallery in Lamb’s Conduit Street, a home, or at least a stopping place, for many ‘alternative’ figures. Founded in the Thirties by Rycote Prideaux, it had catered in its earlier days for left-wing artists, and Prideaux’s Sigma Pamphlets had been launched there with readings and exhibitions. In my lifetime, though, it had been run by Prideaux’s much younger friend Simon Sims, who had diluted his late mentor’s style, showed a lot of banal mystical art interspersed with often embarrassing gay and ethnic shows, and opened an austere vegan café, with harpsichord music and wooden plates, in the basement. The whole establishment was tinged with a mood of high-principled disappointment.
Through the front window I saw the few early arrivals, clutching wine glasses, frowning selfconsciously at the pictures. To one side Staines, dressed in black and white, was talking to a man with a notebook. He had that look of insincere good behaviour that people have when they are working on their own public relations. As I came in the coppery clack of the shop-bell had all heads turning—it was like the showers at the Corry—and Staines twisted round to smile at me and give me a presumptuous wink before carrying on with his interview. I signed the book and made for the drinks table.
I wasn’t warmly disposed towards the pictures, but knowing about their background I felt a slight anxiety on their behalf, as I do when I see a friend on stage. I hoped that their tawdry Smithfield muses would be sufficiently glamorised by Staines’s lens and the finery of the studio. By and large, I should not have worried. The photographs were intensely professional, the lighting
and tonality were beautiful, and the silkiest of purses had been made from even the hairiest of sows’ ears. I spotted young Aldo at once, in his role of the Baptist, his naked torso broadening into brightness, his stiff little pennant at an angle over his head, an expression of faint surprise about his sleepy dark eyes and stubble-roughened jaw.
The controversial conversation piece in which Aldo appeared with the as yet unmartyred St Sebastian hung alongside. Sebastian was a boy of tedious, waxen beauty, with a little loincloth about to tumble down. They had been cleverly posed against a projected backdrop taken from some Tuscan master, but for all the quattrocento piquancy of their gestures they reminded me of nothing so much as those queeny fashion spreads in
Tatler
and
Uomo Vogue.
The impression was reinforced by a surge of Trouble for Men across my nostrils and the appearance at biceps level of the luminous pink spectacles of Guy Parvis. For a second I thought I might actually be caught up in one of his
Alternative Image
TV programmes, and prepared to sidestep the cameras as they zoomed in on Sebastian’s Gillette-smooth profile. But it seemed he was there in a private capacity. I distanced myself even as I was perversely drawn to stare at him, keen to pick up any absurd and memorable remarks.
I finished my glass of wine and downed most of another while I looked at the handsome bearded St Laurence with his dinky little gridiron, and the St Stephen who crouched appealingly in a shaft of light while above him the shadowy form of an immense black whom I would have liked to meet held a stone aloft. St Peter was Ashley, who worked out at the Corry, but he was not seen to best advantage upside-down.
The bell clacked frequently now and we early browsers became subsumed into the crowd of callers, who greeted each other, kissed, caught up on their news, walked backwards into other guests without apologising and generally, as if they were in a private house where such curiosity would have been unseemly, ignored the pictures. Those who had equipped themselves with a price list were forced into the crude necessity of asking the drinkers to move so as to get some distance on the martyrs or to squinny at the numbered labels. I took another drink and moved downstairs.
Here there was a series of life-size nudes, in a sculptural Whitehaven style—martyrs only to the bench and the Nautilus machine—and a set of plates made to illustrate a limited edition of John Gray’s
Tombeau d’Oscar Wilde
along with Stephen Devlin’s setting of the poem for tenor, string quartet and oboe d’a-more—a martyrdom with a whole teeming afterlife. The photographs were balletic and metaphorical, with a good deal of emphasis on the slim gilt soul aspect and a number of images, in Staines’s most typical style, crossed and half-obscured by the shadows of prison bars.
I was following a line of the music—a sort of Mahler-and-French which came as close as sexless music could to being explicitly homosexual—when there was a nudge, and Aldo himself was standing beside me. He didn’t say anything, but announced himself in this physical way as some people do in clubs and bars, or as boys do abroad, when there is a language problem. I smirked at him and carried on reading, and he seemed happy to stand by. ‘Ronnie didn’t think you’d come,’ he said after a minute.
‘I’m a bit of a martyr myself,’ I said. ‘One day one of Ronnie’s little
jeux d’esprit
will finish me off altogether.’
‘You don’t like the pictures?’ Aldo looked cast down.
‘Oh they’re all right. I like these ones here.’ We turned and ran our eyes over the plated athletes. ‘They aren’t martyrs, are they? I don’t like the martyrs so much—they’re just soft porn. You look very pretty in them … but I honestly prefer to have hard porn—or no porn at all. It’s all pretending, that stuff.’
‘Still, you didn’t stay long at Ronnie’s house the other day,’ he objected. ‘It was very good fun. We made this great scene and then at the end everyone joined in.’
‘That was just what I was afraid of.’
‘Even Lord Charlie had a feel.’
‘Please!’
‘Those boys Raymond and Derek were so tired,’ he had to go on. ‘Not Abdul, though. He could have kept at it all night.’
‘They should be showing the film here,’ I suggested, and Aldo was full of giggly shock. I looked him over candidly. In his tight white jeans and red-and-white checked shirt he reminded one vaguely of an Italian restaurant.
