The Information

by Martin Amis

  Over the ocean was where Gina was. Now, when he thought about his wife, he was sorry to find that he always pictured her in flagrante delicto, in blazing crime, and he had to stand there with a towel over his wrist, like a waiter, while she hauled herself out from under . . . He didn't know. But he had strong suspicions. In a few minutes Richard would go back to the bar at the hotel and write postcards-to Marius and Marco, to Anstice, to Keith Horridge. And he would write a letter to Gina. Containing no news. A letter of love. That song he'd sung, those mornings, in the face of February:

  What you want: Baby I got. What you need: D'you know I got it…

  And then the second verse, rendered at the very limit of female rapture and practicality:

  I ain't gonna do you no wrong While you're gone. I ain't gonna do you no wrong Because I don't wanna .. .

  He refastened his clothes and gathered his things and went back up the beach.

  "Nothing. No, not nothing. Tell Lawrence good-bye. Tell him goodbye, good-bye."

  Gina told Richard good-bye, that time. Good-bye, good-bye. And he kept coming back. He didn't get the lunch or the early-evening drink.

  He certainly didn't get the glazed and heavy-blooded hour in his room at the Savoy. But when he rode the train back to London he had her home address in his waistcoat pocket; and after that, sexually, the when was in doubt but not the what. The why? Because in skilled and determined hands the pen and paper are near equivalents of the ravisher's doctored drink, the rapist's spit-steeped balaclava. Like the fists of the martial artist, written words, hereabouts, can be classed as weapons of deadly force, usable only in the ring or on the mat-for display. If men knew about women and letters, women and notes. If they believed it. Thus the veteran husband, before setting off for work, scribbles something like GASMAN SAYS HELL CALL LATER or WERE OUT OF BUTTER AGAIN, and that evening returns to find his wife in a bikini and high heels and with a chilled cocktail glass in either hand; after dinner (his favorite dish), she softens the lights still further and engages the tape of swoony music and puts another log on the fire and settles him there in the marmalade light on the rug with the cushions and the creme de menthe. And retires from the room. So he can have a hand job. Wait. That comes later. Where was he?

  Here. Richard Tull, leaning over a bottle of Valpolicella at the kitchen table of his flat in Shepherd's Bush, late at night, with the telephone's cries smothered under a pillow (Dominique-Louise), writing to Gina Young. The letters were confetti, like apple blossom in the accelerator of the April streets. By every post they came. He was sending her formulas and borrowings-truisms, the disposables of love. Her replies were like thank-you notes to an excitable and ultimately goonish godfather. He barely glanced at them. Every other weekend, persistently, long after D. H. Lawrence had been supplanted by local pottery and crafts, by antique typewriters, by imperial loot, he journeyed up there, his facial flesh juddering to the jolts of strip light and rail track, his cheeks urban pale but for the dabs of color where Dominique-Louise had scratched or elbowed him; slowly he would raise his chin in stern romantic pride. Half hours in the High Street coffee bars, strolls through the municipal gardens in rain too light to fall. Feed the ducks. Her hand, when at last he took it, was elegantly nervous and long-fingered. He said so. He said more. Back in London he made an important correction to the final proof of Dreams Don't Mean Anything, on the dedication page, where he put a line through Dominique-Louise and went for something simpler. In the sodden pastoral of Victoria Gardens he leaned against her under the dripping birch. She sadly kissed him. Her lips were lean and there were raindrops on her hair. He knew it was in the bag when, one Saturday night, round the rear of the Station Hotel, he was lugubriously beaten upby Lawrence, the outgoing boyfriend, who was accompanied by an older brother and a cousin-who were not needed. Richard wasn't much good at fighting. He was good at writing. Book reviews. Love letters. Richard, in his bow tie, went down and stayed down. His body more bent than curled, one open hand slackly resting on his knee. Even when Lawrence's boot started coming in, and Richard resignedly sat there on the concrete, against the wall, giving a quiet yelp or a loud hiccup every time the leather met his ribs, he didn't feel picked on or hard done by. He took it for granted that Lawrence would do what Lawrence would do, with his body. So Lawrence nutted and loafed, then kneed, then kicked (the head-butt was his first move: pain began at this instant with their brows crushed together, their noses interwedged, their lips a kiss away). He swore: "Cunt!" He also wept. Richard had taken Gina back to his room at the Savoy that afternoon for the first time. Inconclusively. But he went down very quickly, in his bow tie and his paisley waistcoat, and just sat there on the wet stone. He knew Lawrence couldn't be that bad. Lawrence must be okay, or must have become okay, after nine years with Gina.

  Two and a half months after Gina moved down to London (she was surprisingly well organized and unterrified, and without his seeming to do much about it she soon had a tube-map and a duplicate of his door key and a diary/address book and a job and-no, she insisted-a studio flat nice and near to his place with white curtains and a white sofa that at midnight she transformed into an aromatic bed infested with embroidered pillows and cuddly animals where he too was cuddled and canoodled and regularly rendered speechless by her ultrametropolitan diligence and ingenuity on top of all the primitive ardor), Richard left her and went back to Dominique-Louise, to his bulimic vamp, who screamed at him all night long and never got the curse. He had a whole sequence of girlfriends, at that time, who never got the curse. He didn't have anything against the curse, so far as he knew. It was just that none of his girlfriends ever seemed to get it. He drew no conclusions; but it remained the case that several years had gone by without him glimpsing a tampon or a drop of blood that wasn't his own. Until Gina, whom he left anyway. She didn't cry.

  Richard hoped and even expected that she would go back-to Nottingham, and to Lawrence. The day he left her he noticed, as he undressed that night, under Dominique-Louise's unadmiring gaze, that all vestiges of Lawrence's beating had at last been absorbed by his body: the tenacious bruises on his hip bone, the scrape on his forearm, the eventful spectrum of yellows and purples that had looped his right eye,to which, that night in Nottingham, Gina had herself held the lump of raw meat. This coincidence seemed to Richard to demarcate the affair as an episode of reckless nostalgic: class, blood, the provinces, D. H. Lawrence, uncomplicated love. Five nights later he went back to Gina, or at least he went back to her flat. The same right eye had been adventitiously reblackened by Dominique-Louise. Once again Gina flew to the fridge. The meat she returned with came out of polyethylthene packet. This was London; that was Nottingham. "Are you going to stop?" she said. But she didn't mean stop. She meant stay. Oh, stay! Richard went back to Dominique-Louise. He left the cuddly animals, the morning tea and toast, the birds fussing trustingly on the windowsill, round-eyed Gina with her baby-doll nightdress and her puffy slippers and her clutched hanky (there were two or three tears this time, silent, welling), and fought his way back to Dominique-Louise. Dominique-Louise's bedroom, by the way, was painted black and had no windows. Its darkness, at night, was classical, mythological. She would be lying in it cradling the twenty-pound ashtray she sometimes threw at him (she had found out about the changed dedication), smoking and waiting and not getting the curse.

  He thought Gina would return to Nottingham. But it didn't seem to occur to her. Richard assimilated this, and found it to be good: he could just show up and sleep with her whenever he liked. He could continue to do this, he projected, even after she had secured some sympathetic simp with a regular job. Because she loved him. Girls, in those days, couldn't do anything to you (they couldn't call the lawyers, the tabloids, the cops) except kill themselves or get pregnant. All they had was life: they could augment it, they could bear it away. They could subtract from it or they could add to it; and that was all. Richard had two additional certainties. Gina would never kill herself. And Dominique-Louise would never get preg
nant. What Gina did was this. She took up contemporary literature, systematically. It was her idea of night school. Gina started sleeping with writers.

  The next afternoon Richard was back on the beach. He had just done the interview with Pete Sahl of the Miami Herald. And it hadn't worked out. Nothing disastrous; nothing apposite either; nothing embarrassing or even interesting. It just hadn't worked out.

  Personally they had hit it off well enough. Richard had liked and fancied the Miami Herald's Pete Sahl-for she was a woman. Shockingly well preserved, Pete came right out and told you she was fifty-three, withgrown-up children. Pete's dad had wanted boys. So he went ahead and gave boys' names to all his five daughters. Pete had stuck with Pete, and never tried to pretty things up with Petranella or Petula or Petunia. Just Pete: Pete Sahl.

  It wasn't that she talked about Gwyn the whole time or anything. Encouragingly, in a way, Pete seemed unclear about who he was either. The interview consisted entirely of her recommendations: recommendations of other novels, of books of poetry, of films, of plays, of shows. "I'll write it down for you," Pete kept saying. But she couldn't quite remember what anything was called. She was just spaced out, like everyone else in Miami. By the time the half hour was up, Pete was recommending restaurants.

  "Okay. Gino's," she said. "It's a twenty-minute cab ride. If you can't get a table, tell them Pete Sahl. Gino's. I'll write it down for you. Go for the veal. Tell them Pete Sahl."

  "That's what I'll do, when I get in through the door. I'll tell them Pete Sahl."

  "I'll write it down for you. The veal alia picante. They do it with a lemon sauce. Go for it. Nice talking to you. Remember: tell them Pete Sahl."

  "Write it down for me."

  The Earl of Rieveaulx had wanted boys. And he was an old brute too. But he had called his daughters Urania, Callisto, Demeter, Amaryllis, and Persephone. He hadn't called them Lady Jeff, Lady Mike, Lady Pete, Lady Brad, and Lady Butch.

  Richard twisted in his lounger as he heard the whir of the caddycart. The little witch was steering her way toward him on her electric motor, with jinking money pouch. A light aircraft was flying laterally across the strand. It seemed to be trailing a long rope ladder-reminding him of the black dancers: the cookie-cutout men. He tried to focus against the hot pulse of the sky. The rope ladder was saying something: it was made of words. It said simply, in small caps, GWYN BARRY AMELIOR REGAINED. The plane fired a bolt of light at him and then deliquesced in the sun. Richard picked up his book. They themselves were flying out in an hour. He had seen this plane before, trailing a different banner, selling some other piece of shit. What was it? Bloodbath, by someone called Chuck Pfister. So that was okay.

  But for a moment there the sky seemed to like Gwyn Barry-the sun slapping palms with the plane's wing. For a moment there the solar system seemed to like Gwyn Barry.

  Chicago was the only city that really frightened him.

  It frightened him because it was there, in Chicago, that he would-or would not-be the subject of the Dub Traynor Interview. Radio: hour-long, one-on-one. This was now in doubt. But it frightened him for other reasons too. The severity of its naked steel frightened him. Chicago, he knew, was the cradle, or the ancient assembly point, of the American political machine. What goes around comes around. I'm okay: you're okay. We don't take nobody nobody sent. Chicago, he knew, was the eighth biggest city on earth. Cities are machines. No other city he had ever been to said to you, as Chicago said to you, This is a machine. I am a machine.

  There was a traffic jam all the way in from the airport, and dark rain. The mist was as thick as clouds and the clouds were as thick as smoke and the smoke was as thick as chalk. Chilling Chicago awaited them in its vapors and gray medium, deeply massed and square-shouldered on the vague horizon. They heaved on, five yards per heave, along Kennedy Expressway. The five lanes coming into the city were all blocked and the five lanes going out of the city were all blocked; between these two great metal Mississippis of steam and suffering, of spiritual durance, there lay a railtrack on which brightly lit and entirely empty trains sped past in both directions. No one ever used the trains. They had to be in the cars. Americans were martyrs to the motors; autos were their autos-da-fe. Never mind what cars have in store for us globally, biospherically; cars- our cars-hate us and humiliate us, at every turn, they humiliate us. Types of car drivers (timid, pushy) are also types of sufferers: the silent, the permanently enraged, the apparently equable, those who persuade themselves that they are running the show (known as "motorists"), the snarl-prone, the oath-casting, the sullen, the erased … They drove on. Their driver-a woman, affiliated with Gwyn's publishers-who was seated beside the plump-necked publicity boy, pointed out where the first, third, and fifth tallest buildings on earth might be seen, on a clear day. They drove on: the shell of Shell, yellow on red like a hand raised against the sun. LEE'S LUMBER and WAYNE'S WINDOWS. Zero Willpower Meets Zero Fat, a billboard slogan in praise of a product that at least tasted fattening, struck a brief chord in Richard, who wasn't particularly fat, yet. A sodden flag. And then at last they were in the city or under thecity, with its halls and chutes and stanchions of steel, and you were a lab-rat in the rat-trap of steel Chicago. Richard suddenly felt that American cities were the half-mouths of lower jawbones and held a monstrous acreage of wedged dentition; with those big teeth they have, no wonder their gums whine with permanent maintenance and repair, all the deep scaling and root-canal work, the cappings, bridgings, excruciating extractions. Now they were engulfed by the sounds of this desperate periodonture, and for a moment Richard's teeth felt like claws, seized in his gums.

  They dropped him off first. For the second city running Richard was to be lodged in a separate and of course much worse hotel, and he didn't mind . . . He took the long walk down the long passage, following the lively stride of the big black porter. With an easy swing of his right arm the porter was carrying Richard's unliftably heavy suitcase; but authorial pride dictated that the fabler himself should tote his own mail sack which, he knew, had warped his spine forever before they even left Washington. They turned a corner: before them lay a fresh infinity of corridor. To the porter this journey was utterly and indeed miserably familiar. The corridor could hold no surprises for him. Not to mention or admit the much older guy, the quivering white stiff coming past the other way, struggling and rattling with some super-awkward and overrated and probably obsolete contraption like a triple tureen on wheels. Forty years ago this old guy might have been happy to return Richard's gasped good evening. But he had no use on God's earth for it now.

  In the Spinnaker Room he dined alone-the Spinnaker Room with its stags' heads and bearskins, the walls studded, for some reason, with locally kilned plates and the ceiling hung with locally loomed bolts of cloth in carpet-booklet colors and textures, reminding him, oppressively, of the jacket of Untitled. He felt as if he was wedged between the covers of his own novel. As Richard was simultaneously finishing his porkchop and The House of Fame: A Life of Thomas Tyrwhitt, a telephone was brought to his table, not a cordless or cellular device but an ancient white dialer on a long, squirming lead.

  "Yeah well it's all fixed," said Gwyn. Behind his voice you could hear drowsy self-approbation-also the murmur and tinkle of festivity: discreet, corporate.

  "How did you do it?"

  "I told him I'd got a TV crew flying in from Detroit, which turns out to be true. And offered him you."

  "Was he … How did he take it??

  "Okay in the end. I told him I'd do him when I tour with the paperback."

  At about 11:00 P.M. the hotel bars of big American cities fill up with men who don't necessarily spend much time in big cities: conventioneers, business trippers. You are therefore at liberty to observe what the big city does to them. Not that much, really. The big city turns up their volume dial; it floods faces with heat; it makes them young and bad and lewd (how the waitresses roll their eyes). The metropolis makes them overdrink, of course; the Smoke makes them smoke, too, some of th
em: they light up with a flourish and tell everyone how long ago they quit… Richard sat smoking and drinking in the corner: the corner he had painted himself into, with his smoking and drinking. Smoking and drinking were what he liked to do. He was approaching the point where smoking and drinking were all he liked to do. Beyond that point lay the place where smoking and drinking would be all he could do, anyway, stupefied, entirely immobilized, by smoking and drinking. Nevertheless, he felt good (he was smoking and drinking), and if he stayed up late enough he could call Gina and tell her that things weren't going at all badly, what with the Lazy Susan sale, and now the Dub Traynor Interview and this further dissemination of Untitled.

  With so many biographies down him Richard knew what America was capable of doing to British writers. Timid rubes who crossed the Atlantic, timidly blinking, were immediately swept up in the indigenous panic of make-or-break. They twirled right out of control, like Dylan Thomas and Malcolm Lowry, done in by dread and drink. This appeared to be Richard's strategy. Or else (this was Gwyn's) they rigged themselves up with temporary personalities, new smiles, new laughs, so it felt okay to walk the streets all night waiting for the reviews in the papers, like Broadway impresarios. Then the fever of transformation ends, and they go back where they came from and become reasonable again. And so what? But the question is: who are they leaving behind? If America can do that to frowning bookworms from middle England, what was America doing to Americans-who, on the whole, hadn't spent three years at twelfth-century universities with Paradise Lost on their laps, and who had no Home Counties to come from or go home to. They never had a lifetime elsewhere to protect them from it, from America and the fever of possible change. Lie awake in the big city and you can hear it like the beady scrape of cricket wings in the Miami night-the nasal insect drill of need and neurosis.

  Insects are what neurosis would sound like, if neurosis could make a noise with its nose.