Of course he didn't always have the alien rectitude of the concert platform. He loved getting out of his frac. At home he was a quiet ironist, closer with my brother Charlie than with me, though I was the one who inherited his habit of sitting and gazing into the middle distance. A tiny bedroom had become his office and often you would pass the door and see him leaning at the window, watching the wind over the common. hundreds of hours I sat pretending to read, but sharing music with him, anything recorded by Beecham, whilst he read the score or peered into infinity through the blank above the picture-rail. When I first brought Graves home he won my father's heart by his morbidly detailed knowledge of Delius, but then risked losing it by conducting when a record was on. I had to take him for a walk to the trig-point to explain my father's conviction that if Sir Thomas had already conducted it there was no need for anyone else to.
In our second year at school Graves and I shared a study-bedroom. He was too camp and snobbish to be popular, but I had fallen swiftly under his influence and he had correspondingly formed a keen dependence on me. No one else made any claim on us, and though part of me longed to be billeted with one of the fabulous Raleigh rebels, I consigned that plan to my thriving fantasy folder, and settled in with Graves and his record collection instead. He was tall and heavy-boned, with wavy brown hair and a long intelligent face made thuggish by adolescence. He loathed what he called the "plebeian" use of Christian names, and we addressed each other as Graves and Manners from the start, and till the end.
Graves was going to be a great conductor as well as a great writer, and the double demands of his destiny were enacted daily in the narrow space of our study, when he would leap from his desk, pen in hand, to "bring them through" an especially devilish test of ensemble or stab out the climactic chords of whatever record was on. The walls were soon spattered with ink. He was working on a play, "Noble to Myself", in which all the characters had titles, and I would be required to take three or four parts in read-throughs, improvising ever more clipped and drawling accents.
His parents lived in Somerset, and seemed for all practical purposes to be a good deal more remote than that. Often he came home with me for weekends, though my mother didn't warm to him or his nocturnal habits, and my brother mocked him behind his back; my father, who found the thought of his visits oppressive, was irresistibly caught up in talk about music and would sit up with him after the rest of us had gone to bed, listening to Bax or Busoni "quietly". My father's memorabilia included an inscribed photograph of Beecham, and one of his batons, which Graves used to eye yearningly as he sat on his hands on the sofa. Sometimes, in conversation, my father would illustrate a point or remind us of a song by singing a few bars; it was lovely, but we all found it embarrassing.
He'd been dead so long now that he moved in my mind like a figure from another age, a life in evening dress. Even at the time, when we heard him on the wireless, singing in the Daily Service or in a request for Three-Way Family Favourites, I remember the feeling that his voice was being brought to us from the beyond, from a cavernous other world screened by the tarred muslin of the speakers. We had been early possessors of a stereogram, a monstrous and luxurious teak coffer with discreet lights and grilles and a lid it was impossible to drop: some cushioning mechanism arrested its fall and brought it noiselessly to rest. It had good bass sound, which my father used to turn up to cover the hiss and crackle the machine exposed on his treasured old records. There it still silently stood, at the beginning of November 1991. And there was Beecham's baton on a stand like a pen-rest; and the ugly canterbury stuffed with music, Bach cantatas, Victorian parlour-songs that were enjoying a kitsch revival when he died; and the shine of the parquet around the subfusc bulk of the sofa and chairs and under the black promontory of the piano. Nothing had been altered, nothing renewed. I felt the sense of return oddly exaggerated, as if my childhood went back further than it did.
I sat about my room in my vest and pants, smoked a last cigarette and flicked the stub into the Donningtons' bushes—lilacs that would crowd over the fence in early summer and waft up to my window. Something awful had happened last week: I'd left the dining-room in the middle of Luc's lesson and gone upstairs for a pee, as I always did now, I'd become a reckless addict of the laundry-basket. I had the negatives on me and planned to run on up the further flight to Luc's bedroom, return them to the wallet in the desk and be back at the bathroom again in fifteen or twenty seconds. It was a simple but bold idea, and as the time came on to put it into practice I was less and less able to concentrate on the passage from Milton we were talking about. "A herd of Beeves," said Luc. "I'm not so sure what is a herd of Beeves."
"I'll explain it in a minute," I said, springing up with the look of comic distraction that signified "Need to go", and slipping out of the room. I had a feeling there must be a downstairs loo, and I didn't want to give anyone time enough to tell me about it. Up I went, in swift strides, past the bathroom and then on to the further flight, keeping to the inner edges of the talky old treads. The door of Luc's room was ajar, I slid round it and was halfway to the desk before I fully understood that I wasn't alone, that Patrick Dhondt was sprawled on the bed in his black school breeches, reading a book.
"How ridiculous!" I said. "I was looking for the bathroom." I felt myself going as red as I have ever been, disastrously compromised. He looked at me with faint surprise. "Hel-lo!" I exclaimed. "How are you?"
"Very good," he said, and then smiled. He was unquestionably in possession of the room, of the bed. I backed towards the door, and he looked down to his book, in part to hide a flush and grin of his own. "It's downstairs," he said.
I got hot thinking about it now—one of those torturing moments you masochistically recall from time to time for the rest of your life. I unzipped the side-pocket of my bag, took the photographs out and climbed into bed. Why hadn't he been in school? Why did I have to be the bore who took Luc from him for an hour? What had they said to each other afterwards, when Luc jogged back upstairs and ragged on the bed with him? Or had they just dismissed me from their minds, leant close together and solemnly begun to kiss? Luc's hand . . . I choked the vision off, and sorted out all the pictures that had Patrick in: I didn't want to see him, or the girl. Two snaps of Mrs Altidore at work on a tapestry and smiling dimly had struck me none the less as having some subtly accusing quality, and had already been eliminated. I tightened a magic circle round the young man.
The picture in which he appeared like a faun of the dunes disappointed me now. I looked at the others that I'd tended to neglect, even the silly shots with the soles of two feet gigantic in the foreground and the supine body unfocused beyond had some information value. could one read the soles of the feet as one could a palm? Was that dirt-filled crack the line of destiny, that callused declivity the line of love? He had long prehensile toes, I remembered from the Baths—and he had told me he ran very fast over short distances. I couldn't quite imagine it; whenever I saw him he was moving with the confident slowness of the beautiful. Even his jogging was somehow in slow motion.
Here was a glancing shot under his chin, with the tiny nicks of inexpert shaving; an armpit, with sandy sun-bleached hairs; the broad nipples needing to be twisted and hurt. Here was the white watch-stripe on the tanned arm, the circle of the absent dial off-centre, sloped to the wrist-bone: time was away and somewhere else . . . Here he loomed in a kisser's blurred close-up, his molten trumpeter's lip. Behind him, in the clear irrelevance of a background, was the house next door, a slat of a sun-blind kinked down for a hidden eye.
I lay in the dark and jerked off glumly. I thought, here is the room I left Dawn to come back to on all those nights, hot-mouthed, clumsy with disguised fatigue but high and alight with love. I could melt still at the memory of his back, when I pulled his shirt over his head, and pressed kisses on his shoulderblades and neck. No one ever looked nicer from behind. His back was the tapered shield, the figure of my love for him, too simple, too confounding to be put into words. I knew there had been a g
ood deal of boredom and pretence, he hadn't perhaps been interesting to me in himself, and yet I also knew he was the motor of my grandest feelings and most darting thoughts, the ground bass to those first intense improvisations. At moments I felt lonely with him; at others, never so excitedly at peace. And what had there been since then? Nothing quite the same. Everything in some way melancholy, frantic or foredoomed.
The first person I was in love with was called Mark Lyle. I was ten, and a day-boy at a pious little prep-school I could walk to on the edge of town. Mark Lyle was perhaps three years older—too old to be a friend to kids like me but equally too young to be acknowledged by my sixteen-year-old brother and his set. He occupied a fascinating limbo, his voice had broken, in my eyes he was a man already, but clearly not a man in the full, self-important way that Charlie was. When he left my school, his parents couldn't afford to send him on to Stonewell, and in my imagination he became a kind of outlaw figure, whom one might expect to find living under canvas in a dell of the common. In fact his father was an epileptic who had lost his job, but to me it seemed that some dark, perhaps ancestral secret had exerted its pull. Ancestry was much in my mind at the time; I was at work on my first book, "The Manners Family of Kent", fed with boastful anecdotes by my great-aunt Tina and rather more disillusioned sidelights from my Uncle Wilfred, sometimes quite hard to understand; I described how the glory of a family grew, until it was crowned with genuis like my father's, who sang on the wireless and was certain of a knighthood. Seen in this perspective Mark Lyle's family clearly suffered from some critical defect. It even seemed possible that Mark Lyle was a drop-out, something of which there was a lot of talk at the time.
One or two of the older boys heard from him after he'd moved to the comprehensive, and bragged discreetly about the contact. Occasionally I would see him myself in the town and watch him with the considerate pretence of indifference that one accords to the truly famous. I was anxious about his new friends, giants of fourteen or fifteen with fluffy upper lips, waiting at the bus-stop with ties undone and shirts bagging out and a No 6 on the go; like them Mark Lyle was growing his hair in thick dirty bunches swept behind the ears, and this seemed to me both wrong and beautiful.
Late one afternoon I saw him walking past our house, and ran out and followed him. I had shorts and sandals on—one didn't go into long trousers till the Sixth Form—and he had his black blazer hooked on a finger over his shoulder. I wasn't close to him, but still as I walked along I found myself in a heady slip-stream of Old Spice. He must have been drenched in it, perhaps he was addicted to it in some way: I knew one of the prefects at school was a keen user, too, and had heard him drop thought-provoking hints about its potency.
I trailed Mark Lyle down the hill, having to stop and dawdle from time to time to prevent myself from excitedly catching up with him. He was clearly in no hurry to get home, wherever that might be. I wanted him to do something definite—meet a friend, enter a shop or a house—so that I would have something on him, and could go back home and ponder it in the context of my other, patchy, research.
I'd imagined he would turn left into one of the residential roads lined with flowering cherries where some of my schoolfriends lived, but he ambled odorously on until we had come in view of the Flats and I began to get worried. The front range of the Flats was built above a row of shops—a ladies' hairdressers, a newsagent, the dry-cleaners where I took my father's tails, the Indian grocers that stayed open till 8 o'clock—and overlooked a broad oily forecourt, where residents worked sporadically on cars with long-expired tax-discs. But beyond that, it was unknown territory to me. The Sharps and Flats my father called the place, as if we lived in the cloudless naturals of Life. I don't think I was actually forbidden to pass through into the grassy courtyard or even to enter its long white buildings with corroding metal windows. It must have been a self-imposed prohibition, a social fear that was activated again when I understood that Mark Lyle's parents had now been reduced to a council flat.
That summer holidays I got serious about Mark Lyle. In my fantasy he became my protector, and introduced me into the thieves' kitchen of the Flats as someone to be respected or they'd have to answer to him. At the same time I was to have a redemptive effect on him, leading him back to the life from which fate had deflected him. I would often ask insouciant questions about him, and my brother would say, "What are you always going on about Mark Lyle for, stupid?" and my mother would say, "That poor family, I don't know . . . " She was inclined to charity work, but they seemed not quite to qualify. I imagined going down there with her, taking blankets, and meals under tinfoil.
A lot of the day I was out on the common. It was harmless and healthy, and though I'd overheard remarks about leathery old Colonel Palgrave who sunbathed in the long grass by the woods with nothing on, I never had a sense of danger. Sometimes I tagged along unwelcomely with Charlie and his friends as they stumbled round complaining and calling things bummers; often I played out complex romantic games on my own, or dared myself to clamber up trees, giving instructions to an imaginary person following me. Once or twice I stumped around on the edge of a group that included Mark Lyle, ready to drift off if they got threatening. We had a huge, friendly dog at that time, who ran away if I didn't keep him on a lead, but who was a good way of meeting people. I was embarrassed to tell boys from the Flats he was called Sibelius, and pretended his name was Bach, which led to one or two jokes but by no means eased the problems of discipline. I became increasingly excited when I saw Mark Lyle, and my early troubles of manhood about that time took him as their object and even as their cause.
One day he was up by the pond with some other boys and a couple of girls. They were trying to fly a kite in the intermittent breeze, but after a few dips and a few spoolings-out of the thread it would smack to earth. Then the thread got snagged in a sapling pine, and the others suddenly lost interest in the whole idea of kite-flying and sloped off. With heart thumping, and not knowing what to say, I came forward and started to disentangle the cotton line from the little tree. Mark Lyle looked at me and didn't say anything either. We worked it clumsily free, managing to ravel up the rest ofit in a series ofloops that tugged into knots as we tried to pull them straight. Still not speaking except in grunts of concentration and annoyance we bundled the whole lot up and went off to the bench to work on it.
"This is a fucking game," said Mark Lyle after a bit. It was fantastic to be spoken to like that. I perched there in the swirl of his swearword and his Old Spice, looking into a new life of almost frightening pleasure. I glanced at him shyly; his shirt was half-unbuttoned and I could see a brown nipple as he leant forward. Sometimes our hands touched as we rolled the cleared thread on to the plastic reel.
"That Dave Dobbs is a fucking cunt," he said.
"He is a fucking cunt," I agreed, and Mark Lyle gave a big bright laugh. He had a wide sun-tanned face and a large mouth with one or two spots by it that he should have left alone. When we'd more or less finished, he patted his thigh and asked me if I wanted a cigarette. I blushed and said no.
"Mind if I do?" he said, with surely unnecessary courtesy. Actually I was terribly worried about him meeting an early death from lung-cancer; but I was overcome by the glamour and intimacy of the occasion. I watched him raptly as he smoked an Embassy to the filter. Each frown, each wincing inhalation, the way he balanced the smoke between his open lips and then as it escaped drew it back up his nose, the two or three different fingerings he essayed, all were written on my mind like a first exercise in sexual attraction. I thought Mark Lyle was the most handsome man I'd ever seen.
Later that summer I saw him again. The friendship I had envisaged had not blossomed. Indeed he'd vanished altogether for about three weeks, leaving me full of forlorn agitation. Then one evening I was rambling homewards from the Blewits side of the common through the long dry grass when I saw his unmistakable mane of fair hair. He was sitting on a bench with his back to me, and I dithered for several minutes just a few yards behi
nd him. He wasn't aware there was anyone there. Occasionally he lifted what looked like a beer-can to his lips. I looped round and came back in front, pretending to notice him at the last moment. Following our convention I said nothing, but sat down beside him and waited.
He can only have been fourteen, but he was managing to grow real sideburns, a more gingery colour than the rest of his hair. He was wearing a Cream on Tour T-shirt, and tight high-waisted shiny brown trousers with generous flares. You could see the stub of his cock very clearly.
"I wondered if you'd been flying that kite again?" I said at length. "I should think it's a jolly good one."
Mark Lyle tilted the last of the beer into his mouth, swirled it round and swallowed it, then belched so that I could smell it. He seemed to have forgotten about the Old Spice. "I'm fucking pissed, man," he said, and dropping the can on the ground stamped on it violently two or three times. Again the conflict of excitement and distress. In a way this was the opportunity I needed to put my redemptive impulse into operation, but when it came to it I wasn't at all sure of myself.
It was one of my mother's phrases I used: "There can't be any need for that."
He looked ahead and laughed mirthlessly. "Yeah, fuck off now, there's a good little fucker."
Tears came to my eyes; I wanted to blurt out, "No, no, I love you, I love you, I didn't mean that, don't say that." But he got up and stumbled away. I couldn't watch him. I sat picking at the edge of the bench with a thumbnail. I let ten minutes go past, calming myself only to be shot through again with the awful words of rejection. I tried to sound out the note of merely friendly exasperation in them, but it was soured every time by the fierceness of the rest. No one should be spoken to like that, I thought. Then I leapt up and ran the last few hundred yards to home.
Edie had gone to stay at her parents' flat in London: she needed to be looked after. I spoke to her father on the phone and he said she was sleeping, she'd been given some mild sedative. They would all come back to Rough Common for the funeral. It wasn't every day you saw two of your friends killed. "No, indeed," I said.
The Folding Star Page 22
