*
One day I was released – by the pitying look on a good friend’s face. After he’d heard me out for at least the third time, he was firm. ‘More than enough already,’ he said. ‘This has gone too far. Let him go.’
‘Has it gone too far? Are you sure?’
‘All you can do is write it out.’
My heart sank, and my instinct was to resist such a terrible truth, one which was disruptive and uncomfortably liberating, connecting me to that which Henry James referred to as ‘the grim face of reality’. After all, the masochistic bond is one of the strongest there is. We choose our oppressors; we love them like our parents. Doesn’t La Boétie write somewhere, ‘Freedom is the one thing which men have no desire for’? I wandered around for a few days as if I’d been punched. Eventually, I dragged myself to my desk. Perhaps my friend was correct; perhaps there was nothing else for it but the breaking of that bond of voluntary servitude, and serious reflection. Jeff had enlarged my fears, at times making them very large indeed. But at least I could see what they were. I had to find a way to live around them.
It is exhausting work to disperse all goodness and create futility and pointlessness. None of this wild fantasy had been good for Jeff, for me, for anyone. Artists have an imagination, their minds can go anywhere, but their feet have to be on the ground, and their words organised. Insofar as it was possible, I would have to see Jeff as he was, and consider what I’d made of him. It can be real work keeping alive the most important things, and everybody hides from that which matters most to them. When it comes to writing, it is probably true that human weakness in all its varieties is the only subject there is, and I had had more than enough of that.
I began to write, throwing down thoughts as they occurred to me, while not being sure as I began on this piece that writing is quite the cure it can be made out to be. Not only is writing an indirect and long-term form of communication, but doesn’t writing open a wound before it heals it?
However: alone you cannot achieve anything; alone you can only return to where you were as a child. Writing is an adult transaction; there is always someone there, a real target, as it were, for your words, which should be open-ended and fresh. Words are the strongest material there is, and telling stories is a form of action which changes reality. My relationship with Jeff was not dead; it was worse than that, it had been actively destructive and still was, its only consolation and reward being a little perverse excitement and complicity. For me to try and find another way through this difficulty was to give up my addiction to the idea that he would deliver. Loss is the price of knowledge: I would have to forsake something comparatively easy for something more difficult, forfeiting the accelerations of love and hate for the relatively low mood of mere sadness and acceptance. Art, like the best conversation, re-frames conflicts, representing them in ways which enable fresh thought, generating more plausible stories. A third thing, something brand new, would eventually have to emerge from the stasis and despair of this filthy, stupid dialectic. After all, I wondered, who did my mind belong to – my father, my children, my accountant? How could I retrieve it? What agency did I have over it? It seemed to me, after all this, that having a peaceful, creative mind was a most desirable thing. The most fortunate people, it seemed, were those with least anxiety, and I was a long way from that.
The police had written to me about Jeff. While I’d been giving Jeff a chance to come up with the money, I hadn’t replied. Now, after my hopes had run their vain course, I called them. They were well aware of Jeff, and had been gathering material and information. However, several victims hadn’t been found or come forward. Some were too rich to notice or get embroiled. Many of these suckers were understandably embarrassed; they’d been greedy and seduced, and couldn’t admit to themselves or their families what they had let Jeff do to them. Some believed they had insufficient evidence to prosecute him, and others were still helping Chandler, chained to the illusion, believing he would deliver, unable to give up on him.
In the early spring of 2013, about a year after Jeff had gone on his spree, a detective came to take a statement from me. The policeman had recently been to see Jeff, who lived in a grim bungalow out in semi-rural Essex, with his parents in a shabby place at the other end of the plot of land. The policeman called it a backward, churchy, semi-rural community, with very little worth selling. Greed was always understandable, he said, but Chandler’s behaviour was inexplicable. This man was doing well; he had come far for someone with his background. As a partner in his accountancy firm, his already large income would only increase. Why would he sabotage himself for a relatively small amount of dodgy money?
The policeman said Jeff seemed naive. A lot of people said that about him. He must have been led on by the Albanian girl he called his fiancée, and they had spent six or seven thousand pounds in one weekend at the Westfield shopping centre. Jeff had bought property in Albania, a hairdressing salon, a bakery and a restaurant, and put them in her name. Jeff had once been quick and smart, and a lot of people had told him that. But there is always a horizon to people’s intelligence, and they must bear that in mind, since it is their fate. But Jeff, with his James Bond omnipotence, couldn’t do that. There were no limits in the con man’s world, and perhaps he had come to believe he could do just anything, steal and steal, and yet feel free. However, where there is no prohibition there is no meaning, and nothing real is possible. You would, I suppose, begin to feel megalomaniacal and unconnected. In truth, Jeff was ultimately a self-deceiver, a seducer who had seduced himself, and a taker who had also been taken.
When the truth was discovered, Jeff’s colleagues and former friends, people who had worked with him for more than ten years, some of whom he had employed and many of whom he stole from, scattered and scurried away. Bewildered and devastated by his deception, by all they did not know, they denied any responsibility for this disaster. They had not noticed he was a madman. Hiding behind lawyers gives people a sort of agency, or symbolic power, but it also exposes how weak they are. They’re like people wearing a fright mask, and when it is ripped off you see the awful human fear beneath.
What shocks about a crime, I noticed, is not only the violation of limits, but the new knowledge of how insubstantial those limits were in the first place. Why, then, is it a relief and a disappointment when it turns out that the authorities, those we leaned against and even believed in, are themselves – and always were – foolish, perverse and dishonest?
*
Far from being an exception, a good man who inexplicably went wrong, Jeff was a monster created by the accountancy firm he partly built. As the necessary excrescence of the system, he embodied the Thatcherite ideal perfectly. Lower middle class, religious, a family man, self-motivated and hard working, he loved money more than he loved himself; he was a chancer, a corrupted wide boy, a charming crook who not only rose to the top of his profession, but destroyed everything around him. In the end, of course, the manic swings and crashes of bipolar capitalism had taken him too, but at least I understood now that far from being a maverick, an exception, the con man, the thief and liar, the man with the over-the-top interest rate, was the money world’s most representative figure. A lunatic at the centre of a corrupt, collapsing system, like the ‘mad’ child in a family, he was its essence, the symptom that spoke its truth.
This view might be right. But it might not be. It is a good, convincing story, and anyone would rightly be suspicious of such cohesion and all that it excludes. So, such a narrative is probably irrelevant. But I couldn’t stop thinking about Jeff and what sort of person he might be. Because he was no Machiavelli, plotting for advantage, power or wealth; he wasn’t focused, predictable or readable. It must be odd to have nothing about you that is true, so I wanted to know what it would be like to be false through and through, a man you could look at and see nothing. I had, eventually, spoken to friends in the press about this story and some of it had become public, though the behaviour of Jeff’s partners in the co
mpany had become disconcerting. However, I stuck to this thought: my money might have been stolen, but my words couldn’t be. Yet even after this, and after he’d been arrested but not charged, I heard that Jeff was still peddling investments and spinning stories, a mad novelist, and a far-out magic realist at that, who couldn’t stop making it up. I tried to get in touch with him, to ask him what he thought he was doing. He wouldn’t answer. Jeff was not a great Dostoevskian criminal or poet of destruction, he was not truly selfish or savage when it came to the violation of limits. There was no additional liberty in his impotent transgressions; the rules were still in place. What he did was a form of random evil in its most banal sense, but he did become good at it, successfully causing despair, hopelessness and ruin. Not everyone can bear to do that; not everyone would want to face the consequences, to reap such hatred. But Jeff lacked imagination, taking no one anywhere. He was a destructive monster, and he was nothing of interest.
*
Though a lot of people lost important things, this was only a minor tragedy. But it made people who heard about it nervous. They saw that anyone could be found out and taken, however defended they might be, because everyone is dependent on someone else, and there is always something unknowable about others. However, I was duped by a con man but learned more about women than I’d known before. Women were outraged by the wrongness; the women came through, and taught me to depend on them. You can be direct with a woman and she will appreciate it. The women rang the appropriate people; they wrote letters, they talked to one another, and knew what to do. They blamed the right people.
It is no surprise that we are all spellbound by crime and criminality. As children we are continuously taught right and wrong and morality; we are exhorted to obedience and are tempted by defiance. We are told that if we behave well we will be rewarded, but we soon notice that these rewards mostly benefit the authority rather than us. At the same time, we sexualise disobedience and never abandon its dangerous compulsions. This makes it more difficult, rather than easier, to be free. For adults, most of television, cinema, the newspapers and fiction is concerned with detectives, offenders and punishment. And for good reason. This is where we think about whether we should be good or not, and what the cost of crossing the line is, and what the – usually higher – cost of renunciation is. This is where we think about the relation between pleasure and happiness, and between pleasure and its price. After all, most authorities are experts in denial. Where might we learn what pleasure really is, and who will teach us?
*
Jeff’s fiancée, or his desire for her, might have been the detonator, but Jeff himself had become a little suicide bomb, devastating everyone around him. It turned out that Jeff stole from his friends – people he’d known since he was eleven – from the church his parents attended, from charities, writers, pension funds, and of course from his partners at the company he had helped build. The line he gave the victims, and the stories he told, his circuitous explanations, as the whole thing broke down were all the same. Painful conflicts between friends and colleagues broke out after Jeff’s crimes. People argued, let one another down, and fell out. I yelled at people until I had to lie down. Jeff taught me, I guess, the necessity of boldness and exactitude in speech. Where before I’d been evasive and vague, I had to learn to be precise, and ask for what I needed. Then, once this story came out in the press, many people wrote to me and to each other. Some could only get in contact anonymously, and many chose to be ashamed. People believed that because they had fantasised about becoming richer they had actively collaborated in their own downfall. It was as if, for this minor crime of greed, each person had been seduced, fucked, fucked over, and discarded. However, some of the victims continued to defend Jeff, calling him ‘innocent’ or ‘naive’. Of course, it was this facade of naivety which made him so dangerous and convincing. But there was also a part of him which was genuinely naive. It might have been the case that his sexual inexperience had made him hazardous, because he hadn’t understood what was happening to him when he met the Albanian woman. He thought he had to impress her. Or give her everything. I remember now that the first time I met him he opened his wallet in order to show me a photograph of the woman he called his fiancée. The picture was indistinct but I could see that it was, at least, a woman. This action seemed an incongruous, old-fashioned thing to do. I thought he was showing me that the successful man is one who is loved. Now I know it was the wallet, not the woman, he wanted me to see.
*
Thieves of time, thieves of friendship, affection and sexuality, thieves of your soul, stealers of dreams: bad loves, and even worse loves. The obscene, perverse, sadomasochistic death dance, both partners locked together in limbo. You could call these anti-loves. People love their suffering, and most thefts are even welcomed, as you can barely wait to give away that which is most valuable; and there are many thefts you don’t notice because you are paying attention to the wrong things. When you do see at last, it can be a shock. Twilight: time is running down; there has to be an attempt at reparation – a release, if not a rebirth, converting action into thought and renewed creativity, into a better madness. Ruthlessness, particularly with oneself, is an art.
I know I’m ready for something fresh when I want to buy new notebooks. With scores of new pages to fill and flip through in anticipation, I can begin to believe I’m a writer again, the void of the empty page being an invitation and a limit to the disorder of my ideas.
My talent, such as it is, had not yet deserted me. Whether I was distracted or not, I could write; I liked to write and worked longer hours than before. I like to wake up in the morning with the whole day ahead of me, in which I can write uninterruptedly. My writing was developing and changing, even if other things were getting worse by staying the same. I began to scribble these notes, and wonder about what sort of thief an artist is. Things had got too predictable in my life, and unpredictability – at least in the head – is the engine of creativity. I knew that I needed more imagination here. To be liberated from someone is to no longer have the enervating burden of thinking of them: that is one lesson that love can teach. How long had it been since I’d gone a day without this fool flailing in my mind? He had made me into someone I didn’t like, and for a time I hated to wake up to myself. Jeff had taken my money, but what else had he taken? He had come far, according to the policeman, but I had come further, and would go much further. To be happy, I had to forget, and that is difficult.
I thought: I should steal from him. If I stole something back from this devil and homunculus, I could transform and remake him, pinning him to the page. If my despair had made me wonder what art might be for, I could at least now see that art is a glorious binding Eros, making new unities. Art might seem mad at times, but it has boundaries and structure; it has to. Where there was nothing there would be something new, a moment of light, an upsurge, invention. As an artist you have to force yourself to turn and look at the world, and the world is always worse, and more interesting, than you can imagine or render.
Credits
‘Anarchy and the Imagination’ (as ‘What they don’t teach you at creative writing school’): Daily Telegraph (2014); ‘The Racer’: New Statesman (2013); ‘His Father’s Excrement: Franz Kafka and the Power of the Insect’: Critical Quarterly (2014); ‘The Art of Distraction’: New York Times and The Times (2012); ‘Weekends and Forevers’ (as ‘In praise of adultery’): Guardian (2013); ‘This Door Is Shut’: Red – Waterstones’ Inaugural Anthology (2012); ‘These Mysterious Strangers: The New Story of the Immigrant’ (as ‘The migrant has no face, status or story’): Guardian (2014); ‘We Are the Wide-Eyed Piccaninnies’ (as ‘Knock, Knock, it’s Enoch’) Guardian, (2014).
Every effort has been made to trace or contact all copyright holders. The publishers would be pleased to rectify at the earliest opportunity any omissions or errors brought to their notice.
About the Author
Hanif Kureishi grew up in Kent and studied philosophy at K
ing’s College London. His novels include The Buddha of Suburbia, which won the Whitbread Prize for Best First Novel, The Black Album, Intimacy and The Last Word. His screenplays include My Beautiful Laundrette, which received an Oscar nomination for Best Screenplay, Sammy and Rosie Get Laid and Le Week-End. He has also published several collections of short stories. He has been awarded the Chevalier de l’Ordre des Arts et des Lettres, the PEN/Pinter Prize and is a Commander of the Order of the British Empire. His work has been translated into thirty-six languages. He is professor of Creative Writing at Kingston University.
By the Same Author
PLAYS
Plays One (The King and Me, Outskirts, Borderline, Birds of Passage)
Sleep With Me
When the Night Begins
The Black Album
SCREENPLAYS
My Beautiful Laundrette & Other Writings
Sammy and Rosie Get Laid
London Kills Me
My Son the Fanatic
The Mother
Venus
Collected Screenplays 1
Le Week-End
FICTION
The Buddha of Suburbia
The Black Album
Love in a Blue Time
Intimacy
Midnight All Day
Love + Hate Page 15
