The question of what should be permitted to go into his diary and what kept forever shrouded goes to the heart of all his writing. If he is to censor himself from expressing ignoble emotions – resentment at having his flat invaded, or shame at his own failures as a lover – how will those emotions ever be transfigured and turned into poetry? And if poetry is not to be the agency of his transfiguration from ignoble to noble, why bother with poetry at all? Besides, who is to say that the feelings he writes in his diary are his true feelings? Who is to say that at each moment while the pen moves he is truly himself? At one moment he might truly be himself, at another he might simply be making things up. How can he know for sure? Why should he even want to know for sure?
Things are rarely as they seem: that is what he should have said to Jacqueline. Yet what chance is there she would understand? How could she believe that what she read in his diary was not the truth, the ignoble truth, about what was going on in the mind of her companion during those heavy evenings of silence and sighings but on the contrary a fiction, one of many possible fictions, true only in the sense that a work of art is true – true to itself, true to its own immanent aims – when the ignoble reading conformed so closely to her own suspicion that her companion did not love her, did not even like her?
Jacqueline will not believe him, for the simple reason that he does not believe himself. He does not know what he believes. Sometimes he thinks he does not believe anything. But when all is said and done, the fact remains that his first try at living with a woman has ended in failure, in ignominy. He must return to living by himself; and there will be no little relief in that. Yet he cannot live alone for ever. Having mistresses is part of an artist’s life: even if he steers clear of the trap of marriage, as he has vowed to do, he is going to have to find a way of living with women. Art cannot be fed on deprivation alone, on longing, loneliness. There must be intimacy, passion, love.
Picasso, who is a great artist, perhaps the greatest of all, is a living example. Picasso falls in love with women, one after another. One after another they move in with him, share his life, model for him. Out of the passion that flares up anew with each new mistress, the Doras and Pilars whom chance brings to his doorstep are reborn into everlasting art. That is how it is done. What of him? Can he promise that the women in his own life, not only Jacqueline but all the unimaginable women to come, will have a similar destiny? He would like to believe so, but he has his doubts. Whether he will turn out to be a great artist only time will tell, but one thing is sure, he is no Picasso. His whole sensibility is different from Picasso’s. He is quieter, gloomier, more northern. Nor does he have Picasso’s hypnotic black eyes. If ever he tries to transfigure a woman, he will not transfigure her as cruelly as Picasso does, bending and twisting her body like metal in a fiery furnace. Writers are not like painters anyway: they are more dogged, more subtle.
Is such the fate of all women who become mixed up with artists: to have their worst or their best extracted and worked into fiction? He thinks of Hélène in War and Peace. Did Hélène start off as one of Tolstoy’s mistresses? Did she ever guess that, long after she was gone, men who had never laid eyes on her would lust after her beautiful bare shoulders?
Must it all be so cruel? Surely there is a form of cohabitation in which man and woman eat together, sleep together, live together, yet remain immersed in their respective inward explorations. Is that why the affair with Jacqueline was doomed to fail: because, not being an artist herself, Jacqueline could not appreciate the artist’s need for inner solitude? If Jacqueline had been a sculptress, for instance, if one corner of the flat had been set aside for her to chip away at her marble while in another corner he wrestled with words and rhymes, would love have flourished between them? Is that the moral of the story of himself and Jacqueline: that it is best for artists to have affairs only with artists?
Two
The affair with Jacqueline is consigned to the past. After weeks of smothering intimacy he has a room of his own again. He piles Jacqueline’s boxes and suitcases in a corner and waits for them to be fetched. It does not happen. Instead, one evening, Jacqueline herself reappears. She has come, she says, not to resume residence with him (‘You are impossible to live with’) but to patch up a peace (‘I don’t like bad blood, it depresses me’), a peace that entails first going to bed with him, then, in bed, haranguing him about what he said about her in his diary. On and on she goes: they do not get to sleep until two in the morning.
He wakes up late, too late for his eight o’clock lecture. It is not the first lecture he has missed since Jacqueline entered his life. He is falling behind in his studies and does not see how he will ever catch up. In his first two years at the university he had been one of the stars of the class. He found everything easy, was always a step ahead of the lecturer. But of late a fog seems to have descended on his mind. The mathematics they are studying has become more modern and abstract, and he has begun to flounder. Line by line he can still follow the exposition on the blackboard, but more often than not the larger argument eludes him. He has fits of panic in class which he does his best to hide.
Strangely, he seems to be the only one afflicted. Even the plodders among his fellow students have no more trouble than usual. While his marks fall month by month, theirs remain steady. As for the stars, the real stars, they have simply left him struggling in their wake.
Never in his life has he had to call on his utmost powers. Less than his best has always been good enough. Now he is in a fight for his life. Unless he throws himself wholly into his work, he is going to sink.
Yet whole days pass in a fog of grey exhaustion. He curses himself for letting himself be sucked back into an affair that costs him so much. If this is what having a mistress entails, how do Picasso and the others get by? He simply has not the energy to run from lecture to lecture, job to job, then when the day is done turn his attention to a woman who veers between euphoria and spells of the blackest gloom in which she thrashes around, brooding on a lifetime’s grudges.
Although no longer formally living with him, Jacqueline feels free to arrive on his doorstep at all hours of the night and day. Sometimes she comes to denounce him for some word or other he let slip whose veiled meaning has only now become clear to her. Sometimes she is simply feeling low and wants to be cheered up. Worst are the days after therapy, when she rehearses over and over again what passed in her therapist’s consulting room, picking over the implications of his tiniest gesture. She sighs and weeps, gulps down glass after glass of wine, goes dead in the middle of sex.
‘You should have therapy yourself,’ she tells him, blowing smoke.
‘I’ll think about it,’ he replies. He knows enough, by now, not to disagree.
In fact he would not dream of going into therapy. The goal of therapy is to make one happy. What is the point of that? Happy people are not interesting. Better to accept the burden of unhappiness and try to turn it into something worthwhile, poetry or music or painting: that is what he believes.
Nevertheless, he listens to Jacqueline as patiently as he can. He is the man, she is the woman; he has had his pleasure of her, now he must pay the price: that seems to be the way affairs work.
Her story, spoken night after night in overlapping and conflicting versions into his sleep-befuddled ear, is that she has been robbed of her true self by a persecutor who is sometimes her tyrannical mother, sometimes her runaway father, sometimes one or other sadistic lover, sometimes a Mephistophelean therapist. What he holds in his arms, she says, is only a shell of her true self; she will recover the power to love only when she has recovered her self.
He listens but does not believe. If she feels her therapist has designs on her, why not give up seeing him? If her sister disparages and belittles her, why not stop seeing her sister? As for himself, he suspects that if Jacqueline has come to treat him more as a confidant than as a lover, that is because he is not a good enough lover, not fiery or passionate enough. He suspects that if he wer
e more of a lover Jacqueline would soon recover her missing self and her missing desire.
Why does he keep opening the door to her knock? Is it because this is what artists have to do – stay up all night, exhaust themselves, get their lives into a tangle – or is it because, despite all, he is bemused by this sleek, undeniably handsome woman who feels no shame in wandering around the flat naked under his gaze?
Why is she so free in his presence? Is it to taunt him (for she can feel his eyes upon her, he knows that), or do all nurses behave like this in private, dropping their clothes, scratching themselves, talking matter-of-factly about excretion, telling the same gross jokes that men tell in bars? Yet if she has indeed freed herself of all inhibitions, why is her lovemaking so distracted, so offhand, so disappointing?
It was not his idea to begin the affair nor his idea to continue it. But now that he is in the middle of it he has not the energy to escape. A fatalism has taken him over. If life with Jacqueline is a kind of sickness, let the sickness take its course.
He and Paul are gentlemen enough not to compare notes on their mistresses. Nevertheless he suspects that Jacqueline Laurier discusses him with her sister and her sister reports back to Paul. It embarrasses him that Paul should know what goes on in his intimate life. He is sure that, of the two of them, Paul handles women more capably.
One evening when Jacqueline is working the night shift at the nursing home, he drops by at Paul’s flat. He finds Paul preparing to set off for his mother’s house in St James, to spend the weekend. Why does he not come along, suggests Paul, for the Saturday at least?
They miss the last train, by a hair’s breadth. If they still want to go to St James, they will have to walk the whole twelve miles. It is a fine evening. Why not?
Paul carries his rucksack and his violin. He is bringing the violin along, he says, because it is easier to practise in St James where the neighbours are not so close.
Paul has studied the violin since childhood but has never got very far with it. He seems quite content to play the same little gigues and minuets as a decade ago. His own ambitions as a musician are far larger. In his flat he has the piano that his mother bought when at the age of fifteen he began to demand piano lessons. The lessons were not a success, he was too impatient with the slow, step-by-step methods of his teacher. Nevertheless, he is determined that one day he will play, however badly, Beethoven’s opus 111, and, after that, the Busoni transcription of Bach’s D minor Chaconne. He will arrive at these goals without making the usual detour through Czerny and Mozart. Instead he will practise these two pieces and them alone, unremittingly, first learning the notes by playing them very, very slowly, then pushing up the tempo day by day, for as long as is required. It is his own method of learning the piano, invented by himself. As long as he follows his schedule without wavering he can see no reason why it should not work.
What he is discovering, unfortunately, is that as he tries to progress from very, very slow to merely very slow, his wrists grow tense and lock, his finger-joints stiffen, and soon he cannot play at all. Then he flies into a rage, hammers his fists on the keys, and storms off in despair.
It is past midnight and he and Paul are no further than Wynberg. The traffic has died away, the Main Road is empty save for a street sweeper pushing his broom.
In Diep River they are passed by a milkman in his horse-drawn cart. They pause to watch as he reins in his horse, lopes up a garden path, sets down two full bottles, picks up the empties, shakes out the coins, lopes back to his cart.
‘Can we buy a pint?’ says Paul, and hands over fourpence. Smiling, the milkman watches while they drink. The milkman is young and handsome and bursting with energy. Even the big white horse with the shaggy hooves does not seem to mind being up in the middle of the night.
He marvels. All the business he knew nothing about, being carried on while people sleep: streets being swept, milk being delivered on doorsteps! But one thing puzzles him. Why is the milk not stolen? Why are there not thieves who follow in the milkman’s footsteps and filch each bottle he sets down? In a land where property is crime and anything and everything can be stolen, what renders milk exempt? The fact that stealing milk is too easy? Are there standards of conduct even among thieves? Or do thieves take pity on milkmen, who are for the most part young and black and powerless?
He would like to believe this last explanation. He would like to believe that, with regard to black people, there is enough pity around, enough of a longing to deal honourably with them, to make up for the cruelty of the laws and the misery of their lot. But he knows it is not so. Between black and white there is a gulf fixed. Deeper than pity, deeper than honourable dealings, deeper even than goodwill, lies an awareness on both sides that people like Paul and himself, with their pianos and violins, are here on this earth, the earth of South Africa, on the shakiest of pretexts. Even this young milkman, who a year ago must have been just a boy herding cattle in the deepest Transkei, must know it. In fact, from Africans in general, even from Coloured people, he feels a curious, amused tenderness emanating: a sense that he must be a simpleton, in need of protection, if he imagines he can get by on the basis of straight looks and honourable dealings when the ground beneath his feet is soaked with blood and the vast backward depth of history rings with shouts of anger. Why else would this young man, with the first stirrings of the day’s wind fingering his horse’s mane, smile so gently as he watches the two of them drink the milk he has given them?
They arrive at the house in St James as dawn is breaking. He falls asleep at once on a sofa, and sleeps until noon, when Paul’s mother wakes them and serves breakfast on a sun porch with a view over the whole sweep of False Bay.
Between Paul and his mother there is a flow of conversation in which he is easily included. His mother is a photographer with a studio of her own. She is petite and well-dressed, with a smoker’s husky voice and a restless air. After they have eaten she excuses herself: she has work to do, she says.
He and Paul walk down to the beach, swim, come back, play chess. Then he catches a train home. It is his first glimpse of Paul’s home life, and he is full of envy. Why can he not have a nice, normal relationship with his own mother? He wishes his mother were like Paul’s, wishes she had a life of her own outside their narrow family.
It was to escape the oppressiveness of family that he left home. Now he rarely sees his parents. Though they live only a short walk away, he does not visit. He has never brought Paul to see them, or any of his other friends, to say nothing of Jacqueline. Now that he has his own income, he uses his independence to exclude his parents from his life. His mother is distressed by his coldness, he knows, the coldness with which he has responded to her love all his life. All his life she has wanted to coddle him; all his life he has been resisting. Even though he insists, she cannot believe he has enough money to live on. Whenever she sees him she tries to slip money into his pocket, a pound note, two pounds. ‘Just a little something,’ she calls it. Given half a chance, she would sew curtains for his flat, take in his laundry. He must harden his heart against her. Now is not the time to let down his guard.
Three
He is reading The Letters of Ezra Pound. Ezra Pound was dismissed from his job at Wabash College, Indiana, for having a woman in his rooms. Infuriated by such provincial smallmindedness, Pound quit America. In London he met and married the beautiful Dorothy Shakespear, and went to live in Italy. After World War II he was accused of aiding and abetting the Fascists. To escape the death sentence he pleaded insanity and was locked up in a mental asylum.
Now, in 1959, having been set free, Pound is back in Italy, still working on his life’s project, the Cantos. All of the Cantos that have been published thus far are in the University of Cape Town library, in Faber editions in which the procession of lines in elegant dark typeface is interrupted now and again, like strokes of a gong, by huge Chinese characters. He is engrossed by the Cantos; he reads and rereads them (guiltily skipping the dull sections o
n Van Buren and the Malatestas), using Hugh Kenner’s book on Pound as a guide. T. S. Eliot magnanimously called Pound il miglior fabbro, the better craftsman. Much as he admires Eliot’s own work, he thinks Eliot is right.
Ezra Pound has suffered persecution most of his life: driven into exile, then imprisoned, then expelled from his homeland a second time. Yet despite being labelled a madman Pound has proved he is a great poet, perhaps as great as Walt Whitman. Obeying his daimon, Pound has sacrificed his life to his art. So has Eliot, though Eliot’s suffering has been of a more private nature. Eliot and Pound have lived lives of sorrow and sometimes of ignominy. There is a lesson for him in that, driven home on every page of their poetry – of Eliot’s, with which he had his first overwhelming encounter while he was still at school, and now of Pound’s. Like Pound and Eliot, he must be prepared to endure all that life has stored up for him, even if that means exile, obscure labour, and obloquy. And if he fails the highest test of art, if it turns out that after all he does not have the blessed gift, then he must be prepared to endure that too: the incontestable verdict of history, the fate of being, despite all his present and future sufferings, minor. Many are called, few are chosen. For every major poet a cloud of minor poets, like gnats buzzing around a lion.
His passion for Pound is shared by only one of his friends, Norbert. Norbert was born in Czechoslovakia, came to South Africa after the War, and speaks English with a faint German lisp. He is studying to be an engineer, like his father. He dresses with elegant European formality and is conducting a highly respectable courtship of a beautiful girl of good family with whom he goes walking once a week. He and Norbert have meetings in a tea room on the slopes of the mountain at which they comment on each other’s latest poems and read aloud to each other favourite passages from Pound.
Scenes from Provincial Life Page 17
