Grippes says that Prism’s talent is like one of those toy engines made of plastic glass, every part transparent and moving to no purpose. The engine can be plugged in to a power outlet, but it can’t be harnessed. In short, Prism symbolizes the state of English letters since the 1950s.
“You ought to write your memoirs,” Grippes said to Prism at Miss Pugh’s funeral. Prism thought Grippes was hoping to be provided with grounds for a successful libel action. (He concedes that Grippes looked fine that day: dark tie, dark suit, well brushed—he hadn’t begun collecting cats yet.)
Actually, Prism is pretty sure he could fill two volumes, four hundred pages each, dark green covers, nice paper, nice to touch. A title he has in mind is Bridge Building Between Cultures.
Grippes started his own memoirs about a year ago, basing them on his diaries. He wouldn’t turn down a Bibliothèque de la Pléiade edition, about a thousand pages of Bible-weight paper, fifty pages of pictures, full Grippes bibliography, appreciative introductory essay by someone he has not quarreled with, frontispiece of Grippes at the window, back to the light, three-quarter profile, cat on his shoulder. He’d need pictures of Miss Pugh: There are none. She loathed sitting for portraits, photographs, snapshots. Old prints of her house exist, their negatives lost or chewed by mice. The Pugh Memorial Committee donated a few to the Museum of Popular Arts and Traditions, where they were immediately filed under “Puget, Pierre, French sculptor.”
“Research might have better luck at the University of Zurich,” writes Grippes, at Miss Pugh’s Louis XVI–period table. “A tireless Swiss team has been on the trail of Miss Pugh for some time now, and a cowed Swiss computer throws up only occasional anarchy, describing Pugh M. M., Pullman G. M., and Pulitzer J. as the same generous American.”
Prism’s quiet collaboration with Zurich, expected to culminate in a top-quality volume, Hostess to Fame, beige linen cover, ended when he understood that he was not going to be paid anything, and that it would be fifteen years before the first word was transferred from tape to paper.
Grippes says he heard one of the tapes:
“Mr. Prism, kindly listen to the name I shall now pronounce. François Mauriac. The thin, sardonic gentleman who put on a bowler hat every morning before proceeding to Mass was François Mauriac. Right?”
“I don’t remember a François.”
“Think. François. Mauriac.”
“I don’t remember a bowler hat.”
At the centennial commemoration, Prism stood on a little dais, dressed in a great amount of tweed and flannel that seemed to have been cut for a much larger man. Grippes suspects that Prism’s clothes are being selected by his widowed sister, who, after years of trying to marry him off to her closest friends, is now hoping to make him seem as unattractive as possible. Imagining Prism’s future—a cottage in Devon, his sister saying, “There was a letter for you, but I can’t remember what I did with it”—he heard Prism declare he was happy to be here, in a place obligingly provided; the firm’s old boardroom, back in the days when Paris was still; the really fine walnut paneling on two of the; about the shortage of chairs, but the Committee had not expected such a large; some doubtless disturbed by an inexplicable smell of moth repellent, but the Committee was in no way; in honor of a great and charitable American, to whom the cultural life of; looking around, he was pleased to see one or two young faces.
With this, Prism stepped down, and had to be reminded he was chairman and principal speaker. He climbed back, and delivered from memory an old lecture of his on Gertrude Stein. He then found and read a letter Miss Pugh had received from the President of the Republic, in 1934, telling her that although she was a woman, and a foreigner, she was surely immortal. Folding the letter, Prism suddenly recalled and described a conversation with Miss Pugh.
“Those of us who believe in art,” Prism had started to say.
Miss Pugh had coughed and said, “I don’t.”
She did not believe in art, only in artists. She had no interest in books, only in their authors. Reading an early poem of Prism’s (it was years since he had written any poetry, he hastened to say), she had been stopped by the description of a certain kind of butterfly, “pale yellow, with a spot like the Eye of God.” She had sent for her copy of the Larousse dictionary, which Rosalia was using in the kitchen as a weight on sliced cucumbers. Turning to a color plate, Miss Pugh had found the butterfly at once. It turned out to be orange rather than yellow, and heavily spotted with black. Moreover, it was not a European butterfly but an Asian moth. The Larousse must be mistaken. She had shut the dictionary with a slap, blaming its editors for carelessness. If only there had been more women like her, Prism concluded, there would be more people today who knew what they were doing.
Grippes says that, for once, he feels inclined to agree. All the same, he wishes Prism had suppressed the anecdote. Prism knows as well as Grippes does that some things are better left as legends.
A FLYING START
The project for a three-volume dictionary of literary biography, Living Authors of the Fourth Republic, was set afloat in Paris in 1952, with an eleven-man editorial committee in the same lifeboat. The young and promising Henri Grippes, spokesman for a new and impertinent generation, waited on shore for news of mass drownings; so he says now. A few years later, when the working title had to be changed to Living Authors of the Fifth Republic, Grippes was invited aboard. In 1964, Grippes announced there were not enough living authors to fill three volumes, and was heaved over the side. Actually, he had just accepted a post as writer-in-residence at a women’s college in California; from the Pacific shore he sent a number of open letters to Paris weeklies, denouncing the dictionary scheme as an attempt to establish a form of literary pecking order. Antielitism was in the air, and Grippes’s views received great prominence. His return to Paris found a new conflict raging: Two volumes were now to be produced, under the brusque and fashionable title Contemporary Writers, Women and Others. Grippes at once published a pamphlet revealing that it was a police dodge for feeding women and others into a multinational computer. In the event of invasion, the computer would cough up the names and the authors would be lined up and marched to forced labor in insurance companies. He carried the day, and for a time the idea of any contemporary literary directory was dropped.
Grippes had by then come into a little money, and had bought himself an apartment over a cinema in Montparnasse. He wore a wide felt hat and a velvet jacket in cool weather and a panama straw and a linen coat when it was fine. Instead of a shopping bag he carried a briefcase. He wrote to the mayor of Paris—who answered, calling him “Maître”—to protest a plan to remove the statue of Balzac from Boulevard Raspail, just north of the Boulevard du Montparnasse intersection. It was true that the statue was hemmed in by cars illegally parked and that it was defiled by pigeons, but Grippes was used to seeing it there. He also deplored that the clock on the corner near the Dôme no longer kept time; Grippes meant by this that it did not keep the same time as his watch, which he often forgot to wind.
In the meantime the old two-volume project, with its aging and dwindled editorial committee and its cargo of card-index files, had floated toward a reliable firm that published old-fashioned history manuals with plenty of color plates, and geography books that drew attention only to territories that were not under dispute. The Ministry of Culture was thought to be behind the venture. The files, no one quite knew how, were pried away from the committee and confided to a professor of English literature at a provincial university. The Angliciste would be unlikely to favor one school of French writing over another, for the simple reason that he did not know one from the other. The original committee had known a great deal, which was why for some thirty years its members had been in continual deadlock.
It seemed to the Angliciste that the work would have wider appeal if a section was included on British writers known for their slavish cultural allegiance to France. First on the list was, of course, Victor Prism, lifelong and distinguis
hed Francophile and an old academic acquaintance. He recalled that Prism had once lived in Paris as the protégé of Miss Mary Margaret Pugh, a patroness of the arts; so, at about the same time, had the future novelist and critic Henri Grippes. “Two golden lion cubs in the golden cage of the great lioness,” as the Angliciste wrote Grippes, asking him to contribute a concise appreciation of his comrade in early youth. “Just say what seemed to you to be prophetic of his achievement. We are in a great hurry. The work is now called French Authors, 1950–2000, and we must go to press by 1990 if it is to have any meaning for our time. Don’t trouble about Prism’s career; the facts are on record. Payment upon receipt of contribution, alas. The ministry is being firm.”
Grippes received the letter a week before Christmas. He thought of sending Prism a sixteen-page questionnaire but decided, reasonably, that it might dull the effect of surprise. He set to work, and by dint of constant application completed his memoir the following Easter. It was handwritten, of course; even his sojourn in California had not reconciled Grippes to typewriters. “I feel certain this is what you are after,” he wrote the Angliciste. “A portrait of Prism as protégé. It was an experience that changed his external image. Miss Pugh often said he had arrived on her doorstep looking as if he had spent his life in the rain waiting for a London bus. By the time he left, a few weeks later, a wholehearted commitment to the popular Parisian idols of the period—Sartre, Camus, and Charles Trenet—caused him to wear a little gray hat with turned-up brim, a black shirt, an off-white tie, and voluminous trousers. At his request, Miss Pugh gave him a farewell present of crêpe-soled shoes. Perhaps, with luck, you may find a picture of him so attired.”
Grippes’s memoir was untitled.
“ ‘The drawing room at the Duchess of B—’s overlooked a leafy avenue and a rustic bandstand in the city of O—. There, summer after summer, the Duchess had watched children rolling their hoops to the strains of a polka, or a waltz, or a mazurka, or a sparkling military march, remote indeed from the harsh sound of warfare that assailed her today.’
“Would anyone believe, now, that Victor Prism could have written this? That Prism could have poured out, even once, the old bourgeois caramel sauce?
“He did. The time was soon after the end of the Second World War. They were the first words of his first unfinished novel, and they so impressed Miss Mary Margaret Pugh, an American lady then living in a bosky, sunless, and costly corner of Paris, that she invited Prism to complete the novel in her house.
“His benefactress, if extant, would be well over a hundred. In his unpublished roman à clef, Goldfinches Have Yellow Feathers, Prism left a picture of Miss Pugh he may still consider fair: ‘Miss Melbourne, from a distance, reminded Christopher of those statues of deposed monarchs one can see at seedy summer resorts along the Adriatic. Close up, she looked softer, middle-class, and wholly alarming. Often as Christopher sat across from Miss Melbourne, trying to eat his lunch and at the same time answer her unexpected questions, he would recall a portrait he had seen of a Renaissance merchant’s shrewd, hardy wife. It had something to do with Miss Melbourne’s plump shoulders and small pink nose, with her habit of fingering the lockets and laces she wore as though drawing the artist’s attention to essentials.’
“Miss Pugh had spent most of her life abroad, which was not unusual for rich spinsters of her generation. She seldom mentioned her father, a common fortune hunter, soon shed by her mother—tactful hostess, careful parent, trusted friend to artists and writers. The ash tree whose shade contributed no little to the primeval twilight of the dining room had grown from a sapling presented by Edith Wharton. As a girl, Miss Pugh had been allowed to peer round the door and watch her renowned compatriot eating sole meunière. She had not been presented to Mrs. Wharton, who was divorced.
“What constituted the difference between Mrs. Pugh, also divorced, and the novelist? It is likely that Miss Pugh never asked herself this question. Most of her interesting anecdotes drifted off in this way, into the haze of ancient social mystery.
“The house that was to be Victor Prism’s refuge for a summer had been built in the 1850s, in a quiet street straggling downhill from the Trocadéro. Miss Pugh had inherited, along with the house, a legend that Balzac wrote Cousine Bette in the upstairs sitting room, though the prolific author had been buried a good three years before the foundation was dug. Madame mère probably bought the house in the 1880s. Soon after that, the character of the street changed. A considerable amount of low-value property changed hands. Most of the small houses were destroyed or became surrounded by seven-story apartment buildings made of stone, sturdily Third Republic in style. The house we are speaking of was now actually at the heart of a block, connected to the world by a narrow carriage drive, the latter a subject of perennial litigation. Tenants of the apartments could look down upon a low redbrick dwelling with a slate roof, an ash tree that managed to flourish without sunlight, dense thickets of indeterminate urban shrubbery, a bronze Italian birdbath, and a Cupid on tiptoe. The path from gate to door was always wet underfoot, like the floor of a forest.
“Inside, the rooms were low and dim, the floors warped and uneven. Coal fires burned to no great effect except further to darken the walls. Half the rooms by the 1940s were shut off. Miss Pugh was no stingier than any other rich woman, nor had there as yet been an appreciable decline in her income. She was taking it for granted there would soon be another war, followed this time by the definitive revolution. Her daydreams were populated by Bolsheviks, swarming up the Trocadéro hill, waving eviction notices. Why create more comfort than one could bear to lose?
“ ‘To enjoy it, even for a minute’ would have been the answer of a Victor Prism, or, for that matter, of any other of the gifted drifters for whom Paris had become a catchall, and to whom Miss Pugh offered conversation and asylum. Some were political refugees of the first postwar wave, regarded everywhere with immense suspicion. It was thought they should go back to wherever they’d come from and help build just, Spartan societies. Not so Miss Pugh, who thought they should sit down in one of the upstairs rooms and write about their mothers. Some were young men on the run from the legend of a heroic father, whose jaunty wartime face, smiling from a mantelshelf, was enough to launch any son into a life of firm and steady gold-bricking. Some, like Prism, were trying to climb on the right American springboard for a flying start.
“ ‘What is your ideal?’ Miss Pugh liked to ask. ‘At your age, you can’t live without one.’
“Thirty, forty years ago, ‘ideal’ opened the way to tumbledown houses like Miss Pugh’s that were really fairy castles. The moat was flooded with American generosity and American contrition. Probably no moat in history was ever so easy to bridge. (Any young European thinking of making that crossing today should be warned that the contrition silted up in the early 1970s, after which the castle was abandoned.) Miss Pugh did not expect gratitude for material favors, and would have considered it a base emotion. But she had no qualms about showing a stern face to any protégé who revealed himself to be untalented, bereft of an ideal in working order, mentally idle, or coarsely materialistic. This our poor Victor Prism was to learn before the summer was out. Miss Pugh belonged to a small Christian congregation that took its substance from Buddhism. She treated most living creatures equally and made little distinction between man and worm.
“How did Prism turn into a protégé? Easily: He rang a doorbell. Rosalia answered to a young man who was carrying a manila envelope, manuscript-size, and a letter. She reached for the letter of introduction but did not let Prism in, even though large drops of rain had started to fall.
“Miss Pugh, upstairs in the Balzac sitting room, addressed, from the window, a troubled-looking patch of sky. ‘Hasn’t this been going on long enough?’ Rosalia heard her say. ‘Why don’t you do something?’
“The answer to Miss Pugh’s cosmic despair, or impertinence, was Victor Prism. She had been acknowledged by the universe before now, but perhaps never so quickly. She
sat down with her back to the window, read the letter Rosalia gave her, folded it, thought it over, and said, ‘All right. Bring him up.’
“Prism came into her presence with a step that lost its assurance as he drew near. He asked permission to sit down. Having obtained a nod, he placed his manila envelope on a low table, where Miss Pugh could reach it easily, and repeated everything she had just read in the letter: He was promising but poor. He had been staying with Mrs. Hartley-Greene on Avenue Gabriel. Mrs. Hartley-Greene had been indescribably helpful and kind. However, she was interested in painters, not in writers—particularly writers of prose.
“Miss Pugh said, ‘Then you aren’t that poet.’
“ ‘No, no,’ said Prism. ‘I am not that … that.’
“He was puzzled by the house, believing that it had deliberately been built at the heart of a hollow square, perhaps by a demented architect, for nonsensical people. Rain poured down on the ash tree and naked Cupid. In a flat across the way a kitchen light went on. Miss Pugh pressed the switch of a green-shaded lamp and considered Prism. He turned his head slightly and observed an oil painting of the martyrdom of St. Sebastian. He thought of mile upon mile of museum portraits—young men, young saints pierced with arrows, with nothing to protect them from the staring of women but a coat of varnish.
“The passage of the envelope from his hands to Miss Pugh’s was crucial to his adventure. He wondered if he should speak. At the same time, he hated to let the envelope go. It held his entire capital—two chapters of a novel. He did not know if he would ever write anything better, or even if he could write anything else at all.
The Selected Stories of Mavis Gallant Page 108
