She gets up to things. She started a scrapbook in one of my mother’s old cloth-bound account books, sticking photographs of her pop idols over the columns of pencilled figures with paste that she made herself from flour and water; afterwards I had to call in Quirke to unblock the kitchen sink. I think he hit her for that, for next day she had an angry blue and yellow bruise on her cheekbone. I do not know if I should speak to him about this. Certainly I shall not tell tales on her again. She lay low for a day or two, then yesterday a wall-shaking crash, like that of a heavy piece of furniture falling over, made me leap out of my chair and hare off upstairs three steps at a time, expecting disaster. I found her standing in the middle of my mother’s room with her hands behind her back, grinding the toe of her sandal into an imaginary hole in the linoleum. “What noise?” she said, giving me a look of offended innocence. And indeed, I could find nothing amiss in the room, although there was a strong whiff of stale wood dust, and the sunlight at the window was aswirl with motes. If things go on like this she will have the place down about our ears.
She seems to eat nothing but potato crisps and chocolate bars. The latter come in a baffling variety of flavours and fillings. I find discarded wrappers all over the house, torn and twisted like pieces of shrapnel, and read them, marvelling at the confectioners’ inventiveness. The chocolate seems to be not chocolate at all, but a blend of unpronounceable multisyllabic chemicals. How did I miss all this, the jungly music, the gaudy, fake food, the clumpy shoes and skimpy, acid-coloured skirts, the hairstyles, the vampire make-up, the livid lipsticks and nail polish shiny and thick as clotted blood? Was Cass never young like this? I cannot recall her adolescence. She must have gone straight from stormy childhood to being the mysterious young woman she is now, with nothing in between. I have suppressed the second act, with its cast of consultants and therapists and mind-menders, charlatans all, in my not unbiased opinion. She passed through their ministrations like a sleepwalker pacing the roof’s leads and guttering, beyond the urgent reaching out of hands from attic windows to restrain her. Despite everything, despite all my suspicions, disappointment, fury, even—why could she not be normal? —I always secretly admired her intensity, her drivenness, the unrelenting using up of the store of herself. There were moments onstage, sadly rare, when I felt in my own nerves something of her irresistible repeated compulsion to risk the self’s stability.
As the days progress I have noted a modulation in the jaded indifference with which Lily at first regarded me. She has even initiated a rudimentary attempt at what in other circumstances might be called communication. That is, she asks short questions in expectation of long answers. What can I tell her? I have not mastered the language of Lilyland. It seems she looked me up in a reference book in the town library. I am impressed; a girl of Lily’s tastes and attitudes does not venture lightly among the stacks.
When she confessed to these researches she blushed—quite a thing, to see Lily blush—and then was furious with herself, and frowned fiercely and bit her lip, and gave her hair a hard toss, as if she were giving herself a slap. She marvels at the number of productions I have been in; I tell her I am very old, and that I started young, which bit of winsome bathos makes her curl her lip. She asked if the awards that Who’s Who says I have garnered had a cash element, and was disappointed when I told her sadly no, only useless statuettes. Nevertheless, she has obviously begun to take me for a person of at least some consequence. Her interest in the possibility of knowing someone famous is tempered by her scepticism that anyone famous would choose to come to this dump, which is how she invariably refers to her birthplace, and mine. I asked if she has ever been to the theatre and she narrowed her eyes defensively.
“I go to the pictures,” she said.
“So do I, Lily,” I said, “so do I.”
Thrillers she likes, and horror movies. What about romances? I asked, and she snorted and mimed sticking two fingers down her throat. She is a bloodthirsty child. She recounted in yawn-inducing detail the plot of her favourite film, an action picture called Bloodline. Although I probably saw it, refracted through tears, on one of my clandestine afternoons in the cinema—I must have seen every feature shown in those three or four months—I could not follow her account of it, for the story was as populously complicated as a Jacobean tragedy, though with a far higher quotient of corpses. In the end the heroine drowns.
Lily is sorely disappointed, I can see, that I have not starred in a picture. I tell her of my triumphs and travels, my Hamlet at Elsinore, my Macbeth in Bucharest, my notorious Oedipus at Sagesta—oh, yes, I could have been an international star, had I not been at heart afraid of the big world beyond these safe shores—but what is any of that to her compared with a lead role on the silver screen? I demonstrate the lurch I devised for my Richard the Third at Stratford—Ontario, that is—of which I used to be very proud, though she thinks it comic; she says I look more like the Hunchback of Notre-Dame. I suspect she finds me generally hilarious, my poses, my actor’s burr, all my little tics and twitches, too funny for laughter. I catch her watching me, moon-eyed with expectation, waiting for me to perform some wonderful new foolishness. Cass used to look at me like that when she was little. Perhaps I should have gone in more for comedy. I might have been a—
Well. I have made a momentous discovery. I hardly know what to think of it, or what to do about it. I should be angry but I am not, although I confess I do feel something of a fool. It might have been ages before I found out had I not decided on a whim to follow Quirke when I spotted him in the town today. I have always been a secret stalker. I mean I follow people, pick them out at random in the street and shadow them, or used to, anyway, before I became what the newspapers, were they still to be interested in me, would call a recluse. It is a harmless vice, and easy to entertain—human beings have scant sense of themselves as objects of speculation in the world outside their heads, and will rarely notice a stranger’s interest in them. I am not sure what it is I hope to find, peering hungrily like this into other lives. I used to tell myself that I was gathering material—a walk, a stance, a way of carrying a newspaper or putting on a hat—some bit of real-life business I could transfer raw on to the stage to flesh out and lend a touch of verisimilitude to whatever character I happened to be playing at the time. But that is not it, not really, or not entirely. And besides, there is no such thing as verisimilitude. Do not misunderstand me, I am no Peeping Tom, hunched over in a hot sweat with throbbing eye glued to keyhole. It is not that kind of gratification I am after.
When Lydia and I were first married we lived in a cavernous third-floor flat in a crumbling Georgian terrace, with a bathroom up a short flight of stairs, through the small high window of which, if I craned, I could see down into the bedroom of a flat in the house next door, where often of a morning, when the weather was clement, I would glimpse a naked girl getting herself ready for her day. Through a whole spring and summer I watched for her there each morning, one knee pressed tremblingly on the lavatory seat and my tortoise neck straining; I might have been an Attic shepherd and she a nymph at her toilet. She was not particularly pretty: red-haired, I remember, rather thick in the waist, and with an unhealthy pallor. Yet she fascinated me. She was not aware of being spied on, and so she was—what shall I say?—free. I had never before witnessed such purity of gesture. All her actions—brushing her hair, pulling on her pants, fastening a clasp behind her back—had an economy that was beyond mere physical adroitness. This was a kind of art, at once primitive and highly developed. Nothing was wasted, not the lift of a hand, the turn of a shoulder; nothing was for show. Without knowing, in perfect self-absorption, she achieved at the start of each day there in her mean room an apotheosis of grace and suavity. The unadorned grave beauty of her movements was, it pained the performer in me to acknowledge, inimitable: even if I spent a lifetime in rehearsal I could not hope to aspire to the thoughtless elegance of this girl’s most trivial gesture. Of course, all was dependent precisely on there being no th
ought attached to what she was doing, no awareness. One glimpse of my eager eye at the bathroom window, watching her, and she would have scrambled to hide her nakedness with all the grace of a collapsing deck chair or, worse, would have slipped into the travesty of self-conscious display. Innocent of being watched, she was naked; aware of my eye on her, she would have turned into a nude. What was most intensely striking, I think, was her lack of expression. Her face was an utter blank, an almost featureless mask, such that if I had encountered her in the street—which I am sure I must have, often—I would not have recognised her.
It is this forgetfulness, this loss of crearurely attendance, that I find fascinating. In watching someone who is unaware of being watched one glimpses a state of being that is beyond, or behind, what we think of as the human; it is to behold, however ungrasp-ably, the unmasked self itself. The ones I fixed on to trail about the streets were never the freaks, the cripples or dwarves, the amputees, the unfortunates with limps or squints or port-wine stains; or if I did choose some such afflicted wretch, it was not his affliction that drew me but what in him was utterly commonplace and drab. In my table of types, beauty does not make eligible nor ugliness disqualify. Indeed, ugliness and beauty are not categories that apply here—my questing gaze makes no aesthetic measurements. I am a specialist, with a specialist’s dispassion, like a surgeon, say, to whose diagnostic eye a girl’s budding breasts or an old man’s sagging paps are objects of equal interest, equal indifference. Nor would I bother with the blind, as might be expected of a stalker as timid as I am, as leery of notice and challenge. Despite his blank or downcast gaze, the blind man is always more alert than the sighted one—more watchful, even, one might say—unable for an instant to relax his awareness of the self as it negotiates its fastidious way through this menacing, many-angled world.
Among my favourite quarries were the derelicts, the tramps and reeling winos, of whom we have always boasted a thriving community. I knew them all, the fat fellow in the knitted tricolour cap, the one with the look of an anguished ascetic whose left hand was a permanently outstretched begging bowl, the sauntering flâneurs with crusted bare feet, the raging tinker-women, the drunkards spouting obscenities or scraps of Latin verse. This is true theatre of the streets, and they its strolling players. What fascinated me was the distance between what they were now and what they must once have been. I tried to imagine them as babes in arms, or toddling about the floor of some loud tenement or sequestered cottage, watched over by fond eyes, borne up by loving hands. For they had to have been young once, in a past that must seem to them now as far off and impossibly radiant as the dawn of the world.
Apart from their intrinsic interest as a species, I favoured outcasts because, being outcasts, they were not liable suddenly to elude me by disappearing into a smart boutique, or turning in at a suburban garden gate, frowningly fishing for a key. We had the freedom of the streets, they and I, and for hours I would follow after them—an actor, especially in his early years, has a lot of time on his hands—along the dreamy pavements, through the faintly sinister orderliness of public parks, as the afternoons grew loud with the clamour of paroled schoolchildren, and the broad strips of sky above us turned mussel-shell blue, and the evening traffic started up, scurrying in herds through the dusk, hunched and bleating. Along with the peculiar pleasure I derive from this furtive hobby goes a certain melancholy, due to what I think of as the Uncertainty Principle. You see, as long as I only watch them without their knowing, I am in some sense intimately in touch with them, they are in some sense mine, whereas if they were to become aware of me dogging their steps, that which in them is of interest to me—their lack of awareness, their freedom from self-consciousness, their wonderful, vacant ease—would instantly vanish. I may observe, but not touch.
One day one of them confronted me. It was a shock. He was a drinker, a rough, vigorous fellow of about my own age, with a bristling rufous jaw and the stricken eyes of a saint in quest of martyrdom. It was a raw day in March, but I stuck with him. He favoured the quays, I do not know why, for there was a cutting wind from the river. I skulked behind him with my collar turned up, while he went along at a stumbling swagger, his coat-tails billowing and his filthy shirt collar open—do they somehow develop an immunity to the cold? In a pocket of his coat was stowed a large fat bottle, wrapped in a brown-paper bag, the neck exposed. At every dozen paces or so he would stop and with a dramatic sweep bring out the bottle, still in its bag, and take a long slug, rocking back on his heels, his throat working in coital spasms as he swallowed. These mighty quaffings had no discernible effect on him, except perhaps to lend a momentary faltering jerkiness to his stride. We had been promenading like this for a good half-hour, down one side of the quays and up the other—he seemed to have his beat marked out in his head—and I was ready to abandon him, for it was apparent he was going nowhere, when at one of the bridges he swerved aside on to the footway, and when I hastened to catch up I found myself abruptly face to face with him. He had turned back and stopped, and was standing with a steadying hand pressed on the parapet, head lifted and mouth sternly set, regarding me with a challenging glare. I experienced a thrill of alarm—I felt like a schoolboy surprised in a prank—and looked about hurriedly for a way of escape. Yet although the path was wide, and I could easily have sidestepped him, I did not. He continued to look at me out of those imperiously questioning, agonised eyes. I do not know what he expected of me. I was scandalised, it is the only word, to be thus accosted by a quarry, yet partly I was excited, too, and partly—odd though the word will seem—flattered, as one would be flattered to win the attention of some fierce creature of the wild. A blast of wind made the flap of his coat crack like a flag and he gave himself a shuddery shake. I dithered. Passers-by were glancing at us with curiosity and disapproval, suspecting the nature of the commerce they imagined we were engaged in. I reached fumblingly into my pocket and found a banknote and offered it to him. He looked at the money with surprise and even, I thought, a touch of umbrage. I persisted, and even went so far as to press the note into his hot and mottled hand. His demeanour now turned positively patronising; he had the large, half-smiling, half-surprised look of an opponent into whose power I had clumsily allowed myself to fall. I might have spoken, but what would I have said? I stepped past him quickly and hurried on, across the bridge, without daring to look back. I thought I heard him say something, call out something, but still I did not turn. My heart was racing. On the other side of the bridge I slowed my steps. I was badly shaken, I can tell you. Despite the fellow’s fierce appearance there had been something cloyingly intimate in the encounter, something from which my mind’s eye insisted on averting its gaze. Rules had been broken, a barrier had been transgressed, an interdiction breached. I had been forced to experience a human moment, and now I was confused, and did not know what to think. Strange bright fragments of lost possibilities flashed about in my mind. I regretted not having asked the fellow’s name. I regretted not telling him mine. I wondered, with a pang that startled me, if I would ever come across him again. But what did I imagine I would do, if he were to step out boldly into my path on some other bridge, on some other day, and challenge me?
Anyway, as I was saying, today in town I was in a telephone box, calling Lydia, when I spotted Quirke coming out of the solicitor’s office where he works—although the word is, I am sure, overly strong for what he does in the way of earning a living. He was carrying a clutch of manila envelopes under his arm, and wore an aspect of sullen duty. “There’s Quirke,” I said into the phone, in one of my lapses into the inconsequential that Lydia finds so irritating. It was the first time we had talked since I disconnected the telephone in the house, and it felt strange. There was the distance between us—she might have been speaking from the dark side of the moon—yet more marked was the unshakeable sensation I had that it was not really she on the line, but a recording, or even a mechanically generated imitation of her voice. Have I sunk so far into myself that the living should
sound like automata? The booth smelled strongly of urine and crushed cigarette ends, and the sun was hot on the glass. I had telephoned to enquire as to Cass’s whereabouts. Although Cass is what I must think of as a grown woman—she is twenty-two, or is it twenty-three? the calendar is a little indistinct, from where I am positioned at present—part of my peace of mind depends on always knowing at least approximately where she is. My peace of mind, that’s a good one. The last I knew of her she was doing research of an unspecified and no doubt arcane—not to say, hare-brained—nature in some unpronounceable declivity of the Low Countries; now, it seems, she is in Italy. “I had a peculiar call from her,” Lydia was saying, as if a call from Cass could be anything other than peculiar. I asked if she was all right. It was what we used to ask each other in the old days, with an unstillable, apprehensive tremor: Is she all right? Lydia’s brief silence on the line was the equivalent of a shrug. For a moment we said nothing, then I began to describe Quirke’s odd, small-footed lope—how daintily he moves, for one so large and top-heavy—and Lydia became angry, and her voice thickened.
Eclipse act-1 Page 10
