'Professor Oliver had one of his own on show,' said the dean. 'An abstract, mainly in pink, as I recall.'
Oliver said self-consciously. 'I needed to fill a space. I would have preferred to put on a complete show of modern work, but the Society of Bath Artists had its annual show in the gallery a month before, and I was told firmly that this must be different in character, a more traditional exhibition.'
Sensing, perhaps, that the positive aspects of the Art in Bath Exhibition needed to be stressed more, the dean came in again. 'There was a first-class response to our request for the loan of pictures - from private collections as well as the more obvious sources. That's partly the point of an exhibition such as this. It's a way of involving the local people, reminding them that we exist. It got into the papers and on local television and radio. Professor Oliver got to be quite a media man in the end.'
Tom Oliver's eyes rolled upwards at the memory.
By now I'd heard enough of this. I sat back and folded my arms. 'Let's have it, gentlemen. What am I lumbered with?'
The dean frowned. 'No one has lumbered you with anything, Jackman. I would have thought a professor of English might have employed a more felicitous word than that.'
'Clobbered?'
'We seem to be at cross-purposes,' said the dean. 'I know you don't mince words, Jackman, but there's no cause to be obstructive before we have even outlined the proposition. I see this as a shining opportunity for the English Department to make a name for itself. You know, as the newest department in the university you have a lot of ground to make up on those of us who were here at the beginning. And with only two years' intake of students to administer I wouldn't have said you were overburdened. You won't be awarding degrees for another year.'
'Fair cop,' I said. 'You want me to bang the drum this year. Do I have a free hand?'
'Within limits.'
I shrugged. 'I don't have a free hand.'
'We have a proposal - rather an engaging one -originating from the city council itself. It has this committee's strong support, naturally.'
'What is it?'
'Jane Austen in Bath.'
There was a silence.
'Jane Austen, the writer,' added the dean, whose sarcasm wasn't complicated by subtlety. 'In case you weren't aware of it, she lived in the city for several years.'
'You learn something every day,' I said. 'Is that the deal -just Jane?'
'And Bath. The theme, the rationale, of the exhibition is a celebration of Jane Austen's years in Bath.'
'A celebration?'
'Exactly.'
I drew a deep breath and let it out slowly. 'Pity she isn't still around to enjoy the irony of this.'
The dean bristled. 'You had better explain that remark.'
'Jane Austen's years in Bath were no cause for celebration. She was pretty pissed off with the place.'
'Professor Jackman!'
'All right - it was the least happy phase of her life.'
'That's rather sweeping, isn't it?'
The professor of comparative religions reached for the last chocolate biscuit and said, 'What is happiness? What did happiness amount to for Jane Austen? We are dealing in abstractions here.'
'As I recall it,' I said, 'when the Reverend George Austen informed his family that they were to move here from Steventon, where Jane was born and brought up, she passed out. Fainted. They had five years in Bath. It failed lamentably to come up to Steventon in her estimation. She had a series of unhappy experiences about that time - a broken engagement, the deaths of friends. Her father died here. They had to move into more humble lodgings, and after they finally left she described it as a happy escape. Happiness amounted to escaping from Bath.'
After another uncomfortable pause the dean said doggedly, 'The fact remains that she was a resident. And one of the world's great novelists.'
'Not one of the great novels was written in Bath.'
The dean glared over his glasses. 'Correct me if I'm mistaken, Professor. Bath does, as I recall, feature prominently in the novels.'
I looked around the room at the other members of the committee. 'There's no ducking this, is there?'
'It isn't something to be ducked. It's an opportunity, Jackman. Everyone who has heard of it so far is extremely excited about the prospect. The city librarian and his staff have promised every assistance.'
My heart sank. 'People have been told already?'
'One or two crucial individuals.'
'I wish you'd brought me in earlier.'
Oliver said, 'Greg, we only heard about it ourselves this morning.'
I sighed heavily, got up and walked to the window. 'And I'm supposed to find enough exhibits to fill the Victoria Gallery?'
'The Assembly Rooms,' said the Dean with an air of triumph. 'We have been offered the Assembly Rooms.' triumph. 'We have been offered 'God - that's even bigger.'
'It couldn't be a more appropriate venue. Do you appreciate the significance? Jane Austen must have danced there many times.'
Tom Oliver said, 'Actually, Dean, it was gutted by bombs in the last war.'
'And perfectly restored.'
'Right,' I said, turning to face them. 'It's a bloody great ballroom. How am I supposed to fill it? So far as I can remember there's one postcard-size portrait of Jane by her sister, and that's in the National Portrait Gallery because no other picture of her exists. If I get a loan of that, which is unlikely, it's not going to fill a hundred-foot ballroom.'
The dean shuffled his papers. 'I'm confident that if you embrace the opportunity as Professor Oliver did three years ago, we shall have an admirable show.'
I turned to the professor of comparative religions. ' "Embrace the opportunity" - how's that for an abstraction?'
Tom Oliver, wanting to be helpful, said, 'You might make use of the novels in some way.'
'Open at certain pages and displayed in glass cabinets?' I said. 'Not exactly riveting, is it? It isn't going to pull in the crowds when they can pick up the same books in any shop in the town.'
'City,' murmured Oliver.
'You could photograph the houses she lived in,' said the dean.
'And blow them up to actual size?' At this stage, I was in no mood to take any suggestion seriously. 'True, if I back them with hardboard and stand them upright like theatre scenery, that might help to fill the bloody Assembly Rooms. I could dress my students in period costume and have them disport themselves around the scenery, commenting, "Upon my word, the gentlemen of the Steering Committee are deserving of our plaudits, for a happier conjunction of town and gown than this was never conceived." '
'Come off it, Greg,' said Oliver before the dean could erupt. 'When you've had time to think it over, you'll have some bright ideas.'
'It's window-dressing, isn't it? Jane Austen is a name to pull in the tourists. Nobody stopped to consider what Jane herself really thought of the place. I suppose it's too late to point out this slight ethical objection to the genius who suggested it.'
'But that is the very reverse of all we're trying to achieve,' the dean pointed out to me. 'We want to make a gesture of support to the city, not humiliate them by scoring academic points. And, yes, it is too late. Far too late.'
I asked fatalistically, 'How long have I got?'
Oliver said, 'It's essentially a summer exhibition.'
'. .. opening on 9 September for three weeks,' said the dean as if he were passing sentence.
'That takes care of my vacation,' I said.
'I'd like a progress report this time next week, if that isn't too much to ask.'
I happen to be blessed or cursed with acute hearing. As I was leaving the outer office, I overheard the dean saying, 'What an obstreperous fellow. I don't recall this side of him emerging when he was interviewed for the chair.'
Oliver said, 'You weren't here, Dean. It was during your sabbatical.'
'Ah.'
'He's very well regarded by his students.'
'I can believe it.'
'He won't let us down.'
'He had better not.'
Chapter Three
PLENTY OF PEOPLE CROSS PULTENEY bridge without even realizing that they're passing over the Avon. The reason, of course, is that it's lined on either side with buildings, like the Ponte Vecchio in Florence. You can't see the river without going into one of the shops and looking out of a window. I heard that when Robert Adam designed the thing in 1769 he had the Ponte Vecchio in mind, but if there's any resemblance, it's superficial only. Adam's bridge is charming and original, a Palladian structure built over the three arches, with a central Venetian window and domed tollhouses at either end.
The tollhouse on the west side, opposite the library, functions as a coffee shop called David's. I had come here after my meeting with the Steering Committee. My presence had nothing to do with the new assignment; I had come to David's to unwind. After the sessions with Dr Bookbinder and the Steering Committee, I thought I was entitled to a break. I couldn't stomach the Senior Common Room. My nature rebels against the attitudes and assumptions of most provincial academics. As the professor of a newly formed department I feel obliged most days to sit and listen to regurgitated points of view from the Guardian and Independent, or the failings of the cricket selectors, or the union, or the photocopier. Not that day.
David's is a haven for me. On the day nearly three years ago that I arrived in Bath to be interviewed for the chair of English, it seemed a happy omen when I chanced upon this bijou establishment no wider than a railway carriage, with its aroma of cappuccino, its narrow back-to-back seats and linen tablecloths and the quiet clientele lingering over newspapers provided by the owner. At one end is a framed picture of Michelangelo's David. At the other the modern David dispenses tea and coffee from a serving area designed to utilize the limited space to the maximum. David is slim and supple, an essential requirement; one needs almost to be a limbo-dancer to get behind the counter.
The most favoured seats enjoy a view of the river. The broad sweep of water below the bridge is dominated by the weir, a white, U-shaped structure in three tiers. However, its elegant lines mask a deathtrap. Thousands of gallons converge and drop on a confined area that forms a whirlpool where, year after year, foolhardy swimmers and canoeists come to grief.
I took a seat by the window, easing my weight downwards in a practised way to avoid rocking the person at the next table. I ordered a coffee, and thought about the interview in the surgery. The hell with Bookbinder. Later I would tell Geraldine exactly what had been said. Honesty in our marriage was more important than medical ethics that had already been muddied by the doctor.
I glanced at the front page of The Times and pushed it aside, and took from my pocket a paperback of Northanger Abbey that I had picked off my bookshelf in the office before walking down Bathwick Hill. I searched for and found a remark Jane Austen had put into the mouth of Isabella Thorpe: 7 get so immoderately sick of Bath; your brother and I were agreeing this morning that though it is vastly well to be here for a few weeks, we would not live here for millions.' It was like a balm. I felt restored by the words, which were much as I had remembered them. Of course it's erroneous to impute the views of fictitious characters to their author, and in justice the book does also contain some complimentary remarks about the city, but in my mood at that stage it pleased me to picture the councillors touring their exhibition and finding gracious pictures of Georgian Bath captioned with caustic quotes from Jane.
I sipped the coffee, telling myself to put subversive thoughts out of my mind. The exhibition had been dumped in my lap. It was my baby now, so I had better start to love it. A celebration of Jane Austen in Bath. In principle, I was more than willing to celebrate the six completed novels. If not, I was in the wrong job. The celebrating of their creator was more of a problem for me. I have never had any desire to join the legion of devotees who call themselves Janeites. Not that I find much to object to in Jane's character. In fact, the occasional waspish comments in her letters make her seem more worldly, more approachable, than the 'gentle Jane' of the novels. My difficulty is more fundamental. I am out of sympathy with those who venerate writers and study their lives minutely. Any piece of literature has a life of its own, complete and independent of its author. So I baulk at the trend of modern criticism to bury creative work in biographical data.
My thoughts were diverted momentarily by something I saw from the window. Below, three young boys had ventured out to the end of the weir and found a footing where driftwood collected. The current was not as strong there as in the centre, where it raced over the edge, the result of several days of steady rain. The lads were picking up bits of wood and hurling them into the middle for the sheer joy of disturbing the shimmering uniformity of the flow.
The scene illustrated my difficulty rather aptly. There must be visual stimulation in this exhibition. Pages of text, however elegant, were not suited to public display unless they were supported by strong images. Yet the novels provided few striking pictorial possibilities. I always find illustrated editions of the Austen novels depressing to look at. They are little more than fashion plates. The dynamism is all in the text. Thinking it over, I could photograph the locations Jane Austen had used in Northanger Abbey and Persuasion, the two novels set in Bath, but to what effect? Who wanted to look at photos of Milsom Street and the Pump Room when they could see the places for themselves? No, I was going to be compelled to set aside my objections and use the biographical approach, providing pictures of Jane's family, the houses she had lived in and the people she had met. The illustrations would be static, but at least they would not seem insipid.
Then how about moving pictures? It might be worth setting up a video and screening extracts from a television dramatisation that had actually been filmed in Bath. I recalled a production of Persuasion not long ago. Presumably the BBC had obtained permission from the Bath City Council to film on location, so it wouldn't be unreasonable to ask for their co-operation in return.
I visualized several rows of chairs in front of a large screen at one end of the ballroom, and felt more optimistic. My gaze returned to the weir.
One of the boys was stepping along the edge towards the centre. A stick, presumably one he had thrown, had lodged almost at the cusp of the curve. The other two watched as he moved quite confidently towards it. He looked about twelve or thirteen, and sturdy in physique. It was still a foolhardy thing to try. Notices on each bank of the river warned of the danger of swimming and canoeing here.
I remember telling myself with one voice that the boy was a little idiot and with the other that kids of that age needed physical challenges. If they weren't walking along the weir they would probably be skate-boarding down the ramps in one of the city car parks. The boy reached the centre and drew the stick out of the water. He held it aloft like Excalibur.
Feeling, perhaps, that this was excessive, one of the others picked up a chunk of wood and slung it towards the show-off. It didn't hit him. He saw it coming and swayed aside. But he must have underestimated the strength of the current, because he was forced to take a step sideways to keep his footing. It took him closer to the edge. He seemed to sense the danger and teetered there for a moment with arms swaying. Then he was forced to step down to the next level.
The move was sensible. The concrete tiers were quite wide at that point and the difference in levels was no more than a few inches in depth. The force of the water seemed not to be a problem for him. He might easily have stepped up to safety.
He was unlucky, however. His foot slipped, he lost balance and fell on his back. The water carried him down to the next level.
I got up fast, concerned that the boy would be swept into the maelstrom of converging water. I believe I called out to David, 'Someone in trouble', and ran out of the shop and across the bridge. Others may have seen the incident from Grand Parade, which overlooked the weir, but I was closer to the side with access to it. At the far end, I turned right, grabbed the iron handrail and hurried down the enclosed
flight of steps to the stone pier that supported the bridge. I ran to the railing. I had a clear view. The boy was not in sight. The other two stood as if petrified, staring at the place where the water poured off the weir and formed a bubbling vortex.
On this side of the river a sluice forms part of the weir construction, a huge floodgate on a pivot surmounted by a platform. To reach the weir on foot I would need to dash about a hundred yards to the steps on the far side and cross the platform. The lifebuoy was almost as far away, attached to the railing beside the sluice. There wasn't time.
I wrenched off my jacket and shoes, climbed over the railing and jumped. The drop to the river was about fifteen feet. I went under, surfaced, coughed out some filthy-tasting water, and started swimming. My actions up to this moment had been automatic. Now, as I struck out for the weir, the doubts came. Had there really been three boys down there, or only two? What a pointless and embarrassing exhibition this would be if the kid in trouble had picked himself up already.
My right hand touched a solid structure under the water. I grasped the stone surround of the weir and with difficulty hauled myself upwards, getting my leg up first and scrambling up sideways. I managed to stand upright, close to the point where the boy had gone for the piece of wood. The current dragged at my legs.
The boys at the end of the weir were waving and shouting.
I shouted back to them, 'Can you see him?'
'He keeps going under,' one called out in an accent redolent of Latin primers and striped schoolcaps.
'Where? Where did you see him?'
The boy pointed. 'There, sir! Over there!'
I glanced left and saw an arm exposed in the foam, a hand with fingers extended. Almost at once it sank from view.
I yelled, 'Get the lifebelt! Get some help!'
I didn't give much for my chances in the torrent but you can't watch a child drown. I stepped down two tiers and felt my foot slip, so I dropped to my knees and crawled around the ledge to the point nearest to where the arm had appeared. I could see graphically how the inundation of water produced a churning effect that would prevent the boy from climbing back or being carried downstream. He would be submerged repeatedly until he drowned.
The Last Detective Page 8
