by A. S. Byatt
‘I like the food here. It has certain subtleties one discovers as one goes on. I have noticed that the restaurant is frequented by large numbers of real Chinese people—families—which is always a good sign. And the fish and vegetables are always fresh, which is another.’
‘I shall ask you to be my guide through the plethora of the menu. I do not think I can face Fried Crispy Bowels, however much, in principle, I believe in venturing into the unknown. Are you partial to steamed oysters with ginger and spring onions? So intense, so light a flavour—’
‘I have never had them—’
‘Please try. They bear no relation to cold oysters, whatever you think of those. Which of the duck dishes do you think is the most succulent… ?’
They chat agreeably, composing a meal with elegant variations, a little hot flame of chilli here, a ghostly fragrant sweetness of lychee there, the slaty tang of black beans, the elemental earthy crispness of beansprouts. Gerda Himmelblau looks at her companion, imagining him willy-nilly engaging in the assault described by Peggi Nollett. His skin is tanned, and does not hang in pouches or folds, although it is engraved with crisscrossing lines of very fine wrinkles absolutely all over—brows, cheeks, neck, the armature of the mouth, the eye-corners, the nostrils, the lips themselves. His eyes are a bright cornflower blue, and must, Dr Himmelblau thinks, have been quite extraordinarily beautiful when he was a young man in the 1930s. They are still surprising, though veiled now with jelly and liquid, though bloodshot in the corners. He wears a bright cornflower-blue tie, in rough silk, to go with them, as they must have been, but also as they still are. He wears a corduroy suit, the colour of dark slate. He wears a large signet ring, lapis lazuli, and his hands, like his face, are mapped with wrinkles but still handsome. He looks both fastidious, and marked by ancient indulgence and dissipation, Gerda Himmelblau thinks, fancifully, knowing something of his history, the bare gossip, what everyone knows.
She produces the document during the first course, which is glistening viridian seaweed, and prawn and sesame toasts. She says,
‘I have had this rather unpleasant letter which I must talk to you about. It seemed to me important to discuss it informally and in an unofficial context, so to speak. I don’t know if it will come as surprise to you.’
Perry Diss reads quickly, and empties his glass of Tiger beer, which is quickly replaced with another by the middle-aged Chinese man.
‘Poor little bitch,’ says Perry Diss. ‘What a horrible state of mind to be in. Whoever gave her the idea that she had any artistic talent ought to be shot.’
Don’t say bitch, Gerda Himmelblau tells him in her head, wincing.
‘Do you remember the occasion she complains of?’ she asks carefully.
‘Well, in a way I do, in a way. Her account isn’t very recognisable. We did meet last week to discuss her complete lack of progress on her dissertation—she appears indeed to have regressed since she put in her proposal, which I am glad to say I was not responsible for accepting. She has forgotten several of the meagre facts she once knew, or appeared to know, about Matisse. I do not see how she can possibly be given a degree—she is ignorant and lazy and pigheadedly misdirected—and I felt it my duty to tell her so. In my experience, Dr Himmelblau, a lot of harm has been done by misguided kindness to lazy and ignorant students who have been cosseted and nurtured and never told they are not up to scratch.’
‘That may well be the case. But she makes specific allegations—you went to her studio—’
‘Oh yes. I went. I am not as brutal as I appear. I did try to give her the benefit of the doubt. That part of her account bears some resemblance to the truth—that is, to what I remember of those very disagreeable events. I did say something about the inarticulacy of painters and so on—you can’t have worked in art schools as long as I have without knowing that some can use words and some can only use materials—it’s interesting how you can’t always predict which.
‘Anyway, I went and looked at her so-called Work.
The phraseology is catching. “So-called”. A pantechnicon contemporary term of abuse.’
‘And?’
‘The work is horrible, Dr Himmelblau. It disgusts. It desecrates. Her studio—in which the poor creature also eats and sleeps—is papered with posters of Matisse’s work. La Rive. Le Nu rose. Le Nu bleu. Grande Robe bleue. La Musique. L’Artiste et son modèle. Zorba sur la terrasse. And they have all been smeared and defaced. With what looks like organic matter—blood, Dr Himmelblau, beef stew or faeces—I incline towards the latter since I cannot imagine good daube finding its way into that miserable tenement. Some of the daubings are deliberate reworkings of bodies or faces—changes of outlines—some are like thrown tomatoes—probably are thrown tomatoes—and eggs, yes—and some are great swastikas of shit. It is appalling. It is pathetic.’
‘It is no doubt meant to disgust and desecrate,’ states Dr Himmelblau, neutrally.
‘And what does that matter? How can that excuse it? roars Perry Diss, startling the younger Chinese woman, who is lighting the wax lamps under the plate warmer, so that she jumps back.
‘In recent times,’ says Dr Himmelblau, ‘art has traditionally had an element of protest.’
‘Traditional protest, hmph,’ shouts Perry Diss, his neck reddening. ‘Nobody minds protest, I’ve protested in my time, we all have, you aren’t the real thing if you don’t have a go at being shocking, protest is de rigeur, I know. But what I object to here, is the shoddiness, the laziness. It seems to me—forgive me, Dr Himmelblau—but this—this caca offends something I do hold sacred, a word that would make that little bitch snigger, no doubt, but sacred, yes—it seems to me, that if she could have produced worked copies of those—those masterpieces—those shining—never mind—if she could have done some work—understood the blues, and the pinks, and the whites, and the oranges, yes, and the blacks too—and if she could still have brought herself to feel she must—must savage them—then I would have had to feel some respect.’
‘You have to be careful about the word masterpieces,’ murmurs Dr Himmelblau.
‘Oh, I know all that stuff, I know it well. But you have got to listen to me. It can have taken at the maximum half an hour—and there’s no evidence anywhere in the silly girl’s work that she’s ever spent more than that actually looking at a Matisse—she has no accurate memory of one when we talk, none, she amalgamates them all in her mind into one monstrous female corpse bursting with male aggression—she can’t see, can’t you see? And for half an hour’s shit-spreading we must give her a degree?’
‘Matisse,’ says Gerda Himmelblau, ‘would sometimes make a mark, and consider, and put the canvas away for weeks or months until he knew where to put the next mark.’
‘I know.’
‘Well—the—the shit-spreading may have required the same consideration. As to location of daubs.’
‘Don’t be silly. I can see paintings, you know. I did look to see if there was any wit in where all this detritus was applied. Any visual wit, you know, I know it’s meant to be funny. There wasn’t. It was just slapped on. It was horrible.’
‘It was meant to disturb you. It disturbed you.’
‘Look—Dr Himmelblau—whose side are you on? I’ve read your Mantegna monograph. Mes compliments, it is a chef-d’oeuvre. Have you seen this stuff? Have you for that matter seen Peggi Nollett?’
‘I am not on anyone’s side, Professor Diss. I am the Dean of Women Students, and I have received a formal complaint against you, about which I have to take formal action. And that could be, in the present climate, very disturbing for me, for the Department, for the University, and for yourself. I may be exceeding my strict duty in letting you know of this in this informal way. I am very anxious to know what you have to say in answer to her specific charge.
‘And yes, I have seen Peggi Nollett. Frequently. And her work, on one occasion.’
‘Well then. If you have seen her you will know that I can have made no such—no such advances as
she describes. Her skin is like a potato and her body is like a decaying potato, in all that great bundle of smocks and vests and knitwear and penitential hangings. Have you seen her legs and arms, Dr Himmelblau? They are bandaged like mummies, they are all swollen with strapping and strings and then they are contained in nasty black greaves and gauntlets of plastic with buckles. You expect some awful yellow ooze to seep out between the layers, ready to be smeared on La Joie de vivre. And her hair, I do not think her hair can have been washed for some years. It is like a carefully preserved old frying-pan, grease undisturbed by water. You cannot believe I could have brought myself to touch her, Dr Himmelblau?’
‘It is difficult, certainly.’
‘It is impossible. I may have told her that she would be better if she wore fewer layers—I may even, imprudently—thinking, you understand, of potatoes—have said something about letting the air get to her. But I assure you that was as far as it went. I was trying against my instincts to converse with her as a human being. The rest is her horrible fantasy. I hope you will believe me, Dr Himmelblau. You yourself are about the only almost-witness I can call in my defence.’
‘I do believe you,’ says Gerda Himmelblau, with a little sigh.
‘Then let that be the end of the matter,’ says Perry Diss. ‘Let us enjoy these delicious morsels and talk about something more agreeable than Peggi Nollett. These prawns are as good as I have ever had.’
‘It isn’t so simple, unfortunately. If she does not withdraw her complaint you will both be required to put your cases to the Senate of the University. And the University will be required—by a rule made in the days when university senates had authority and power and money—to retain QCs to represent both of you, should you so wish. And in the present climate I am very much afraid that whatever the truth of the matter, you will lose your job, and whether you do or don’t lose it there will be disagreeable protests and demonstrations against you, your work, your continued presence in the University. And the Vice-Chancellor will fear the effect of the publicity on the funding of the College—and the course, which is the only Joint Honours Course of its kind in London—may have to close. It is not seen by our profit-oriented masters as an essential part of our new—“Thrust”, I think they call it. Our students do not contribute to the export drive—’
‘I don’t see why not. They can’t all be Peggi Nolletts. I was about to say—have another spoonful of bamboo-shoots and beansprouts—I was about to say, very well, I’ll resign on the spot and save you any further bother. But I don’t think I can do that. Because I won’t give in to lies and blackmail. And because that woman isn’t an artist, and doesn’t work, and can’t see, and should not have a degree. And because of Matisse.’
‘Thank you,’ says Gerda Himmelblau, accepting the vegetables. And, Oh dear yes,’ in response to the declaration of intent. They eat in silence for a moment or two. The Cantonese voice asserts that it is a beautiful miming. Dr Himmelblau says,
‘Peggi Nollett is not well. She is neither physically nor mentally well. She suffers from anorexia. Those clothes are designed to obscure the fact that she has starved herself, apparently, almost to a skeleton.’
‘Not a potato. A fork. A pin. A coathanger. I see.’
‘And is in a very depressed state. There have been at least two suicide bids—to my knowledge.’
‘Serious bids?’
‘How do you define serious? Bids that would perhaps have been effective if they had not been well enough signalled—for rescue—’
‘I see. You do know that this does not alter the fact that she has no talent and doesn’t work, and can’t see—’
‘She might—if she were well—’
‘Do you think so?’
‘No. On the evidence I have, no.’
Perry Diss helps himself to a final small bowlful of rice. He says,
‘When I was in China, I learned to end a meal with pure rice, quite plain, and to taste every grain. It is one of the most beautiful tastes in the world, freshly-boiled rice. I don’t know if it would be if it was all you had every day, if you were starving. It would be differently delicious, differently haunting, don’t you think? You can’t describe this taste.’
Gerda Himmelblau helps herself, manoeuvres delicately with her chopsticks, contemplates pure rice, says, ‘I see.’
‘Why Matisse?’ Perry Diss bursts out again, leaning forward. ‘I can see she is ill, poor thing. You can smell it on her, that she is ill. That alone makes it unthinkable that anyone—that I—should touch her—’
‘As Dean of Women Students,’ says Gerda Himmelblau thoughtfully, ‘one comes to learn a great deal about anorexia. It appears to stem from self-hatred and inordinate self-absorption. Especially with the body, and with that image of our own body we all carry around with us. One of my colleagues who is a psychiatrist collaborated with one of your colleagues in Fine Art to produce a series of drawings—clinical drawings in a sense—which I have found most instructive. They show an anorexic person before a mirror, and what we see—staring ribs, hanging skin—and what she sees—grotesque bulges, huge buttocks, puffed cheeks. I have found these most helpful.’
‘Ah. We see coathangers and forks, and she sees potatoes and vegetable marrows. There is a painting in that. You could make an interesting painting out of that.’
‘Please—the experience is terrible to her.’
‘Don’t think I don’t know. I am not being flippant, Dr Himmelblau. I am, or was, a serious painter. It is not flippant to see a painting in a predicament. Especially a predicament which is essentially visual, as this is.’
‘I’m sorry. I am trying to think what to do. The poor child wishes to annihilate herself. Not to be’
‘So I understand. But why Matisse? If she is so obsessed with bodily horrors why does she not obtain employment as an emptier of bedpans or in a maternity ward or a hospice? And if she must take on Art, why does she not rework Giacometti into Maillol, or vice versa, or take on that old goat, Picasso, who did things to women’s bodies out of genuine malice? Why Matisse?’
‘Precisely for that reason, as you must know. Because he paints silent bliss. Luxe, calme et volupté. How can Peggi Nollett bear luxe, calme et volupté?’
‘When I was a young man,’ says Perry Diss, ‘going through my own Sturm und Drang, I was a bit bored by all that. I remember telling someone—my wife—it all was easy and flat. What a fool. And then, one day I saw it. I saw how hard it is to see, and how full of pure power, once seen. Not consolation, Dr Himmelblau, life and power! He leans back, stares into space, and quotes,
‘Mon enfant, ma soeur,
Songe â la douceur
D’aller la-bas vivre ensemble!
Aimer â loisir
Aimer et mourir
Au pays qui te ressemble!—
Là, tout n’est qu’ordre et beauté
Luxe, calme et volupté.’
Dr Himmelblau, whose own life has contained only a modicum of luxe, calme et volupté, is half-moved, halfexasperated by the vatic enthusiasm with which Perry Diss intones these words. She says drily,
‘There has always been a resistance to these qualities in Matisse, of course. Feminist critics and artists don’t like him because of the way in which he expands male eroticism into whole placid panoramas of well-being. Marxists don’t like him because he himself said he wanted to paint to please businessmen.’
‘Businessmen and intellectuals,’ says Perry Diss.
‘Intellectuals don’t make it any more acceptable to Marxists.’
‘Look,’ says Perry Diss. ‘Your Miss Nollett wants to shock. She shocks with simple daubings. Matisse was cunning and complex and violent and controlled and he knew he had to know exactly what he was doing. He knew the most shocking thing he could tell people about the purpose of his art was that it was designed to please and to be comfortable. That sentence of his about the armchair is one of the most wickedly provocative things that has ever been said about painting. You can daub t
he whole of the Centre Pompidou with manure from top to bottom and you will never shock as many people as Matisse did by saying art was like an armchair. People remember that with horror who know nothing about the context—’
‘Remind me,’ says Gerda Himmelblau.
‘ “What I dream of, is an art of balance, of purity, of quietness, without any disturbing subjects, without worry, which may be, for everyone who works with the mind, for the businessman as much as for the literary artist, something soothing, something to calm the brain, something analogous to a good armchair which relaxes him from his bodily weariness …”‘
‘It would be perfectly honourable to argue that that was a very limited view—’ says Gerda Himmelblau.
‘Honourable but impercipient. Who is it that understands pleasure, Dr Himmelblau? Old men like me, who can only just remember their bones not hurting, who remember walking up a hill with a spring in their step like the red of the Red Studio. Blind men who have had their sight restored and get giddy with the colours of trees and plastic mugs and the terrible blue of the sky. Pleasure is life, Dr Himmelblau, and most of us don’t have it, or not much, or mess it up, and when we see it in those blues, those roses, those oranges, that vermilion, we should fall down and worship—for it is the thing itself. Who knows a good armchair? A man who has bone-cancer, or a man who has been tortured, he can recognise a good armchair
‘And poor Peggi Nolle,’ says Dr Himmelblau. ‘How can she see that, when she mostly wants to die?’
‘Someone intent on bringing an action for rape, or whatever she calls it, can’t be all that keen on death. She will want to savour her triumph over her doddering male victim.’
‘She is confused, Professor Diss. She puts out messages of all kinds, cries for help, threats …’
‘Disgusting art-works—’
‘It is truly not beyond her capacities to—to take an overdose and leave a letter accusing you—or me—of horrors, of insensitivity, of persecution—’
‘Vengefulness can be seen for what it is. Spite and malice can be seen for what they are.’
