The years invest the muster-roll of Glober’s dinner-party with a certain specious picturesqueness, if anything increased by being a shade grotesque. At the time, at least on the surface of things, the evening turned out heavy going. That was Glober’s fault only so far as he had been over-reckless in mixing people, always risky, sometimes fatal. In this particular venture, he had, as an American, underrated the intractable strain in English social life, even at this undemanding London level, an easy thing to do for anyone not conversant with its heterogeneous elements, their likes and dislikes. Food and drink were both reasonably good. Conversation never got properly under way. Something was lacking.
Glober bought the Augustus John drawing on sight. He made no demur about the price, a fairly steep one in the light of the then market. It was a three-quarter length of a model called Conchita, a gipsy type Barnby, too, sometimes employed. Glober’s own demeanour, as when he had visited the office, was enormously genial, but even he did not appear to find the going easy with Mopsy Pontner, whom he had placed next to himself at table. He sat between her and the American publisher’s wife, a statuesque lady from Baltimore. Mopsy, with dark straggling hair and very red lips, perfectly civil, was uncommunicative in manner. She made Glober do all the talking. He probably did not mind that, but had earned the right to a little more notice than he seemed to be getting. He had also to work hard with the Baltimore lady, though not because she did not talk. The trouble was her anxiety about reservations on the Blue Train the following day. She continually returned to this preoccupation. When Xenia was not snuffling, she and Lilienthal exchanged secondhand-book chat across the table. The young silver salesman and ‘Bill’, recognizing no harmony in common, did not communicate with each other at all. Mrs Maliphant rambled on in a monologue about old Chelsea days, saying ‘Wilde’ when she meant ‘Whistler’, and ‘Sargent’ for ‘Shannon’. Moreland left early. I left early too; early that is in the light of the sort of party intended, and the fact that my flat in Shepherd Market was only a few yards away. Glober said an effusive goodbye.
‘Call me up when you’re next in New York, Mr Jenkins. I’d like to have you meet James Branch Cabell.’
That was the last I saw of Glober. His firm fell into liquidation the following year. Several go-ahead American publishing houses went bust about that time. The fact was regarded as an amelioration of whatever row had taken place about the Cubists, indicating our own firm was well out of the commitment.
Glober’s character was further particularized when, also about a year later, I came to know Mopsy Pontner better. It appeared that the evening at the hotel, anyway the latter part of it, had been less prosaic than might have been supposed at the time. Mopsy herself gave me an account of its consummation; no vague term in the context. She had, so she related, stayed on after the rest of the party had gone home. Glober, it seemed, had been more attractive to her, far more attractive, than outwardly revealed by her demeanour at dinner. In admitting that, she went so far as to declare that she had greatly approved of him at sight, as soon as she entered the room where we were to dine. Glober must have felt the same. The natural ease of his manner concealed such feelings, like Mopsy’s exterior reserve. Later that night mutual approval took physical expression.
‘Glober did me on the table.’
‘Among the coffee cups?’
‘We broke a couple of liqueur glasses.’
‘You obviously found him attractive.’
‘I believe I’d have run away with him that night, if he’d asked me. I was all right a day or two later, quite recovered. The affair stopped dead there. In any case he was sailing the next day. Some men are like that. Isn’t it funny? One rather odd thing about Glober, he insisted on taking a cutting from my bush—said he always did that after having anyone for the first time. He produced a pair of nail-scissors from a small red leather case. He told me he carried them round with him in case the need arose.’
‘We all of us have our whims.’
Mopsy laughed. So far as Glober was concerned, I do not put her conquest unduly high, though no doubt she was quite a beauty in her way. To exaggerate Glober’s achievement would be mistaken, lacking in a sense of proportion, even though Mopsy was capable of refusal, having turned Barnby down. Barnby made a good story about his failure to please on that occasion, which was one way of dealing with the matter. Such sudden adventures as this one of Glober’s can be misleading, unless considered in their context, time and place (as Moreland always insisted) both playing so vital a part. Nevertheless, this vignette, taken at an early stage of his career, suggests Glober’s vivacity, liberality, wide interests, capacity for attack; Mopsy’s footnote adding a small touch of the unusual, the exotic. These were no doubt the qualities that had carried him advantageously through the years of the Depression; New York to Hollywood, and back again; lots of other places too; until here he was at Jacky Bragadin’s Venetian palace. I enquired about Glober’s background. Gwinnett gave a rather satirical laugh.
‘Why do the British always ask that?’
‘One of our foibles.’
‘That’s not what Americans do.’
‘But we’re not Americans. You must humour our straying from the norm in that respect.’
Gwinnett laughed again.
‘Glober’s people were first generation Jewish emigrants. They were Russian. They took a German name to assimilate quicker, or so I’ve heard. Glober was from the Bronx.’
‘What we’d call the East End?’
‘His father made a sizeable pile in building. Glober himself didn’t begin on the breadline.’
‘You mean there was plenty of money before he started his publishing and film career?’
‘He made plenty more. Lost plenty too. Money is no problem to Glober.’
Gwinnett spoke with conviction. The comment that Glober was a man to whom money-making was no problem recalled Peter Templer having once spoken the same about Bob Duport. Duport, of course, had always been on a smaller scale financially than Glober, also without any claims to newspaper fame. I felt that side of Glober, the newspaper fame, was not without a certain fascination for Gwinnett, even if he hesitated to approve of Glober as an individual. An idea suddenly struck me.
‘Does he write?’
‘Does Glober write?’
‘Yes?’
‘Sure—did he refuse to sign his name to a contract you showed him in London on the grounds he couldn’t write? I’ll bet it wasn’t true, and he can.’
Gwinnett was unbending a little.
‘I meant books. It’s always a temptation for a publisher to have a go at writing a book. After all, they think, if authors can do that, anybody can.’
‘Glober’s withstood the temptation so far.’
‘What I was leading up to is Glober having something of Trapnel about him—a Trapnel who brought off being a Complete Man. Of course if Glober can’t write, the comparison ceases to be valid, unless you accept as alternative Glober’s experience as entrepreneur in the arts. That might to some extent represent Trapnel’s literary sensibility.’
Gwinnett seemed unprepared for a comparison of that kind.
‘I just can’t imagine Trapnel without his writing,’ he said.
‘Certainly in his own eyes that would be a contradiction in terms. But all the beautiful girls, all the publishing and movie triumphs of one sort or another, all the publicity—yet the implied failure too. Experience of the other side of fortune. Losses, as well as gains, in money. Sadness in love, implicit in the changes of wives. In business, changes of interests. Nothing fails like success. Surely all that’s part of being complete in Trapnel’s eyes? Why shouldn’t Glober be Trapnel’s Complete Man at sixty?’
Gwinnett thought for a moment, but did not answer. The concept, even if it possessed a shred of interest, did not please him. He smiled a little grimly. There was no point in pressing the analogy. In any case, we had now reached the campo, along one side of which stood the palace to be visited; a Ren
aissance structure of moderate size, its exterior, as Gwinnett had explained on the way, severely restored in the eighteenth century. In the Venetian manner, the more splendid approach was by water, but it had been found more convenient to admit members of the Conference through the pillared entrance opening on to the square. We passed between massively sententious caryatids towards a staircase carpeted in crimson. Dr Brightman drew level.
‘This Palazzo is not even mentioned in most guide-books,’ she said. ‘I’ve ascertained the whereabouts of the Tiepolo, and will lead you to it. Follow me, after we’ve made our bow.
At the top of the stairs, supported by a retinue of the Conference’s Executive Committee, and civic officials, Jacky Bragadin was receiving the guests. The municipality had helped to promote the Conference, in conjunction with the Biennale Exhibition, which fell that year, as well as the Film Festival. A small nervous man, in his fifties, Jacky Bragadin’s mixed blood had not wholly divested him of that Venetian physiognomy, noticeable as much in the contemporary city as in the canvases of its painters; somewhat as if most Venetians wore Commedia dell’Arte masks fashioned in the Orient, only a guess made at what Europeans look like. Into such features Jacky Bragadin had fused those of his American ancestry. He did not appear greatly at ease, fidgeting a good deal, a scarcely discernible American accent overlaying effects of English schooldays. The more consequential members of the Conference, after shaking hands, paused to have a word, or chat with the entourage, standing about on a landing ornamented with baroque busts of Roman emperors. The rest moved forward into a frescoed gallery beyond.
‘Come along,’ said Dr Brightman. ‘The ceiling is in an ante-room further on, not at all an obvious place. These Luca Giordanos will keep most of them quiet for the time being. We shall have a minute or two to inspect the Tiepolo in peace.’
Gwinnett, preferring to go over the Palazzo at his own speed, strolled away to examine the Roman emperors on their plinths. He may also have had an interest in Luca Giordano. I followed Dr Brightman through the doors leading into the gallery of frescoes. We passed on through further rooms, Dr Brightman expressing hurried comments.
‘These tapestries must be Florentine—look, The Drunkenness of Lot. The daughter on the left greatly resembles a pupil of mine, but we must not tarry, or the mob will be upon us again.’
She also disallowed for inspection a rococo ball-room, white walls, festooned with gold foliage and rams’ heads, making a background for Longhi caricatures, savants and punchinellos with huge spectacles and bulbous noses.
‘How much they resemble our fellow members of the Conference. The ante-room should be at the far end here.’
We entered a small almost square apartment, high ceilinged, with tall windows set in embrasures.
‘Here we are.’
She pointed upward. Miraculous volumes of colour billowed, gleamed, vibrated, above us. Dr Brightman clasped her hands.
‘Look—Candaules and Gyges.’
At our immediate entry the room had seemed empty. A second later, the presence of two other persons was revealed. The unconventional position both had chosen to assume, for a brief moment concealed, as it were camouflaged, their supine bodies, one male, the other female. In order the better to gaze straight ahead at the Tiepolo in a maximum of comfort, they were lying face upwards, feet towards each other, on two of the stone console seats, set on either side of the recess of a high pedimented window. The brightness of the sun flowing in had helped to make this couple invisible. At first sight, the pair seemed to have fainted away; alternatively, met not long before with sudden death in the vicinity, its abruptness requiring they should be laid out in that place as a kind of emergency mortuary, just to get the bodies out of the way pending final removal. Dr Brightman, noticing these recumbent figures too, gave a quick disapproving glance, but, without comment on their posture, began to speak aloud her exposition on the ceiling.
‘As Russell Gwinnett said, one is a little reminded of Iphigenia in the Villa Valmarana, or the Mars and Venus there. The usual consummate skill in handling aerial perspectives. The wife of Candaules—Gautier calls her Nyssia, but I suspect the name invented by him—is obviously the the same model as Pharaoh’s daughter in Moses saved from the water at Edinburgh, also the lady in all the Antony and Cleopatra sequences, such as those at the Labia Palace, which I was once lucky enough to see.’
To make no mistake, I took another swift look at the couple lying on the ledges under the window. There was no mistake. They were sufficiently far away to convey quietly to Dr Brightman that we were in the presence of her ‘very bedworthy gentlewoman’, heroine, by implication, of ‘L’après-midi d’un monstre’. The horizontal figure on the left was certainly Pamela Widmerpool; the man on the right, lying like an effigy of exceptional length on a tomb, was not known to me. Dr Brightman as usual kept her head. Adjusting her spectacles, so as to make a more thorough survey of Pamela when the moment came, she continued to gaze for a few seconds upwards, her tone, at the same time, showing the keen interest she felt in this disclosure.
‘Lady Widmerpool? Indeed? I’ll curb my aesthetic enthusiasms in a moment in order to scan her surreptitiously.’
She concentrated for at least a minute on the Tiepolo, before making an inspection in her own time and manner. Leaving her to do that, I crossed the floor to where Pamela had brought her body into almost upright position in order to cast a disdainful glance on whoever had entered the room. As I advanced she gave one of her furious looks, then, without smiling, accepted that we knew each other.
‘Hullo, Pamela.’
‘Hullo.’
Much of the beauty of her younger days remained in her late thirties. She had allowed her hair to go grey, perhaps deliberately engineered the process, silver tinted, with faint highlights of strawberry pink that glistened when caught by sunlight. She looked harder, more angular in appearance, undiminished in capacity for putting less aggressive beauties in the shade. Apart from the instant warning of general hostility to all comers that her personality automatically projected, an unspoken declaration that no man or woman could remain unthreatened by her presence, she did not appear displeased at this encounter, merely indifferent. Even indifference was qualified by a certain sense of suppressed nervous excitement, suggesting tensions almost compliant to interruption of whatever she was doing. Usually her particular form of self-projection excluded conceding an inch in making contacts easier, outward expression, no doubt, of an inner sexual condition. She was like a royal personage, prepared to converse, but not bestowing the smallest scrap of assistance to the interlocutor, from whom all effort, every contribution of discursive vitality, must come. Now, on the other hand, she unbent a little.
‘Jacky didn’t mention you were staying. I suppose you arrived in that ghastly middle-of-the-night plane. Who’s the old girl? One of Jacky’s dykes?’
That was about the furthest I had ever heard Pamela go in the way of taking conversational initiative, for that matter, in showing interest in other people’s doings. I explained that neither Dr Brightman nor myself was the latest addition to the Bragadin house-party; for fun, subjoining a word about Dr Brightman’s academic celebrity. Pamela did not answer. She had the gift of making silence as vindictive as speech. Dr Brightman continued to examine the ceiling, while at the same time she moved discreetly in our direction. When she was near enough I introduced them. Dr Brightman’s manner was courteously firm, Pamela in no way uncivil, though she did not attempt to name the man with her. He, also risen from the flat of his back, had now manifestly put himself into an attitude preparatory for meeting strangers. Evidently he was familiar with Pamela’s distaste for social convention of any kind, in any case well able to look after himself. After giving her a statutory moment or two to make his identity known, he announced himself without her help. The intonation, deep and pleasant, was American.
‘Louis Glober.’
He held out a large white hand, much manicured. The voice came back over the years
, the tone just the same, quiet in pitch, masterful, friendly, full of hope. Otherwise hardly a trace remained of the smooth dominating young man who had interviewed Tokenhouse about the Cubist series, given the dinner-party for the John drawing, ‘done’ Mopsy Pontner on the dinner-table in the private suite of that defunct Mayfair hotel. He was still tall, of course, no less full of assurance, though that assurance took rather a different form. It was in one sense less flowing—less like, say, Sunny Farebrother’s determination to charm—in another, tougher, more outwardly ruthless. What Glober had lost, physically speaking (a good deal, including, naturally enough, all essentially youthful adjuncts), was to a certain extent counterbalanced by transmutation into a different type of distinguished appearance. The young Byzantine emperor had become an old one; Herod the Tetrarch was perhaps nearer the mark than Byzantine emperor; anyway a ruler with a touch of exoticism in his behaviour and tastes. What was left of Glober’s hair, scarcely more than a suggestion he once had owned some, was still black—possibly from treatment artificial as Pamela’s—his handsome, sallow pouchy face become richly senatorial. Never particularly ‘American’ in aspect (not, at least, American as pictured by Europeans), now he might have come from Spain, Italy, any of the Slav countries. A certain glassiness about the eyes recalled Sir Magnus Donners, though Glober was, in general, quite another type of tycoon. Before I could reintroduce myself to him, Dr Brightman went into attack with Pamela.
A Dance to the Music of Time: 2nd Movement Page 31
