The Golden Notebook

  It was April, Paris, as always, charming; and Ella took a room in the modest hotel on the Left Bank she had last been in, two years before, with Paul. She fitted herself into the room, leaving space for him. It was only when she saw what she was doing that it occurred to her that she should not be in this hotel at all. But it seemed too much effort to leave it and find another. It was still early in the evening. Below her tall windows Paris was animated with greening trees and strolling people. It took Ella nearly an hour to get herself out of the room and into a restaurant to eat. She ate hastily, feeling exposed; and walked home with her eyes kept deliberately preoccupied. Nevertheless two men good-humouredly greeted her, and both times she froze into nervous annoyance, and walked on with hastening steps. She got into her bedroom and locked the door as if against a danger. Then she sat at the window and thought that five years before the dinner alone would have been pleasant because of its solitariness, and because of the possibilities of an encounter; and the walk home from the restaurant alone delightful. And she would certainly have had a cup of coffee or a drink with one or other of the two men. So what had happened to her? It was true that with Paul she had taught herself never to look at a man, even casually, because of his jealousy; she was, with him, like a protected indoors woman from a Latin country. But she had imagined this was an outward conformity to save him from self-inflicted pain. Now she saw that her whole personality had changed.

  For some time she sat, listless, at the window, watching the darkening but blossoming city, and told herself she should make herself walk through its streets, and force herself into talking to people; she should let herself be picked up and flirt a little. But she understood she was as incapable of walking down the hotel stairs, leaving her key at the desk and going into the streets, as if she had just served a prison sentence for four years in solitary confinement and then told to behave normally. She went to bed. She was unable to sleep. She put herself to sleep, as always, by thinking of Paul. She had never, since he had left her, been able to achieve a vaginal orgasm; she was able to reach the sharp violence of the exterior orgasm, her hand becoming Paul’s hand, mourning as she did so, the loss of her real self. She slept, overstimulated, nervous, exhausted, cheated. And by using Paul thus, brought close to her his “negative” self, the man full of self-distrust. The real man retreated further and further from her. It was becoming hard for her to remember the warmth of his eyes, the humour of his voice. She would sleep beside a ghost of defeat; and the ghost wore, even when she might wake, briefly, out of habit, to open her arms so that his head might come to her breast, or to lay her head on his shoulder, a small, bitter, self-derisive smile. Yet when she dreamed of him, asleep, he was always to be recognised in the various guises he chose, because his image was one of warmth, a calm masculinity. Paul, whom she had loved, she kept sleeping; awake she retained nothing but shapes of pain.

  Next morning she slept too long, as she always did when away from her son. She woke thinking that Michael must have been up, dressed, and breakfasted hours ago with Julia; he would be nearing his lunchtime at school. Then she told herself she had not come to Paris to follow in her mind the stages of her son’s day; she reminded herself that Paris lay waiting for her outside, under a light-hearted sun. And it was time for her to dress for her appointment with the editor.

  The offices of Femme et Foyer were across the river and in the heart of an ancient building that one must enter where once carriages, and before then, troops of privately owned soldiers had pressed under a noble carved archway. Femme et Foyer occupied a dozen soberly modern and expensive rooms in decaying piles of masonry that smelt even now of the church, of feudalism. Ella, expected, was shown into Monsieur Brun’s office, and was received by Monsieur Brun, a large, well-kept, ox-like young man who greeted her with an excess of good manners which failed to conceal his lack of interest in Ella and in the proposal deal. They were to go out for an aperitif. Robert Brun announced to half a dozen pretty secretaries that since he would be lunching with his fiancée he would not be back until three and received a dozen congratulatory and understanding smiles. Ella and Robert Brun passed through the venerable courtyard, emerged from the ancient gateway, and set out for the café, while Ella enquired politely about his projected marriage. She was informed in fluent and correct English that his fiancée was formidably pretty, intelligent and talented. He was to marry her next month, and they were now engaged in preparing their apartment. Elise (he spoke the name with an already practised propriety, grave and formal) was at that very moment negotiating for a certain carpet they both coveted. She, Ella, would have the privilege of seeing her for herself. Ella hastened to assure him that she would be delighted, and congratulated him again. Meanwhile they had reached the patch of sun-shaded, table-crowded pavement they were to patronise, had sat down, and ordered pernods. This was the moment for business. Ella was at a disadvantage. She knew that if she returned to Patricia Brent with the rights of this serial Comment J’ai fui un Grand Amour, that irrepressibly provincial matron would be delighted. For her, the word French guaranteed a brand of excellence: discreetly but authentically amorous, high-toned, cultivated. For her, the phrase: by arrangement with the Paris Femme et Foyer would exude precisely the same exclusive spiciness as an expensive French scent. Yet Ella knew that no sooner had Patricia actually read it (in translation—she did not read French) she would agree, though reluctantly, that the story wouldn’t do at all. Ella could see herself, if she chose, as protecting Patricia against her own weakness. But the fact was Ella had no intention of buying the story, had never had any intention of buying it; and therefore she was wasting this incredibly well-fed, well-washed and correct young man’s time. She ought to feel guilty about it; she did not. If she had liked him, she would have been contrite: as it was, she saw him as a species of highly-trained middle-class animal, and was prepared to make use of him: she was unable, so weakened was she as an independent being, to enjoy sitting at a table publicly without a man’s protection, and this man would do as well as another. For form’s sake, she began explaining to Monsieur Brun how the story would have to be adapted for England. It concerned a young and poor orphan, sorrowing for a beautiful mother who had been brought to an early death-bed by a callous husband. This orphan had been reared in a convent by some good sisters. In spite of her piety, she was seduced at the age of fifteen by the heartless gardener, and, unable to face the innocent nuns, she had run away to Paris where she clung, culpable but utterly innocent at heart, to one man after another, all of whom betrayed her. Finally, at the age of twenty, with an illegitimate child put in the care of yet another set of good sisters, she met the assistant of a baker of whose love she felt herself unworthy. She fled from this, the true love, into several more pairs of uncaring arms, sobbing almost uninterruptedly. But at last the assistant of the baker (but only after a sufficient number of words had been used) caught up with her, forgave her, and promised her undying love, passion and protection. “Mon amour,” this epic ended, “Mon amour, I did not know when I ran away from you that I was flying from true love.”

  “You see,” said Ella, “this is so French in flavour that we would have to have it re-written.”

  “But, yes? How is that?” The round, prominent, dark brown eyes were resentful. Ella stopped herself on the brink of indiscretion—she had been going to complain of the tone of mingled eroticism and religiosity—thinking that Patricia Brent would stiffen in precisely the same way if someone, perhaps Robert Brun, had said: “This is so English in flavour.”

  Robert Brun said: “I found the story very sad; it is psychologically very correct.”

  Ella remarked: “The stories written for women’s magazines are always psychologically correct. But the point is, on what level are they correct?”

  His face, his full eyes, were momentarily immobilised with annoyed incomprehension. Then Ella saw his eyes move away and off in a glance along the pavement: the fiancée was overdue. He remarked: “I understood from Miss Brent??
?s letter she had decided to buy the story.” Ella said: “If we were to print it, we should have to rewrite it with no convents, no nuns, no religion.” “But the whole point of that story—surely you must agree?—is the goodness of the poor girl, she is at heart a good girl.” He had understood that the story would not be bought; he did not care one way or the other; and his eyes had now focused themselves, for at the end of the pavement appeared a slight, pretty girl, in type rather like Ella, with a pale little pointed face and fluffy black hair. Ella was thinking: Well I may be his type, but he certainly isn’t mine; as the girl approached, and she waited for him to rise and greet his fiancée. But at the last moment he shifted his gaze and the girl passed. Then he returned to his inspection of the end of the pavement. Well, thought Ella; well—and sat watching his detailed, analytical, practically sensual appraisal of one woman after another, to the point where the woman in question would glance at him, annoyed or interested; when he would let his eyes move to one side.

  Finally there appeared a woman who was ugly, yet attractive; sallow, lumpish in figure, yet made up with skill and very well dressed. This turned out to be the fiancée. They greeted each other with the licensed pleasure of the publicly linked couple. All eyes turned, as they had been intended to, towards the happy pair, and people smiled. Then Ella was introduced. Now the conversation continued in French. It was of the carpet, so much more expensive than either had expected. But it had been bought. Robert Brun grumbled and exclaimed; the future Madame Brun sighed and fluttered her lashes over dark black-rimmed eyes, and murmured with discreet lovingness that for him nothing was too good. Their hands met on a smile. His was complacent; hers pleased, and a trifle anxious. Before the hands had even parted, his eyes had escaped, out of habit, in a quick glance to the end of the pavement where a pretty girl appeared. He frowned as he collected himself. His future wife’s smile froze, for a second, as she noted this. Smiling prettily, however, she sat back in her chair, and spoke prettily to Ella of the problems of furnishing in these hard times. Her glances at her fiancé reminded Ella of a prostitute she had seen late one night in the underground in London; just so had this woman caressed and invited a man with small, discreet, pretty glances of her eyes.

  Ella contributed facts about furnishing from England, while she thought: now I’m odd-woman-out with an engaged couple. I feel isolated and excluded. I feel exposed again. In a minute they will get up and leave me. And I shall feel even more exposed. What has happened to me? And yet I would rather be dead than in this woman’s shoes, and that’s the truth.

  The three remained together for another twenty minutes. The fiancée continued vivacious, feminine, arch, caressing towards her captive. The fiancé remained well-mannered and proprietary. His eyes alone betrayed him. And she, his captive, never for one moment forgot him—her eyes moved with his to note his earnest, minute (though now necessarily curtailed) inspection of the women who passed.

  This situation was heartbreakingly clear to Ella; and she felt, surely, to anyone who examined the couple for as long as five minutes? They had been lovers over-long. She had money, and this was necessary to him. She was desperately, fearfully in love with him. He was fond of her, and already chafing at the bonds. The great well-groomed ox was uneasy before the noose had even tightened around his neck. In two years, three years, they would be Monsieur and Madame Brun, in a well-furnished apartment (the money provided by her) with a small child and perhaps a nurse-maid; and she would be caressing and gay and anxious still; and he would be politely good-humoured, but sometimes bad-tempered when the demands of the home prevented his pleasures with his mistress.

  And although every phase of this marriage was as clear to Ella as if it were in the past and she was being told of it; although she felt irritable with dislike of the whole situation, yet she dreaded the moment when the couple would rise and leave her. Which they did, with every allowance of their admirable French politeness, he so smoothly indifferently polite, she so anxiously polite, and with an eye on him which said: see how well I behave to your business friends. And Ella was left sitting at the table, at the hour for companionable eating, feeling as if a skin had been peeled off her. Instantly she protected herself by imagining that Paul would come to sit by her, where Robert Brun had sat. She was conscious that two men, now that she was alone, were weighing her up, weighing their chances. In a moment one of them would come over, and she would then behave like a civilised person, have a drink or two, enjoy the encounter, and return to her hotel fortified and freed from the ghost of Paul. She was sitting with her back to a low tub of greenery. The sunshade above her enclosed her in a warm yellow glow. She shut her eyes and thought: When I open my eyes perhaps I’ll see Paul. (It suddenly seemed inconceivable that he should not be somewhere near, waiting to come and join her.) She thought: What did it mean, my saying I loved Paul—when his going has left me like a snail that has had her shell pecked off by a bird? I should have said that my being with Paul essentially meant I remained myself, remained independent and free. I asked nothing of him, certainly not marriage. And yet now I am in pieces. So it was all a fraud. In fact I was sheltering under him. I was no better than that frightened woman, his wife. I am no better than Elise, future wife of Robert. Muriel Tanner kept Paul by never asking questions, by effacing herself. Elise is buying Robert. But I use the word love and think of myself as free, when the truth is…a voice, close to her, enquired if the place were free, and Ella opened her eyes to see a small, lively, vivacious Frenchman, in the act of seating himself. She told herself that he looked pleasant, and she would stay where she was; she smiled nervously, said she felt ill and had a headache, and got up and left, conscious that her manner had been that of a frightened schoolgirl.

  And now she made a decision. She walked back to the hotel, across Paris, packed, sent a wire to Julia and another to Patricia, and took the coach out to the airport. There was a free seat on an aircraft at nine o’clock, three hours from now. In the airport restaurant she ate at ease—feeling herself; a traveller has the right to be alone. She read a dozen French women’s magazines, professionally, marking features and stories that might do for Patricia Brent. She did this work with half her mind; and found herself thinking: Well, the cure for the sort of condition I am in is work. I shall write another novel. But the trouble is, with the last one there was never a point when I said: I shall write a novel. I found I was writing a novel. Well, I must put myself in the same state of mind—a kind of open readiness, a passive waiting. Then perhaps one day I’ll find myself writing. But I don’t really care about it—I didn’t really care about the other. Suppose Paul had said to me, I’ll marry you if you promise never to write another word? My God, I would have done it! I would have been prepared to buy Paul, like an Elise buying Robert Brun. But that would have been a double deception, because the act of writing it was irrelevant—it was not an act of creation, but an act of recording something. The story was already written, in invisible ink…well perhaps somewhere inside me is another story written in invisible ink…but what’s the point? I am unhappy because I have lost some kind of independence, some freedom; but my being “free” has nothing to do with writing a novel; it has to do with my attitude towards a man, and that has been proved dishonest, because I am in pieces. The truth is that my happiness with Paul was more important to me than anything and where has that landed me? Alone, frightened to be alone, without resources, running from an exciting city because I haven’t the moral energy to ring up any one of a dozen people who would be pleased if I did—or at least might turn out to be pleased.

  What is terrible is that after every one of the phases of my life is finished, I am left with no more than some banal commonplace that everyone knows: in this case, that women’s emotions are all still fitted for a kind of society that no longer exists. My deep emotions, my real ones, are to do with my relationship with a man. One man. But I don’t live that kind of life, and I know few women who do. So what I feel is irrelevant and silly…I am always
coming to the conclusion that my real emotions are foolish, I am always having, as it were, to cancel myself out. I ought to be like a man, caring more for my work than for people; I ought to put my work first, and take men as they come, or find an ordinary comfortable man for bread and butter reasons—but I won’t do it, I can’t be like that…

  The loudspeaker was calling the number of the flight; and Ella went with the others across the tarmac and into the aircraft. She sat down and noted a woman sat beside her and that she was relieved it was a woman. Five years ago she would have been sorry. The aircraft taxied forward, turned, and began racing for the take-off. The machine gathered speed, vibrating; seemed to hunch itself up with the effort of getting into the air, then slowed. It stood roaring futilely for a few minutes. Something was wrong. The passengers, crammed so close together in the shaking metal container, looked covertly at each other’s brightly-lit faces to see if their own alarm was reflected; understood that their own faces must be preserving masks of unconcern; and lapsed into private fears, glancing at the air hostess, whose look of casualness seemed overdone. Three times the aircraft sped forward, gathered itself for the climb, slowed, and stood roaring. Then it taxied back to the airport building, and the passengers were invited to descend while the mechanics “adjusted a small fault in the engine.” They all trooped back to the restaurant where officials, outwardly polite, but exuding irritation, announced that a meal would be served. Ella sat by herself in a corner, bored and annoyed. Now it was a silent company, reflecting on their good luck that the engine fault had been discovered in time. They all ate, to fill in time, ordered drinks, and sat looking out of the windows to where mechanics, under bright beams of light, flocked around their aircraft.