Point Counter Point

  Susan died; but the prolonged and passionate grief which he felt on that occasion could have been worked up, if Burlap had chosen to imagine her dead and himself desolate and lonely, almost equally well during her lifetime. Ethel was touched by the intensity of his feelings, or rather by the loudness and insistence of their expression. Burlap seemed to be quite broken down, physically and spiritually, by his grief. Her heart bled for him. Encouraged by her sympathy, he plunged into an orgy of regrets, whose vanity made them exasperatingly poignant, of repentances, excruciating for being too late, of unnecessary confessions and self-abasements. Feelings are not separate entities that can be stimulated in isolation from the rest of the mind. When a man is emotionally exalted in one direction, he is liable to become emotionally exalted in others. Burlap's grief made him noble and generous; his self-pity made it easy to feel Christian about other people. 'You're unhappy, too,' he said to Ethel. 'I can see it.' She admitted it; told him how much she hated her work, hated the place, hated the people; told him her wretched history. Burlap churned up his sympathy. 'But what do my little miseries matter in comparison with yours,' she protested, remembering the violence of his outcry. Burlap talked about the freemasonry of suffering and then, dazzled by the vision of his own generous self, proceeded to offer Miss Cobbett a secretarial job on the staff of the Literary World. Infinitely preferable as London and the Liteary World seemed to the Insurance office and Birmingham, Ethel hesitated. The insurance job was dull, but it was safe, permanent, pensioned. In another and yet more explosive burst of generous feeling Burlap guaranteed her all the permanence she wanted. He felt warm with goodness.

  Miss Cobbett allowed herself to be persuaded. She came. If Burlap had hoped to slide by gradual stages and almost imperceptibly into Ethel's bed, he was disappointed. A broken-hearted child in need of consolation, he would have liked to lure his consoler, ever so spiritually and platonically, into a gentle and delicious incest. But to Ethel Cobbett the idea was unthinkable; it never entered her head. She was a woman of principles, as passionate and violent in her moral loyalties as in her love. She had taken Burlap's grief seriously and literally. When they had agreed, with tears, to found a kind of private, cult for poor Susan, to raise and keep perpetually illumined and adorned an inward altar to her memory, Ethel had imagined that they were meaning what they were saying. She meant it in any case. It never occurred to her that Burlap did not. His subsequent behaviour had astonished and shocked her. Was this the man, she asked herself as she watched him living his life of disguised and platonic and slimily spiritual promiscuities, was this the man who had vowed to keep the candles for ever burning in front of poor little Susan's altar? She looked, she spoke her disapproval. Burlap cursed himself for his foolishness in having lured her away from the insurance office, his double-dyed idiocy in promising her permanence of tenure. If only she'd go of her own accord! He tried to make her life a misery for her by treating her with a cold, superior impersonality, as though she were just a machine for taking down letters and copying articles. But Ethel Cobbett grimly stuck to her job, had stuck to it for eighteen months now and showed no signs of giving notice. It was intolerable; it couldn't go on. But how should he put an end to it? Of course, he wasn't legally bound to keep her for ever. He had never put down anything in black and white. If the worst came to the worst...

  Stonily ignoring the look in Ethel Cobbett's eyes, the almost imperceptible smile of irony, Burlap went on with his dictation. One doesn't deign to notice machines; one uses them. But still, this sort of thing simply could not go on.

  'It is not my custom to write personal letters to unknown contributors,' he repeated in a firm, determined tone. 'But I cannot refrain from telling you--no, no--from thanking you for the great pleasure your poems have given me. The lyrical freshness of your work, its passionate sincerity, its untamed and almost savage brilliance have come as a surprise and a refreshment to me. An editor must read through such quantities of bad literature, that he is almost pathetically grateful to those who--no; say: to the rare and precious spirits who offer him gold instead of the customary dross. Thank you for the gift of...' he looked again at the papers, 'of "Love in the Greenwood" and "Passion Flowers." Thank you for their bright and turbulent verbal surface. Thank you also for the sensitiveness...no, the quivering sensibility, the experience of suffering, the ardent spirituality which a deeper insight detects beneath that surface. I am having both poems set up at once and hope to print them early next month.

  'Meanwhile, if you ever happen to be passing in the neighbourhood of Fleet Street, I should esteem it a great honour to hear from you personally some account of your poetical projects. The literary aspirant, even of talent, is often balked by material difficulties which the professional man of letters knows how to circumvent. I have always regarded it as one of my greatest privileges and duties as a critic and editor to make smooth the way for literary talent. This must be my excuse for writing to you at such length. Believe me, yours very truly.'

  He looked again at the typewritten poems and read a line or two. 'Real talent,' he said to himself several times, 'real talent.' But 'one's devil' was thinking that the girl was remarkably outspoken, must have a temperament, seemed to know a thing or two. He dropped the papers into the basket on his right hand and picked up another letter from the basket on his left.

  'To the Reverend James Hitchcock,' he dictated. 'The Vicarage, Tuttleford, Wilts. Dear Sir, I regret very much that I am unable to use your long and very interesting article on the relation between agglutinative languages and agglutinative chimera-forms in symbolic art. Exigencies of space...

  Pink in her dressing-gown like the tulips in the vases, Lucy lay propped on her elbow, reading. The couch was grey, the walls were hung with grey silk, the carpet was rose-coloured. In its gilded cage even the parrot was pink and grey. The door opened.

  'Walter, darling! At last!' She threw down her book.

  'Already. If you knew all the things I ought to be doing instead of being here.' ('Do you promise?' Marjorie had asked. And he had answered, ' I promise.' But this last visit of explanation didn't count.)

  The divan was wide. Lucy moved her feet towards the wall, making place for him to sit down. One of her red Turkish slippers fell.

  'That tiresome manicure woman,' she said, raising the bare foot a few inches so that it came into her line of sight. 'she will put that horrible red stuff on my toe nails. They look like wounds.'

  Walter did not speak. His heart was violently beating. Like the warmth of a body transposed into another sensuous key, the scent of her gardenias enveloped him. There are hot perfumes and cold, stifling and fresh. Lucy's gardenias seemed to fill his throat and lungs with a tropical and sultry sweetness. On the grey silk of the couch, her foot was flower-like and pale, like the pale fleshy buds of lotus flowers. The feet of Indian goddesses walking among their lotuses are themselves flowers. Time flowed in silence, but not to waste, as at ordinary moments. It was as though it flowed, pumped beat after beat by Walter's anxious heart, into some enclosed reservoir of experience to mount and mount behind the dam until at last, suddenly...Walter suddenly reached out and took her bare foot in his hand. Under the pressure of those silently accumulated seconds, the dam had broken. It was a long foot, long and narrow. His fingers closed round it. He bent down and kissed the instep.

  'But, my dear Walter!' She laughed. 'You're becoming quite oriental.'

  Walter said nothing, but kneeling on the ground beside the couch, he leaned over her. The face that bent to kiss her was set in a kind of desperate madness. The hands that touched her trembled. She shook her head, she shielded her face with her hand.

  'No, no.'

  'But why not?'

  'It wouldn't do,' she said.

  'Why not?'

  'It would complicate things too much for you, to begin with.'

  'No, it wouldn't,' said Walter. There were no complications. Marjorie had ceased to exist.

  'Besides,' Lucy went on, 'you seem to
forget me. I don't want to.'

  But his lips were soft, his hands touched lightly. The moth-winged premonitions of pleasure came flutteringly to life under his kisses and caresses. She shut her eyes. His caresses were like a drug, at once intoxicant and opiate. She had only to relax her will; the drug would possess her utterly. She would cease to be herself. She would become nothing but a skin of fluttering pleasure enclosing a void, a warm abysmal darkness.

  'Lucy!' Her eyelids fluttered and shuddered under his lips. His hand was on her breast. 'My sweetheart.' She lay quite still, her eyes still closed.

  A sudden and piercing shriek made both of them start, broad awake, out of their timelessness. It was as though a murder had been committed within a few feet of them, but on someone who found the process of being slaughtered rather a joke, as well as painful.

  Lucy burst out laughing. 'It's Polly.'

  Both turned towards the cage. His head cocked a little on one side, the bird was examining them out of one black and circular eye. And while they looked, a shutter of parchment skin passed like a temporary cataract across the bright expressionless regard and was withdrawn. The jocular martyr's dying shriek was once again repeated.

  'You'll have to cover his cage with the cloth,' said Lucy.

  Walter turned back towards her and angrily began to kiss her. The parrot yelled again. Lucy's laughter redoubled.

  'It's no good,' she gasped. 'He won't stop till you cover him.'

  The bird confirmed what she had said with another scream of mirthful agony. Feeling furious, outraged and a fool, Walter got up from his knees and crossed the room. At his approach the bird began to dance excitedly on its perch; its crest rose, the feathers of its head and neck stood apart from one another like the scales of a ripened fir-cone. 'Good-morning,' it said in a guttural ventriloquial voice, 'good-morning, Auntie, good-morning, Auntie, good-morning, Auntie....' Walter unfolded the pink brocade that lay on the table near the cage and extinguished the creature. A last 'Good-morning, Auntie' came out from under the cloth. Then there was silence.

  'He likes his little joke,' said Lucy, as the parrot disappeared. She had lighted a cigarette.

  Walter strode back across the room and without saying anything took the cigarette from between her fingers and threw it into the fireplace. Lucy raised her eyebrows, but he gave her no time to speak. Kneeling down again beside her, he began to kiss her, angrily.

  'Walter,' she protested. 'No! What's come over you?' She tried to disengage herself, but he was surprisingly strong. 'You're like a wild beast.' His desire was dumb and savage. 'Walter! I insist.' Struck by an absurd idea, she suddenly laughed. 'If you knew how like the movies you were! A great huge grinning close-up.'

  But ridicule was as unavailing as protest. And did she really desire it to be anything but unavailing? Why shouldn't she abandon herself? It was only rather humiliating to be carried away, to be compelled instead of to choose. Her pride, her will resisted him, resisted her own desire. But after all, why not? The drug was potent and delicious. Why not? She shut her eyes. But as she was hesitating, circumstances suddenly decided for her. There was a knock at the door. Lucy opened her eyes again. 'I'm going to say come in,' she whispered.

  He scrambled to his feet and, as he did so, heard the knock repeated.

  'Come in!'

  The door opened. 'Mr. Illidge to see you, madam,' said the maid.

  Walter was standing by the window, as though profoundly interested in the delivery van drawn up in front of the opposite house.

  'Show him up,' said Lucy.

  He turned round as the door closed behind the maid. His face was very pale, his lips were trembling.

  'I quite forgot,' she explained 'I asked him last night; this morning rather.'

  He averted his face and without saying a word crossed the room, opened the door and was gone.

  'Walter!' she called after him, 'Walter!' But he did not return.

  On the stairs he met Illidge ascending behind the maid.

  Walter responded to his greetings with a vague salute and hurried past. He could not trust himself to speak.

  'Our friend Bidlake seemed to be in a great hurry,' said Illidge, when the preliminary greetings were over. He felt exultantly certain that he had driven the other fellow away.

  She observed the triumph on his face. Like a little ginger cock, she was thinking. 'He'd forgotten something,' she vaguely explained.

  'Not himself, I hope,' he questioned waggishly. And when she laughed, more at the fatuous masculinity of his expression than at his joke, he swelled with selfconfidence and satisfaction. This social business was as easy as playing skittles. Feeling entirely at his ease, he stretched his legs, he looked round the room. Its richly sober elegance impressed him at once as the right thing. He sniffed the perfumed air appreciatively.

  'What's under that mysterious red cloth there?' he asked, pointing at the mobled cage.

  'That's a cockatoo,' Lucy answered. 'A cock-adoodle-doo,' she emended, breaking out into a sudden disquieting and inexplicable laughter.

  There are confessable agonies, sufferings of which one can positively be proud. Of bereavement, of parting, of the sense of sin and the fear of death the poets have eloquently spoken. They command the world's sympathy. But there are also discreditable anguishes, no less excruciating than the others, but of which the sufferer dare not, cannot speak. The anguish of thwarted desire, for example. That was the anguish which Walter carried with him into the street. It was pain, anger, disappointment, shame, misery all in one. He felt as though his soul were dying in torture. And yet the cause was unavowable, low, even ludicrous. Suppose a friend were now to meet him and to ask why he looked so unhappy.

  'I was making love to a woman when I was interrupted, first by the screaming of a cockatoo, then by the arrival of a visitor.'

  The comment would be enormous and derisive laughter. His confession would have been a smokingroom joke. And yet he could not be suffering more if he had lost his mother.

  He wandered for an hour through the streets, in Regent's Park. The light gradually faded out of the white and misty afternoon; he became calmer. It was a lesson, he thought, a punishment; he had broken his promise. For his own good as well as for Marjorie's, never again. He looked at his watch and seeing that it was after seven, turned homewards. He arrived at the house tired and determinedly repentant. Marjorie was sewing; the lamplight was bright on her thin fatigued face. She too was wearing a dressing-gown. It was mauve and hideous; he had always thought her taste bad. The flat was pervaded with a smell of cooking. He hated kitchen smells, but that was yet another reason why he should be faithful. It was a question of honour and duty. It was not because he preferred gardenia to cabbage that he had a right to make Marjorie suffer.

  'You're late,' she said.

  'There was a lot to do,' Walter explained. 'And I walked home.' That at least was true. 'How are you feeling?' He laid his hand on her shoulder and bent down. Dropping her sewing, Marjorie threw her hands round his neck. What a happiness, she was thinking, to have him again! Hers once more. What a comfort! But even as she pressed herself against him, she realized that she was once more betrayed. She broke away from him.

  'Walter, how could you?'

  The blood rushed to his face; but he tried to keep up the pretence. 'How could I what? ' he asked.

  'You've been to see that woman again.'

  'But what are you talking about?' He knew it was useless; but he went on pretending all the same.

  'It's no use lying.' She got up so suddenly that her work basket overturned and scattered its contents on the floor. Unheeding, she walked across the room. 'Go away!' she cried, when he tried to follow her. Walter shrugged his shoulders and obeyed. 'How could you?' she went on. 'Coming home reeking of her perfume.' So it was the gardenias. What a fool he was not to have foreseen....'After all you said last night. How could you?'

  'But if you'd let me explain,' he protested in the tone of a victim--an exasperated victim.


  'Explain why you lied,' she said bitterly. 'Explain why you broke your promise.'

  Her contemptuous anger evoked an answering anger in Walter. 'Merely explain,' he said with hard and dangerous politeness. What a bore she was with her scenes and jealousies! What an intolerable, infuriating bore!

  'Merely go on lying,' she mocked.

  Again he shrugged his shoulders. 'If you like to put it like that,' he said politely.

  'Just a despicable liar--that's what you are.' And turning away from him, she covered her face with her hands and began to cry.