The Lady in the Van

  Being of an Anglo-Catholic persuasion Father Jolliffe practised auricular confession, when he would come clean about his predilections, an ordeal that was somewhat diminished by choosing as his confessor a clergyman whom he knew ‘had no problem with that’ and being of a similar persuasion himself would place it low down in the hierarchy of possible wickedness. With never much to confess on that particular score, now with Clive gone there was going to be even less.

  Somebody coughed. The congregation were waiting and though the pause while Father Jolliffe wrestled with what he should and should not say was understood to be one of deep personal remembrance or even a chance to regain control of his feelings, still, there wasn’t all day.

  Father Jolliffe plunged on and suddenly it all came right. ‘We shall be singing some hymns. We shall pray together and there will be readings and some of Clive’s favourite music.’ Father Jolliffe paused. ‘Prayer may seem to some of you an outmoded activity and hymns too, possibly, but that was not what Clive thought. Clive, as I know personally, was always keen to involve himself in the rites and rituals of the church and were he here he would be singing louder and praying harder than anybody.’

  Despite the unintentional disclosure of his friendship with Clive, Father Jolliffe was not displeased with how he (or possibly God) had turned it to good account. Using Clive as a way round any misgivings the congregation might have re the religious side of things was a happy thought. It took the curse off the service very nicely and in the shadows behind the pillar Treacher made another note and this time added a tick.

  Actually Geoffrey (we are back to Geoffrey again) knew that where Clive’s religious inclinations were concerned he was stretching it a bit. Pious he wasn’t and his interest in the rites and rituals of the church didn’t go much further than the not unfetching young men who were often helping to perform them, Clive reckoning, not always correctly, that what with the ceremony, the incense and the general dressing-up anyone of a religious disposition was, as he put it, ‘halfway there already’. He was particularly keen on vestments, though not in any way Father Jolliffe (sorry) could share with the congregation, having once found Clive in the rectory clad only in his underpants trying on cotta and cope.

  Father Jolliffe now led the congregation in prayer, asking them to kneel if they so chose or simply bow their heads so that they could together remember Clive. Heads went down, eyes were closed with only the security guard on the qui vive, scowling across the bowed benches where someone, he felt sure, might be only pretending to pray. At one point he even stood up and turned round lest some wrongdoer might be taking advantage of these unstructured devotions in order to creep up and snatch the clasp. Suspicious, as he put it, ‘of this whole prayer thing’ he slumped back moodily in his seat as Jolliffe launched into the Collect.

  The vicar didn’t improvise prayers, Treacher was relieved to note, drawing them from the ample stock of the old prayer book, and saying them briskly and formally as Treacher preferred them to be said. There were few things worse, in Treacher’s view, than a priest who gave too much weight to the words of prayers, pausing as if to invest them with heartfelt meaning and thereby impressing the congregation (and himself) with his sincerity. Treacher had even heard the Lord’s Prayer delivered in this fashion and found it intolerable and even queasy. But Father Jolliffe, perhaps because of his Catholic leanings, was dry and to the point. ‘Say the word, say the word only’ seemed to be his motto and Treacher added another tick.

  So far, Treacher was bound to admit, Jolliffe was not doing too badly. Even the news of the priest’s friendship with the dead man had scarcely counted against him, as the Archdeacon had all along assumed Jolliffe to be homosexual, though without seeing this as a cause for censure or even a necessary obstacle to promotion. Untrammelled by wife or family and with a housekeeper to look after the vicarage (when there were vicarages to look after), their energies channelled, the sex under wraps, once upon a time homosexuals had made excellent priests and still could so long as they were sensible. The homosexuals Treacher preferred were dry, acerbic and, of course, unavowed; A. E. Housman the type that he approved of, minus the poetry, of course, and (though this was less important) minus the atheism. Nowadays, though, discretion had been cast aside and it had all gone splashy, priests feeling in conscience bound to make their proclivities plain, with even Jolliffe’s declaration of friendship for the dead man a timorous attempt, Treacher felt, to lay his cards on the table. Which was a mistake, Treacher believing that a priest should no more declare a sexual preference than he should a political one. Even so, Treacher reflected, there was this to be said in Jolliffe’s favour that, whatever his shortcomings, he was not she. In Treacher’s church there was a place for she, running the jumble sale, or doing the altar flowers; a she could even take the plate round or read the lesson. But there was no place for she at the altar or in the pulpit. So, give Jolliffe his due: he was not she.

  * * *

  Now the congregation sat and the scheduled part of the service began. The programme had been put together by Pam, a cheerful woman Clive had known since childhood and who was now a producer at the BBC, and Derek, his longtime landlord. Eclectic would be the kindest word to describe it. Treacher, who had no reason to be kind, thought it looked a bit of a ragbag.

  First up was a well-known actress and star of a current sitcom who ascends the stairs of the lectern where she reads immaculately a piece about death not really being the end but just like popping next door. It was a regular standard at memorial services and seeing it billed in the programme Treacher had sighed. He believed in death and when he said he believed in God, death was to a large extent what he meant. These days people didn’t, or tried not to, always feeling death was unfair, so when they saw it coming to them or their loved ones they made a great song and dance about it.

  And these days there was always blame; it was ‘down to’ someone or other—the school, the doctor, the police—and you must fight back, that was today’s philosophy; in the midst of life we are in death was nowadays a counsel for wimps. It didn’t used to be like this, he thought. Had it come from America, he wondered. Or Liverpool? Was television to blame? Or Mrs Thatcher? These days he seldom felt well himself but he wasn’t complaining. Or perhaps (and here he was trying to be charitable) what was really distasteful was death as leveller. These days people were so anxious to lay hold of anything that marked them out from the rest—the death of their children, for instance, their neglect by hospitals, being fumbled when young or tortured by nuns; even the murder of loved ones would do if it served to single them out. Whereas the good thing about death was that it singled everybody out. It was the one unchanging thing. Treacher smiled.

  Father Jolliffe’s thoughts were different, though just as wayward and far from Clive. The next reader had a ponytail and Geoffrey found himself wondering at what point in bed the hair was unloosed, shaken out, let down. And by whom? He thought of the curtain of hair falling across the pillow, the signal, perhaps (in addition to other signals), that the body was now on offer. So again he remembered Clive.

  Next up was a pianist, another personal acquaintance who comes to the piano in mittens which he then takes off before playing some Schubert, the performance of which, judging by his expression, seems to cause him exquisite pain but which turns to dark-faced anger as during the final section a police car drives past with its siren going.

  And so it goes on, under Father Jolliffe’s benevolent eye, poems, readings, a succession of ‘turns’ really, one of which, though, Treacher is pleased to note, is from St Paul’s First Letter to the Corinthians, the passage about love, with Father Jolliffe opting for the King James version using charity. He took time at the start of the reading to explain to the congregation that charity was love and not anything to do with flag days or people in doorways. Or if it was to do with people in doorways that was only one of its meanings.

  Treacher would have scorned such condescension and let the congregation make of it what th
ey could but he forbore to mark his card on the point. Still, he would have preferred it if the great rolling cadences of the Authorised Version hadn’t been followed by a saxophone rendition of the Dusty Springfield standard, ‘You Don’t Have to Say You Love Me’, a number (and there was no other word for it) that occasioned a round of applause, from which Treacher unsurprisingly abstained.

  During the saxophone solo Geoffrey’s worries about Clive recurred. What had he died of? He wished he knew for certain. Or not. Geoffrey had been in bed with Clive seldom and so tamely that only someone as inexperienced as Geoffrey would have thought himself at risk at all. But it did happen, he knew that; he wasn’t even sure if there was some risk in kissing (though there hadn’t been much of that either).

  The truth was it was God that Geoffrey didn’t trust. Irony was always the deity’s strong point and to afflict a transgressor as timid as Geoffrey with such a disproportionate penalty might appeal to the Almighty’s sense of cosmic fun. It was unfair to God, he knew, but he’d always felt the deity had a mean side and on one of his reports at theological college his tutor had written, ‘Tends to confuse God with Joan Crawford.’

  Treacher looked at his watch. One or two of the participants had preceded their contributions with a few words about Clive—Clive as assiduous and imaginative hospital visitor, Clive as holiday companion, Clive as lover of Schubert and dogs. Still, though these had lengthened the proceedings a little, Treacher was relieved to note that they were now on the last item before the final hymn, a rendering by an ancient musical comedy actress of ‘darling Ivor’s’ immortal ‘Fly Home, Little Heart’. ‘Fly home, Clive,’ she prefaced it, ‘our thoughts go with you.’

  As her quavering soprano drifted through the church, Treacher began to make plans to slip away as unobtrusively as he had arrived. Slightly to the Archdeacon’s regret he had to concede that Father Jolliffe had not done too badly. He had kept the service moving and each contribution brief: he had not sold God short and even allowing for the saxophone solo and the old lady currently in full, if tiny, voice it had never ceased to be a church service. Treacher had come along hoping to find Father Jolliffe a bit of a clown and overanxious to please. There had been no evidence of that and he deserved credit. Canon Treacher folded his Order of Service and put it in his pocket. He would nip out during the last hymn.

  * * *

  Father Jolliffe, too, was pleased the service was over in such good time, though he had some regrets. Varied though the contributions had been he didn’t feel they had done justice to Clive and his special charm. Nobody had quite captured his character; an opportunity had been missed. Besides, Father Jolliffe (and he can surely be forgiven) was still somewhat starstruck by his glamorous congregation and understandably wanted to hold on to them for just a little longer. They were such a change from his usual attendance who (while just as precious in the sight of God, of course) were drabber and less fun.

  So when the old lady finished and was greeted with such sympathetic applause she had to be coaxed from the microphone before she got into an encore, Father Jolliffe on a sudden impulse (with which he subsequently thought God had had something to do) didn’t sink to his knees for the final prayers but stood up, moved to the centre of the chancel steps and expressed the hope that anyone with cherished memories of Clive which they would like to share should now feel free to do so. Treacher frowned and fished the Order of Service out of his pocket to check that this was a departure from the published proceedings. Finding that it was and the proceedings had indeed been prolonged he put a large question-mark in the margin.

  Father Jolliffe stood on the chancel steps and in the expectant silence the ponderous workings of the clock, fixed on the back wall of the tower, now began to click and whirr preparatory to slowly striking 12. From experience Father Jolliffe knew that these crankings made speech impossible, so hearing those first admonitory clicks he had learned to pause and wait until the ancient mechanism had run its course.

  These necessary cessations often had an opportuneness to them, coming at a pause in a prayer, say, or, as today, at a moment of remembrance, just as year by year the coughing and wheezing ushered in the start of the grandest remembrance of all, the Two-Minute Silence. The unorchestrated pauses, though, were generally less weighty than that but were so repeatedly apposite as to have acquired an almost liturgical significance, the whirring of the cogs and the clanking of the wheels serving to charge the moment, as did the ringing of the bell at the elevation of the Host.

  In matters of faith Father Jolliffe might be thought a bit of a noodle but however felicitous the pause in question even he didn’t quite identify it as the voice of God. Still, if it was not God speaking, sometimes he felt the Almighty was at least clearing his throat, coughing meaningfully as a reminder of his presence. Father Jolliffe could see no harm in the practice of the presence of God being conflated with the sound of the passage of time, though there were also occasions when the clock’s timely intervention irritated him, feeling that there was no need sometimes for the deity to draw attention to himself so obviously. It had something of St Peter and the cock crowing thrice about it, not an incident Father Jolliffe was particularly fond of as it showed Jesus up as a bit of an ‘I told you so’, which on the quiet the priest felt he sometimes was anyway.

  Today, though, the intervention of the clock was useful in that it gave the congregation a moment or two to dwell on what they might want to say about Clive and perhaps as a consequence once 12 had struck people were not slow to respond.

  A man was straightaway on his feet testifying to Clive’s skill and good humour crewing in a transatlantic yacht race and another to his unsuspected abilities as a gourmet cook, testimonials greeted with incredulity in some sections of the congregation (‘Clive?’) but elsewhere without surprise. A woman said what a good gardener he was and how he had gone on to paint her kitchen, while someone from Woman’s Hour described him as ‘bright-eyed and bushy-tailed’ and evidenced the large congregation as a testimony to Clive’s genius for friendship, a genius incidentally that is generally posthumous and, like ‘touching life at many points’ (which Clive was also said to have done), is only found in obituaries. On the other hand, ‘not suffering fools gladly’, another staple of the obituary column, was not said, Clive having suffered fools as a matter of course as this was partly what he was paid for.

  A Japanese gentleman now stood up and addressed the congregation in Japanese, a series of emphatic and seemingly impassioned declarations of which no one, even those lucky enough to speak Japanese, understood a word, as the acoustics of the church (designed by Inigo Jones) made it sound like overhearing an argument. Still, whether out of admiration for his boldness in speaking at all or to compensate him for being Japanese and therefore unintelligible, the congregation gave him a round of applause.

  He bowed to every corner of the church then sat down, by which time there were already two more people on their feet wanting to have a word. Treacher began to think his estimate of Father Jolliffe to have been wrong. There was no firm hand here and as a woman behind him said, ‘It’s going on a bit,’ the Archdeacon made another adverse note.

  Happy to see it go on was a publisher, a portly and pretentious figure who had never met Clive but was there escorting one of his authors (as yet unennobled), a woman with several bestsellers under her belt but whose work had recently taken a feminist turn and who he feared might be looking for a publisher to match. Coming along to the service just as a chore he had been amazed at the level and variety of celebrity represented and, in the way of publishers, began to scent a book. As more and more of the congregation stood up and the reminiscences about Clive accumulated the publisher grew steadily more excited, occasionally clutching his companion’s arm or, like Treacher (but not), scribbling notes on the back of his Order of Service. He saw the book as quick and easy to produce, a tape-recording job largely, a collage of interviews each no more than two or three paragraphs long—a book for people who preferred ne
wspapers and which read like gossip while masquerading as sociology. ‘A portrait of a generation’.

  Her affection for Clive notwithstanding the novelist found it hard to reciprocate the publisher’s enthusiasm, her own work never having generated a comparable degree of fervour. A woman would understand. As the publisher jotted down the names of possible writers she determined to take her next book where it would be better appreciated. She yawned.

  Others were yawning too. Now an elderly couple got up and left, followed a few minutes later by a younger man, tapping his watch, portraying helplessness and mouthing ‘Sorry’ to an unidentified friend in one of the pews behind.

  * * *

  Father Jolliffe was now wishing he’d never let the congregation off the leash. They were popping up all over the place, never fewer than two people on their feet waiting their turn. Some didn’t stand but put a hand up, one of the most persistent a drab youth in an anorak sitting towards the front on the aisle. How he had come to know Clive Father Jolliffe could not imagine.

  As a woman ended some protracted hymn to Clive’s ‘nurturing touch’ Father Jolliffe managed to get in before the next speaker. ‘I feel,’ he said tentatively, ‘that as time’s getting on we ought to think about drawing these delightful reminiscences to a close,’ a warning word that had the opposite effect to that intended as it galvanised all those who had not yet made up their minds to speak now to try and do so. In particular it made the drab youth start waving his hand as if he were still at school and trying to catch the teacher’s eye. He looked as if he was at school, too, in jeans and blue anorak, though he had made some effort to dress up for the occasion by putting on a shirt and tie, the shirt rather too big at the collar and the cuffs almost covering his hands. Father Jolliffe wished he would be more forthright and not wait to be called but just stand up and get on with it like other people were doing, currently a philosopher, well groomed and bronzed from a sabbatical at Berkeley.