Книга - Love, Again

Love, Again
Doris Lessing


A fierce, compelling account of the nature and origins of love from Doris Lessing, one of the most acclaimed writers of the twentieth century and winner of the Nobel Pize for Literature 2007.Sarah Durham, sixty-year-old producer and founder of a leading fringe theatre company, commissions a play based on the journals of Julie Vairon, a beautiful, wayward nineteenth-century mulatto woman. It captivates all who come into contact with it, and dramatically changes the lives of all those who take part in it. For Sarah the changes are profound – she falls in love with two younger men, causing her to relive her own stages of growing up, from immature and infantile with the beautiful and androgynous Bill, to a mature love with Henry.












Love, Again

Doris Lessing












One had a lovely face

And two or three had charm,

But charm and face were in vain

Because the mountain grass

Cannot but keep the form

Where the mountain hare has lain.

W. B. YEATS, Memory



I’m falling in love again, Never wanted to…




Table of Contents


Cover Page (#u13e63bdf-33f0-57ac-a524-459f9b8d6720)

Title Page (#u0fa44c5d-4b95-5443-9857-21a3134785fc)

Epigraph (#u350622dd-1977-595c-a96d-03368697c1ec)

Chapter 1 (#u772587e1-be58-5b9d-83b1-3b2856971192)

Acknowledgements (#litres_trial_promo)

Doris Lessing (#litres_trial_promo)

Praise (#litres_trial_promo)

By the same author (#litres_trial_promo)

Read on (#litres_trial_promo)

The Grass is Singing (#litres_trial_promo)

The Golden Notebooka (#litres_trial_promo)

The Good Terrorist (#litres_trial_promo)

The Fifth Child (#litres_trial_promo)

Copyright (#litres_trial_promo)

About the Publisher (#litres_trial_promo)


EASY TO THINK (#ulink_679edf8b-11a9-5645-ad68-4525c4180f87) this was a junkroom, silent and airless in a warm dusk, but then a shadow moved, someone emerged from it to pull back curtains and throw open windows. It was a woman, who now stepped quickly to a door and went out, leaving it open. The room thus revealed was certainly over-full. Along one wall were all the evidences of technical evolution – a fax machine, a copy machine, a word processor, telephones – but as for the rest, the place could easily be some kind of theatrical storeroom, with a gold bust of some Roman female, much larger than life, masks, a crimson velvet curtain, posters, and piles of sheet music, or rather photocopies that had faithfully reproduced yellowing and crumbling originals.

On the wall over the word processor was a large reproduction of Cézanne’s Mardi Gras, also the worse for wear: it had been torn across and put together with sellotape.

The woman next door was energetically attending to something: objects were being moved about. Then she reappeared and stood looking in at the room.

Not a young woman, as it had been easy to imagine from the vigour of her movements when still half seen in the shadows. A woman of a certain age, as the French put it, or even a bit older, and not dressed to present herself, but wearing old trousers and shirt.

This woman was alert, full of energy, yet she did not seem pleased with what she looked at. However, she shook all that off and went to her processor, sat down, put out a hand to switch on a tape. At once the room was filled with the voice of the Countess Dié, from eight centuries ago (or a voice able to persuade the listener she was the Countess), singing her timeless plaints:

I must sing, whether I will or not:

I feel so much pain over him whose friend I hold myself,

For I love him more than anything that is…

The modern woman, sitting with her hands ready to attack the keys, was conscious she felt superior to this long-ago sister, not to say condemning. She did not like this in herself. Was she getting intolerant?

Yesterday Mary had rung from the theatre to say that Patrick was in emotional disarray because he had fallen in love again, and she had responded with a sharp comment.

‘Now, come on, Sarah,’ Mary had rebuked her.

Then Sarah had agreed, and laughed at herself.

Feeling disquiet, however. There seems to be a rule that what you condemn will turn up sooner or later, to be lived through. Forced to eat your vomit – yes, Sarah knew this well enough. Somewhere in her past she had made a note: Beware of condemning other people, or watch out for yourself.

The Countess Dié was too disturbing, and Sarah switched the plaint off.

Silence. She sat breathing it in. She was altogether too much affected by this old troubadour and trouvère music. She had been listening to little else for days, to set the tone of what she had to write. Not only the Countess, but Bernard de Ventadorn, Pierre Vidal, Giraut de Bornelh, and other old singers, had put her into a state of…she was restless, and she was feverish. When had music affected her like this before? She did not think it had. Wait, though. Once she had listened to jazz, particularly the blues, it seemed day and night, for months. But that was when her husband died, and the music had fed her melancholy. But she did not remember…yes, first she had been grief-ridden, and then she had chosen music to fit her state. But this was a different matter altogether.

Her task this evening was not a difficult one. The programme notes were too stiff in tone: this was because, writing them, she had been afraid of being over-charmed by the subject. And she was being charmed by the sensuous voice of the Countess – or the young woman Alicia de la Haye.

She did not have to do the programme notes now. In fact she had made a rule for herself not to work in the evenings at home: a rule she had not been keeping recently. To spell it out, she had not been keeping her own prescriptions for balance and good mental health.

She sat listening to silence. A sparrow chirped.

She thought, I’ll look up that Provençal poem by Pound; that’s hardly work after all.

The desk was stacked with reference books, files of cuttings, and on one side of it bookshelves rose to the ceiling. A book lay open on one side of the word processor.

Growing old gracefully…the way has been signposted. One might say the instructions are in an invisible script which becomes slowly legible as life exposes it. Then the appropriate words only have to be spoken. On the whole the old don’t do badly. Pride is a great thing, and the necessary stances and stoicisms are made easy because the young do not know – it is hidden from them – that the flesh withers around an unchanged core. The old share with each other ironies appropriate to ghosts at a feast, seen by each other but not by the guests whose antics and posturings they watch, smiling, remembering.

To this set of placid sentences full of self-respect most people getting old would subscribe, feeling well presented and even defended by them.

Yes, I’ll go along with that, thought Sarah. Sarah Durham. A good sensible name for a sensible woman.

The book where she had found these sentences had been on a trestle in a street market, the memoirs of a society woman once known for her beauty, written in old age and published when she was nearly a hundred, twenty years ago. A strange thing, Sarah thought, that she had picked the book up. Once, she would never have even opened a book by an old person: nothing to do with her, she would have felt. But what could be odder than the way that books which chime with one’s condition or stage in life insinuate themselves into one’s hand?

She pushed away that book, thought Pound’s verses could wait, and decided to enjoy an evening when nothing at all would be expected of her. An evening in April, and it was still light. This room was calm, usually calming, and like the other three rooms in this flat held thirty years of memories. Rooms a long time lived in can be like littered sea shores; hard to know where this or that bit of debris has come from.

She knew exactly where the bits of theatrical junk had originated: which play, or what actor. But on the window sill was a bowl of coloured pebbles she had picked up outside a village in Provence where she had gone walking with her two children, then aged twelve and thirteen. What was the name of that village? She had been several times to that region, and she had always picked up stones to take home. Strings of beads in all shades of red were pinned in a fan shape on a board that filled a good part of a wall. Why had she kept the thing? Piles of books on the theatre climbed the walls: she had not opened some of them for years. And there was the poster of Mardi Gras. He had been eye to eye with her for decades, that arrogantly sexy youth in the red and black diamond pattern costume with his touch-me-not look. He was like her own son – well, yes, that had been a long time ago, and George was now an almost middle-aged scientist. These days, when she did look at it (after all, one doesn’t much look at what is on one’s walls), her eyes went to the uncertain youth with his dark thoughtful eyes in the ill-fitting Pierrot dress. Her daughter, aged fifteen, had demanded a Pierrot costume, and she, Cathie’s mother, had known it was a statement. I am like him. I need a disguise. I wish I were not unsure but like the Harlequin, who knows how beautiful he is. There was nothing unsure about Cathie these days, a successful matron, with children, a job, a satisfactory husband.

Sarah knew she saw the picture as portraits of her own children. Why did she keep it there? Parents often secretly cherish photographs of their offspring that have nothing to do with their present ages, and these are not always appealingly helpless infants.

She should get rid of all this rubbish…and now, suddenly, she sat up straight in her chair and then stood and began a prowl around the room. This was not the first time she had had the thought. Years ago, she had looked around this room, full of things that had come to rest there for some reason or another and thought, I must get rid of it all.

The poster was there because her daughter Cathie had brought it home. It had nothing to do with her, Sarah. What could she say was hers? The books, the reference books: her working necessities. And the rest of her home? An extended prowl then, repeated now, took her past dishes of shells collected by the children decades ago, a cupboard that still had their old clothes in it, postcards, stuck on a cork board, from people on holiday. Her clothes? Could she say that these were here because she had chosen them? Well, yes, but fashion had dictated them.

On that evening years ago, she had come to the unsettling conclusion that very little in these four large rooms was here because of some considered choice of hers. A choice from that part of her she thought of as herself. No, and she had decided to go through the rooms and throw everything out…well, almost everything: here was something that would stay if everything else found itself bagged up for the dustbins. It was a real photograph, which took itself seriously. A pleasant man, a bit worried perhaps, or tired? – a net of fine lines around frank and comradely blue eyes, and with grey in his fair hair (whose soft silkiness she could feel in her fingers), which was probably the first sign of a heart attack that was to strike him down so young, at forty. He sat with his arms around two children, boy and girl, aged eight and nine. The three of them were smiling at Sarah. The photograph was in a silver frame, art deco, not Sarah’s taste, but it had been given to her by her husband who had had it from his mother. Should she throw out the frame because she had never liked it?

Why hadn’t she made a clean sweep? It was because she had been too busy. Some new play, probably. She had always worked so hard.

Sarah came to a stop in front of a mirror. She looked at a handsome apparently middle-aged woman with a trim body. Her hair, always in tight smooth bands for convenience – she could not be bothered with hairdressers – was described as fair on her passport, but it was more a dull yellow, like neglected brass. Surely by now she ought to have at least the odd grey hair? But that shade often does not go grey or white, at least not until real old age. Young, its possessors yearn for lively colour and might dye it, and when older gratefully leave it alone and are accused of dyeing it. She did not often look in the mirror: she was not anxious about her looks. Why should she be? She was often thought twenty years younger than her real age. In another mirror, through the open door to her bedroom, she seemed even less her age. She could see the reflection by twisting herself about. Her back was erect and full of vitality. Her osteopath, when treating her for back trouble (it did seem to be making itself felt these days), enquired if she had been a dancer. The two mirrors were there because decades ago her husband had said, ‘Sarah, these rooms are too dark. Can’t we get some light into them?’ The walls were painted bright white, but they had dimmed, and the curtains had been white, were now dark cream. When the sun shone in, the room filled with light, shadow, and moving reflections, a place of suggestion and possibilities. Without sun, the mirrors showed furniture that stood about in a still light like water. A pearly light. Restful. She liked these rooms, could not think of anything worse than having to leave them. They could be criticized for being shabby. Her brother said they were, but she thought his house smart and awful. Nothing had been changed here for years. The rooms gently dimmed into acceptance: of her being so busy always, and of her being, at heart, not much interested, and of the way the years accumulated, leaving deposits, books and photographs, postcards and things from the theatre.

All this junk should go out…Here on the wall of her bedroom was a group of photographs. Some were of her grandmother and grandfather in India, posed and formal, doing their duty, but she had added one cut out of a magazine, of a girl dressed in the fashions of the year Sarah Anstruther went out to marry her fiancé, doing well in the Indian Civil Service. This girl was not Sarah Durham’s grandmother, but all the photographs Sarah had of this woman she had never met were of a young matron competently facing the world, and the shy, frightened unknown was – Sarah Durham was pretty sure – rather more to the point. A girl of eighteen, travelling to a country she knew nothing about, where she would marry a young man she hardly knew, to become a memsahib…common, in those days, but what courage.

Sarah Durham’s life had held no such dramatic choices. In a potted biography, of the kind seen on book jackets or theatre notes, it would look like this:

Sarah Durham was born in 1924 in Colchester. Two children. Her brother studied medicine. She went to a couple of reputable girls’ schools. At university she studied French and Italian, and then spent a year at the University of Montpellier doing music, living with an aunt who had married a Frenchman. During the war she was a chauffeur for the Free French in London. In 1946 she married Alan Durham, and there were two children. He died, leaving her a widow in her mid-thirties. She had lived in London, with the children.

A calm and reasonable woman…true that Alan’s death had thrown her into unhappiness for a time, but it wore off. That was how she put it now, knowing she was choosing not to remember the misery of that time. Hypocrite memory…kind memory that allowed her to claim a tranquil life.

She went back to her workroom and read the exemplary passage in the book again, the one beginning, ‘Growing old gracefully…’ It ended a chapter, and the next one began, ‘What I liked best about my trip to India was the early mornings, before the heat got bad and we had to stay inside. When I decided not to marry Rupert after all I am sure now it was the heat rather than him I was refusing. I was not in love with him, but I did not know that then. I had not learned what being in love was.’

For the third time she read ‘Growing old gracefully…’ to the end of the chapter. Yes, that would do. She found herself at sixty-five telling younger friends that there was nothing to getting old, quite pleasurable really, for if this or that good took itself off, then all kinds of pleasures unsuspected by the young presented themselves, and one often found oneself wondering what the next surprise would be. She said this sort of thing in good faith, and while observing the emotional tumults of those even a decade younger than herself even indulged private shudders at the thought of going through all that again – a formula which included love. As for being in love, it had occurred to her it was twenty years since she had been in love, she who had once fallen in love easily and – she had to admit it – even eagerly. She could not believe she would be in love again. She said this too with complacency, forgetting the hard law that says you must suffer what you despise.

She was not going to sit down and work…it occurred to her that one reason for this exaggerated no to another evening spent doing what she did all day was her – well, yes, the word had to be – fear of that music. Those plaints from long ago were a drug. Had jazz really taken her over as the Countess Dié and Bernard, Pierre and Giraut, had done? And what about the woman who was, these days, her occupation – Julie Vairon, whose music stood in yellowing stacks on a table? No, she distrusted music. She was in good company after all; many of the great and the wise had thought music a dubious friend. She had always listened in the spirit of: You’re not going to take me over, don’t you think it!

No: no work, and no music. She was restless enough to…climb a mountain, to walk twenty miles. Sarah found she was tidying this room, which certainly needed it. She might as well vacuum the floor…why not all four rooms? The kitchen. The bathroom. By twelve her flat was a paragon. You would think this woman took pride in her housewifely skills. Instead she had a cleaner in once a week, and that was it.

Surely she wasn’t nervous of meeting – as she had to do tomorrow – Stephen Ellington-Smith, known jokingly in the company as Our Angel. She could not remember being nervous ever before about this kind of encounter. After all, it was her job to meet and soothe patrons, benefactors, and angels, she did it all the time.



Sarah’s memories divided her life into two eras, or different landscapes, one sunny and unproblematical, and then all effort and difficulty. (Yet the war with its anxieties was somehow accommodated in the first sunlit stretch. How could that be? And all those family money difficulties? Nonsense, mere trifles, compared to what followed.) Her husband’s death, that was when this Sarah Durham had begun, poor and desperate. Her parents did not have much money. There had been no insurance. She could not really afford to stay in this flat but decided she would, preserving continuity for the already traumatized children. She earned her living and theirs by all kinds of badly paid freelance work for newspapers and magazines, publishers and the theatre, one theatre in particular, The Green Bird, then not more than a group putting on plays with small casts where they could, sometimes in pubs. In the seventies there were many brave small companies, chancing their luck. A certain Italian play which she had translated for them, and which they thought they had the rights to, became unavailable, and to fill the gap she adapted from a novel some sketches of contemporary life. These were a success, and she found herself one of the people running the theatre: first there was the fact that she was there all day, casting and then directing; then a regular salary. A regular theatre too. She was one of the four who decided to risk a long lease. These three were her closest friends, for surely the people you spend all day and most evenings with must be that. For ten years they had precariously survived, and then five years ago a play transferred to the West End, did well, and seemed likely to run forever. The Green Bird was now established as one of the best of the fringe theatres, and critics came to their first nights. From being an almost amateur, badly-paid hanger-on to the edges of real theatre, she was now known in the theatre world as the influential manager of The Green Bird and, sometimes, as the director of a play. The fact is, the four all did everything, and had from the beginning. Their success had brought them concomitant envy, and they were known – inevitably – as The Gang of Four. These changes had taken years, and at no point had she made claims for herself. She sometimes privately marvelled that hard work and – of course – good luck had added up to so much: it will be seen that she was not a self-admiring woman, nor even an ambitious one.

Who were these colleagues with whom she had shared so much? Mary Ford had been a pretty wisp of a thing with vast hazy blue eyes and a tremulous stubborn little face, but the years had made of the waif a solid calm competent woman of about forty, whose main job in the theatre was publicity and promotion. Roy Strether, another paradigm of competence, was formally stage manager. He was a solid, apparently slow man, who never allowed himself excitement, no matter what the crisis. He joked of himself that he looked like a footballer gone to seed. He was large, untidy, even clumsy. They remembered him as young, a sixties drop-out, who had earned his living as so many future successes did, painting houses. The fourth member of the permanent staff was Patrick Steele. They would joke, in front of him or not, that it was as well they three were so boringly stolid and reliable, for he was volatile, shrill, and moody; a slight, bird-like boy (he remained a boy while the years changed them) with soft black hair like plumage and black excitable eyes. He was homosexual and, these days, pretty scared. He would not go and be tested, saying that if he was HIV positive he did not want to know, but meanwhile he was being responsible and no danger to anyone. He often wept, for his emotional life gave him frequent cause for tears. He was brilliant, a magician: he could create moonlight, a lake, a mountain, with light and silver paper and shadows. Other theatres tried to lure him away but failed, for these four shared a belief that their talents together were larger than they could ever be apart. Patrick was as versatile as them all. He had written a libretto for a musical that had been so near a success they jested that next time he would soar off away into fame and be forever lost to them.

These were their public personas, their ‘images’ – how people from outside saw them, perhaps while they sat in their daily get-together for discussion, in a small office they might liken to a cockpit or an engine room. It was the usual mix of elegant technology, each machine already obsolete almost before it was installed, and old chairs and tables they felt disinclined to get rid of.

Four people, energized by their competence and success. Behind each there was that hinterland called personal life, which here was very far from being separated from working hours.

Mary was unmarried – without a man – because she had to look after her mother, who had multiple sclerosis and was pretty helpless. When she had been unable to organize other help, sometimes an old woman with shaking hands sat in a wheelchair in an aisle and watched the rehearsals.

Roy Strether was married, with a child. The marriage was unsuccessful. Sometimes the little boy would be inserted into a seat near his father’s at a rehearsal and was commended by everybody for behaving well. Tired or demanding attention, he might sit on the old woman’s lap, she delighted that at least she had some limited usefulness.

Sarah’s responsibilities were self-imposed. For ten years now her vital energies – emotional – had been engaged, not by her own children and grandchildren, established successfully in other continents (India and America) but by her brother’s youngest girl, Joyce. Hal and Anne had three daughters, the older two ordinary and just like everybody else’s children. Joyce had been a problem since birth. Why? Who knows? She was a screaming baby, a grizzling toddler, a disagreeable child. Sent to school, she at once fell ill and had to come home. She simply could not manage school and other children. Her parents both being doctors, her condition never lacked diagnoses. Her records were voluminous and in several hospitals. A psychiatrist recommended that she be allowed to stay at home. Sarah was appealed to, and Joyce spent her days with her, in the room that had been the children’s room. In those days Sarah often worked at home, and when she did go out for appointments Joyce stayed happily by herself. What did she do? Nothing at all. She made herself cups of tea, watched television, and sometimes rang telephone numbers at random until someone was willing to talk to her, when she would chat away sometimes for an hour or two hours. The telephone bills were enormous, and Hal and Anne did not offer to pay for them.

Joyce became anorexic and was again in hospital. She was ‘stabilized’ and despatched back to Sarah, who protested it was not fair, she could not deal any longer with Joyce. Hal had said in his kindly judicious way that it must be nice for Sarah to have Joyce around when her own children were so far away. But when the unsure and suffering Pierrot, now the efficient mother of two children in California, or the arrogantly beautiful boy, now a marine biologist with two sons, came bringing grandchildren to visit their grandmother, Joyce went home and there was no argument about it. As Joyce became fifteen, sixteen, seventeen, things went from bad to very bad. Suicide attempts, crises, cries for help. It was Sarah who took her to hospital and talked with the doctors, who had been briefed, of course, by the parents. It was always Aunt Sarah who was summoned. Back home, Joyce went to bed. Sarah fought with her and often succumbed to the low painful state threatening those who take on the psychic burden of those – as we put it – who cannot cope with ordinary life. There were times when she felt that she too would take to her bed and stay there, but her colleagues sustained her. And then all at once everything changed. One of the people, a girl, who chatted with Joyce on the telephone suggested they should meet. Sarah rang her brother, saying she had not seen Joyce for days, and now it was for him, for Joyce’s parents, to make decisions. When Hal said he was afraid Joyce looked on her – Sarah – as her effective parent (‘You are her effective parent, Sarah, surely you must know that’), Sarah said she was sorry, she had done her bit. Of course that was not the end of it. She worried quite dreadfully about Joyce: it had always been a waste of time worrying about Joyce. As the result of a television programme about people living rough, she went to the police, who suggested a certain café in King’s Cross. Joyce’s name was known to these addicts, pushers, and prostitutes. Sarah again rang her brother, who said, ‘She’s old enough now to take responsibility for herself,’ and then added with cheerful spite, in his way that said since he took pleasure in malice then his interlocutor must too, ‘We’ve been meaning to tell you. You should do something about yourself. You could do with a lick of paint.’

Postponing the lick, she went to the psychiatrist most often consulted about Joyce, where she heard that Joyce’s flight into the great world could be seen as a step into maturity. An interesting notion, that a loony girl’s development might be better furthered by joining drug users, pushers, and prostitutes than by taking refuge in her family. But there was nothing she, Sarah, could do. She would at last lead her own life. No, she did not expect to feel immediately better without the interminable drag and drudge of Joyce. Then she did take herself in hand, at last. She examined herself in the dim mirrors, switching on all the lights. Not bad, she supposed. She looked a handsome middle-aged matron. A hairdresser had improved her hair-do: a small smooth head went well with clothes more expensive than anything she had bought for years. At the theatre, her colleagues commended her. They also allowed her to know she had let herself be put upon and she should stand up for herself.

Besides, they all needed undivided energies. They were all working on a production more ambitious than anything they had done. Only a year ago, Julie Vairon had been on a list of possibilities, and now it was a big co-production, with American, French, and English money. They knew they would have to engage more people, expand, but they put off doing this. They confessed there was something disturbing about Julie Vairon’s irresistible sweep, and Mary Ford wondered aloud if they would have taken on Julie if they had known what an upheaval would result, but Patrick said it was not Julie Vairon but Julie Vairon who was the trouble; and he spoke with the whimsical self-satisfaction which is, because of a secret identification, felt as flattering.

In the eighties of the last century, in Martinique, a beautiful girl – a quadroon, like Napoleon’s Josephine – fascinated a young French officer. This is where Julie Vairon, the play – or, as it was later billed, An Entertainment – began. She was the daughter of a mulatto woman who had been the mistress of a white plantation owner’s son. When he inherited the plantation he married suitably, a poor but aristocratic girl from France, but remained Sylvie Vairon’s protector, while gossip claimed he was much more. He agreed the girl should be educated, at least to the level of the daughters of the neighbouring rich family, also landowners. Perhaps his conscience troubled him, but it was said, too, that he had enlightened ideas and these were expressed only here, in Julie’s education. She had music lessons and drawing lessons and read quantities of books recommended by tutors who fitted in her lessons between the more formal lessons they gave the rich girls in their big house five miles away. The tutors were fiery young men who regretted they had not been born in time for the Revolution, or at least to fight in Napoleon’s armies, just as in our time young men or women mourn because they were not in Paris in ’68. ‘But ’68 was a failure,’ a practical elder may protest, only to be demolished by passionately scornful eyes. ‘What of it! Think how exciting it must have been!’

One of the young ladies, more enterprising than her sisters, decided to satisfy her curiosity about the mysterious Julie and contrived to visit her secretly in the house in the forest where Julie lived with her mother. She boasted about her exploit, which was evidence of her brave indifference to convention, and added to the already noisy rumours. The visit was invaluable to Julie, for she had had nothing to measure herself against. She learned from it that she was more intelligent than these respectable girls – her visitor was supposed to be the cleverest of them – but learned too how socially disadvantaged she herself was, for she was educated above her prospects and even her possibilities. Also, she knew why the tutors were all so ready to teach her. They might all be in love with her, but they could also talk to her.

Of herself at that time she wrote less than ten years later, Inside that pretty little head what an olla podrida of incompatible ideas. But I envy that girl her innocence. She had read the Encyclopedists, was devoted to Voltaire, while Rousseau, so appealing to anyone dependent on natural justice, had to hold sway. She could debate (and did, endlessly, with her tutors) about the acts and speeches of every personage on the great stage of the Revolution as if she had lived through it. She knew as much about the heroes of the American War of Independence. She adored Tom Paine, worshipped Benjamin Franklin, was convinced she and Jefferson were made for each other. She knew that had she been old enough she would have got on a ship to America to nurse the victims of the Civil War. But in fact she was living on her father’s banana estate, the illegitimate part-black (she was a light brown colour, like a southern French or Italian) daughter of a black lady whose house in the sultry forest was where successive waves of young officers, all bored out of their minds in this beautiful but dull island, went for entertainment, dancing, drinking, food, and the delightful singing of beautiful Julie. A very young officer, Paul Imbert, fell in love with her. He adored her, but did he adore her enough to marry her or even take her with him to France? Probably not, if she had not refused to see difficulties and insisted they should run away together. His parents were respectable people living not far from Marseilles, his father a magistrate. They refused to receive Julie. Paul found for her a little stone house in hilly and romantic country, and there he visited his love daily for a year, riding through aromatic pines, poplars, and olive trees. Then his parents pulled strings, the army forgave his young man’s lapse, and he was sent on duty to French IndoChina. And now Julie was alone in the woods, with no means of support. The magistrate sent her money. He had glimpsed the girl walking with his son in the hills. He envied Paul. This was not why he sent money. Paul had confessed with all suitable remorse that Julie was pregnant. For a time she had believed she was. With only a few francs between her and starvation, she returned the money to Paul’s father, saying that it was true she had been pregnant, but nature had quickly come to her aid – to the aid of all of them. Thus she made a claim on him, on his feelings of responsibility. She thanked him for his interest and asked him to help her get employment in the middle-class homes of the small town near to her, Belles Rivières. She could draw well, and she painted in water colours – unfortunately oils were too expensive for her. She played the piano. She could sing. ‘I believe that in these accomplishments I shall prove in no way inferior to the tutors currently employed in this district.’ She was asking for far more than the generous sum of money he had offered. By now everyone knew of the pretty but dubious girl who had tried to ensnare the son of one of their most respected families and lived all by herself like a savage in the woods. Her lover’s father thought for a long time. Probably he would not have responded had he not caught that glimpse of her with Paul. He went to see her and found an accomplished, witty, and delightful young woman, with the most charming manners in the world. In short, he fell in love with her, as everyone did. He could not bring himself to refuse her, said he would speak to selected families on her behalf, but kept himself in face by asking for an undertaking that she would never contact any member of his family again. She replied with a quick and impatient scorn he had to see was genuine: ‘I had assumed, monsieur, that you would have already understood that.’

For four years she taught the daughters of a doctor, two lawyers, three chemists, and a prosperous shopkeeper. All of them begged her to move into the little town, ‘where you will be more comfortable.’ Meaning that they were uncomfortable because this girl, no matter how well-bred and clever, was living by herself a good three miles from Belles Rivières. She refused, delightfully but firmly, telling them about the great forests of Martinique, the flowers and the butterflies and the brilliant birds, where she had wandered, absolutely by herself. She could not be happy living in streets, she said, though the truth was she dreamed of the streets of Paris and how she could reach them without worsening her already bad position. If she was going to try her chances in the big city it should be now, while she was still young and pretty, but she still dreamed of Paul. That she had been bound to lose him she had very soon learned, and knew that if he came back from the army she could not have him. Living, as she insisted on doing, free but alone told everyone she was waiting for him, and everyone – father, mother, sisters, would be writing to tell him so. Far from enticing him to her, this would put him off, as all her instincts, and the worldly wisdom imparted by her mother, told her. But she could not leave the place. Freedom! Liberty! she often cried to herself, roaming about her forests.

What did she look like at this time? How did she see her prospects? How did she strike the good people whose daughters she taught? How did they strike her? We know. We know it all. She drew self-portraits all her life, not because she had no other model, but because she was engaged in discovering her real, her hidden nature: we have a phrase for this search. She kept journals from the time she reached France. And there was her music, that would have told us everything even without her journals. The picture that emerges is not merely of an intelligent and attractive woman, but one who disturbed and challenged even when she did not intend to, who all her life fed malicious tongues, who always had men in love with her though she did not expect them to be or try to attract them. When she was accepted as tutor into these good houses, she behaved like a paragon of propriety, but she knew it would take only a small mistake to have the doors shut on her. She walked on a knife-edge, for above all, she had charm, that double-edged gift, arousing more expectations than it can ever fulfil. She certainly disappointed the young ladies she taught, who called her best friend and championed her to doubtful mothers and fathers, yet secretly hoped for more than her prudent advice: ‘Do you really want to be like me?’ she might sweetly enquire, when some over-protected daughter asked her aid in some minor rebellion. ‘Do what your parents say, and when you are married you can do as you like.’ She had learned this from Stendhal’s letters to his sister.

In her journals she wrote she would rather be herself, ‘an outcast’, than any one of these privileged girls.

When she was twenty-five she took a big step up the social ladder. She taught the two daughters of a Comte Rostand. The Rostands were the leading family in the area. They lived in a large and ancient château and sent a carriage for her twice a week. That was when she gave lessons in the dark hours as well as in the light, for before the carriage she had insisted that since she had to walk miles back and forth from her little house, she would teach in the town only in the day. This caused sarcastic comments. Everyone knew she wandered about all by herself at night in her forests. Yet she was too delicate to walk back in the dark from the town? And how about dancing by herself among the rocks, banging a tambourine, or something that looked like one – a primitive looking thing, probably from that primitive country she came from. Dancing naked – some claimed to have seen her.

Did she? There is no mention of it in her journals – though when she began to keep a record, there were only notes and jottings, and only later did it develop into a running commentary on her life. There is, however, a drawing of a woman dancing in a setting of trees and rocks. A full moon. Naked. This drawing is so unlike anything else she did of herself it shocks. Interesting to watch when some fan of Julie’s was handed a pile of her drawings. The face froze, there was an indrawn breath and – then – a laugh. The laugh was from shock. But how often is shock no more than a moment of half-expected revelation? A door opens (perhaps literally) onto a scene that is beautiful, or ugly, something ferocious or shocking – at any rate, the other side of the well-lit and ordered world we know: there it is, the truth. But why was there never mention of dancing in her journals? Perhaps it only happened once, and she got some kind of a scare. A pretty risky thing, to dance like that. She knew people spied on her. The gendarmes certainly did, but if one of them took a look through her uncurtained and unshuttered window – she hated feeling shut in, she said – he would see the proper young woman of the drawing rooms standing before her easel or playing her harp or writing at a small table under an oil lamp that showed the open book, her neatly ringed hand with the pen, her face, her bands of black hair, her bust smooth in a dress that went high to her throat, where there was a small white collar.

The gendarmes would also report that there were many books. If they took a good look when she was out, down in the town, they would not now be able to report anything consistently seditious or troubling. For while she still loved Revolutions as a matter of principle – she would not have been able to think of herself as a serious person if she did not – her shelves now provided a more balanced diet. Montaigne sat by Madame Roland, Madame de Sévigné with Énile. Clarissa – that novel whose influence on European literature had been and still was so strong – was in a pile with Rousseau’s Confessions, while Victor Hugo and Maupassant, Balzac and Zola, saw no reason why they should not share space with Voltaire. Beside her bed – small and narrow, with a single pillow – was evidence that she was taking possession of the part of France she found herself in, because she was reading whatever she could find of regional literature, had fallen in love with the old Provençal poets, and they and the newest Provençal poet, Mistral, were by the little blue enamel candlestick with its modest white candle on her night table.

A learned young woman, even a bluestocking, so the talk went, side by side with the other, more appetizing rumours, and when the château sent the carriage for Julie – it had to wait a good mile from her house, and even then there was only a cart road – this meant that the Rostands did not know about her nocturnal activities, or perhaps they did not care, were at the very least respecting her insistence on being considered, at least for form’s sake, as one of them.

The youngest son, Rémy, soon fell fatally in love with her. If Paul had been the essence of the romantic hero, dark, handsome, impetuous, full of temperament, then Rémy was the mature love, sober, patient, observant, with that small dry humour women love as a sign of seriousness, of experience.

When she began to love him it was against her good sense, and then she abandoned caution, just as she had in Martinique with Paul, and loved him absolutely. The carriage no longer waited for her where the cart track ended, for she ceased to give lessons at the château, but he visited her in her forest house and sometimes stayed with her for days at a time. The family knew he would get over it, and waited. He begged them to allow him to marry her. She dreamed of marrying him, while common sense told her to stop. All this went on for months – three years in fact – of bliss, of anguish, or despair, heights and depths of all kinds. She continued to give lessons in the town, while he begged her to rely on him. The citizens were able to ignore the hideous rumours, because their aristocratic family were being so cool, and because the pair was so discreet. They were never seen together. Besides, the young woman was such an excellent teacher. And above all her fees were so moderate.

This time Julie did get pregnant, and the lovers were happy and dreamed of the life they would have with their child. The baby was born, was a healthy child, but died of a minor ailment, the way children did so easily then. The two were ill with grief, but soon learned that the rumours in the town were more than ugly – they were dangerous. Criticism of Julie, so long repressed because of her confidence, and her skills, and because she always seemed to have powerful protectors, now expressed itself in the gossip that she had killed the child. It was known where and how. Half a mile from her house, a river ran fast downhill over rocks into a deep cold pool. The child’s death ended the family’s patience. Rémy was told to remove himself into the army. He was twenty-three. Julie was then twenty-eight. The two parted in an agony of grief, hardly able to move, as if they had been slowed by a deadly cold, an invisible ice. They told each other they would never get over it, and somewhere or other, they did not.

She had not been able to teach in the town since her pregnancy showed. With what she had saved, and what Rémy could give her when he left, she had enough to live on for a year. While she was slowly putting herself together again, and her journals tell us how painful a process this was, she repeated former behaviour. In a letter beginning, ‘There is no more helpless and unfortunate being than a young woman without a family, without a protector…,’ she asked Count Rostand to get her work as a copier of music. This he did. He knew she was more than adequately equipped for anything in this line. The family was a musical one. Musicians both well known and amateur played in their salons on feast days, and Julie’s own music had been played at these evenings, and sometimes by herself. It was a strange music – but then, she did come from an exotic island. The family knew she was a real musician, wrote serious music.

For years she lived quietly by herself, earning her living in a variety of ways. She copied music and even, on request, composed pieces for special occasions. She sang at the more respectable public feasts or festivals, always careful to refuse an invitation that might lower her status as a respectable woman. She drew and painted, in pastels and water colours, the picturesque scenes she lived among, and made studies of birds and animals. These pictures were sold from a printer’s shop in the town. She was never well off, but she was not poor either. Several times her journals recorded timely gifts of money from the Rostands, presumably at Rémy’s request.

She was alone? Yes, always. She was not able to forget Rémy, and he did not forget her. Occasionally they wrote long letters. Three years after he was banished into the army in French Equatorial Africa, he came on leave, and visited her, but they were both so affected they decided never to meet again. He was already engaged to marry a girl from a suitable family.

This romantic story, the reader has probably long ago decided, is hardly unusual. Beautiful young women without family support, and disadvantaged – in this case doubly, being both illegitimate and coloured – have this kind of history. In the rich parts of the world. In the poor countries of the Third World most particularly. Even in the Second World (but where is that?), poor and pretty girls match dreams to expectations, but with their hearts, not their heads.

Julie’s head was far from weaker than her heart. As her journals show. And her self-portraits. And, not least, her music. While her unfortunately not unusual story unfolded itself, her mind remained – bad luck for her – above it all, as if Jane Austen were rewriting Jane Eyre, or Stendhal a novel by George Sand. An uncomfortable business, reading her journals, because one has to feel that it is bad enough she had to suffer all that pain and loneliness, without having to endure her own severe view of herself. She might have adored her lover Paul, and more than adored Rémy, but she often described these passions as if a busy physician were making notes about calamitous illnesses. Not that she dismissed these calamities as worthless or meaningless: on the contrary, she gave them all the weight and meaning they did have in her life.

Five years after the loss of her lover Rémy, she was asked in marriage by a man of fifty, Philippe Angers, the master of the printing works where she sold her pictures. He was well-off, a widower with grown-up children. She liked him. She wrote that talking with him was the best thing in her life, after her music. He visited her in her own house, openly, his horse and sometimes his carriage left standing under the pines and turkey oaks where the cart track ended. She walked with him in a public garden at Belles Rivières. They spent the day together at a fête in Nice. This was his way of telling the world that he approved of Julie and her way of life, and proposed to take her on regardless of public opinion. But by now people were pleased that this vagabond and disturber of minds should be made harmless at last.

She was writing, I like him so much, and everything about this proposition is sensible. Why then does it lack conviction? She mused that the word conviction was an interesting one in this context. Paul had been convincing, and Rémy most certainly was. What did she mean by it, though?

For a long sober year Julie and the master printer planned their marriage. His children met her and presumably approved. One of them was a farmer, Robert. She describes how Robert joined the printer and herself for a meal. I could love that one, she remarks. And he certainly could love me. When we looked at each other we knew it. That would have conviction, all right! But it doesn’t matter. He lives with his wife and his four children near Béziers. We shall probably never see each other.

Remarks about her future husband continue, and they are calm, sensible, one could say respectful. There is, however, an entry describing a day in her married life. I shall wake up in that comfortable bed beside him, when the maid comes in to do the fire. Just as his wife did. Then I will kiss him and I will get up to make the coffee, since he likes my coffee. Then I shall kiss him when he goes downstairs to the shop. Then I shall give the girl orders. At last I will go to the room he says I can have for myself and I shall paint. Oils if I like. I will be able to afford anything I like in that line. He usually doesn’t come to the midday meal, so I shall ignore it and walk in the gardens and make conversation with the citizens, who are longing to forgive me. Then I shall play the piano a little, or my flute. He has not heard the music I am writing these days. I don’t think he would like it. Dear Philippe, he is so warmhearted. He had tears in his eyes when thedog was sick. He will come in for supper and we will eat soup. He likes my soup, he likes how I cook. Then we will talk about his day. It is interesting, the work he does. Then we will talk about the newspapers. We shall often disagree. He certainly does not admire Napoleon! He goes to bed early. That will be the hardest, to be shut up in a house all night.

Not once is there a suggestion of a financial calculation. Yet she was quite alone in the world. Her mother had been killed in the Mount Pelée earthquake, having gone to visit a sister living at St Pierre, which was destroyed. It is not recorded whether Julie ever asked her father for help.

A week before the mayor, who was an old friend of Philippe’s, was to marry them at the town hall, she drowned herself in the pool where gossips said she had killed her baby. They did not believe she had killed herself. Why should she, now that all her problems were solved? Nor had she slipped and fallen, which was what the police decided. Absurd! – when she had been jumping around those woods for years, like a goat. No, she was murdered, and probably by a disappointed lover no one knew about. Living all by herself miles from any decent people, she had been asking for something of the sort.

There were suitable condolences for the citizen who had lost his love, for no one could doubt he adored her, but people said he was well out of it. The gendarmes collected up her papers, her sketches, her pictures, a good deal of sheet music, and for lack of a better idea put it all into a big packing case that went to stand in the cellar of the provincial museum. Then, in the 1970s, Rémy’s descendants found some of her music among their papers, were pleased with it, remembered there was a packing case in the museum, found more music there, and got it played at a local summer festival. That is where the Englishman Stephen Ellington-Smith heard it. As music lovers will know, Julie Vairon quickly became recognized as a composer unique in her time, an original, and people are already using the word great.

But she was not only a musician. The artistic world admires her. ‘A small but secure niche…’ is how she is currently evaluated. Some people think she will be remembered for her journals. Excerpts appeared in both France and England, and were at once praised: very much to the taste of this time. Three volumes of her journals were published in France, and one volume (the three abridged) in Britain, where no one disagreed with the French claim that she deserves to stand on the same shelf as Madame de Sévigné. But some people have too many talents for their own good. Perhaps better if she had been an artist with that modest sensitive unpretentious talent so becoming in women. Which brings us to the feminists for whom she is a contentious sister. For some she is the archetypal female victim, while others identify with her independence. And as a musician, so one critic complained, ‘the trouble is one doesn’t know how to categorize her.’ All very well to say now how modern she is, but her music was not of her time. She came from the West Indies, people remind each other, where there is all that loud and disturbing music and it was ‘in her blood’. No one forgets that ‘blood’, an asset now, if not then. No wonder her rhythms are not of Europe. But then, they aren’t African either. To add to the problem, her music had two distinct phases. The first kind is not hard to understand, though where it could have come from certainly is: nearest to it is the trouvère and troubadour music of the twelfth, thirteenth, and fourteenth centuries. But that music was not available in Julie’s time, as it is now, in recordings of arrangements made using the instruments of then and re-created from difficult-to-decipher manuscripts. There are ways of bringing that old music back to life. One tradition of Arab music has changed little in all those centuries from what was taken to Spain, whence it came to southern France and inspired the singers and musicians who wandered from castle to castle, court to court, with instruments that were the ancestors of the ones we know. Yet when music has to be inferred, recreated, ‘heard’, the interpretation of an individual has to be at least in part an original inspiration. The words of the Countess Dié are as she sang them, but exactly how did she sing them? Did Julie see old manuscripts somewhere? We all know the most unlikely things do happen. Where? Did the Rostand family have ancient manuscripts in their possession? The trouble with this interesting theory – which postulates that this ancestor-loving, music-loving clan were so careless with a treasure from the past that they did not recognize its influences on Julie – is that Julie wrote that kind of music before knowing the family, for her songs of that time were fed by her grief over losing Paul. One may speculate harmlessly that among those solid middle-class families whose daughters she taught was one with an ancient chest full of…it is possible. Very well, then, how did this kind of singing come into her mind, living in her hilly solitude? What was she hearing, listening to? It was certain there were the sounds of running and splashing water, the noise of cicadas and crickets, owls and nightjars, and the high thin scream of a hawk on its rocky heights, and the winds of that region, which whine drily through hills where the troubadours went, making their singular music. There are those who say fancifully that she was visited by their essences during those long evenings alone, composing her songs. A music lover actually played them at a concert of trouvère and troubadour music, and everyone marvelled, for she could have been one of them. So that was her ‘first phase’, hard to explain but easy to listen to. Her ‘second phase’ was different, though there was a short period when the two kinds of music were in an uneasy alliance. Oil and water. Nothing African about the new phase. Long flowing rhythms go on, and very occasionally a primitive theme appears, if by that is meant sounds that remind one of dancing, of physical movement. But then it becomes only one of several themes weaving in and out, rather as the voices in late medieval music make patterns where no one voice is more important than another. Impersonal. Perhaps it is that which disturbs. The music of her ‘troubadour’ period complains right enough, but formally, within the limits of a form (like the fado or, for that matter, like the blues) which always sets bounds to the plaint of a little individual calling out for compassion, for surcease – for love. Her late music, cool and crystalline, could have been written by an angel, as a French critic said, but another riposted, No, by a devil.

It is hard, listening to her late music, to match it with what she said of herself in her journal, and with her self-portraits. Just before she threw herself into the pool, because that sensible marriage ‘lacked conviction’, she drew in pastels a wreath of portraits of herself, a satirical echo of those garlands of little cherubs or angels to be found on greeting cards. The sequence begins at top left with a pretty, wispy baby who is staring with intelligent black eyes straight back at the viewer – at, it must be remembered, Julie, as she worked. Next, the delightful little girl, her white muslin dress, the pink ribbons, vigorous black curls, and a smile that both seduces and mocks the viewer. Then an adolescent girl, and she is the only one who does not look directly back out of the picture. She is half turned away, with a proud poised profile, like an eaglet. Nothing comfortable about this girl, and one is glad to be spared her eyes, bound to demand strong reactions and sympathies. At the bottom, a spray of conventionalized leaves to match a bow of white ribbon at the top. At bottom right, opposite the eaglet, a young woman, seen as the apogee of this life, its achievement: she is not unlike Goya’s Duchess of Alba, but prettier, with black curls, a fresh vigorous figure, and black bold amused eyes, forcing you to stare back into them. On the opposing side to the adolescent girl, in her way matching or commenting on her, is a coolly smiling woman in her early thirties, handsome and composed, nothing remarkable about her except for the thoughtful gaze, which holds you until: Very well, then, what is it you want to say? There is a black line drawn between this portrait and the next two: two stages of her life she chose not to live. A plump middle-aged woman sits with folded hands, eyes lowered. All the energy of the picture is in a yellow scarf over her grey hair: she could be any woman of fifty-five. The old woman is only an old woman. There is no individuality there, as if Julie could not imagine herself old or did not care enough to think herself into being old. And having drawn that emphatic black line, she had walked out of her house through the trees and stood – for how long? – on the edge of the river, and then jumped into a pool full of sharp rocks.

This was just before the First World War, which so rapidly and drastically changed the lives of women. Supposing she had not jumped, decided to live?

Before jumping she put her pictures, her music, her journals, into tidy heaps. She did not seem to have destroyed anything, probably thought: Take it or leave it. She did write a helpful note for the police, telling them where to look for her body.

Oblivion, for three-quarters of the century. Then the summer recital in Belles Rivières where her music was played for the first time. Shortly after that, her work was included in an exhibition of women artists in Paris, which came successfully to London. A television documentary was made. A romantic biography was written by someone who had either not read the journals or decided to take no notice of them.

This was where Sarah Durham had entered the story. She read the English version of the journals, thought it unsatisfactory, sent to Paris for the French edition, and found herself captivated by Julie to the extent that she was actually making a draft of a play before discussing it with the other three. They were as intrigued as she was. Afterwards no one could remember who had suggested using Julie’s music; this kind of creative talk among people who work together is very much more than the sum of its parts. They could not stop talking about Julie. She had taken over The Green Bird. Sarah did another draft, with music. This was shown to potential backers, and at once Julie Vairon began to escalate. Then another play arrived, written by Stephen Ellington-Smith, who had done so much to ‘discover’ and then ‘promote’ Julie Vairon: ‘Julie’s Angel’.

They all read this new play, which was romantic, not to say sentimental, and no one would have given it another thought had Patrick not demanded a special meeting. Present were Sarah, Mary Ford, Roy Strether, Patrick Steele – the Founding Four. And, too, Sonia Rogers, an energetic redhead who was being ‘tried out’. They were still saying that she was being tried out when it was evident she was a fixture, because no one wanted to admit an era was over. Why Sonia? Why none of the other hopefuls who worked in and around the theatre, sometimes without payment or for very little? Well, it was because she was there. She was everywhere, in fact. ‘Turn the stone and there you find her,’ jested Patrick. She had come in as a ‘temp’ and had at once become indispensable. Simple. She was at this meeting because she had come into the office for something and was invited to stay. She perched on the top of a filing cabinet as if ready to fly away at one cross word.

Patrick opened fire with ‘What’s the matter with Stephen Whatsit’s play? It just needs a bit of tightening, that’s all.’

Mary sang, ‘ “She was poor but she was honest, victim of a rich man’s whim”.’

Roy said, ‘Two rich men, to be accurate.’

Sarah said, ‘Patrick, these days you simply can’t have a play with a woman as a victim – and that’s all.’

Patrick said, sounding, as he did so often, trapped, betrayed, isolated, ‘Why not? That’s what she was. Like poor Judy. Like poor Marilyn.’

‘I agree with Sarah,’ said Sonia. ‘We couldn’t have a play about Judy. We couldn’t do Marilyn – not just victims and nothing else. It’s not on.’

There was a considerable pause, of the kind when invisible currents and balances shift. Sonia had spoken with authority. She had said We. She wasn’t thinking of herself as temporary, on trial. Right, the Founding Four were thinking. And now that’s it. We have to accept it.

They all knew what each of the others was thinking. How could they not? They did not need even to exchange glances, or grimaces. They were feeling, were being made to feel, faded, shabby – past it. There sat this Sonia, as bright and glossy as a lion cub, and they were seeing themselves through her eyes.

‘I agree absolutely,’ said Mary, finally, assuming responsibility for the moment. And her smile at Sonia was such that the young woman showed her pleasure with a short triumphant laugh, tossing her fiery head. ‘They wouldn’t do an opera about Madame Butterfly now.’ Mary went on.

‘Everyone goes to see Madame Butterfly,’ said Patrick.

‘Everyone?’ said Sonia, making a point they were meant to see was a political one.

‘How about Miss Saigon?’ said Patrick. ‘I’ve read the script.’

‘What’s it about?’ asked Sonia.

‘The same plot as Madame Butterfly,’ said Patrick. ‘You talk your way out of that one, Sarah Durham.’

‘It’s a musical,’ said Sarah. ‘Not our audience.’

‘Disgraceful,’ said Sonia. ‘Are you sure, Patrick?’

‘Absolutely.’

Patrick pressed his attack. ‘Then how about the Zimbabwe play? I don’t remember anyone saying it should be a musical.’

The Zimbabwe play, by black feminists, was about a village girl who longed to live in town, just like everyone else in Zimbabwe, but there is unemployment. Her aunt in Harare says no, her house is already over-full. This precipitates a moral storm in the village, because the aunt’s refusal is a break with the old ways, when the more fortunate members of a family had to keep any poor relation who asked. But the aunt says, I have already got twenty people in my house, with my children and my parents and I’m feeding everyone. She is a nurse. The village girl catches the eye of a local rich man, the owner of a lorry service. She gets pregnant. She kills the child. Everyone knows, but she is not prosecuted. She becomes an amateur prostitute. She never thinks of herself as one: ‘This time the man will love me and marry me.’ Another baby is left on the doorstep of the Catholic mission. She gets AIDS. She dies.

‘I saw it,’ said Sonia. ‘It was good.’

‘But that was all right, because she was black?’ said Patrick, and laughed aloud at the political minefield he had invited them into.

‘Let’s not start,’ said Mary. ‘We’ll be here all night.’

‘Right,’ said Patrick, having made his point.

‘It’s too late anyway,’ said Roy, summing up, as he generally did. Calm, large, unflappable, one of the world’s natural arbiters. ‘We’ve already agreed on Sarah’s play.’

‘But,’ Sonia directed them, ‘I do think we should at least remember that it is the story of girls all over the world. As we sit here. Hundreds of thousands. Millions.’

‘But it’s too late,’ said Roy.

Mary remarked. ‘I don’t think the French are in on it because they like the idea of a good cry. They don’t see it as a weepy. When I talked to Jean-Pierre on the phone yesterday about the publicity, he said Julie was born out of her time.’

‘Well, of course,’ said Sarah.

‘Jean-Pierre says they see her as an intellectual, in their tradition of female bluestockings.’

‘In other words,’ said Roy, ending the meeting by standing up, ‘we shouldn’t be having this conversation at all.’

‘What about the American sponsors?’ demanded Patrick. ‘What have they agreed to? I bet not a French bluestocking.’

‘They bought the package,’ said Sarah.

‘I can tell you this,’ said Patrick. ‘If you did Stephen Whatsit’s play there wouldn’t be a dry eye in the house.’

As Mary and Roy went banging off down the wooden stairs, they sang, ‘“She Was Poor but She Was Honest”,’ and Patrick actually had tears in his eyes. ‘For goodness sake!’ said Sarah, and put her arms around him. As people did so often: There there! He complained they patronized him, and they said, But you need it, with your wounded heart always on view. All this had been going on for years. But things had changed…Sonia wasn’t going to spoil him. Now, at the foot of the stairs, she looked critically at Patrick who – always ornamental, and even bizarre – was today like a beetle, in a shiny green jacket, his black hair in spikes. But Sonia, in the height of fashion, wore black full Dutch-boy trousers, a camouflage T-shirt from army surplus and over it a black lace bolero from some flea market, desert boots, a jet Victorian choker necklace, many rings and earrings. Her hair, in a variation of a 1920s shingle, was in a tight point at the back, and in front in deeply curving lobes, like a spaniel’s ears. But her hair was seldom the same for more than a day or two. Her get-up did not please Patrick. He had already been heard shrilly criticizing her for lack of chic. ‘Being a freak isn’t smart, love,’ he had said. To which she had replied, ‘And who’s talking?’



Sarah did not go to bed on the night before she was due to meet Stephen Ellington-Smith. For one thing, she had not finished cleaning until three in the morning. Then she decided to do the programme notes after all. Then she reread Julie’s journals, preparing herself for what she believed would be a fight with Julie’s Angel.

‘Look,’ she imagined herself saying, ‘Julie never saw herself as a victim. She saw herself as having choice. Until 1902 and her mother’s death, she could have gone home to Martinique. Her mother actually wrote saying she was welcome any time. There’s even a rather silly letter from her half-brother, who took over the estate when the father died, making jokes about their relationship; it was insulting in a sort of schoolboy way. He said the father had told him to “look after” Julie. But she didn’t reply. She wondered whether she should be a prostitute – don’t forget this was the time of les grandes horizontales. But she said she had no taste for luxury, and that did seem to be essential for a highclass tart. She was offered a job as a chanteuse in a nightclub in Marseilles, but she said it would be too emotionally demanding, she would have no time for her music and her painting. Anyway, she hated provincial towns. She did actually have the chance of going to Paris in a touring company as a singer. But this was nothing like her dreams of Paris. She said in her journal, If Rémy asked me to go to Paris and live with him there…we could live quietly, we could have real friends…The underline there says everything, I think. She goes on. Of course it is out of the question, though I saw him with his wife at the fête. It is clear they do not love each other. She was invited to go as governess in a lawyer’s household in Avignon: he was a widower. Several men wanted to set her up in Nice or Marseilles as a mistress. These offers were merely recorded, as she might have written, It was hot today, or, It was cold.

‘We could easily present Julie in terms of what she refused. And what did she actually choose? A little stone house in the forest. “The cow-byre”, as the citizens contemptuously called it. She chose to live alone, paint and draw and compose her music and, every night of her life, write a commentary on it.

‘Yes, I agree it is not easy to make of this a riveting drama. Not easy even if we keep the form you have chosen. Act One: Paul. Act Two: Rémy. Act Three: Philippe. Yes, you could argue that she did write, I don’t think I could bear to move away from my little house where everything speaks to me of love. As George Sand might have written. But don’t forget she went on, I live here exactly as my mother did in her house. The difference is that she has been kept all her life. By one man – my father. She always loved him and never had choice. She could not leave his estate because if she did she could have earned her living only as a brothel-keeper (like her mother and her grandmother, or so she hinted). Or as an ordinary prostitute, or perhaps as a housekeeper. What were her accomplishments? She could cook. She could dress. She knew about plants and herbs. Presumably she knew about love but we never discussed love, that is, the making of it, because she destined me to be a young lady and she didn’t want to raise thoughts in my mind about her, about what she is really like (and that is in itself so touching it could almost break my heart, because how else could I have defined myself, what I am, if not by understanding her?). But I am very much afraid, if we sat alone and talked like women, I would hear her say, I live here in this house because everything in it and near it reminds me of love. And included in this love would be memories of shadows of great trees on her walls, and in the mirror of her sitting room and on the ceilings of her bedroom, and the damp, the everlasting humidity, and the heavy smell of flowers and of wet vegetation, and a smell something like the wet fur of animals that filled the house when it rained. But thefact is, my mother could not have left her house and her life even if she wanted to, but I can leave here at any time.

‘Where in all this do we see the victim?’

It was not that she was afraid of any financial consequences of refusing his play, because he had written, ‘I am sure it goes without saying that my support for the play will not be in any way affected if you all decide my little attempt is not good enough.’



He was already at a table in a restaurant she was relieved to find was not one of the currently fashionable ones. A large, rather dark, old-fashioned room, and quiet. He was at first glance a country gentleman. As she advanced towards him she reflected that it was surely remarkable that when she returned to the office and answered Mary Ford’s query, ‘What’s he like?’ with ‘He’s a country gentleman, old style’ – then Mary would at once know what she meant. Her parents, or Mary Ford’s, her grandparents or Mary’s, would not at once be able to ‘place’ many people in today’s Britain, but they would know Stephen Ellington-Smith at a glance. He was a man of about fifty, large but not fat. He was big-framed and, authoritatively but casually, seemed to take up a lot of space. His face was blond and open: green-eyed, sandy-lashed; and his hair, once fair, was greying. His clothes were as you’d expect: but Sarah found herself automatically making notes for the next time they needed to fit out such a character in a play. Their essence, she decided, was that they would be unnoticeable if he was stalking a deer. His mildly checked brownish-yellow jacket was like a zebra’s coat in that it was designed to merge.

He watched her come towards him, rose, pulled out a chair. His inspection, she knew, was acute, but not defensive. She felt he liked her, but then, people on the whole tended to.

‘There you are,’ said he. ‘I must say you are a relief. I don’t know quite what I expected, though.’ Then, before they had even settled themselves, he said, ‘I really do have to make it clear that I’m not going to mind if you people have decided against my play. I’m not a playwright. It was a labour of love.’

He was saying this as one does to clear the ground before another – the real problem is faced. And she was thinking of a conversation in the office. Mary had remarked, ‘All the same, it’s a funny business. He’s been involved with Julie Vairon for a good ten years one way or another. What’s in it for him?’ Quite so. Why should this man, ‘A regular amateur of the arts, old style, you know’ – so he had been described by the Arts Council official who had suggested approaching him as a patron – have been involved with that problematical Frenchwoman for a decade or more? The reason was almost certainly the irrational and quirky thing that is so often the real force behind people and events, and often not mentioned, or even noticed. This was what Mary Ford had been hinting at. More than hinting. She had said, ‘If we’re going to have problems with him, let’s have them out in the open right from the beginning.’ ‘What sort of problems do you expect?’ Sarah had asked, for she respected Mary’s intuition. ‘I don’t know.’ Then she sang, to the tune of ‘Who Is Sylvia’, ‘Who is Julie, what is she…’

They began by talking practicalities. There was the difficulty that began Julie Vairon’s career. The play was to have gone on in London at The Green Bird, one of three planned for the summer season. By chance, Jean-Pierre le Brun, an official from Belles Rivières, heard from the Rostand family, which had been very co-operative, that a play was imminent, and he flew to London to protest. How was it that Belles Rivières had not been consulted? The truth was, the Founding Four had not thought of it, but that was because they had not seen the piece as ambitious enough to involve the French. Besides, Belles Rivières did not have a theatre. And, as well, Julie Vairon was in English. Jean-Pierre had accepted that the English had been quicker to see the possibilities of Julie, and no one wanted to deny them that honour. There was no question of taking Julie Vairon away from The Green Bird. That was hardly possible, at this stage. But he was genuinely and bitterly hurt that Belles Rivières had been excluded. What was to be done? Very well, the English version could be used for a run in France. Yes, unfortunately it had to be admitted that if tourists were attracted, then they would be more likely to speak English than French. And besides, so many of the English themselves were settled in the area…he shrugged, leaving them to decide what he thought of this state of affairs.

So it was decided. And what about the money? For The Green Bird could not finance the French run. No problem, cried Jean-Pierre; the town would provide the site, using Julie’s own little house in the woods – or what was left of it. But Belles Rivières did not have the resources to pay for the whole company for a run of two weeks. It was at this point that an American patron came in, to add his support. How had he heard of this, after all, pretty dicey proposition? Someone in the Arts Council had recommended it and this was because of Stephen’s reputation.

At this point, mutual support and helpfulness was being expressed mostly in photographs back and forth, London to Belles Rivières, London to California, Belles Rivières to California. It turned out that there was already a Musée Julie Vairon in Belles Rivières. Her house was visited by pilgrims.

Stephen was disturbed. ‘I wonder what she’d think of so many people in her forest. Her house.’

‘Didn’t we tell you we were going to use her house for the French run? Didn’t you see the promotional material?’

‘I suppose I hadn’t really taken it in.’ He seemed to be debating whether to trust her. ‘I even felt bad about writing that play – invading her privacy, you know.’ Then, as she found herself unable to reply to this, for it was a new note, and unexpected, he added abruptly, thrusting out his chin small-boy style, ‘You have understood, I am sure, that I am hopelessly in love with Julie?’ Then gave a helpless, painful grimace, flung himself back in his chair, pushed away his plate, and looked at her, awaiting a verdict.

She attempted a quizzical look, but his gesture was impatient. ‘Yes, I am besotted with her. I have been since I first heard her music at that festival. In Belles Rivières, you know. She’s the woman for me. I knew that at once.’

He was trying to sound whimsical but was failing.

‘I see,’ she said.

‘I hope you do. Because that’s the whole point.’

‘You aren’t expecting me to say anything boring, like, She’s been dead for over eighty years?’

‘You can say it if you like.’

The silence that followed had to accommodate a good deal. It was not that his passion was ‘crazy’ – that portmanteau word, but that he was sitting there four-square and formidable, determined that she should not find it so. He waited, apparently at his ease because he had made his ultimatum, and he even glanced about at this familiar scene of other eaters, waiters, and so on, but she knew that here, at this very point, was what he was demanding in return for his very sizeable investment. She had to accept him, his need.

After a time she heard herself remark, ‘You don’t like her journals very much, do you?’

At this he let out a breath. It would have been a sigh if he had not been measuring it, checking it, even, for too much self-revelation. He shifted his legs abruptly. He looked away, as if he might very well get up and escape and then made himself face her again. She liked him very much then. She liked him more and more. It was because she felt at ease with him, absolutely able to say anything.

‘You’ve put your finger on…no, I don’t. No, when I read her journals I feel – shut out. She slams a door in my face. It’s not what I…’

‘What you are in love with?’

‘I don’t think I’d like that cold intelligence of hers directed at me.’

‘But when one is in love one’s intelligence does go on, doesn’t it? Commenting on –’

‘On what?’ he cut in. ‘No, if she’d been happy she’d never have written all that. All that was just…self-defence.’

At this she had to laugh, because of the enormity of his dismissal of – as far as she was concerned – the most interesting aspect of Julie.

‘Oh all right, laugh,’ he said grumpily, but with a smile. She could see he did not mind her laughing. Perhaps he even liked it. There was something about him of a spreading, a relaxation, as if he had held a breath for too long and was at last able to let it go. ‘But you don’t understand, Sarah – I may call you Sarah? Those journals are such an accusation.’

‘But not of you.’

‘I wonder. Yes, I do, often. What would I have done? Perhaps she would have written of me as she did about Rémy. I represented to him everything he had ever dreamed about when he hoped to be larger than his family, but in the end he was not more than the sum of his family.’

‘And is that what she represents to you? An escape from your background?’

‘Oh no,’ he said at once. ‘To me she represents – well, everything.’

She could feel her whole self rejecting this mad exaggeration. Her body, even her face, was composing itself into critical lines, without any directing intention from her intelligence. She lowered her eyes. But he was watching her – yes, she already knew that close, intelligent look – and he knew what she was feeling, for he said, ‘Please don’t tell me you don’t know what I mean.’

‘Perhaps,’ she said cautiously, ‘I have decided to forget it.’

‘Why?’ he enquired, not intending flattery. ‘You are a good-looking woman.’

‘I am a good-looking woman still,’ said she. ‘I am still a good-looking woman. Quite so. That’s it. I haven’t been in love for twenty years. Recently I’ve been thinking about that – twenty years.’ As she spoke she was amazed that she was saying to this stranger (but she knew he was not that) things she had never said to dear and good friends, her family – that is what they were – at the theatre. She put on the humour and maternal style that seemed more and more her style: ‘And what was it all about, I wonder now, all that…absurdity?’

‘Absurdity?’ And he let out that grunt of laughter that means isolation in the face of wilful misunderstanding.

‘All that anguish and lying awake at night,’ she insisted, forcing herself to remember that indeed she had done all that. (It occurred to her she had not even acknowledged, for years, that she had done all that.) ‘Thank God it can never happen to me again. I tell you, getting old has its compensations.’ Here she stopped. It was because of his acute examination of her. She felt at once that her voice had rung false. She was blushing – she felt hot, at any rate. He was, there was no doubt, a handsome man, or had been. He was a pretty good proposition even now. Twenty years ago perhaps…and here she smiled ironically at him, for she knew her hot cheeks were making confessions. She went on, however, actually thinking that if he could be so brave, then so could she. ‘What I think now is, I was in love too often.’

‘I’m not talking about the little inflammations.’

Again she had to laugh. ‘Well, perhaps you are right.’ Right about what? – and she could see he was finding the phrase, as she did the moment it was out, a bromide, dishonest. ‘But why do we assume it always means the same thing to everyone – being in love? Perhaps “little inflammations” is accurate enough, for a lot of people. Sometimes when I see someone in love I think that a good screw would settle it.’ Here she took from him, as she had expected to, a surprised and even hard look at the ugly term, which she had used deliberately. Women who are ‘getting on’ often have to do this. One minute (so it feels) they are using the language of our time (ugly, crude, honest), and in the next, they have become, or feel they soon will if they don’t do something about it, ‘little old ladies’, because the younger generation have begun to censor their speech, as if to children. But, she thought, critical of herself, there is no need to take up stances with this man.

He said, after a long pause, while he examined her, ‘You’ve simply decided to forget, that’s all it is.’

She conceded, ‘Very well, then, I have. Perhaps I don’t want to remember. If a man had ever been everything to me – that’s what you said, everything…but I did have a very good marriage. But everything…let’s talk about your play, Stephen.’ And she deliberately (dishonestly) let this look as if she didn’t want to talk about her dead husband.

‘All right,’ he agreed, after a pause. ‘But it’s not important. I don’t really mind about it. Scrap it.’

‘Wait. I’m going to keep a good bit of it. The dialogue is good.’ This was not tact. His dialogue in parts was better than hers. Now she knew why. ‘Do you realize you have made Rémy the focus of everything? The real love? What about Paul? After all, she did run away to France with him.’

‘Rémy was the love of her life. She said so herself. It’s in her journals.’

‘But she didn’t get into her stride with the journals until after Paul ditched her. Suppose we had a day-by-day record of her feelings for Paul, as we have for Rémy?’ He definitely did not like this. ‘You identify with Rémy – and it is your own background. Minor aristocracy?’

‘Well, perhaps.’

‘And you’ve hardly mentioned the son of her worthy printer. Julie and Robert took one look at each other and, quote, If you have a talent for the impossible, then at least recognize it. After that, she killed herself. It seems to me the printer’s son could easily have been as important as Rémy.’

‘It seems to me you want to make her a kind of tart, falling in love with one man after another.’

She couldn’t believe her ears. ‘How many women have you been in love with?’

Obviously he couldn’t believe his. ‘I don’t really see the point of discussing the double standard.’

They were looking at each other with dislike. There was nothing for it but to laugh.

Then he insisted, ‘I have been in love, seriously, with one woman.’

She waited for him to say ‘my wife’ – he was married – or someone else, but he meant Julie. She said, ‘It’s my turn to say that you have decided to forget. But that isn’t the point. At the risk of being boring, art is one thing and life another. You don’t seem to see the problem. In your version, her main occupation was being in love.’

‘Wasn’t being in love her main occupation?’

‘She was in love a lot of her time. It wasn’t her main occupation. But these days we cannot have a play about a woman ditched by two lovers who then commits suicide. We can’t have a romantic heroine.’

Clearly she could not avoid this conversation: she reflected it was probably the tenth time in a month.

‘I don’t see why not. Girls are going through this kind of thing all the time. They always have.’

‘Look. Couldn’t we leave it to people who write theses? It’s an aesthetic question. I am simply telling you what I know. Out of theatre experience. After all, even the Victorians made a comic song out of “She Was Poor but She Was Honest”. But I think I know how to solve it.’ Her duplicity with him would be limited to not telling him she had solved it already. ‘We can leave the story exactly as you have it. But what will put the edge on it…there is something; I hope you are going to ask what.’

‘Very well,’ he said, and she could see that this was the moment when he finally gave up his play. With good grace. As one would expect from someone like him.

‘We will use what she thought about it all…’

‘Her journals!’

‘Partly. Her journals. But even more, her music. There are her songs, and a lot of her music lends itself – we can use words from the journals and fit them to the music. Her story will have a commentary – her own.’

He thought about this an uncomfortably long time. ‘It is astonishing – it is really extraordinary – the way Julie is always being taken away from me.’ Here he looked embarrassed and said, ‘All right, I know that sounds mad.’

She said, ‘Oh well, we are all mad,’ but, hearing her comfortable maternal voice, knew at once she was not going to be allowed to get away with it. Again she was finding his acute look hard to bear. ‘I do wonder what it is you are mad about,’ he remarked, with more than a flick of malice.

‘Ah, but I’ve reached those heights of common sense. You know, the evenly lit unproblematical uplands where there are no surprises.’

‘I don’t believe you.’

You could say their smiles at each other, companionable but satiric, marked a stage.

The restaurant was emptying. They had come to the end of what they had to say to each other, at least for now. Both were making the small movements that indicate a need to separate.

‘You don’t want to hear any more of my ideas for the play?’

‘No, I shall leave it to you.’

‘But your name will be on it, with mine, as co-authors.’

‘That would be more than generous.’

They left the restaurant, slowly. At this very last moment, it seemed they did not want to part. They said goodbye and walked away from each other. Only then did they remember they had been together for nearly three hours, talking like intimates, had told each other things seldom said even to intimates. This idea stopped them both, and turned them around at the same moment on the pavement of St Martin’s Lane. They stood examining each other’s faces with curiosity, just as if they had not been sitting a few feet apart, for so long, talking. Their smiles confessed surprise, pleasure, and a certain disbelief, which latter emotion – or refusal of it – was confirmed when he shrugged and she made a spreading gesture with her hands which said, Well, it’s all too much for me! At which they actually laughed, at the way they echoed, or mirrored, each other. Then they turned and walked energetically away, he to his life, she to hers.



In the office, Sarah found Mary Ford making a collage of photographs for publicity, while Sonia stood over her, hands on her hips, in fact learning, but making it look as if she was casually interested.

Sarah told Mary that Stephen Ellington-Smith was a country gentleman, old style. That he was too magnanimous to be petty about his play. That he was, in fact, a poppet. Mary said, ‘Well, that’s a good thing, isn’t it?’ Sonia took in this exchange with her little air of detachment.

Sarah sat with her back to the two young women, pretending to work, listening…no, one young woman and a middle-aged one: she had to accept that about Mary, even if it did hurt. They had all become so used to each other…Sonia was there in that office – not strictly her territory – not only to learn but to stake a claim. She wanted to be made responsible for the next production, Hedda Gabler. ‘You people will be busy with your Julie,’ she said. There was no need for the two senior officials to confer: they knew what each other thought. And why not? They were not likely to find anyone sharper, cleverer – and more ambitious – than Sonia. ‘Why not?’ said Mary, and without turning around, Sarah said, ‘Why not?’ In this way confirming Sonia’s position, and a much larger salary. Sonia left. ‘Why not?’ said Mary again, quietly, and Sarah turned herself about and smiled confirmation of Mary’s real message, which was that there really was no doubt of it – an epoch was indeed over.

Sarah did not need a week to use Stephen’s dialogue where it fitted, but decided to pretend she had needed that time, so he would not feel his contribution was inconsiderable. But when she was actually seated there, in her room, the mess of papers she was already calling the script spread about, a week did not seem too much. For one thing, she was unhappy with the existing translation of the journals. She had made her own of some of the passages, those that would accompany the music. She had had to get permission from the Rostands. ‘After all,’ she had written, ‘it is only a question of a few pages. It is not as if I were proposing to make a new translation of all Julie’s writings.’ In fact she wished she could. She privately believed that people loving literature who chanced to read her translations would at once see how much better, more vivacious, her language was, how much closer to Julie’s self. Perhaps one day she would make a new translation, choosing different passages: she did not necessarily agree with the English translator’s choices. She understood Julie much better than…Sitting there, the word processor pushed to one side, for she was still at the stage of words scribbled on loose sheets with a Biro – yes, pretty old-fashioned, she knew – she thought, That’s something of a claim I’m making…conceited? Perhaps. But I think it’s true. This young woman hasn’t understood the first thing about Julie…I care very much that her translation is flat, no effervescence. I care too much. I am altogether too much involved in this business. Yes, of course you have to be totally submerged in what you are working on, even if a week after it’s finished you’ve forgotten it…What is it about that bloody Julie: she gets under people’s skin; she’s under mine. Look how this thing takes off, spreads itself about – she’s blowing us all apart, and we know it. I really am intoxicated – probably all these months of listening to the music. Well, I have to listen to it this week…I’m making everything too complicated: I’ve spent years and years weighted with Duty, working like a madwoman, and if I don’t watch out I’ll go sailing off into the sky like a hydrogen balloon.

She sat, hour after hour, choosing words, hearing them: seductive. Like music, particularly when choosing words that will be congruous with music. The words, which she was already hearing sung, were running in her head. This is an affliction of words’ users and makers. Words appear in your mind and dance there to rhythms you consciously know nothing about. Tags and rags of words: they can be an indication of a hidden state of mind. They can jiggle or sing for days, driving you mad. They can be like invisible film, like cling film, between you and reality. She was hardly the first person to have noted this. D. H. Lawrence, for instance: ‘She was angry with him, turning everything into words. Violets were Juno’s eyelids, and windflowers were unravished brides. How she hated words, always coming between her and life: they did the ravishing, if anything did: ready-made words and phrases, sucking all the life out of living things.’ Yes, this was an illustration of exactly what she complained of: there was the quotation, pat and patented, colonizing her mind. Well, when she had finished this task, Julie’s words, not to mention the Countess Dié’s, would linger and then sink back into that vast invisible Book of Great Quotations, leaving her in peace…she had long ago created a saving mental image, to be used at moments when her brain was so abuzz with words she seemed to prickle all over with their energy.

She imagined a shepherd boy from a long time ago – hundreds of years, for it was more restful if this scene lived in an antique air, as if it had come off a wall or the side of a vase. This young creature was illiterate, had never seen words on a page, or on a parchment. There were tales in his head, for there has never been a country or a culture without them. But when he sat on his dry hillside, under his tree, watching – what? sheep, probably – his mind was empty, and memories or thoughts came to him in the shape of pictures. Sarah did not allow this poor youth even the traditional shepherd’s pipe. Silence it had to be. Only a breeze moving through the tree he sat under. A cricket. The sheep cropping the grass. This figure had to be a boy. A girl – no. She would almost certainly be wondering whom she would be married off to. Girls were seldom allowed to be alone, but it did not matter, a girl or a boy – and silence. Sarah tried to imagine what it would be like not to have a brain set by the printed word. Not easy.

When the week was up, Sarah telephoned Stephen to say she believed the script – the libretto? how was this hybrid to be described? – was ready. No doubt that he was pleased to hear her voice, and she was disproportionately pleased that his voice warmed and lifted. Then he said, ‘But you know, you really don’t have to…’ in the way of someone not expecting much consideration. Which was surely remarkable?

‘But of course,’ said Sarah. ‘We are co-authors after all.’

‘I’m not going to complain. Tomorrow?’

And now began a time which, when she looked back on it, seemed like a country where she had gone by chance, one she had not known existed, a place of charm, a landscape like a dream landscape, with its own strong atmosphere, that speaks in a language one half knows or has forgotten. Before meeting Stephen somewhere – a restaurant, a garden, a park, she would say to herself, Oh come on, you’re imagining it. When it was time to part, she was reluctant, and made excuses to put off the moment. She knew he was doing the same. He too probably thought before meeting her or after they separated, ‘Nonsense, I’m imagining it.’ But they could not doubt that when they were together they were in a pleasantness, an case, an air different from quotidian life. A charmed place where anything could be said. And yet this was not a case of two people finding each other’s lives a reason for being intrigued. If she was not much interested in his, it was because she had not experienced anything like it: he was rich, he owned a large and historic house. When he asked about her life, she gave him the facts: she had been married young, widowed young, she had successfully brought up two children by herself. She had almost by accident – so it seemed now – become well known in the theatre. Oh yes, she had for a time been responsible for her brother’s child. He listened, thought, and remarked, ‘When people tell you about their lives – well, the plot – they don’t tell you much about themselves. Not really.’ As if he thought she was about to disagree, he went on, ‘That is, not if they are people with anything to them. What’s interesting about people is not what life hands out to them. We can’t help that, can we?’

He was making some kind of plea for himself, or an explanation, so she believed. But why did he need to? He often seemed to feel the need to apologize. What for?

Meanwhile they went on – well, yes, they were enjoying themselves.

‘I do enjoy being with you,’ he said, and not only did this have the frankness – the generosity – she expected from him, but he sounded surprised. Was enjoyment not something he expected? Well, this kind of delightfulness was not anything she was used to either. She really had had to work so hard, had been so weighed down with responsibility…but surely a man with so many advantages did not lack opportunities for…but it was the two of them, their being together, as if they both owned a key to this place whose air was happiness.

And they might shake their heads, offering each other ironic smiles because of the improbability of this affinity. Charm. Like opening a wonderfully wrapped package and finding in it a gift secretly hankered after for years but never really expected. Her life had become charmed because of this Stephen What’s-his-name, who was in love with a dead woman. Which passion they discussed a good deal, he with perfect good humour because, as he informed her, he had carried away his Julie into some fastness where she, Sarah, could not come. ‘I simply have to save her from you,’ he said. They had fallen into the habit of talking whimsically about his craziness – she could use the word because he did. ‘You’re crazy, Stephen.’ ‘Yes, I’ll freely admit it, Sarah.’ But to say someone is crazy is almost to make it all harmless. It is a joky little word.

Yet she believed he was doing himself real harm. Sometimes, when a silence had fallen between them she saw his face sombre, abstracted: yes, indeed ‘his’ Julie was in some deep place inside him where he visited her. But this was not doing him good, to judge from the dark hurt look he wore then. Sometimes, when she saw that look, she decided not to think about what it meant, for fear she too would succumb. She had learned this habit of self-protection with Joyce: there was a point when she decided not to enter imaginatively into the poor girl’s state of mind, for fear of being taken over. Surely there was something here that contradicted the outward life of this man, which was everything it should be, public-spirited, sane, generous, open for anyone to look at and judge. To joke about his ‘crush’ on Julie, choosing to avert her mind from what it might mean, saved their friendship from Julie. For Sarah – and she was ashamed of the irrationality of it – wondered more and more what witchery that woman must have had to influence people so strongly after she was dead. One might even fancifully see her as Orpheus, charming victims into dark places, by the power of her music and her words.

As for Sarah’s play – or script – Stephen said, ‘You’ve got her pretty well. I do realize I was being partial – I mean, in the play I did. And I’m glad you’ve made me see her…rounded out. It’s odd, what a block I had about reading her thoughts. But it hasn’t changed what I feel about her. You see, we were made for each other, Julie and I. Well, Sarah, your face isn’t exactly designed to hide what you think…is that because you don’t believe there can be someone made for you? I remember I thought that once. But the truth is, there can be just the one person. It’s funny, isn’t it, how few people there are who…but you can have this feeling about the most unlikely people. I remember once – I was in Kenya, on active service. Everyone’s forgotten Kenya. Too many wars, I suppose. I met this woman. She was an Indian woman. Older than I was. And it was there…we knew each other at once. You have to trust in this kind of thing. If you don’t, you are denying the best part of life. You and I have something of the kind – well, we know that. It has nothing to do with age, or sex, or colour, or anything of that sort.’

Sarah was saying to herself, about ‘this thing I have with Stephen’, that if she had had a brother – a real one, not a clown like Hal – then this is what it might have been like. Extraordinary it had not ever occurred to her that to have a brother might be a pleasant thing.



Sarah and Mary flew together to Nice. When high in the air over Europe, Sarah observed that Mary’s mouth was moving as she sat with closed eyes. No, Mary was not praying. She made a point of repeating her mantra as a public relations woman several times a day: ‘This summer dozens of festivals will compete for attention. The Julie Vairon Festival will be only one of them. I shall make sure it will be the best, the most visible, and that everyone will want to come.’

They were met at the airport by Jean-Pierre le Brun, whom they felt they already knew, after so many consultations by telephone. He was dark, good-looking, well-dressed, combining in that uniquely French way correctness, politeness, and a practised scepticism, as if at university he had taken Anarchy and Law as his main subjects, and these had merged and become subdued to a style. Meeting the Englishwomen, also officials of a kind, he managed to express an extreme of respectful politeness, with a readiness to be affronted. He was not aware that he radiated resentment as well, but in no time he had forgotten about it, for he decided he liked them. They enjoyed an amiable lunch at Les Collines Rouges, Belles Rivières’ main café-restaurant. It then being late for business in the town hall, he drove them off into the wooded hills behind the town, first speeding along a tarmacked road and then driving not much slower when it became a rough track. This was the road Julie had followed when she walked to and from Belles Rivières. ‘She walked in all weathers, la pauvre,’ said Jean-Pierre. Here two unsentimental Englishwomen smiled at the Frenchman who was being so formally sentimental, exactly as expected. And in fact he had tears in his eyes.

At the track’s end they walked up a rocky path till they stood in a wide space between trees and rocks. The soil was a vibrant red in the late afternoon sun. The green of the trees was intense. The air was full of a murmur like bees, but this was the river and the waterfall: apparently there had been heavy rain. There was not much left of the ‘cow-byre’ the citizens had complained about. To quote from Mary Ford’s publicity brochure: A little stone house, cold, uncomfortable, was where Julie Vairon lived in the south of France, from the day of her landing penniless off the ship until she died. It had been a charcoal burner’s house. ‘Well, why not?’ Mary demanded. ‘Someone must have lived there before she did.’ After Julie’s death it stood empty for many years. Then the farmer Leyvecque, whose grandsons still farm in the area, used it as a stable. A stormtook off the tile roof. If the town of Belles Rivières had not rescued it, there would be left only a heap of rubble, but instead the site is now a charming theatre, where this summer…

There wasn’t much left of the house. The long back wall stood, and parts of the side wall, now capped with cement to stop them collapsing further. Behind the house red earth sloped to the trees. Umbrella pines. Oaks. Olives and chestnuts. Some of these trees had known Julie. The air was full of healthy aromatic smells. The three people walked back and forth over the site where Julie’s life would shortly be re-enacted. Well, her life as edited by the necessities of the production. The acting would be on the space on a side of the house. The musicians would be on a low stone platform – at once Sarah and Mary began explaining that this platform must be larger, and nearer the acting area, because of the importance of the music. Jean-Pierre argued for form’s sake and then said he had not understood the music would carry so much of the meaning. He gracefully gave in, as he had been going to from the start. These negotiations were going on in a mixture of French and English – the English for Mary’s benefit. She had explained over lunch that she could not learn languages, in the way the English have, as if afflicted by a defective gene as yet unknown to science. Because it was Mary who was going to have to work with Jean-Pierre on publicity, Sarah listened to what turned out to be a pretty fundamental clash of views. He said he expected an audience of about two hundred for each night of the two weeks. Mary protested that many more must be planned for. Jean-Pierre said that one could not expect large audiences for a new play, and one with only local significance. Still gracefully disagreeing, the three arrived back in the town. Jean-Pierre left them at their hotel to return to his family, and it was with regret. Mary and he were making a game out of her inability to speak French and were communicating in Franglais. Clearly he enjoyed the surprise of this large, calm, apparently stolid young woman, with her equable blue eyes, taking off into ever surrealer flights of language.

There were three hotels. Among them the whole company would be distributed. All this was arranged by Sarah next morning, before the visit to the town hall, which was a formality, since everything had been already agreed on. Then Mary went off to interview descendants of the Imberts and the Rostands, Paul’s family and Rémy’s. Jean-Pierre went with her. Both clans had announced themselves only too willing to aid the Julie Vairon Festival, which would add such lustre to the little town. She also intended to visit the Julie Vairon Museum, and the archives, and the house – still as it was – where Julie would have lived had she decided to marry Philippe the master printer. And how about Philippe’s son Robert’s family? Perhaps they would agree – but they were a good way off. All this was going to take at least three days. Sarah flew back to London by herself.

She telephoned Stephen. On hearing each other’s voices they at once entered a region of privileged complicity, like children with secrets. This new note had been struck from the moment the script was judged finished by the Founding Four. When adults do this, it often means they are over-burdened, or even threatened in some way. Well, Stephen’s Julie was certainly threatened. ‘Now Julie’s gone public…’ as he put it.

She told him what she had seen of Julie’s house. Stephen had visited it ten years earlier when bushes were growing up through the floors and dislodging stones from the walls. She told him of the three hotels, two new, all named after Julie. She described Jean-Pierre. Because of her tone, he enquired, ‘And how does he see her?’ and she was enabled to murmur, ‘La pauvre…la pauvre…’ so that Stephen was able to exclaim, ‘Sentimental bloody…’ and she laughed. In short, they behaved as they had to in this ancient business of the French and the English finding each other impossible, to the satisfaction of both. But perhaps each nation’s need always to find the same traits in the other imposes a style, and so it is all perpetuated.

And now she and anyone else from The Green Bird who was interested were invited to the house in Oxfordshire, because there would be an evening of music and dancing, a miniature festival, and Julie’s music would be sung. Sarah had been invited for the whole weekend. She did not really want to see him in his house, his other life – his real life? Their friendship was threatened, so she felt. Surely it was a tenuous thing, based on imaginings, on phantoms? She knew very well what she was afraid of: that the ‘magic’, the charm, would simply evaporate. But of course she had to go, and she even wanted to. During the week before that weekend, they met for dinner, on his suggestion. She could see that he too was uneasy. He was giving her information, facts, one after another, fielding them to her, she thought, and even said it to him, earning a smile – like an elder brother practising bowling on a sister, watching to make sure she accepted what was sent in the right way. ‘No, no,’ she parodied, ‘don’t step back, you’ll knock the stumps off! Elbow up, as you bring the bat forward.’

The house was his wife Elizabeth’s. His was the money. No, it certainly was not for mutual convenience they had married, but the house was central to their lives: they both loved it.

There were three children, boys, at boarding school. They like boarding school, he insisted, in a way that said he often had to insist. She was interested that people like him felt they had to defend the sacred institution. Boarding school suited them, said Stephen. Yes, it was a pity they hadn’t a daughter. ‘Particularly for me,’ he said. ‘Perhaps if we’d had a daughter, Julie wouldn’t have got to me the way she did.’ But there would not be another child. Poor Elizabeth had more than done her bit.

They were good friends, he and Elizabeth, he said, choosing his words, but not looking into her face, rather down at his plate. Not because he was evading something, but because – she felt – there was more he might be saying, which he expected her to see for herself.

He liked to think he managed the estate productively. Elizabeth certainly ran the house well. Every summer they had festivals. ‘Half the county come to them, and we do them proud. Elizabeth had the idea first, but it was because she knows it’s the kind of thing I like. Now we both put everything we’ve got into it.’ This was said with satisfaction, even pride. They were going to expand, become something like Glyndebourne, only on a much smaller scale. And only in the summers. Sarah would see it all for herself, when she came.

Again she felt that another meaning was carried by these words: and wondered if he was aware that everything he said seemed to be signalling: Listen to this carefully.

‘I want you to see it all,’ he insisted, this time looking at her. ‘I like the idea of your being there. I’m not really the kind of man who likes his life in compartments – yes, I know there are plenty who do, but I…’ His smile had energy in it, the mild elation that seemed to expand him when he talked of his house and his life in it. ‘You mustn’t think I don’t know how extraordinarily lucky I am,’ he said, as they strolled to the tube. ‘Well, you’ll see for yourself. I don’t take anything for granted, I assure you.’



She was to take the train to Oxford on the mid-afternoon on Friday. At two the doorbell rang, and there was Joyce. Having not seen her for some time, Sarah saw her with new eyes, if only for a moment. At once her heart began to feel an only too familiar oppression. As Joyce walked in she seemed to be straying, or wandering in some private dream. She was a tall girl, now very thin. When her sisters put make-up on her she could be lovely. Her hair – and this is what struck to the heart – was marvellous, a fine light gold, and full of vitality, loose around her pasty spotty little face. ‘Make yourself some tea,’ said Sarah, but Joyce fell into a chair. She really did seem ill. Her great blue eyes were inflamed. Her characteristic smile – she had faced the world with it since she stopped being a child, was bright, scared, anxious. Yes, she was ill. Sarah took her temperature and it was 101.

‘I want to stay here,’ Joyce said. ‘I want to live here with you.’

Her dilemma was being put to Sarah in as dramatic a form as it could be. She had been afraid of something like this. All kinds of pressure, though none that could be visible, or even probable, to anyone but herself, were urging her to give in at once. But she was remembering something Stephen had said: ‘You’ve been looking after her for – how long? Did you say ten years? Why don’t her parents look after her?’ And when Sarah could not reply, ‘Well, Sarah, it looks a funny business to me.’

‘At the time it seemed quite natural.’

But his silence was because he had decided not to say what he thought. Yet usually they did say what they thought. Would he have said, ‘You’re crazy, Sarah’ and admitted her to the company of those who behave as they do because they cannot help themselves? And another time he had remarked, ‘If you hadn’t taken her in, what do you think would have happened?’ This was not the hot and indignant voice she was used to hearing from people who feel threatened, because they are thinking, If you take on such a burden, then perhaps I shall be expected to sacrifice myself too. No, he had been thinking it all out. She had never wondered what would have happened to Joyce if she had not looked after her. But would Joyce have been worse off if her aunt had left her to her parents? She couldn’t be much worse off, could she?

Now she made herself say, the effort putting severity into her voice, ‘Joyce, I’m just leaving. I’m off for the weekend. I’ll take you home and put you to bed there.’

‘But I’ve lost the door key,’ said Joyce, her eyes filling with tears.

Sarah knew the key had not been lost, but to prove that meant she would have to search Joyce’s pathetic grubby bag, which once had been a brightly striped Mexican affair.

She told herself that on this ground she would have to fight, though it was poor ground. If she did not…She telephoned the hospital where her brother was a consultant, was told it was his afternoon in Harley Street, rang Harley Street, was told he was with a patient. Sarah said to the receptionist that this was Dr Millgreen’s sister, and the call concerned his daughter, who was ill. She would hold on. She held on for a good ten minutes, while Joyce cried quietly in her chair.

At one point she said in a little voice, ‘But I want to stay here with you, Auntie.’

‘You can’t stay here with me now. You’re ill, you need treatment.’

‘But he’ll make me go to hospital. I don’t want to.’

‘No, but he’d make you stay in bed, and so would I.’

‘Why are you all so horrible to me? I want to live with you always.’

‘Joyce, none of us has heard one word from you – good God, it must be five months. I was running all over London looking for you.’

At this point the receptionist said Dr Millgreen could not come to the telephone, Mrs Durham must manage. ‘Tell my brother that his daughter is in my flat. She is ill. I shall be away until Monday.’

She was angry. That she was full of guilt goes without saying. It was no use telling herself she had no reason to feel guilt.

She said to Joyce, ‘I suppose someone will come and fetch you. If not, I should simply get into a taxi and go home.’ Here she put some money into the Mexican bag.

Joyce whimpered, ‘Oh Auntie, I don’t understand.’

Because this was a child talking, not even Joyce the unpredictable adolescent, who did manage to cope with life on some sort of level, Sarah did not reply to her. Instead she said to an adult, reminding herself that Joyce was twenty, ‘Look, Joyce, you understand perfectly well. Something or other has happened out there, but of course you’ll never tell us what…’

Joyce interrupted angrily, ‘If I did tell you, you’d take advantage of me and punish me.’

Sarah said, ‘I don’t remember my punishing you for anything, ever.’

‘But my father does. He’s always horrible.’

‘He is your father. And you have a mother; she stands up for you.’ Joyce turned away her face. She was trembling, in spasms. ‘You are a grown-up woman, Joyce. You’re not a little girl.’

At this a little girl looked vaguely in her aunt’s direction with enormous drowned eyes. A small pink mouth stood pathetically half open.

‘I’m not going to spend my life looking after you. I don’t mind if you come and stay here when I’m here. But I’m not going to wait on you. If you like I’ll take you for a holiday somewhere. You certainly look as if you could do with one. Well, we’ll talk about it, but not now. I’ve got a train to catch. I’ll ring up from Oxfordshire and find out if you’ve gone home.’

Joyce would not go home. Late that night Hal might mention to his wife, if he remembered, that the girl was ill and alone in Sarah’s flat. Rather, ‘Joyce has turned up at Sarah’s, and Sarah seems to think she’s not well.’ Anne, exhausted and irritable, would instruct the two girls, Briony and Nell, to go over to Sarah’s. They would be angry with Joyce for disappearing for so long. They would be angry with Sarah for not coping. Everyone would be angry with Sarah. As usual. It crossed Sarah’s mind now to think that was indeed a bit odd.



When Sarah got off the train, it was Elizabeth who came to introduce herself. The two women frankly inspected each other, Elizabeth in a way that made Sarah wonder exactly what Stephen had said about her, for Elizabeth had the look of someone checking to make sure information had been correct: apparently, yes, it had. Elizabeth was a smallish woman, with shiny yellow hair held by a black velvet ribbon, and this made her look both efficient and spirited. Her face was round and healthy and her cheeks were country pink. She had unequivocal bright blue eyes. Her body was firm and rounded: if one touched it, one’s finger would bounce off, thought Sarah. Everything about this woman told the world, but in a take-it-or-leave it voice, You can rely on me for anything reasonable. She seemed pleased with Sarah and was certainly thinking, Good, I don’t have to bother with her, she can look after herself. For Elizabeth – like Sarah – was one of the people who wake every morning with a mind’s eye list of items to be dealt with. Sarah had already been crossed off the list.

Now Elizabeth strode off to a station wagon, but slowed so as to adjust to Sarah’s pace. The back of the car seemed crammed with large healthy dogs. Elizabeth drove fast and well – what else? She commanded the car with every muscle of her body, as if it were a horse she could not trust not to get out of hand. Meanwhile she gave Sarah information about what they saw as they drove through the jolly countryside. At the top of a rise she stopped the car and said, ‘There it is, there’s Queen’s Gift.’ Although she had lived in the house all her life and could hardly be unused to this view, she sounded like a child trying not to be too pleased with itself, and Sarah liked her from that moment.

The house stood four-square on its slight rise, dignified but sprightly, as if a country dance had been magicked into brick, but not without suggestions (the eight barred windows at the top?) that in its long centuries there must have been plenty of drama. It was a hot still afternoon in that summer of 1989, when one perfect day followed another. The house seemed determined to soak in sunlight and store it against the English weather that was bound to set in again soon. There it sat glowing redly amid its English lawns and shrubs and judiciously disposed trees, take me or leave me, not a house one could live in without submitting to it, and, clearly, Elizabeth felt that in presenting the house she was defining herself. Now she told Sarah she had been born there. Her father had been born there. Queen’s Gift had been in her family one way or another since it had been built.

They drove slowly through appropriately impressive gates, the dogs barking and whining at being home, then through a wood of beeches and oaks, and turned a corner abruptly to approach a side view of the house, where, on a tall board that pointed the way to a beech walk, was Julie’s face – an impetuous smiling girl – styled in black and white on a poster. At once Sarah was returned to her own world, or rather the two worlds slid together. There are times when everything seems like a film set or a stage set, and the old house had become a background for Julie Vairon, incongruous though that certainly was.

Stephen emerged from tall doors at the top of a flight of stone steps that were an invitation (only conditional, for above them was a notice that said, discreetly, Cloakrooms) to the public to ascend them. Stephen seemed worried. He descended the steps, smiling at her, but on the last one he stopped, and his large hand was curving around a gently eroded stone ball that crowned a pillar, as if, because of the habits necessary to a busy man, he was assessing the condition of this sphere since it might be time for him to do something about it.

He took her suitcase, set it on the bottom step, and said he would show her around. At this Elizabeth laughed and said, ‘But poor Sarah, can’t she have a cup of tea first?’ as she relinquished their guest, her own duty done, to her husband. Sarah waited for a signal or glance that recognizes a situation, and it came: Elizabeth shone that smile on them both that says – in this case with good-humoured irony – ‘I know what is going on and I don’t mind,’ before going off on her own affairs. In fact she had so little interest in this obligatory little act that the smile had faded before she turned away. There are not many spouses, or partners, strong-minded enough to forgo that look, that smile, or laugh, for it makes a claim, and an even stronger one than jealousy or anger. Stephen glanced at Sarah to see if she had noticed, and then a small grimace signalled, A pity, and he said aloud, ‘Don’t mind. She’s got it wrong. If she had ever asked, I would have…’

‘Oh, but it’s a compliment,’ she said.

He put his hand inside her elbow. This hand both took possession of Sarah and said it was prepared to relinquish her at the smallest sign that it was taking too much for granted. Sarah, from the world of the theatre, laughed, put her arms around him, and kissed him on both cheeks, one, two. He at once went bright red. He was pleased, though.

‘Sarah, I really am so glad to see you here. Don’t ever think I’m not.’

Why should she think such a thing?

Apparently he still felt she needed essential instruction. Again he took her arm, this time with confident masculine proprietorship, which she enjoyed (she was prepared to concede) more than perhaps she ought. They walked slowly through gardens and shrubberies, and past long warm reddish brick walls where roses sent out waves of scent. Late May: the roses were early.

Stephen said he hoped that she, Sarah, and the whole company would give Elizabeth credit for all the work she had done. It was she who had persuaded artistic friends in Paris to get Julie Vairon’s pictures exhibited. It was she who had approached the television people to make a documentary. Elizabeth was a generous woman, he insisted.

They walked on grass between two hedges of beech, whose attribute is to remind you, when in full healthy green, that it will hold its own through long winters, withstanding gales, frost, anything at all nature chooses to throw at it, never losing so much as a russet leaf. A beech hedge, whether it likes it or not, makes statements of confidence. It refuses pathos.

‘She is always generous,’ he said again, and, feeling she was being prompted, she asked, ‘What does she make of – well, of you and Julie?’ But it was the wrong question, for his face said he had already answered her. Disappointment in her made him relinquish her arm, and she, disappointed in her turn, insisted, ‘She would admit that one may be jealous of a…’ She could not bring herself to say, ‘a dead woman’, for it was too brutal. Instead she said, ‘…of a ghost?’ A foolish, harmless word.

‘I don’t think she would admit to anything so irrational.’

They had strolled on a good few yards through air that was a mix of warm dry scents all making claims on her memory, when she remarked, ‘For one thing, you can’t compete with a…dead woman.’ It was not easy to use that word.

He stopped and turned to look close into her face. ‘You say that as if you knew all about jealousy.’

‘Did I? I suppose I did.’ And hearing in retrospect how she had spoken, she was discomfited. She was off balance. Meanwhile his eyes, green but – seen so close – as full of variegations as the surface of a cut olivine, green specked with black and grey, were full on her face. Trying to laugh, she said, ‘I remember saying to myself, That’s it, never again, I’ll never feel jealousy again.’ She knew her voice was full of resentment.

‘So you were generous too?’

‘If you want to make it generosity…I thought of it as self-preservation. I know one thing – funny that I haven’t thought of it for ages: but you can kill yourself with jealousy.’ She was trying to make her voice light and humorous. She failed.

‘You said to whoever it was, Bless you, my child, run off to your little amusements, what we have is so strong it can’t affect our marriage?’

‘It wasn’t my marriage. It was later than that. And I certainly never said, Run along! On the contrary, that was it – finished!’ She was surprising herself by the cold anger in her voice. ‘I could never say it couldn’t affect a marriage or anything else. It was a question of…’

‘Well?’ he demanded, and gripped her elbows in large and confident hands. The strength of those hands spoke direct to her, reminding her…His eyes, those interesting pebbles so close to her own, seemed to her now to be tinged with – was that anxiety?

Violent needs conflicted in her. One was to comfort and heal, for she always felt he emanated an appeal, a need: she had never been more aware than now that he guarded a hurt place. But it seemed her own need was stronger, for what burst out of her was: ‘Pride. It was pride.’ And she was surprised – if she could be more surprised than she had already become, seeing what was revealed of a forgotten past – at the violence in the word. What’s the matter with me? she was asking herself, while she withstood the pressure of those uncompromising eyes. ‘Of course it was pride. Do you imagine I’d keep a man who wanted someone else?’

She, Sarah – that is, the Sarah of today – had not spoken these words. Some long ago Sarah had said them. It was getting harder every second to stand there between Stephen’s hands and sustain that long close examination. She felt ashamed, and her face burned.

‘You are talking like the kind of woman you seem determined not to be – to seem to be.’

‘What kind of woman?’

‘A love woman,’ he said. ‘A woman who takes her stand on love.’

‘Well,’ said she, attempting humour again, but with no success, ‘I do seem to remember something of the kind.’ And was about to walk away from the situation, when he tightened his grip on her elbows.

‘Wait, you always run away.’

‘But it was all a long time ago…All right, then, I’ll try. Do you remember Julie’s journals – yes I know you don’t like them. When she was writing about her master printer, she said, And there will inevitably come that night when I know it is not me, Julie, he is holding in his arms, but the wife of the chemist or the farmer’s daughter who brought the eggs that afternoon. I’d rather die. And of course, she did.’ Her voice was full of defiance. ‘Immature – that’s what our Julie was. A mature woman knows that if her husband chooses to fancy the chemist’s wife or the girl who is driving the Express delivery cart, and fucks them in her stead, well, it’s just one of those things.’

‘And vice versa, I think.’ He smiled. ‘The husband knows he is holding in his arms the stable boy, because his wife is?’

‘That’s your – his affair.’

‘Well, well, well,’ he said, full of sardonic relish. He let her go. And as they walked on, while the essences of flower and leaf meandered past their faces, ‘And that marriage of yours? I really am curious. That little way of yours, all passion spent, amuse yourself, my children, while I benevolently look on.’ This was not spiteful, or even resentful: he laughed, a bark of sceptical laughter, but gave her the look of a friend.

Sarah fought to become that Sarah who was able benevolently to look on.

‘It lasted ten years. Then he died.’ Now she believed that the younger Sarah had taken herself off, back into some dark corner. ‘I don’t look back on my pursuit of love after that with much admiration for myself. I was so immature, you see. I was never prepared to settle for the sensible – you know, a widow with two young children should look for a father for her children.’

He snorted a kind of amusement. Then, ‘A real romantic. Who would have thought it? Well, actually, yes, I did, I really did.’

‘And I am walking on a lovely afternoon with a man who is besotted, may I use that word? – with a phantom.’

‘She is no phantom,’ he said gravely.

In front of them the shrubs were thinning: an open space was imminent, showing through the branches.

She heard herself sigh, and he sighed too.

‘Sarah! Do you imagine I don’t know how all this sounds? I am not so mad that…give me some credit.’ They stood on the edge of a vast lawn, glimmering a strong green in yellow light. ‘For a time I believed I was possessed. I even considered going off to be exorcised – but for that kind of thing to work, surely you have to believe in it? But I’m afraid I don’t believe that some Tom, Dick, or Harry of a priest can deal with…Someone no better than I am? Nonsense. And then I began to do a lot of reading, and I found that Julie is that side of myself that was never allowed to live. The Jungians have a word for it. My anima. What’s in a word? It seems to me all that kind of thing amounts to – well, not much more than the pleasures of definition. Why is a word like that useful when you are experiencing…? All I know is that if she walked towards me now I wouldn’t be in the least surprised.’

The great lawn, as flat as a lake, was backed by beeches, chestnuts, and oaks; and some shrubs that were all in flower, pink, white, and yellow, although well grown themselves, were made so small by the trees they seemed like flowers in a border. In the middle of the green expanse was a wooden stage, about three feet in height. There the musicians and singers would be tomorrow. A few wooden chairs idled on the grass: apparently this was an audience that liked to stroll about while it listened. Slowly the two approached the little stage, which was like a flat rock in still water. This place, this stage, this lawn, was a vast O framed by trees, green heights around flat green. Now the two were circling the stage. On the far side of it was a poster of Julie, or rather of Julie’s drawing of herself as an Arab girl, a transparent veil across the lower part of her face, her eyes black and – yes, the word haunting would do. Stephen came to a standstill. He made a small sound – a protest. ‘Elizabeth didn’t say she was using this one,’ he said. It was not the picture on the other posters. ‘What’s wrong with it?’ she asked. He did not reply. He was staring helplessly, as at an accident, or a catastrophe. He was pale. Sarah put her hand into his arm and moved him away. He walked stiffly, even stumbled. He turned his face to her, and Sarah almost let out that laugh which says, ‘You are doing it well, congratulations.’ Nothing that he had said, nothing she had thought about him – and she believed she had been prepared to dive deep into his wells of fantasy – had prepared her for what she saw. His face was pulled into that mask that illustrates Tragedy – the other side of Comedy; the theatrical stereotypes. She was standing still, staring at him. Her heart beat. Foreboding. Fear – yes, it was that. Yes, she had seen his face wretched; she had said to herself the sanitized sets of words we use in this time of ours, which has banished this kind of thing, has decided it is all an affair of horoscopes, or ‘ghosts’, and that if they squeak and gibber, then they are comic rather than not. She had never even begun to imagine what she was seeing now, the haunted tragic face with the dragged-down mouth that seemed as if an invisible hand held it, a mouth all suffering. She was shocked as if she had opened a door by mistake and seen something like a murder or an act of torture, or a woman in an extreme of grief, sitting rocking, clutching at her hair with both hands, then raking her nails across her breasts, where the blood runs down.

He’s ill, she thought. She thought, That’s grief. What I am looking at – that’s grief. She felt ashamed to be a witness of it and turned her face away, thinking, I’ve never, ever, felt anything like that.

Now he remembered she was there, and he turned his own face away and said, his voice rough, ‘You see, you have no idea at all, Sarah. You simply don’t understand…well, why should you? I hope you never will.’



At supper that night there were seven people. The informal meal was taken in a room that had a hatch through into the kitchen, and it had been cooked and served by a pleasant motherly sort of woman not unlike an auburn-haired blue-eyed sheepdog. This was Norah Daniels, a housekeeper, or something of that sort, and she sat at the table with Stephen and Elizabeth and Sarah and the three boys, James, about twelve, George, ten or so, and Edward, seven. These children were beautifully behaved, in a style imposed on them by their parents: a light impersonal affection, and it was joky, for there was a lot of banter of the kind Sarah remembered from her school days. It was mostly Norah who played this game. Stephen was silent. He claimed he had a headache and they must forgive him. Not ask too much of him was what he meant and what they all heard. It was evident that this was a message heard often in this family, from him, and from Elizabeth, because she was so very busy. She kept saying she was, and that was why she had not done a variety of things she had promised – ring up a friend’s mother, write a letter about a visit, buy new cricket balls. But she would do all these things tomorrow. The three boys, fair, slight, blue-eyed, angelic-looking children, watched the adults’ faces carefully for signals. This was their habit. This was their necessity. They had been taught never to ask too much. Only Norah was outside this pattern, for she smiled special smiles at each of them, helped them to food in an indulgent way, remembered personal tastes, gave Edward, the smallest one, an extra helping of pudding, kissed him warmly, with a hug, and then excused herself, her own meal finished, saying she had things to do. At once the boys asked permission to leave the table, and they slid away into a warm dusk. For a time their high clear voices could be heard from the garden. Soon music sounded from the top of the house – some pop group. Elizabeth remarked that it was time the boys were asleep, and departed, but only briefly, to make sure they were in bed.

Then Stephen and Elizabeth apologized to Sarah, saying they needed a couple of hours to discuss arrangements for tomorrow, for more people were coming than they had expected. ‘This Julie of yours is obviously a great draw,’ said Elizabeth, but it did not seem she meant anything special by it.

Sarah walked about in the dusk for a while, until the birds stopped commenting on the affairs of the day and the moon made itself brilliantly felt. She telephoned her brother’s house. Anne answered. Yes, she had sent the girls to collect Joyce, who, on arriving home, had at once disappeared again. Anne did not suggest this was Sarah’s fault, as Hal would have done. He had said they should all have a serious talk about Joyce, and suggested Monday night. Sarah agreed, but knew her voice communicated to Anne, as Anne’s did to her, that nothing would come of this.

Sarah’s room was full of moonlight and overlooked the great lawn and the trees beyond, the scene full of glamour and mystery, like a theatre set.

She lay in bed and was determined she would not think about Joyce, for she did not feel strong enough to accommodate the anxiety thoughts of joyce always brought with them, when she was already anxious enough. She had expected to be disturbed by this visit, and she was. Not in the way she had been afraid of. Whatever it was that Stephen and she shared, they shared it still. No, now she felt she had been selfish, for she could not get out of her mind the look on his face that afternoon – such grief, such pain, such a degree of suffering. It was crazy. He might be sane in nine-tenths of his life, this intelligent hard-working many-sided life of his, but in one part of it he was, quite simply, not normal. Well, what of it? It did not seem to be doing much harm, and certainly not to Elizabeth. But there was something bothering Sarah, and she couldn’t put a finger on it. She went off to sleep, glad to forget it all, and woke completely and as suddenly as if there had been a clap of thunder. The moon had left her room. She was remembering a scene at the table of Norah handing Elizabeth a glass of wine, and Elizabeth’s smile at Norah. Well, yes, that was it. And she shut her eyes and replayed the scene. Stephen was at one end of the table, Elizabeth at the other, Norah beside Elizabeth. The women’s bodies had carried on a comfortable conversation with each other, as well-married bodies often do. And Stephen? Now it seemed to Sarah that he was an outsider in his own house – no, for this house had, for all those centuries, accommodated any number of eccentricities and deviations. It was certainly not the house that excluded Stephen. Was he excluded at all? He had said he and his wife were good friends, and evidently they were. But her picture of Stephen – at least tonight, as she lay half asleep – seemed to be merging with that of Joyce, the girl, or child, who was always on the fringes of life, unaccepted by it, unacceptable. And that had to be ridiculous, for Stephen was firmly set in this life of his, born to it, could not be imagined outside it.

Sarah briskly got up, had a long bath, and watched early light come streaming through great trees. Five in the morning. She went quietly down the great central staircase, found a side door where bolts slid easily back, and went out. Two red setters came rushing around the corner of the house, silently, thank goodness, their fringed ears streaming. They put wet noses into her palm and their bodies wriggled with pleasure. She had not gone far into the woods when Stephen came through the trees. He had seen her from his bedroom window. Nothing now could seem more absurd than her earlier thoughts about Stephen. Nor could anything be more pleasant than this strolling about in the trees with cheerful dogs, listening to the raucous exchanges of the crows and the chattering of the small birds as they got their affairs together. At one point Stephen even casually mentioned Elizabeth and Norah, like this: ‘You must have noticed, I’m sure…’ He did not seem disturbed, and there was no sign of the tragic mask she had stared at yesterday. He seemed in good spirits and entertained her with a comic view of himself as a Maecenas. As a young man, he said, he had been a bit of a red, ‘but not too inappropriately extreme for my station in life,’ and had had nothing but contempt for rich patrons. ‘“We know what we are, but know not what we may be,”’ he quoted, and added – and this was the only moment that morning when there was a suggestion of something darker, ‘But the truth is, if we did know what we are, then we would know what we could be. And I wonder how many people would be able to stand that?’

Later, after breakfast, the boys made friends with her in their easy well-mannered way and took her off on a tour around the estate. She could see they had been told to do this. ‘Not Angles, but angels’ inevitably popped into her mind.

After lunch the theatre contingent arrived. Mary Ford, to take photographs of everything and to interview Elizabeth; Roy Strether, and, unexpectedly, Henry Bisley, the American chosen to direct because of the American money in the production. Besides, he seemed by far the best available. He was in Munich directing Die Fledermaus and had come for the weekend to hear this music. Henry was at first all defensive. There are men who carry with them, as some half-grown fishes are attached to yolk sacs, the shadow of their mothers, at once visible in an over-defensiveness and readiness for suspicion. It happened that on his arrival he walked into a room that had in it four women, Elizabeth, Norah, Mary Ford, and Sarah, and he was on the point of fleeing, when Sarah rescued him and took him out to the gardens. They had become acquainted during the casting session a month before. He was bound to be wary of her on two counts: first that she was co-author of this play, and then that as one of the four who ran The Green Bird, she had engaged him. Soon he was reassured. For one thing, he was not by temperament ever likely to remain in one place, physically or emotionally. A man of about thirty-five: his restlessness seemed appropriate for someone younger: he danced rather than walked, as if to stay still might make him vulnerable to attack, and black eyes darted enquiries into a place, a person, and moved on to the next thing, which was also bound to be a challenge. She talked soothingly about this and that, noting that she was employing the murmuring maternal persona identified and rejected by Stephen. She showed him the gardens. She showed him the big lawn – the theatre area. She took him to see a half-built new block of rehearsal rooms. He was subdued by the beauty of the place, and flattered by it, being absorbed, as they all were, into a munificence like a general blessing. As they went back into the house he stopped to look up at its façade and ask why those top windows were barred. She did not know. Encountering Norah, who was pushing through the hall a trolley laden with cleaning equipment, like those used in hotels, Sarah asked about the barred windows, and Norah said they were probably for the first Mrs Rochester. ‘Well, they must have had plenty of loonies here, in all that time.’

The afternoon went enjoyably past, while Mary Ford photographed them all. A buffet supper was served, in a much larger and grander room, Elizabeth and Norah supervising Alison and Shirley, two girls from the near town, whose healthy and wholesome prettiness reminded everyone that so recently there had indeed been country girls. Guests arrived, it seemed far too many, but these grounds could accommodate large numbers without seeming overpopulated. People went wandering about, stood on the lawn talking, sat on the grass. A company from London did Elizabethan dances. A local group sang songs composed by Tudor monarchs. Then came the main event, Julie’s music, with the words Sarah had put to it. This was the late music, and there were singers only, without accompaniment, for it had been agreed that her ‘troubadour music’ needed the old instruments to do it justice, and not all had yet been found. The singers stood on the little stage in a strong yellow evening light, four girls in white dresses with their hair loose, a style appropriate, they had decided, for this music that filled the great grassy space between the trees with shimmering uncomfortable patterns of sound continually repeating, but not exactly, for they changed by a note, or a tone, so that when you thought you were listening to the same sequence of notes, they had subtly changed, gone into a different mode, while the ear followed a little behind. The words were half heard, were cries, or even laments, but from another time, the future perhaps, or another place, for if these sounds mourned, it was not for any small personal cause. The music floated in the dusk, and the dark filled the trees and the moon lifted over them, and the singers too seemed to float in their pale dresses. Lights came on in the big house, but not here. The girls were chanting to a silent crowd.

Sarah stood in anxiety with her colleagues. None had heard this music sung with words. Solid and sensible Mary, solid and reliable Roy, stood on either side of Sarah, reserving judgement, and then, unable to contain themselves, exclaimed that it was marvellous, it was wonderful, and Sarah herself could hardly believe it was she who had done this – though it was not her at all, it was rather Julie Vairon. The three stood close, part of their attention charmed into passivity, listening, while the other part was energetically at work on this material, imagining it in various settings and modes. Stephen came up and said, ‘Sarah, I’m hearing something I simply didn’t expect. I had no idea…’ and he strode off into the dusk. Mary Ford summed up professionally: ‘Sarah, it’s all going to work.’ And Henry Bisley materialized in front of her, his dark eyes shining in the light from the high windows of the house, and said in a voice full of surprise and gratitude, ‘Sarah, that’s so beautiful, it’s so beautiful, Sarah.’

They all had to get back to London, and Henry to Munich. Sarah went with them. She said she had to work, but the truth was she did not want to spoil by daytime ordinariness the other-worldly charm of that evening. Charm…what is it, what can account for it? One says, charm, enchantment, and nothing has been said. But this place, and this group of people who were going to work together to make Julie Vairon, were charged with some subtle fascination, like the light that fades from a dream as you wake.

That night at home, Sarah thought she could not remember another time in her life that had this quality of…whatever the word should be. She found herself smiling, as at a child or a lover, without meaning to, without knowing she was going to. But what was making her smile, or even laugh, she had no idea at all.

If you find a ghost in your arms, better not look at its face.

– Julie Vairon’s Journals, English edition, page 43

But Sarah was choosing not to remember Stephen’s tragic mask.



And now it was Monday night. It occurred to Sarah, as she waited for the doorbell, that her exhilaration could only be because she actually believed some sort of sensible solution would end this talk. You’re living in a dream world, she told herself, and hummed ‘Living in a dream world with me.’ All the same, she strolled about her rooms arranging sentences in her mind which would be persuasive enough to make Hal – well, make him what?

The bell rang. Peremptory. Hal stood there, stood dramatically, apparently waiting for a formal invitation, while Anne, with glances and smiles that managed to be both apologetic and exasperated, simply came in and stood with her back to both of them, at the window.

‘Oh, do come in, Hal,’ said Sarah, annoyed with him already. She left him standing and went to sit down. Hal did not at once enter. He was giving her living-room a good once-over: he had not been in it for some time. The room had been variously used in this family flat’s long history. It had once been her children’s bedroom, but it had been a living room now for years. She was seldom in it. She would not have invited her brother into her study or her bedroom, where he would see photographs, piles of books, all kinds of objects that would emanate the intensely personal look of continuous use, which he would find irritating, even shameless, like underclothes left lying about. As he stood there, he sent suspicious glances to a drawing of Julie pinned on the door. Anne at the window could not be saying more clearly that she did not consider herself part of this scene. She was a tall woman, thin – too thin, a rack of bones – and her pale dry hair was tied back roughly behind her head. As usual she was surrounded by a fug of tobacco smoke, which seemed the very essence of dry exhaustion. She had lit a cigarette already, but furtively: she always smoked with guilt, as if still in her hospital, knowing she was giving a bad example to her patients. At the sight of her, Sarah’s compunctious heart reminded her that Anne’s perennial exhaustion was why she, Sarah, could never bring herself to ‘put her foot down’ over Joyce. She had never not pitied her sister-in-law.

And now Hal did come in, letting it be understood by means of compressed lips and raised brows – useful perhaps for indicating to patients that their lifestyle did not meet with his approval? – that it was time his sister took her room in hand. He looked judiciously at a cheerful if faded chair opposite Sarah’s – would he allow himself to sit in it? He did.

Hal was not the elder brother, as his air of command might suggest, but three years younger than Sarah. A large comfortable man, with an affable manner; everything about him must give his patients confidence. He was a success in his professional life, and his family life wasn’t so bad either, though he had always been unfaithful to Anne. She forgave him. Rather, one deduced that she must, since she did not go in for confidences. Probably she did not care, or perhaps it was that one could not imagine him unforgiven. Now Hal was sitting on the stiff chair, his arms folded high on his chest, legs apart and braced, as if he might otherwise bounce as he sat. He looked like a great delightful baby, with his little wisps of black hair, his fat little tummy, his little chins. He had small black eyes like large raisins.

Sarah offered them drinks, tea, coffee, and so forth, and her brother’s impatient shake of the head made it clear he was pressed for time.

‘Now look here,’ he said. ‘We do realize you have always been amazingly good with Joyce.’

There are occasions, when it becomes evident they are bound to develop in a certain way, that have a quite intoxicating momentum.

‘Yes, I think I have too.’

‘Oh, really, Sarah,’ he exclaimed hotly, his wells of patience already overdrawn.

And now he began on the rhetorical statements (the counterpart of her prepared reasonings to him) rehearsed and polished on the way here. They had the theatrical ring which goes with a thoroughly false position. ‘You must see that Joyce looks on you as a mother,’ he said. ‘You have been a mother to her, we both know that.’ Here he looked at Joyce’s mother, wanting her agreement, but she was smoking furiously, her back turned. ‘It really isn’t on for you to drop her like this.’

‘But I haven’t dropped her, any more than you have.’

He registered this shaft with a hostile look and a quiver of his lips which said he felt he was unfairly treated. ‘You know very well what I am saying.’

‘What you are saying is that I should give up my job and sit here for when she does turn up, even if it is only once in six months for an evening. Because that is what it amounts to.’

‘Exactly,’ said Anne angrily.

Hal sat puffing his lips out, hugging himself with both arms: he was a threatened man; he had two women against him. ‘Why can’t you take her with you to rehearsals, that kind of thing?’

‘Why don’t you take her to your hospital and to Harley Street? Why doesn’t Anne give up her job and sit at home waiting for Joyce?’

At this Anne let out a loud theatrical titter. ‘Exactly,’ she said again, through swirls of smoke. She swatted her hand at the smoke, to show how she deplored her weakness.

‘Look, Hal,’ said Sarah, keeping her voice down. ‘You’re talking as if nothing has changed. Well, they have. Joyce is a young woman. She’s not a little girl any longer.’

‘No,’ said Anne, ‘he can’t see it. Or won’t.’

‘Oh really,’ exploded Hal, and then he collapsed. He let his arms fall, and stared, his face all disconsolate lines.

This man who had all his life been lucky and successful had met something intractable. But the point was, this had happened not this week but years ago. It was as if he had never taken the truth in. ‘It is really quite appalling,’ he said. ‘What are we going to do about it? She runs around with drop-outs and layabouts and all sorts of people.’

‘Alcoholics and drug pushers and prostitutes,’ said Anne, and at last turned herself around. Her face was flushed, and brave with the determination to have her say. ‘Hal, at some point you have to face up to it. There’s nothing we can do about Joyce. Short of chaining her down and locking her up. All we can do is to take her in when she does turn up and not lecture her. Why do you always shout at her? No wonder she comes here to Sarah.’

Some people are the moral equivalent of those who have never, ever, been ill in their lives and, when they are at last ill, might even die from the shock. Hal could not face up to it: if he admitted one defeat, what might then follow? He sat silent, breathing heavily, arms hanging, not looking at them. His little pink mouth stood slightly open – like Joyce’s, in fact. ‘It’s awful, awful,’ he sighed at last, and got up. He had inwardly shelved the problem, and that was that.

‘Yes, dear, it is awful,’ said his wife firmly. ‘It has always been awful and it will probably go on being awful.’

‘Something has to be done about it,’ he said, just as if beginning the conversation, and Sarah breathed, ‘Good God!’ while Anne said, with a tight and derisive smile, ‘You two are so funny.’

Sarah felt all the indignation due when one is in the right but being classed with someone in the wrong.

Anne explained apologetically, ‘You both seem to think that if you just come up with something, then Joyce will become normal.’ She shrugged, gave Sarah an apologetic grimace. Husband and wife went to the door, the big man drifting along beside Anne, his eyes abstracted. He had inwardly removed himself. Sarah was able to visualize furious scenes between these two, when Anne tackled Hal, and Hal simply repeated, ‘Yes, we must do something.’ For years. Meanwhile good old Sarah looked after Joyce. Nothing at all would change as a result of this talk. Well, something had. Sarah had not before seen that somewhere or other she did believe that Joyce would suddenly become normal, if only they could come up with the right recipe.

The door was shut, and she listened to their feet on the stairs, their voices raised in connubial disagreement.

Sarah sat at her desk and stared into the watery depths of the mirror. She had to do more work on the songs, fitting Julie’s words to music and even making some words up. I don’t know why it is, Julie had written, and this was when she had just agreed to marry Philippe the master printer, but every scene I am part of, when there are people in it, rejects me. If someone were to reach out a hand to me and I stretched out my hand to him, I know my hand would go into a cloud or a mist, like the spraythat lies over my pool when there has been heavy rain in the hills. But suppose in spite of everything my fingers closed over warm fingers? She called the music she wrote that spring ‘Songs from a Shore of Ice’.

Sarah began, ‘If I reached my hand into cloud or river spray…’ She, Sarah, had found a hand in a cloud or mist – for Stephen had certainly been an unknown – a warm hand, kindly by habit, a strong one, but holding it, she had felt its grasp become desperate. Help me, help me, said that hand.



The rehearsals were to be in London, in a church hall, a utilitarian place that managed to be dim enough to need some lights on, in spite of the sunlight outside. Fewer than the full company arrived for the first rehearsal. The musicians and singers would come later. Henry Bisley was in New Orleans for the opening of his production of La Dame aux Camélias, set in the brothels of that town at the turn of the century. Roy Strether, Patrick Steele, and Sandy Grears, the lighting and effects man, were all busy on the final rehearsals for the opening in The Green Bird of Abélard and Héloïse, which would precede Hedda Gabler. Patrick had announced that he was glad Julie Vairon would need so little in the way of scenery. He was so disappointed: Sarah had turned his Julie into a bluestocking, he explained, and he did not think he could ever forgive her.

Julie had arrived, a strong healthy girl with the misty blue eyes that can only be Irish. She was Molly McGuire, from Boston. Philippe the master printer was Richard Service, from Reading, a quiet middle-aged man of the observing non-commenting kind: probably similar to Philippe Angers. Paul, or Bill Collins, was a handsome, in fact beautiful, young man, who at once claimed he was all cockney, and proved it by singing ‘She Was Poor but She Was Honest’ – a song which by now they had all understood would be the theme song of the rehearsals. Actually he was from a prosperous London suburb, or at least partly, for he had lived half his life in the States, because of the complicated marriages of his parents. In impeccable English, he said, ‘I’m all things to all men, that’s it, mate, that’s me, Bill, the all-purpose all-weather dancing and singing cockney actor from Brixton.’ The Noël Coward drawl that went with this vanished, as he said in an American accent, and this had the effect of changing him completely: face, smile, set of body, ‘Don’t you believe it. I’m a pretty limited sort of guy. “I won’t dance, please don’t make me, I won’t sing, please don’t make me…,’’ singing this not badly at all. ‘Limitations I do have –’ He hesitated and might have stopped there, but added, compelled to it, with a sudden cold ruthlessness, ‘But I know how to sell myself.’ Now he gave a swift look around to judge the effect of all this, saw them disconcerted, realized the reason was what he had said last, heard it as they had, and sent a nervous small boy’s smile all around. Then, with the grimace that goes with I don’t know why I do this sort of thing, he walked quickly to a chair in a corner and sat there alone. So unhappy did he look that Julie’s mother, Madame Sylvie Vairon (Sally Soames from Brixton – really from Brixton; she had been born there), went over to sit with him, apparently casually. She was a large stately beautiful black woman, who, it was already clear, was going to dominate any scene by her looks, just as Bill did.

Rémy Rostand, or Andrew Stead, was a Texan, with sandy hair, freckles, and pale blue eyes which had too many wrinkles around them for his age, probably forty. He had just come from making a film about the old gauchos, shot on the high plateaux of north-west Argentina. He walked like a horseman, stood like a film gunman, and had shortly to become Rémy, with all the diffidence and hard-to-achieve self-respect of a youngest son. Had Henry known what he was doing when he cast this bandit for the role? In the early days of every production, this unvoiced query is in the air. An unemphatically good-looking, ordinary young man, George White, was going to be Paul’s comrade-in-arms in Martinique, then Rémy’s older brother, not to mention Philippe’s assistant in the printing shop.

On the first day, Sarah and Stephen were more prominent than they had planned, because of the absence of Henry, but luckily Mary Ford had ordered a photo session, and the six actors and two authors were photographed, separately and in couples and in groups, endlessly photographed, the actors at least posing with practised good nature, obedient to the god Publicity. And Mary’s face was solemn, concentrated, for she was utterly given up to her devotions as she took the pictures. Photographers are always in search of that perfect, that paradigmatic, but just out of reach summit of revelation. The next one – yes! – that will be it…do you mind turning your head just half an inch…that’s it, but no, don’t smile…yes, this time smile…this one will be…just one more…one more…and now…yes, I think I got it that time…but I’ll just use up this roll…All over the world these pictures are stacked up in piles, in files and folders, in drawers, on shelves, on walls, the visible record of that race of transcendence-seekers, the photographers’ compulsive quest.

And while Mary sat chatting with them all, her camera was held between alert fingers, ready to swoop it up into place to catch that unique and utterly unrepeatable pose or look which would transform a summary biography – twenty lines on the programme – into irresistible truth.

During that first day a good deal was said about how wonderful a thing Julie Vairon was, how altogether unique. This was because the actors were all taking a chance, much more than is usual with that hazard the theatre. The piece was a sport: not a play, not an opera. They had not heard the music that would fit the words. All of them confessed to having been attracted to Julie Vairon, but they did not know why, for all they had been sent – all they could have been sent – was an assemblage of scenes so lightly sketched that sometimes only a phrase or a sentence indicated passionate love, or renunciation. They were reassuring themselves.

First Molly came to Sarah, who invited her to sit down between her and Stephen, to say she had been told by those who had been at Queen’s Gift how wonderful the music was, and the songs, and she simply couldn’t wait to hear it all. Stephen only allowed himself a glance at this dangerous girl and then stared off at the others, while Sarah talked for him. Molly went, and then Bill, who had been watching for an opportunity, appeared by them, murmuring congratulations on the script and the lyrics. It was a shock to hear the word lyric used to describe those bitterly sad, some said abrasive, songs of the ‘first period’, and the broken lines of the ‘second period’, when there might be no more than a phrase repeated many times, or a word chosen for its sound.

‘I seem to hear it all already,’ claimed Bill, sliding into the seat between Sarah and Stephen, but smiling at Sarah. Then, having established his right to intimacy with Sarah – she could see this was his style, or his need – he glanced at Stephen. But Stephen was not going to succumb, for there was a sharp, not to say critical, look to him, as he examined the young man. Bill quietly got up and walked away, not, however, without the quick flash of a smile at her.

Walking to the tube with Sarah, Stephen remarked, ‘Molly doesn’t look remotely like Julie.’

‘She’ll convince you when the time comes.’

‘And Andrew might as well be a cowboy.’

‘Rémy must surely have spent a lot of time on horseback?’

‘And as for that young…Julie would never fall for that pretty face.’

‘But Julie did fall for a pretty face. Paul has to be a romantic young lieutenant, and not much more, don’t you see? For the sake of dramatic contrast.’

‘Good God.’

‘Nothing she wrote indicated he was more than a good-looking boy.’

They stood together on the pavement. She was thinking that this querulous note in him was new. More, that in the first weeks of their friendship she would have thought him incapable of it. She was relieved to see that now he seemed to be fighting to preserve an obstinate self-respect, while his eyes were full of misery.

Unexpectedly he said, ‘Sarah…I’m out of my depth…’ He grimaced, then made this a smile, walked away to the Underground entrance, turned to give her a small apologetic wave – and vanished.



It was the first read-through of the first act. They were nearly all present now, but there did not seem many people scattered about in the large hall. Henry had announced that he would be putting them all into position right from the start, because how people stood, or were, in relation to each other changed their voices, their movements – everything about them. The actors exchanged those smiles – what else? – meaning that from him they expected no less. Their smiles were already affectionate, as they stood about like dancers waiting for lift-off, and for him to command them. He had arrived that morning by plane from New Orleans, but he was already almost dancing his instructions, falling for seconds at a time into the characters they were going to play. He had been an actor, surely? Yes, and a dancer too, but that was before he had become an old man, and he had worked in a circus too: and here he became a clown, staggering over his own inept feet, miraculously recovering himself, and jumping back into his own self with a clap of the hands that summoned them into their positions. He must be of Italian descent, with those dark and dramatic eyes. Often, in southern Europe, you see a man, a woman, leaning against a wall, standing behind a market stall, all loud exclamatory sound and gesticulation, in the moment before they suddenly go quiet, black eyes staring in sombre fatalism: too much sun, too much bloody history, too much bloody everything, and a bred-in expectation of more of the same. And here was Henry Bisley, from the northern United States, standing limp, switched off, his eyes sombre and abstracted, southern eyes, eyes from the Mediterranean, but even as he leaned briefly against a wall, he seemed already on his way somewhere else. And the idea of movement was emphasized by his shoes, for they would have been useful for a marathon. For that matter, all their shoes seemed designed for a hundred-yard sprint.

Stephen and Sarah sat side by side at a table which was a continuation of Henry’s – the director’s. At the table beyond that was Roy Strether, watching everything and making notes. Mary Ford was photographing at the theatre.

The read-through began with the scenes in Julie’s mother’s house in Martinique, and the evening party where the handsome lieutenant Paul, brought by his comrade Jean, was introduced to Julie.

Since the musicians were not there, it was a question of going through the scenes while the words of the songs were spoken, so that everyone would get an idea of what would happen. Roy read, in a voice as flat as the recorded telephone announcement ‘Your number has not been recognized’.

This first scene had Julie standing attractively by her harp, shoulder outlined in white muslin (in fact Molly wore jeans and a purple T-shirt), a dress bought by papa on his last visit to distant Paris, on mother Sylvie’s insistence. Julie was singing (today she only spoke) a conventional ballad from sheet music (a piece of typing paper) brought by the father from Paris with the dress. For while the reputation of this house and the two beautiful women was exactly what might be expected among the young officers who were unwillingly on service in this attractive but boring island, Julie and her mother disappointed expectations by behaving with the propriety used by the mothers and sisters of these young men, and even more so. Nor had they expected to find Parisian fashions.

It was only when the officers had gone that the women became themselves and spoke their minds, in words recorded by Julie.

To start with, beauty was not so much in the eye of this beholder, for that first evening all I thought was, That’s a pretty hero! No, it was Maman who was dissolved by Paul. I said to her, He’s too much, he’s like a present in pretty paper, and you don’t want to unwrap it because it would spoil the parcel. Maman said, ‘My God, if I were even ten years younger.’ Maman was forty then. She said, ‘I swear, if he kissed me, it would be my first time ever.’

The two women were to sing a duet, ‘If he kissed me it would be my first time ever,’ using the first-period music, like a blues.

This was hardly likely to be the first time for Julie, not with all those young officers about. Sarah passed a note to Henry that unless they were careful, this song would get the wrong kind of laughter. He tilted a page towards her to show he had already marked the danger point with an underlined Laughs!

‘But I wouldn’t mind a smile,’ he said, and smiled at her to show the kind of smile.

This cast did laugh a lot. Laughter kept breaking out during the duet, which of course was being spoken, not sung. Henry asked them to cool it, and at once they sobered, the impassioned words being exchanged without emotion, producing an effect of hopeless despair. So sudden was the change that there was a sigh, the long slowly released breath that means surprise, even shock.

‘Right,’ said Henry. ‘That’s it. We’ll have to wait for the music.’

They were already a group, a family, partly because of their real interest in this piece, partly because of the infectious energies of Henry. Already they were inside the feeling of conspiracy, faint but unmistakable, the we-against-the-world born out of the vulnerability of actors in the face of criticism so often arbitrary, or lazy, or ignorant, or spiteful – against the world outside, which was them and not we, the world which they would conquer. They already believed they would conquer. It was because of Julie Vairon’s special atmosphere.

How easily, how recklessly we join this group or that, religious, political, theatrical, intellectual – any kind of group: that most potent of witches’ brews, charged with the possibilities for harm and for good, but most often for illusion. Sarah was not exactly a stranger to the fumy atmospheres the theatre creates, but usually she was in and out of rehearsals, doing this job and that, and she had not before written a whole play, based on journals and music she had soaked herself in for months, then been in on the casting, then committed herself to what would be two months, more, of day-by-day involvement with rehearsals. She would not this time be flitting off to other productions, other rehearsals. She would be part of Julie Vairon, day and night, indefinitely.

Meanwhile minor annoyances were being absorbed into a general effervescence, which was surely pretty unusual so early in a production. Having to wait for the music was testing them all. This was not the most comfortable of rehearsal places. It was too big, and their voices echoed in it: there was no way of judging how they should be pitched and used. Even with the sun blazing down outside, the old hall was dismal, and a shaft of light striking down from a high window showed up the dust in the air, like a column of water full of algae, or like bits of mica.

‘Solid enough to climb up,’ said Henry, actually making a pantomime of climbing up, defusing possible complaints with a laugh. And they all laughed again at the unexpected effect when the column of light, moving as the earth turned, reached the actors at exactly that moment when Paul and Julie stole away from Maman’s house on a dark night, though she was not deceived, and knew they were going, while the bright column pointed at them like the finger of God.

After the read-through Sarah and Stephen were going off to lunch with Henry Bisley, for they had to know one another better, but as they stood at the exit into the outside world, Paul the handsome lieutenant, or rather Bill Collins, was there with them, though he had not been invited. They climbed the stairs together, and when they went to the little local restaurant, Bill was the fourth. In the restaurant, the rest of the cast sat at one table, but Bill was at theirs. Sarah did not take much notice of him, because of getting to know Henry. This was going to be a satisfactory director, she was thinking, and could feel Stephen thinking too. He was sharp, competent, knew the material inside out, and, as a bonus, was very funny. Anywhere near him, people laughed. Sarah was laughing, and Stephen too, though when he did, it sounded as if he was surprised at himself for doing it. Halfway through the meal, Stephen left them. Elizabeth was preparing another recital of Tudor music, but this time with dancing, modern dancing, athletic and vigorous. Apparently it ‘worked’, though one could tell he did not much care for the combination. He said to Sarah, ‘You see, it’s my part of the bargain. She would never say anything if I was not there, but if I didn’t turn up, she’d feel let down. And rightly.’ He did not want to go. She did not want him to go. She was surprised at the strength of the pang she felt. Henry was called over to the other table: Andrew Stead wanted advice. That left her and Bill. He was eating heartily – Henry had eaten a little salad; Stephen had left most of his food. She thought that this is how a very young man ate, even a schoolboy – or a young wolf. Well, he was very young. Twenty-six, and she guessed much younger than that in himself. All those winning smiles and sympathetic glances – he kept them up although, clearly, he was famished and that was his first consideration. Behind her she heard laughter at the other table, and turned her head to listen. Bill at once saw this and said, ‘I simply have to tell you, Sarah, what it means to me, getting this part – I mean, a real part. I’m afraid I’ve had to take quite a few parts that – well, we have to eat, don’t we?’

Laughter again. Mary was telling a tale which concerned Sonia, and it ended: ‘Two knives, on his seat.’ ‘Knives?’ said Richard. ‘Surgical knives,’ said Mary. The laughter was now loud, and nervous, and Richard said, ‘You can’t expect a man to laugh at that,’ and laughed. ‘All the same…serves the little creep right.’

‘Sarah,’ said Bill, leaning forward to claim her, his beautiful eyes on her eyes. ‘I do feel so at home with you. I felt that so much, at the casting session, but now…’ She smiled at him and said, ‘But I have to go.’ He was genuinely disconcerted, rejected. Like a small boy. Sarah went past the other table, smiling generally and said to Mary, who was about to return to the theatre, ‘Ring me tonight?’

Bill was already settling himself beside Mary. Sarah paid her bill and looked back. Bill sat straight up, head slightly back. He looked like an arrogantly sulky adolescent, touchme not at war with oh yes, please. Henry was reaching out with a pencil in his hand to mark a passage in Richard’s script. He was looking over it at her, eyes sombre.

That evening she sat thinking about brother Hal, because of her feelings about Stephen. There were no new thoughts in her head. Hal had been her mother’s favourite, she had always known and accepted that. Or at least she could not remember ever having not accepted it. He was the much wanted and loved boy, and she had taken second place from the moment he was born. Well, unfair preferences are hardly unusual in families. She had never liked Hal, let alone loved him. And now, for the first time, she was understanding how much she had missed in her life. Instead of something like a black hole – all right, then, a grey hole – there would have been all her life…what? A warmth, a sweetness. Instead of always having to brace herself when she had to meet Hal, she could have smiled, as she did when thinking of Stephen. She knew she did, for she had caught the smile on her face.

Late that night Mary rang. First she said her mother was in a bad patch, with a leg that was paralysed, perhaps temporarily. One had to expect this kind of thing with multiple sclerosis. She was going to have to pay someone to come in twice a day when she, Mary, was working so intensively. She did not say this was going to be financially difficult. Sarah did not say that extra money would be found. All their salaries were due to go up: the four had always accepted less than they could have claimed. But now, with Julie Vairon, there was suddenly much more money…if none of this was said, it was understood.

Then Mary told Sarah about Sonia and the knives.

From time to time, in London, some young man desiring to attract attention announces that Shakespeare had no talent. This guarantees a few weeks of indignation. (Usually it is the perpetrator who has no talent – but Bernard Shaw, who had, made this particular way of shocking the bourgeoisie permissible.) Shakespeare had been announced as having no talent quite recently, and a new ploy was needed. What better than to say, in a country with a genius for the theatre, that theatre itself is stupid and unnecessary? A certain young man who had created for himself and his cronies a style of sneering attack on nearly everything not themselves, had become editor of a well-known periodical. A schoolfriend, Roger Stent, meeting his suddenly well-known chum, asked if there was a job for him on New Talents. ‘Do you like theatre?’ ‘I don’t know anything about it.’ ‘Perfect,’ cried this editor. ‘Just what I want. I want someone who is not part of that old gang.’ (Newcomers to a literary scene always imagine cabals, gangs, and cliques.) Roger Stent went on his first visit to the theatre, the National, and in fact rather enjoyed himself. His review would have been favourable, but he put in some criticisms. The editor said he was disappointed. ‘Really my ideal theatre critic would be someone who loathed the theatre.’ ‘Let me have another try,’ said Roger Stent. His reviews became notorious for their vindictiveness – but this was the style of this new addition, the Young Turks, to the literary scene in the early eighties. He perfected a sneering, almost lazy contempt for everything he reviewed.

Abélard and Héloïse had opened, and his review began, ‘This is a turgid piece about a sex-crazed nun and her life-long pursuit of a Paris savant. Not content with being the cause of his castration, she felt no shame about boring him with wittering letters about her emotions…’

The policy of The Green Bird was to rise above unpleasant or even malicious reviews, but Sonia said, ‘Why? I’m not going to let him get away with it.’ She wrote a letter to him, with a copy to the editor, beginning, ‘You ignorant and illiterate little shit, if you ever come anywhere near The Green Bird again, you’d better watch it.’

He wrote her a graceful, almost languid letter, saying that perhaps he had been mistaken and he was ready to see the piece again and he ‘trusted there would be a ticket for him at the box office’ on such and such a night. This last bit of impertinence was very much in the style of this latent incarnation of Young Turks.

She left a message that there would be a ticket for him, as requested. When he reached his seat, he found two surgical knives lying crossed on it. They were so sharp that he cut his fingers picking them up and had to leave the theatre, bleeding profusely. Sonia supplied full details to a gossip columnist.

Sarah laughed and said she hoped this was not how Sonia was going to react to every unfavourable review.

Mary, laughing, said that Sonia had explained that bullies only understand the boot. ‘The new brutalism, that’s what she says it is. She says we lot are all living in a dream world.’

‘She said, “you lot”?’

‘Well, she did say “we” the other day.’

‘So she did. We must hope.’



At rehearsals that week she missed Stephen, but she rang him or he rang her to find out how they were going. Meanwhile she sat by Henry, or rather by his chair while he was working with the actors. If Henry did actually arrive back to sit down for a moment, he was off again after whispering a word or two, usually a joke. This was becoming their style: they jested. Yet he felt threatened. For he must: she could see herself, that watchful (that maternal) presence, making notes. And she was still at work on the lyrics, if that was the word for them, for often the actors said something, improvised, suggested changes. She was needed here: she had to reassure herself because she knew how very much she did not want to leave. Julie had her in thrall. A sweet insidious deceptiveness seemed now to be the air she breathed, and if it was a poison, she did not care.

The actors all came to sit by her, in Henry’s empty chair, or in Stephen’s, but she soon saw that Bill was there oftener than any of them. This gift of his for establishing instant intimacy – she felt she had known the young man for years. But she was not the only one being offered his charm. He seemed to be making a gift of himself to everyone. During this first week, which was devoted to the first act, the handsome lieutenant Paul had to dominate: he was in nearly every scene. And his part was so sympathetic, for he was so innocently as well as so madly in love with Julie. From the moment he first saw Julie standing by her harp, he was in a fever, not only of love, but the intoxication of the discovery of his own tenderness. The apprentice loves of young men tend to be brutal. He was truly convinced of their happiness once they reached France, and did not know it was an idyll possible only in Martinique, in this artificial and romantic setting, with its outsize butterflies, its brilliant birds, its languorous flowers and insinuating breezes. He forgot that it had been not his but Julie’s idea to run away, taking their idyll with them. The young man simply shone with the confidence of love, its triumphs, its discoveries, and this was not only during Paul’s scenes with Molly, where the two were entirely professional, making the jokes about their passion necessary to defuse those stormy love scenes. And yet, more than once, Sarah had caught him glancing at herself while he was making love to Molly, a quick hard calculating look from a world far from the simplicities of sympathy they enjoyed when he sat chatting in a chair beside her. He wanted to know if she was affected by him. Well, she was. But so was everybody else. Sally, that handsome black lady, who always wore an air of sceptical worldly wisdom and a sweet derisive worldly smile, a woman who commanded attention even when she sat knitting in a chair offstage (not one to waste time, she knitted not only for her family but for sale to a certain very expensive shop) – Sally watched Bill Collins with exactly the same fatalistic short laugh and shrug that, as Julie’s mother, she allowed herself when first observing her daughter’s passion for Paul. She and Sarah exchanged glances of female appreciation for the young man, but they were critical too, because he was so conscious of his looks and so skilled at using them. Well, good luck to him, those looks said. The other females present were the same. Mary Ford and Molly (as Molly) caught each other’s eyes and grimaced: no, he is really altogether too much.


He continued to pay Sarah a much more than professional attention. Several times, Henry, returning to his station to check notes or even to rest for a moment, had smilingly to ask him to vacate his chair. Then Bill gracefully and modestly got up, and brought Stephen’s chair closer to Sarah and sat in it.

There was no doubt he genuinely liked her. Perhaps a little more? He looked at her, when she was not looking at him, in ways she remembered (had to make herself remember, for she had so thoroughly put all that behind her). He made excuses to touch her. She was flattered, amused, and curious. If she wanted to be cynical, then her possibilities for doing him good professionally were not large. The Green Bird was not such a big deal for an actor who – he allowed them to know, but without boasting – was in demand. Though not always for parts he respected.

At the end of the first week this incident occurred: Bill had been sitting by Sarah, and they had been chatting in their way of easy intimacy, when he was summoned by Henry to go through a certain scene again. Sarah watched how he positioned himself by Molly in order to rehearse the moment when they finally decided to run away. They had – naturally – to embrace. First they looked long into each other’s eyes, braving the future. Then Paul ran his hand from Julie’s shoulders to her buttocks. Rather, Bill ran his hand from Molly’s shoulder to her buttocks. For this quick movement was absolutely not impersonal and professional, but intimate and sexual, with something brutal about it. This slithering insinuating caress was calculated. Sarah saw how he sent her, Sarah, a swift diagnostic glance to see if she had been watching, had seen, had been affected. She had, and so had Molly, who went stiff under that skilled caress, took a step backwards, and then, as Julie, moved forward into an embrace that had again become professional. But Molly’s look at Bill had been everything that was not professional. She had fallen in love, or in lust, instantly, because of that infinitely skilled and promising caress. Her body had burst into flames, had filled with need, and as she stepped back out of the embrace, her face, turned up to the triumphant (he could not hide it) young man, confessed to him, Yes, here I am.

Sarah did not like what she herself had felt.

She did not waste time saying it was absurd, for that went without saying. That weekend she was forced to acknowledge she had fallen a little in love with the young man. He had certainly taken enough trouble to make sure that she did. This was probably his way of dealing with life. By now she knew his story well. His mother was the centre of his life, they were close. The father was…‘Well, he’s a coper,’ Bill had said, laughing. ‘’E’s a coper, aren’t we all, just a coper, after all,’ sang Bill, to the tune of ‘I’m a Dreamer’, inside his cockney persona, which apparently went with moments when he felt threatened. And then, seeing she had comprehended more than he had wanted, he said, sardonic, intimate, reckless, ‘Yes, tha’s i’, inni, tha’s ‘ow i’ is, awlri’.’ And he danced a few steps, his long legs, in pale blue jeans, and his whole body as satirical as his face. But for one flash of a moment he had a crumpled look, and she could see where, in thirty or forty years’ time (but probably sooner if the signs were there already), that beautiful face would crease and wrinkle. American Molly, American Henry, intrigued with this little cockney act, had clapped and demanded more, and Bill obliged with a repertoire of cockney songs, first – of course – ‘She Was Poor but She Was Honest’, making Molly sing it with him, so that the two clowned together.

It seemed to Sarah certain that this young man had had to survive a childhood – but then, who does not? – and had found very young that he had this lucky gift of good looks and – even more potent – instant sympathy. Self-doubt, weakness, discouragements, could be silenced because he could make people fall in love with him.

Perhaps the pleasure of any new company of people, particularly in the theatre, is simply this, that the families, the mothers and fathers, the wives and husbands and girlfriends and boyfriends, the siblings and the children, are somewhere else, are in another life. Each individual is sharply herself, himself, is simply there. That leech, that web, that box of distorting mirrors, is out of sight. The strings we dance to are invisible. But already – and it had only been a few days – two of the men here were no longer magnificently themselves. She could see the puppet strings only too clearly, though she did not want to. And Stephen? It occurred to her that she had known Stephen for weeks, could call him friend, could say they were intimates, yet while she observed how he was pulled and tugged by something deadly, she could not see the strings.



Joyce arrived on the Saturday night, and Sarah was pleased to see her, because it would take her mind off being in love and the outrage she felt about it. Joyce offered Sarah her sweet, weak smile but did not ask for anything. She said she had been with Betty. Who was Betty? ‘Oh, just someone.’ The girl was clearly in need of food, sleep, and probably medicine. She did not eat the food Sarah put in front of her, though she was pleased to have a bath and to put her filthy clothes in the washing machine. Sarah was happy that Joyce was connected with ordinary life enough to want to keep herself clean. She lay in bed knowing that Joyce sat up watching television and probably would not go to bed at all. She was thinking that in Joyce’s case it was not easy to say, Here are the puppet strings. Her father was hardly ideal, but one could think of many worse. She had an adequate home and family, proved by the fact that her two sisters were, as it is put, ‘viable’. Joyce was not viable. Perhaps one day soon ‘they’ (meaning, this time, the scientists) would come up with an explanation. Joyce had an ‘I cannot cope’ gene, or lacked an ‘I can cope’ gene, or had one in the wrong place, and her life had been governed by this. The puppet strings do not have to be psychological, though it is our inclination to think they are.

What Sarah was thinking of mostly, though, was Stephen. She was beginning to have for him an entirely unwelcome fellow feeling. She attempted humour, with ‘At least I am not in love with somebody dead.’ She tried comfort, with ‘And anyway it isn’t serious, just a crush.’ She also reflected that in her attitude towards Stephen and his affliction had been a condescension she was now ashamed of, though until she could make the comparison she had not been aware of this.

Joyce stayed until Sunday night. At some point she took a dose of something. Injected, probably, for she was a good while in the bathroom, which afterwards had a chemical smell. Her eyes stared dolefully, the pupils were enormous, she tittered inconsequentially and then wept. When Sarah was in the bathroom, she again walked out of the flat.

When one’s heart aches, this is seldom for a single reason, particularly when one is getting on a bit, for any sorrow can call up reserves from the past. Again Sarah decided she would refuse heartache. Yet she had only to think of Joyce, let alone sit in the same room with her, for her heart to feel it had slipped on a leaden glove.



The second week of rehearsals would be spent on Act Two. This meant that Bill Collins relinquished first place to Andrew Stead, or Rémy. Hardly possible for Bill to become invisible, though it seemed he was modestly trying to be, sitting by himself out of the way in a corner, or by Sarah. For a day or so it seemed that Bill’s looks and sexiness were going to make the second, the great love improbable. But then, slowly, it became clear that Andrew knew what he was doing.

Sarah telephoned Stephen and said, ‘You should come and take a look at the gaucho; he’s wonderful.’

She could hear him breathing, an intimate sound, as if they had their arms around each other. ‘Really, he’s got it all. To begin with I thought he was going to be too hard and macho, but he was using that deliberately. He’s the youngest son, remember. Now he’s got that slightly over-the-top cockiness – oh, sorry!’ But he did not laugh, only gave a sort of grunt. ‘You know, a young man over-compensating. An easy sexual assurance – that’s Paul. But Rémy has something deeper than that. Being in love with Julie proves to himself and his family that he’s grown up. He has a marvellous masculinity, quite unlike the beautiful lieutenant, but he hasn’t come by it easily. He sees Julie walking through the trees in the Rostand park, and you can positively see him becoming a grown-up man at that moment. Do you realize you haven’t said a word? Are you all right, Stephen?’

‘Well, Sarah, apart from being crazy, yes, I’m all right. And thank you for not saying, But aren’t we all.’

‘But I was thinking it.’ It was at this moment that she knew it would be hard to tell Stephen she had fallen in love. No matter how briefly or lightly.

‘I’ve discovered what my trouble is – why I find rehearsals so difficult. It’s this business of mixing reality and illusion, it undermines me.’

And now she was astonished and could not say anything.

‘Are you there, Sarah?’

‘Yes, I’m here.’

‘I’m sure you don’t know what I mean, because you are so sensible.’

‘You are saying that your being in love with Julie is real, while a play about her is illusion?’

Silence. Then, ‘Is that so hard to understand?’ As she did not speak, ‘It’s the music as well. It really turns me inside out, I don’t know why. I’m quite terrified of when they start rehearsing with the singers.’

‘Aren’t you coming to any more rehearsals? Because I miss you.’

‘Do you, Sarah? Thank you for that. Of course I shall come; one shouldn’t simply give up.’

Stephen’s chair remained empty. Bill was in it most of that week. This intimacy of theirs, how pleasant it was. Instant intimacy, and she had the gift too. You could say it is the great modern talent. Watching the people of a hundred years ago working out their lives, it was like a little dance of fowl. Ornamental fowl, of course. Formality. But formality makes us uneasy; we see it as an insult to sincerity.

It was not going to be easy to make the casually moving, easy-mannered people of now hold themselves, walk, sit down, stand up, in the right way. Henry called a special rehearsal. ‘You all look as if you were wearing jeans,’ he said. ‘But we are wearing jeans,’ they said, making the point that not until they put on the old clothes could they be expected to conduct themselves properly. But Henry wasn’t having that. ‘You – Molly – you’ve had your mother nagging at you all your life to keep a straight back, hold yourself properly, comme it faut. Now do it.’ And Molly, wearing jeans and a T-shirt that left shoulders and neck bare, her hair tied in a knot to get it off her skin because of the heat, tried to move as if she wore corsets and a long skirt. For two hours Henry kept them at it: they stood, they sat, they walked, and again and again got up from chairs – this company in their jeans, their singlets, their sports shoes, with their natural instinct to slouch. ‘By the time we get to the dress rehearsal it will be too late,’ said Henry. ‘We’ve got to get it right now.’ Some did better than others. The gaucho apologized, said he would practise at home, and retired to watch the others. Bill Collins soon was showing them all how. He explained modestly that he had been a dancer, and the first thing he had learned was not to walk slumping into his hips. Sarah watched him – but they all did – walk across those bare and dusty boards as if he were held upright in a tight uniform. Every line of him was conscious of itself, and when he turned his head with a smile, or bent over an empty chair to kiss an invisible hand, he made a gift of himself to them all. The marvellous arrogance of it, protested Sarah to herself, as her heart beat, and did not doubt the other women felt the same. To be as handsome as that – it was not a joke, it should surely impose obligations, the first of them being not to use himself as he did. Well, thought Sarah, and who is talking? Had she the right? She hadn’t been too bad herself…oh yes, indeed she remembered walking across a room knowing that everyone watched her, holding herself as if filled to the brim with a precious and dangerous fluid. Young girls do this, when they first discover their power: luckily most do not know how much they have. What can be more entertaining than to watch some grub of a girl, thirteen years old or so, astonished when a man (old as far as she is concerned) starts to stammer and go red, shows the nervous aggression that goes with an unwelcome attraction. What’s all this? she thinks, and then is seized with illumination. Her wings burst forth, and she walks smiling across a room, reckless with power. And this condition can last until middle age deflates her. Sarah did not want to think about all that. She had closed the doors on it long ago. Why had she? She could sum it all up with Stephen’s ‘You’re a romantic, Sarah!’…And then there had been Joyce, as good as a chastity belt. But the loss of ‘all that’ she had come to terms with long ago. She had been attractive and, like Julie, always had people in love with her. Basta. She could not afford this new feeling of loss, of anguish. She glanced at her forearm, bare because of the heat, shapely still but drying out, seeing it simultaneously as it was now and as it had been then. This body of hers, in which she was living comfortably enough, seemed accompanied by another, her young body, shaped in a kind of ectoplasm. She was not going to remember or think about it, and that was the end of it.

But she did think about Bill. When he sat beside her they chatted nicely about any number of things, but particularly about him. Often, his childhood, mostly in a good school in England: as she had thought, he had come from a solid middle-class family. Often, too, he was in that or this school in the States: good schools, for he had been privileged financially if not emotionally. Sometimes there were holidays with both parents, undergone for his sake, since they were divorced. These had not been a success. And he talked a lot about his mother.

Sarah reflected that this easy understanding was the same as the one you enjoy with a child, until, let’s say, the age of eleven. Children you have known all their lives – like her brother’s girls. (Not Joyce, who had always been on a different wavelength: you did not have a relationship with her as much as with her anxious and timid smile.) It is the pleasantest of relationships, a simple friendship, a sweetness. With early adolescence it may disappear, it seems overnight, and while the adult mourns, the child forgets, for she, he, is fighting for self-definition, cannot afford this absolute trust and openness. And who was she enjoying it with again? Bill Collins, a man of twenty-six or so, who so much loved his mother.

But the special understanding was being submerged in a group elation that was like a jacuzzi, currents of feeling swirling around, stinging, slapping, bubbling. The group temperature was rising fast, as it was bound to do, to culminate in the euphoria of the first night, after all not such a long way ahead.

Henry, when he dropped into his chair by Sarah’s, or rather flung himself into it, was all jokes. He liked this play – if it could be called a play. He liked the cast – well, he had chosen it. He adored the music and the words Sarah had chosen to accord with it. And he was glad Julie herself was not around, because he was very much afraid he would adore her too. And here he rolled up his eyes and for a moment was a clown in love.

Richard Service, or Philippe, often sat by Sarah. He was a modest man, serious, full of surprises, for since he was unable to make a living entirely in the theatre, he worked as well as a lecturer in an agricultural college: his father, a farmer, had insisted he must not rely on the theatre. Sarah joked that he saw Julie as a farm girl, for he had said Julie had been brought up in one forest and lived to the end of her life in another. Why had she committed suicide? As much that she did not want to live in a town as that she was afraid of domesticity. He argued about this too with Sally, for these two often sat together, talking. Sally said in those days everyone was still close to the land one way or another, and what ailed Julie was that she was a woman. At least, Sally said, the girl had the sense not to become an actress. ‘Look at me. There aren’t so many parts for a fat black woman,’ she announced, laughing and sighing. ‘No, not so many.’ What Richard and Sally talked about most was their children. Both had three. Sally’s eldest daughter looked after the two smaller ones when her mother was working. Sally never mentioned a husband. She had wanted this girl to stick it out at school and then go to college, but she was threatening to leave school and take her chances. ‘She’s a fool,’ said Sally. ‘I tell her, You’re a real fool, girl. In ten years’ time you’ll think it was the worst thing you ever did. But you can’t talk to them at that age. Any more than Julie’s mother could make her listen.’ Richard’s fifteen-year-old had ‘dropped out’ but been persuaded to try again. His ‘dropping out’, on that level of income, was hardly the same as Sally’s daughter’s. It was infinitely touching, the friendship of these two, with their differences. They had for each other a humorous gentleness – a respect? was it curiosity too? – precisely because of these differences.

In that second week, ‘Rémy’s week’, Andrew Stead did not have much time for sitting about. He was busy making himself over from a man you could barely imagine without his horse to Rémy, in one of the heartbreaking transformations one may watch when an actor subdues one personality, using something that looks like a ferocious discipline (though perhaps it is more like a submission, all sensitive patience, a kind of listening?), to another that might very well be the opposite of his own. Andrew remarked that he liked being Rémy, for he was always typecast, and in one film after another he was gangster, crook, cowboy, cop, rancher. And that was because in the very first film he had done he was an outlaw, stealing horses. And so what was he doing here? Ten years ago, he had been at Cannes for the film festival, where a film he was in had won a prize, and he had spent a day in the seductive country behind the coast, visiting the ancient hill towns, and by chance had found himself in a town, Belles Rivières, where there was a music festival. He had heard Julie Vairon’s music and did not think much about it, until later, when he could not get it out of his head. It was the ‘troubadour’ music that had got to him. His agent had sent him Julie Vairon, and he had turned down a film to do it. No, it was very far from his usual line, and perhaps he wasn’t up to it…but there was a side benefit – could he call it a benefit, though? He was being thoroughly unsettled. He was wondering now how much he had become ‘typecast’ in his life as well. Hard to remember now much about what he had been like before the age of nineteen and his first film: he had positively fallen into it, only chance he had become an actor. Yes, he was a Texan, but that didn’t mean he necessarily had to spend his life as a cowboy. ‘“’Orses and dogs is not vittles and drink to me”,’ he quoted, and was pleased that though she guessed Dickens, she did not know it was David Copperfield and he had to tell her. ‘Despite appearances, it ain’t necessarily so.’

He was not a man one could easily imagine needing reassurance, and when he did arrive in the chair beside Sarah, she did not offer it. How differently people did sit in that chair. Bill sat back, balanced, alert, hands palm down on his thighs, chatting to her while that handsome face of his was always ready to offer to anyone looking his way the smiles he was so good at.

Henry could hardly be said ever to sit, if by that word is meant a submission to relaxation.

Sally sat with her large body filling the space allotted to it, calm as a monument.

Molly was not much there, because she was seldom offstage. If she did arrive beside Sarah for a moment, it was to express vigorous disapprobation of Julie, who needed her head examined. ‘She screwed up her whole life for love’ – and the violence here made Sarah follow Molly’s gaze to Bill, a usually limpid, candid, and even innocent gaze, now clouded by self-doubt. Thank God, said Molly McGuire, that she was living now and not then.

As for Andrew, he sat loosely, his muscular hands relaxed on the chair’s arms, exactly as that lean hard body of his was relaxed, on principle and by training. He watched her calmly, with those pale blue eyes of his that were no longer inflamed by the altitudes of north-west Argentina. He seemed to be waiting for something from her. What? He made her uncomfortable, forced her to examine her role here, in her chair, always ready to provision anyone who needed it with praise and reassurance. Was she being insincere? She believed not. She did think the company very good, and Henry admirable. Her own work was not bad at all. But sometimes Andrew reminded her of Stephen, who had the same way of sitting in judgement. It was a masculine judgement: they were both men who would never dispense themselves in charm or an appeal to be liked. She was also remembering that both of these, by chance, had been at a ten-years-ago festival in the south of France, and both had ‘fallen for’ Julie’s music.

But the music was not here, and its lack was being felt more every hour. Sarah observed how Andrew, in the middle of a scene with Molly, suddenly broke off, asking Henry if he could do the scene again, then doing it again, and finally coming to a stop with a shrug and a shake of the head. Henry and Andrew went to one side to confer. While they talked, the scene was arrested, like a film still, emphasizing the animation of these two men. Henry came to Sarah and explained that Andrew could not get the ‘feel’ of the piece, could not find his pace. And he was not the only one who complained. ‘But no one’s going to get it until we have the music.’ ‘I know, but never mind, just do it, Sarah. Come out and demonstrate.’

Sarah complied. After all, she had been rehearsing plays and ‘entertainments’ for years. As she walked forward to take her place, she caught herself thinking she was pleased she had taken trouble with her appearance that morning. She was wearing a dark blue working outfit, but in a silky-looking material, and had for some reason put on big silver earrings and elegant shoes.

In this scene, words and phrases spoken by the two lovers were taken up by the musicians and sung, almost like a part-song, words said and words sung in counterpoint.

As my lover you must leave me,All the world applauds your choice.

But you’re my friend and you should stay.A friend does not his friend betray.

Giving pain is for the lover,A friend does not a friend betray.

The words had come from Julie’s journals. This man loves me and so it is in order for him to stab me to the heart, and if he actually did stab or shoot me, French law could easily acquit him; it would be a crime passionnel. But he is my friend. My only friend. I have no other friend. Friends are not applauded when they betray each other.

The song would be sung by the three girls, with the counter-tenor holding the words lover and friend in long notes not unlike the groaning shawm, underlining the young high fresh voices in their conventional reproach.

What Julie was saying to Rémy was, ‘You love me, you are my lover, but not a soul in the world will condemn you for obeying your father and abandoning me. But if I were your friend and you betrayed me, you would be condemned by everyone.’

Rémy was saying, ‘But I am your friend. You’ll see that I am your friend. I’ll prove it. You think that I am abandoning you, but I never will.’

Julie says, ‘Ah, but you’re my lover, and that cancels the friend.’

Sarah’s voice was a small one, but it was sweet and true. Long ago when she was a student in Montpellier, there had been talk of training it, but instead she studied music for a year. She was confident she would not disgrace herself. When she began, ‘As my lover you must leave me…’ she felt as if she had stepped out from a shadow into the light, and from her passive role, sitting there, always observing, into performer. Hardly new for her, taking command, showing how parts should be played or songs sung, but she had not done anything of the kind here, with this company. She was conscious of the silence in the hall, and how they all watched her and were surprised at this revelation, Sarah so assured and so accomplished. She felt herself full of strength and of pleasure. Oh yes, she did like it, she was liking it too much, being admired by this particular assembly of people.

When she had finished there was light applause, and Bill called out ‘Bravo’ and stood up to clap, so that he would be noticed. She made a mock curtsey to him, and a general one to everybody. Then she called them to order by lightly clapping her hands.

Henry came forward, because he had understood there was a need.

Now, when she sang the verses again, Henry supplied the counter-tenor’s friend and lover. He could not resist slightly exaggerating, so that his voice was a low yell, like an unknown instrument from an exotic shore, and it was very funny. They had to laugh. The four, Sarah, Henry, Andrew, and Molly laughed staggering into each other’s arms, where they embraced. They sobered as Henry clapped his hands.

This time it ‘worked’. The counterpoint of friend and lover was not funny but added a depth and darkness to the verses.

And now Molly began her speech. ‘You love me, you’re my lover, but not a soul in the world…’ and Henry came in with lover Sarah followed, singing, ‘As my lover you must leave me,’ and when Molly reached, ‘But if I were your friend…’ Henry sang, or perhaps groaned, friend, and Sarah sang the last couplet against Molly’s, ‘Giving pain is for the lover…’ and repeated it while Andrew began, ‘But I am your friend…’ and so on.

Timing. It all fitted. Now Andrew was convinced, but what they all saw coming out in him was a stubbornness they had not seen before, a quite deadly persistence. He needed not only to be convinced but to be sure it could be done again. And again. The four of them took the scene through several times, until Andrew said, ‘Right. And thanks. I’m sorry, but I had to have that.’

And Henry said, ‘Right. Break for lunch.’

On the Friday of Rémy’s week, Stephen came to sit in his chair by Sarah, to watch a run-through of Act Two. Molly had put on a long skirt to help her, and she seemed as if by magic to have become thinner, lithe, wild, vulnerable. It broke the heart to watch her, the brave one, battling with such a destiny. The young aristocrat, son of the Rostand château, was touching in his love for the girl he would never be allowed to marry.

Meanwhile there was still no music, and Molly was speaking the words of her song, which would be sung later by the counter-tenor.

If this song of mine is a sad one,Love, who I hold in my arms,Our joy as wild as a hawk circling,Think that when summer comesThey will send you far from me,Then you will remember these daysAnd my sad song tonight.With you gone I am forever exiled from myself.

Stephen said, ‘I don’t remember that. I suppose you made it up?’

‘I thought it was in the style of a troubadour song.’ She put in front of him what Julie had actually written, in her translation.

It’s all very well! Love, love, love, we say, weeping for joy all night. Next summer we’ll be singing a different tune. I saw how your father looked at me today. Time’s up, that look said.

‘Fair enough,’ he said. He was sitting with his head bowed, not looking at the players. Far from laughing, or even smiling – for she did believe the transmutation of one mode into another merited at least a mild smile – he seemed like a miserable old man. Yet once (once! it was a few weeks ago) the humour they shared had been the best part of their friendship. She was telling herself that she must accept it – must – that a phase of their friendship was over. This was not the man with whom she had those weeks of companionship. And as she thought this, the leaden glove she associated with Joyce threatened to enclose her heart, and she snapped at herself, No, stop it, stop it at once. And she went off and away from the chair by Stephen, to stand with her back to the players, pretending to examine some props, as it happened, brilliant flowers and fruit from Martinique, there to give the ‘feel’ of the place. She was muttering, ‘“No, I’ll not, carrion comfort Despair, not feast on thee; not untwist, slack they may be…”’ And was furious with herself. Melodramatic bloody rubbish! she shouted silently to that part of her memory that had so patly come up with these words, feeding them to her tongue, while her mind refused them. Feeling someone behind her, she composed her face to turn, smiling, at Henry, but she had not composed it sufficiently, for he was thrown back at the sight of her. ‘What’s wrong, Sarah, don’t you like it?’ he half stammered, and she had to remind herself that the most confident of directors needed reassurance, and this was a far from confident one. Over his shoulder she saw Sonia (her successor at The Green Bird – she could not remember seeing this so clearly before) go up to Bill with some letter, or telegram that had come for him. He took it, making a joke, and they stood laughing, the attractive redhead, the handsome boy – no, no, not a boy, he was a man…She said to Henry, ‘Yes, I do like it, very much,’ and saw how his body relaxed out of the tension of anxiety. The traitor memory was offering to her tongue, as she watched Sonia and Bill stroll down the hall, in perfect step, ‘“…keep back beauty, beauty, beauty, from vanishing away…O no, there’s none, there’s none, O no, there’s none…”’ and she put her hand in Henry’s elbow and turned him about with a laugh, out of his posture as a suppliant, for she did not want to feel maternal, and together they stood to watch as Rémy and Julie held each other in an embrace that had in it all the sorrows and disciplines of valediction.

‘I thought, when you went off like that…And Stephen doesn’t like it, does he?’

‘Yes, he does. He likes it very much.’

‘He really does?’

‘Yes, really.’ And she discarded various sets of words, all to the effect that the play touched Stephen too nearly.

When the time came to go for lunch, she went with Stephen to a restaurant not the same as the company’s usual choice. It was obvious he did not want to be with them. There he said he was not hungry. He sat, all dejection, while she trifled with her own food. His breathing wasn’t right: he sighed and then sat as if he had forgotten to breathe. He kept shifting his position, leaned forward, leaned back, even unconsciously putting his hand to his forehead in a gesture that was pure theatre: I am suffering. His look at her, when he did at last become conscious of her being there, was a close inspection, apparently hoping to find something in her face, but failing. And there was shame in it, as if he wanted to observe her, though without being observed.

As he parted he said to her, ‘All right, but if I’m mad I’m not the only one. I overheard that young jay tell Andrew Stead he was in love with a woman old enough to be his grandmother. Well, you, obviously.’ And he gave an angry laugh, the first that day. And it was not an accusation of her, but rather on behalf of the lunacy of the world. He went off to catch his train and she went home, dissolved in love. Well, yes, she had known Bill was in love with her. ‘In love’ – a phrase as you take it, all things to all men. And women. There are as many shades of being in love as there are graduations of colour on cards in the paint shops. All right, then, he had a crush on her. Why not? People had been having crushes on her all her life – or so she seemed to remember. (She added the rider hastily, defensively.) But the interesting thing was her bursting into flame because of hearing it said. Bill had said it knowing it would get back to her. Her body had filled at once with a most horrible desire. A reckless desire. All through that weekend she sat down and jumped up, flung herself on her bed and out of it again, because she would not, would not, succumb, walked around her room for hours, in such a daze and a dream she would not have been able to say at any moment what she had just been dreaming, yet no matter how far gone she was in dreaming, she was stopped again and again by that word impossible. Meaning just that. She was thinking of Aschenbach’s passion as an elderly man for the boy in Venice. Is it that we all have to suffer the fate of falling in love, when old, with someone young and beautiful, and if so, why? What was it all about? One falls in love with one’s own young self – yes, that was likely: narcissists, all of us, mirror people – but certainly it can have nothing to do with any biological function or need. Then what need? What renewal, what exercise in remembering, is Nature demanding of us?… And so she exclaimed and protested, and quite soon found herself murmuring – tranced, or hypnotized – speaking words she did not take responsibility for, since she did not know what they meant. ‘Who? Who is it?’ Accepting that she had in fact said or muttered these words, she commented on them that it was not possible she was in love with a handsome youth she had nothing at all in common with except the instant sympathy she owed to his love for his mother. Perhaps when he was seventy, well pickled by life, they might mean the same thing when they used words – yes, possibly then, but she would be dead. He was as innocent as a kitten. What could she possibly mean when she said that? He was horribly calculating. Yes, innocent, for only a man unsure of himself, like an adolescent or someone inexperienced, would need the kind of tricks and seductions he used. (That long, slithering, seductive, calculated caress, innocent?)

Memories she had refused to admit for years now stood around her in beguiling or accusing postures, forcing her to attend to them. She was being forced to remember past loves. And she was remembering her husband. But her memories of him had been put into a series of frames, like photographs, or scenes in a novel – a short novel, since he had died so young, at forty. (Once, and not long ago, to live to be forty in Europe was a great thing, an achievement.) Not a sad novel, not sad photographs. No, for she could scarcely remember the pitiful ending, young widow left with two small children, and those tears – surely she must have shed plenty? – might have been wept by someone else, for all she felt now. And had she ever loved him, her great love, with this burning, craving love? No, that had been a gradual love, leading to the satisfactory marriage that followed. And as a girl, before her husband? More pictures in an album? No, this love was forcing her to feel old loves, making her remember, bringing her face to face with loves she had got into the habit of dismissing with: Oh, adolescent crushes, that’s all. But in fact that love, or that, or that, had been intense and terrible, with exactly the same quality of impossibility as this one. And before that? What nonsense that children did not love, did not suffer: it was as bad for them as for their elders. No, she would not think about that, she refused to. She would force herself to recover from this illness. For that is what it was.

She sent Stephen a fax:

‘Love is merely a madness and, I tell you, deserves as well the dark house and whip as madmen do, and the reason why they are not so punished and cured is that the lunacy is so ordinary that the whippets are in love too.’

He sent her one:

‘Who so loves believes in the impossible.’ Faxes are all very well, but I’d rather hear your voice.

Early on Sunday evening a card was pushed through her door. It was the most charming and guileless card, of a frieze of pink deer, Bambis, rather, nose to nose – kissing. It could not have been in worse taste – for anyone but a small child. The person who sent this card (had asked someone to drop it in?) was a child. (What had he in common with the brutal youth who had slithered that insinuating caress down Molly’s back and buttocks?) The card made the statement, I am a little boy. A shock of cold water, but only to her mind. Her emotions were not affected. Her body burned more fiercely, if this were possible. (‘I have to tell you how much it means to me, getting to know you. All my love, Bill.’) Burn, the word we use, shorthand for such shameful, such agonizing physical symptoms. Quite poetic, really, the word burn.

She had his telephone number, in her capacity as administrator of the theatre. His hotel was not far away. She waited half an hour and telephoned. Exactly as she would have done when ‘sexually viable’ – a phrase she had found in a sociological article, making her laugh, a dry safe phrase, putting everything in its proper place. (Like burn.) She thanked him for his card and suggested he should come over. It seemed impossible that he would not come over at once, and into her bed. Such are the side products of the physical swellings, wettings, and aches shorthanded in the word burn. She could hear how his voice put guards on itself. She was not too far gone to judge the voice (hearing it like this, without the benefit of his presence) as a trifle vulgar, because of its self-satisfaction, its complacency. She was furious: she had not persuaded him! She had never once gone to sit by him, gone to talk to him, initiated anything. And what did he mean by saying All my love? (Her mind did inform her that she had done this a thousand years ago, finding everything she felt in a phrase or a word: one did this, when in love.) He would drop in, in about an hour. Her body rioted, but her mind, as much under threat as a candle flame in a strong draught, made derisive comments.

She remembered an incident from her childhood, one she had put into a frame long ago, with an appropriate smile. She was six years old. A small boy – he seemed to her a small boy, for he was a year younger than she was – stood with her under a great tree that had in it a tree house and told her that he loved Mary Templeton. He had just embraced her, fat little arms around her neck, a fat wet kiss on her cheek, and an impulsive ‘I love you’. Because of the kiss and the arms and the ‘I love you’ she told him – outraged, self-righteous, dissolved in love for him – that he couldn’t love Mary, for she was too old; he must love her. And when he said stubbornly that he really loved Mary, she was full of a conviction of his unfairness. He had kissed her, he had said he loved her, and she could still feel the warm little arms around her. Mary Templeton was the most glamorous of the small girls, because she went every week to ballet school and was nine years old. (Surely as a female creature she – Sarah – should have known that it was inevitable he must love Mary, because she was out of reach.) Sarah told him that he and she together should set up life in the tree house just above their heads, an arboreal paradise, for she had already in imagination planned the cheese and tinned ham she would take from the pantry, and the old eiderdown from the understairs cupboard. The small boy hesitated, for he did like the tree house, but repeated that he loved Mary.

This incident frozen all those years ago, a baby mammoth in ice, was filling her with the emotions of then. She had adored the plump little boy with his soft dark locks and his wide blue eyes. His wet kiss on her cheek and his ‘I love you’ had utterly melted her. It was inconceivable he did not adore her. But he had decided to dream of Mary Templeton instead. Long ago, under that tree in a garden since bulldozed to make a housing estate, a desolation of grief had swallowed her. A little child’s love. So she had filed it away: a childish love, not to be taken seriously.

When Bill arrived he had with him Molly, Mary Ford, and Sandy Grears, the lighting man. Sarah thought, while hot knives sliced her back, Of course, Bill and Molly are in the same hotel. And Sandy? He was a strong young man, capable, with the good looks of health, a recent addition because of the demands of Julie Vairon, and she had not had time to notice him much. It seemed he had invited the actors to his flat for lunch, and they had all accepted, and some had afterwards gone to Bill’s room, and then Sarah had so kindly rung Bill to ask him over. Sarah looked quietly (she hoped) at Bill while he came out with this, but he was only smiling, not looking at her. The four young people were smiling as they came in. In this context Mary Ford was one of them. They were a group she was excluded from as absolutely as if she were dreaming them, and they would vanish when she woke. Meanwhile, in a moment that was short for them but frozen for her in the intensity of observation, she saw them in a frame: Bill standing there in her living room, laughing, his hand on his hip, and the two young women’s bodies turned towards him and passive with desire. Their faces were all a hopeful waiting. (Mary Ford too? Interesting.) Sandy broke it, by flinging himself into a chair, saying as he saw Julie’s picture pinned there, ‘A home from home.’

And now they were all in the camaraderie of the theatre. But only in appearance, for Sarah was on that other shore, excluded, watching. She saw how Bill was dispensing himself in looks and smiles, and how the women suffered. They could not take their eyes off him, any more than she could. He was like a young glossy animal, a deer perhaps? She thought of the biblical scene where all the women, entranced by Joseph, cut their hands with their fruit knives, not knowing what they did, a scene reinterpreted by Thomas Mann – bound to be reset, always, in a thousand contexts, by life. The scene had the same slowed-down underwater quality as an erotic fantasy or an erotic dream.

A lot of chat went on, badinage. Messages were being sent out in that other language that so often accompanies the ostensible exchange. Bill was telling a long humorous tale of how in New York there had been a goodish interval between one engagement and another. ‘I was weeks out of work. The telephone didn’t ring for me once. Then, suddenly, it didn’t stop. I was offered four parts in a week. I didn’t know myself.’ He was looking not at the women but at Sandy as he spoke. Switching into cockney: ‘Reely I di’n’t, oo’d’v thort it, me, Bill Collins.’ And then in BBC standard, ‘The cynosure of all eyes.’ Mary Ford murmured, ‘Oh dear, I do wonder why.’ At once he despatched her a genuinely wounded glance, went red, laughed with pleasure, and at once recovered himself with ‘Four! All at once! Too much!’ And who was the fourth, Sonia? He tilted back his head and laughed, exposing his strong and perhaps too full throat, and from that position – arrogant, touch-me-not – defended himself with a diagnostic inspection of them all. ‘I chose this one, of course. I chose Julie. I couldn’t resist her. Besides, I’ve never been in France, let alone worked there. From dearth to plenty,’ he drawled, an American, malicious, and very far from the dear little boy. Molly listened to the real message here, and smiled. It was a small, tight smile. Mary Ford even nodded as she smiled. Sarah could feel that same smile on her own face. Then Bill smiled at Sandy and understanding sliced into Sarah and at the same time – surely? – into the other two women. Of course. This excessively beautiful young man…the theatre…New York. And yes, he had a girlfriend, he had said so. All young men have girlfriends and even wives, if feeling sufficiently threatened. These thoughts careered through Sarah’s head while she shouted silently at herself, For God’s sake, stop it!

The telephone rang. It was Stephen. He had been crying. He probably still was, for his voice was unsteady. ‘I want you to talk to me. Don’t say anything sensible, just talk. I’m going mad, Sarah.’

This was not an occasion when one might say, I’ll call you back. She told the young people (nearly middle-aged Mary still included with them?) that it was a call from New York about Abélard and Héloïse. She knew that Mary Ford knew this was untrue. Mary at once got up, and the others followed suit – Bill, she saw, and felt a quite excessive pleasure, with obvious reluctance. ‘We’ll leave you,’ said Mary. ‘I hope it’s not bad news. Not our American sponsor?’

‘No, it’s not our American sponsor.’

Mary Ford went off down the stairs, that solid young woman like a milkmaid in jeans – her joke. Sandy asked to use the bathroom. Molly went to the door, with Bill just behind her. Sarah, returning from showing Sandy to the bathroom, saw that Bill, unable to resist the waves of longing from Molly, had bestowed himself in an embrace. Molly was dissolved in it, eyes closed. Over Molly’s head Bill saw Sarah. He put Molly away from him; she went blindly off. Bill came to Sarah, slid his hand down her back, and kissed her. On the mouth. Nothing at all brotherly about this kiss. He breathed in her ear, ‘See you, Sarah,’ and slid a hot cheek against hers. Sandy could be heard coming from the bathroom, and before he appeared, Bill had quickly stepped back from the embrace and was going out. Sarah watched the two young men depart down the stairs.

She returned to her bedroom and sat on the edge of her bed and listened to Stephen. He was talking in broken sentences. ‘What is this all about, Sarah? What is it? I don’t understand. If only I could understand it…’ He was on the other end of that line for perhaps half an hour. Silences. She could hear him breathe, long, sighing, almost sobbing breaths. Once she thought he had put down the telephone, but when she said, ‘Stephen?’ he said, ‘Don’t go, Sarah.’

Later he said, ‘I suppose I must go and help Elizabeth. I said I would. She does need me, you know. Sometimes I think I’m just an irrelevance, but then I see she relies on me. That’s something, I suppose.’ Then, ‘Sarah?’

‘Yes, I’m here.’

‘And I rely on you. I can’t imagine what you’re thinking. I feel as if something has come up from the depths and grabbed me by the ankle.’

‘I understand, absolutely.’

‘You do?’ He was disquieted: solid and equable Sarah, that was her role.



Act Two ended with Julie’s miscarriage of Rémy’s baby, theatrically so much easier than the death of a small child, which, they knew, would have take the play over, have had the audience awash with tears. Besides, a child was always a nuisance at rehearsals, and if they took her to France she would need minders and nannies. Interesting, how much discussion went on about this. Some found the decision cynical. Henry particularly did. He said, ‘It’s much easier to believe that this child didn’t mean all that much to her, oh no, it was just one of those things, she was pregnant and then she had a miscarriage, too bad.’ Henry had a small son, carried photographs of his family, American-style, showed them to everybody and rang his wife every night. Andrew Stead certainly didn’t like it. He protested that his child had been callously disposed of. In life, he pointed out, Rémy had gone to the house in the forest to play with the child, had begged the family to see that the child was a reason for marriage. Then Bill reminded them that Julie had had a real miscarriage, of his child. Everyone forgot that, he complained. He was sure Paul minded about that miscarriage. Julie had said he did. The journals were consulted. Everyone was reading them. Sarah took her stand on what would ‘work’. The point was the effect on the townspeople. They said that Julie had killed her child. But in the play they say Julie induced a miscarriage by swimming in the forest pool’s icy water. The essential thing was that she must be blamed for the loss of the child. ‘And we can’t have two miscarriages – two deaths.’ Attempting an echo, from Oscar Wilde, she said, ‘To lose one child is sad, to lose two simply careless.’ She noted that the Americans did not laugh but the English did. The English in this context included Bill Collins. Sandy and Bill broke, on a single inspiration, into a recital of ‘Ruthless Rhymes’, an exuberant performance.





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