"Give the world a kiss
Although it rates a kick
Get in double quick
And give the world a kiss"
"Ah God," he said. There, said somebody, is another one that screws. All dinges screw, they got no morality. She's here right now in Indianapolis, screwing. Screw a dog, screw a beer bottle, bottom end. "Oh God," moaned Enderby.
"There may be roars
But there are roses
A fiddle and a flute
There may be wars
But underneath your nose is
Juicy fruit still unpolluted"
Juicy fruit, I'll say. Give the world a fuck, I'll say. Enderby had to get out. You tell the Queen of England from me, fella, she ain't no whore. Enderby was surprised to find it dark without, street lamps on, hail spinning lazily down. He had been there longer than he thought. He wove his way back to the Sheraton. He carried his key in his pocket, always forgot the number. He made several stabs at the wrong door, somebody yelled, muffled, "Who's there?", then found his own, 360. That number meant something, he couldn't for the moment think what. He fell inside, doffed and threw at the television set his overcoat, then fell on the bed.
He was awakened by knocking. He got up with considerable difficulty and groaned his way to the bathroom door. It was not at that that the knocking was proceeding. He opened another door and blinked painfully. She, paper in hand, dispossession notice. She wore scarlet tailored slacks and matching jumper, heavy beaten bronze earrings, scarfed montage of European cathedrals about her throat. Enderby's heart thumped from drink. He bowed her shakily in. She sat down on the one chair with arms and looked at him. He said:
"I heard you singing. In some low place. Not you personally, of course. I must take something. Heartburn. If you'll excuse me." He went to the bathroom for Whoosh and water. He came back with a foul headache. He sat on the edge of the bed. That in your hand," he said. "I see what it is now. Doesn't make much sense. Nominal fantasy. Had to go out. Drank a little. My apologies."
"What gives with you?" she said. "I've never met any dude quite like you."
"Double agony," Enderby said. "I adore Shakespeare. I adore you. Somebody has to be betrayed. You'll swallow him. You're swallowing me. Old as I am. Ugly. Unworthy. You try that on for size," he said with bitter jocosity.
"You mean you want to get laid?"
"That's right," cried Enderby, head cracking, "bring it down to animality. Things aren't as easy as that. Shakespeare didn't want just to get laid, as you put it. She was stitched into his senses, made his soul drunk. He cured himself, but only through his art. He had to lose his only son first. Oh yes, sex came into it, with all its connotations, universal, cosmic, yin and yang, ultimate sex. You don't get over it by screwing, as those men said."
"Which men said?"
"The men in the pub, bar. They said the Queen of England was a whore. You can't complain if they said the same about you. Bloody animality. Then we come to the most dangerous word in the language, and you know what it is. A declaration of faith with little hope and not much bloody charity. Why aren't you with that bloody man you were with last night?"
"What? Who? Oh, him. That was Ben Jonson, my brother, and don't call him bloody. He plays piano with Mitch Frobisher's combo. Ah, the greeneyed dingus. And so you get paralytic." Not a just word, he considered, looking down at his tremor. He said:
"Jonson with an aitch, I suppose. Without would be going too far. Although there's an aitch in Westminster Abbey. And where does the Elgar come in?"
"He was a British composer. I always liked that what I used to call when I was a kid Pompous Circus Dance of his."
"He wrote a bloody sight more than that," Enderby said. "Edwardian hubris and neurosis, an incredible combination. And I suppose the April is really June."
"Not far out. May Johnson, brought up Baptist. If they want to fantasize over the April Elgar image, okay, let them. That's what it's there for, I guess."
"Funny," Enderby said, "girls are called after spring, only men after summer. Augustus, I was thinking of. But of course that's the cart before the horse again. Forgive me."
"Like that thing in Kant, I guess. Noumenon and phenomenon. May Johnson is the dingus an sich."
Enderby gaped. But, of course, everybody in this country got educated at the State U, a kind of superior high school. Then they forgot their bit of education in order to make money. Very sound, really. And then they could paralyse their interlocutors with Kant when they didn't expect it. "I'm parched," he said. "I have to make very strong tea. Will you join me? But I only have this one mug. I'll buy another tomorrow in case you. You can use this one first and I can swill it after."
"Real English genlmn. But it's dinnertime. Wipe that white stuff off of your mouth and drink three glasses of water. Then I take you up on us having dinner together, okay?"
"I couldn't eat a thing."
"Then watch you lil friend eat."
The three glasses of water prescribed renewed the heartburn ferociously, but a couple of powerful martinis at table put him right: the headache merely hovered over like the awareness of a decorated ceiling. He felt he could tackle red meat. He looked with tolerant disapproval at April Elgar's cottage cheese and salad with thousand islands dressing. His tumescence did its best to find its aetiology in the Aprilian and Elgarian and leave May Johnson alone. How bloody beautiful she was, each functional eating gesture a shorter lyric. Men at other tables kept sneaking glances of envy at him. No one could say: that ugly old bastard is her father. And sick desire at her. Their wives ignored him and knifed her with bitter hate. Enderby monologuized, awaiting his red meat. "Salads dry up my saliva. Green things have something unnatural about them. The most dangerous word in the language, as I said. Onanism is a logical safeguard, you know, a device of protection of the deeper emotion. Nobody wants to lust after people: images are what are required. Though love is a bloody nuisance. Helen's beauty in a brow of Egypt. Funny he should say that disparagingly. He felt differently when he got to Cleopatra."
April Elgar picked on that along with a forkful of salad. She said: "Right. Cleopatra. Think of Cleopatra and you won't go far wrong. Stick an asp on my left tit if you like at the end, but it's me they got to remember. A blaze of gold, you see that?"
"Don't use that word," Enderby groaned.
"Which one?"
"That one."
"Tit? Sorry, old boy, old boy. Bosom. Breast. Knocker."
"Oh my God."
"We'll beat the bastards, you and me. May sheow, cold felleow."
7
Enderby sat in one of the many toilets of the Peter Brook Theater reading a paperback volume of what were known as Science Fiction Stories. He sat long partly because of a costiveness that seven Gringe tablets had so far done nothing to ease. Perhaps, after all, salads were healthful. Too much protein and starch. For breakfast he had eaten pancakes and maple syrup and sausages on the side. He had brought his own steaming mug of tea down with him, an eccentricity now accepted by the Sheraton. Must do something about diet. Must not reject little paper cup of coleslaw issued with lunchtime sandwich. Spinach munched from can like marine character in old cartoons with ridiculously overdeveloped forearms. He sat long sequestered also partly because there was such a hell of a row proceeding at rehearsal. Clash of characters, egos really. That fag Pete Oldfellow and the divine April Elgar were creating, with claws distended and genuine hurled spittle, more compelling drama than any dramaturge could contrive. God was still, after all, so Enderby ungrudgingly conceded, the best of the dramatic poets, though shapeless and uneconomical. A bit like Charles Dickens. God was good on the physical and emotional sides and a great one for hate. He generously spilled his own hate into his dearest creation. That's why you had to have Jesus Christ, who unrealistically overstressed the love part. But God hated him too and sponged him out one Friday afternoon. The play now enacted on the dimlit stage was God's play, though God had to leave it to people to provide an ending.