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"What do you know about my wife?" asked Enderby. "Who told you I'd married Vesta Bainbridge?"

"It was in the popular papers," said Rawcliffie. "Didn't you see? Perhaps she kept them from you. Pete Bainbridge's widow to remarry, they said. The popular papers didn't seem to know very much about you. But when you're dead there'll be biographies, you know. There haven't been any biographies of Pete Bainbridge, so there's a lot to be said for not being known to the readers of the Daily Mirror. Ah, here is the Via Mancini." He banged the glass partition and made grotesque boxing gestures at the driver. The driver nodded, swerved madly, and came to rest before a small drinking-shop. "This is where I have my humble lodging," said Rawcliffe. "Above here."

"Do you really believe that?" asked Enderby. "I thought perhaps I appealed to a sort of protective instinct in her. And I'm very fond of her. Very, very fond. In love," said Enderby. Rawcliffe nodded and nodded, paying the driver. He seemed to have recovered completely from his Strega-bout. The two poets stood in the warm street, cooled by river air. Enderby let the taxi go and said, "Damn. I've let that taxi go. I ought to get back to my wife." He reminded himself that he disliked Rawcliffe because he was in all the anthologies. "It strikes me," said Enderby, "that you were swinging the bloody lead. I needn't have come with you at all."

"Strega," said Rawcliffe, nodding, "passes through my system very quickly. I think, now we're here, we'll have some more. Or perhaps a litre or so of Frascati."

"I must get back. She may be all right now. She may be wondering where I am."

"There's no hurry. The bride's supposed to wait, you know. Supposed to lie in cool sheets smelling of lavender while the bridegroom gets drunk and impotent. The Toby night, you know. That's what it used to be called. After Tobias in the Apocrypha. Come on, Enderby, I'm lonely. A brother poet is lonely. And I have things to tell you."

"About Vesta?"

"Oh, no. Much more interesting. About you and your poetic destiny."

They entered the little shop. It was dark and warm. On the walls were vulgar mosaics, pseudo-Etruscan, of prancing men and women in profile. There were glass jars of wine and cloudy tumblers. An old man from the age of Victor Emmanuel sucked an ample moustache; two sincere-eyed rogues, round-faced and, despite the heat, in overcoats, whispered roguery to each other. A champing old woman, each step an effort, brought a litre of urine to two English poets. "Salute," said Rawcliffe. He shuddered at the first draught, found the second blander. "Tell me, Enderby," he said, "how old would you say I am?"

"Old? Oh, about fifty."

"Fifty-two. And when do you think I stopped writing?"

"I didn't know you had stopped."

"Oh, yes, a long time, a long, long time. I haven't written a line of verse, Enderby, since I was twenty-seven. There, that surprises you, doesn't it? But writing verse is so difficult, Enderby, so so difficult. The only people who can write verse after the age of thirty are the people who do the competitions, you know, in the week-end papers. You can add to that, of course, the monkey-gland boys, of whom Yeats was one, but that's not playing the game, by God. The greatest senile poet of the age, by God, by grace of this bloody man Voronoff. But the rest of us? There are no dramatic poets left, Enderby, and, ha ha, certainly no epic poets. We're all lyric poets, then, and how long does the lyric urge last? No bloody time at all, my boy, ten years at the most. It's no accident, you know, that they all died young, mainly, for some reason, in Mediterranean lands. Dylan, of course, died in America, but the Atlantic's a sort of Mediterranean, when you come to think of it. What I mean is, American civilization's a sort of seaboard civilizaton, when you come to think of it, and not a river civilization at all." Rawcliffe shook his head in a fuddled gesture, the Frascati having wakened the sleeping Strega. "What I mean is, Enderby, that you're bloody lucky to be writing poetry at all at the age of-what is your age?"

"Forty-five."

"At the age of forty-five, Enderby. What I mean is, what are you looking forward to now? Eh?" He let more Frascati stagger into his glass. Outside, the Roman daylight flashed and rippled. "Don't kid yourself, my dear boy, about long bloody narrative poems, or plays, or any of that nonsense. You're a lyric poet, and the time is coming for the lyric gift to die. Who knows? Perhaps it's died already." He looked narrowly at Enderby over the glass flask of Frascati swimming and dancing in his grip. "Don't expect any more epiphanies, any more mad dawn inspirations, Enderby. That poem of mine, the one in the anthologies, the one I'll live by if I'm going to live at all, I wrote that bugger, you know, Enderby, at the age of twenty-one. Youth. It's the only thing worth having." He nodded sadly. As in a film, an easy symbol of youth orchestrated his words, passing by outside, a very head-high girl of Rome with black hair and smoky sideburns, thrust breasts, liquid waist like Harry Ploughman's, animal haunches. "Yes, yes," said Rawcliffe, "youth." He drank Frascati and sighed. "Haven't you felt, Enderby, that your gift is dying? It's a gift appropriate to youth, you know, owing nothing to experience or learning. An athletic gift, really, a sportif gift." Rawcliffe dropped his jaw at Enderby, disclosing crooked teeth of various colours. "What are you going to do, Enderby, what are you going to do? To the world, of course, all this is nothing. If the world should enter and hear us mourning the death of Enderby's lyric gift, the world, Enderby, would deem us not merely mad. They would consider us, Enderby, to be, Enderby"-he leaned forward, hissing -"really talking about something else in the guise of the harmless. They would think us, perhaps, to be Communists."

"And," said Enderby, frightened by this vision of coming impotence, impotence perhaps already arrived, "what do you do?"

"I?" Rawcliffe was already drunk again. He shoulder-jerked spastically and munched the air like spaghetti. "I, Enderby, am the great diluter. Nothing can be taken neat any more. The question is this: do we live, or do we partly live? Or," he said, "do we," and he was suddenly blinking in the killing lights, before the cranking cameras, jerking upright to stand against the wall, as against, with spread thin arms, a rockcliff, a rawface, "die?" He then collapsed on the table, like a Hollywood absinthe-drinker, but none of the Romans took any notice.

4

"And," said Vesta, "what exactly do you think you've been doing? Where exactly do you think you've been?" Enderby felt a sort of stepson's guilt, the only kind he really knew, looking at her, head hung. She was brilliant in a wide-skirted daffodil-yellow dress, penny-coloured hair smooth and shining, skin summer-honeyed, healthy again, her eyes green, wide, nasty, a most formidable and desirable woman. Enderby said, mumbling: "It was Rawcliffe, you see." She folded her bare arms. "You know Rawcliffe," chumbled Enderby and, a humble and hopeful attempt at palliation of his crime or crimes, "he's in all the anthologies."

"In all the bars, most likely, if I know anything about Rawcliffe. And you've been with him. I'm giving you fair warning, Harry. You keep out of the way of people like Rawcliffe. What's he doing in Rome, anyway? It all sounds very suspicious to me. What did he say? What was he telling you?"

"He said that being a lyric poet was really like being a racing motorist and that you've only lowered yourself to marry me because you'll be in all the biographies and will share in my eternal fame and glory, and he said that my poetic gift was dying and then what was I going to do? Then he passed out and I had to help carry him upstairs and that made me very thirsty. Then I couldn't find a taxi for a long time and I couldn't remember the name of the hotel. So that's why I'm late. But," said Enderby, "you didn't say anything about what time to be back, did you? You didn't say anything at all."