“What will the gallery do without you?” he would ask on the very morning he had been meaning to say, “Walter, sit down, please. I've got something to tell you.” Walter would remind him about saints and holy men who had done without everything, while Speck would envision the pure hell of having to train someone new.
On a rainy night such as this, the street resembled a set in a French film designed for export, what with the policemen's white rain capes aesthetically gleaming and the lights of the bookstore, the restaurant, and the gallery reflected, quivering, in Europeanlooking puddles. In reality, Speck thought, there was not even hope for a subplot. Henriette had gone forever. Walter's mission could not be photographed. The owner of the restaurant was in his eighties; the waiters were poised on the brink of retirement. As for the bookseller, M. Alfred Chassepoule, he seemed to spend most of his time wiping blood off the collected speeches of Mussolini, bandaging customers, and sweeping up glass. The fact was that Amandine's had turned out to have a fixed right-wing viewpoint, which made it subject to attack by commandos wielding iron bars. Speck, who had chosen the street for its upper-class hush, had grown used to the hoarse imprecation of the left and shriller keening of the right; he could tell the sob of an ambulance from the wail of a police van. The commerce of art is without bias: When insurance inspectors came round to ask what Speck might have seen, he invariably replied, “Seen where?” to which Walter, unsolicited, would add, “And I am Swiss.”
Since Henriette's departure, Speck often ate his meals in the local restaurant, which catered to his frugal tastes, his vegetarian principles, and his desire to be left in peace. On the way, he would pause outside Amandine's, just enough to mark the halt as a comforting bachelor habit. He would glance over the secondhand books, the yellowing pamphlets, and the overpriced cartoons. The tone of the window display seemed old-fashioned rather than dangerous, though he knew that the slogan crowning the arrangement, “Europe for Europeans,” echoed from a dark political valley. But even that valley had been full of strife and dissension and muddle, for hadn't the Ur-Fascists, the Italian ones, been in some way against an all-Europe? At least, some of their poets were. But who could take any of that seriously now? Nothing political had ever struck Speck as being above the level of a low-grade comic strip. On the cover of one volume, Uncle Sam shook hands with the Russian Bear over prostrate Europe, depicted as a maiden in a dead faint. A drawing of a spider on a field of banknotes (twelve hundred francs with frame, nine hundred without) jostled the image of a crablike hand clawing away at the map of France. Pasted against the pane, survivor of uncounted assaults, the old man continued to dismember his captive imp. Walter had told Speck he believed the old man to be St. Amand, Apostle of Flanders, Bishop in 430. “Or perhaps,” said Walter, after thinking it over, “435.” The imp probably stood for Flemish paganism, which the Apostle had been hard put to it to overcome.
From the rainy street Speck could see four or five of Amandine's customers — all men; he had never noticed a woman in the place — standing, reading, books held close to their noses. They had the weak eyes, long chins, and sparse, sparrow-colored hair he associated with low governmental salaries. He imagined them living with grim widowed mothers whose company they avoided after work. He had seen them, or young men like them, staggering out of the store, cut by flying glass, kicked and beaten as they lay stunned on the pavement; his anxious imagination had set them on their feet, booted and belted, the right signal given at last, swarming across to the gallery, determined to make Speck pay for injuries inflicted on them by total strangers. He saw his only early Chagall (quite likely authentic) ripped from its frame; Walter, his poor little spectacles smeared with blood, lambasted with the complete Charles Maurras, fourteen volumes, full morocco; Speck himself, his ears offended by acute right-wing cries of “Down with foreign art!” attempting a quick counterstroke with Significant Minor French Realists, Twentieth Century, which was thick enough to stun an ox. Stepping back from the window, Speck saw his own smile reflected. It was pinched and tight, and he looked a good twenty years older than thirty-nine.
His restaurant, crammed with civil servants at noon, was now nearly empty. A smell of lunchtime pot roast hung in the air. He made for his own table, from which he could see the comforting lights of the gallery. The waiter, who had finally stopped asking how Henriette was liking Africa, brought his dinner at once, setting out like little votive offerings the raw-carrot salad, the pot-roast vegetables without the meat, the quarter ounce of low-fat cheese, and a small pear. It had long been established that Speck did not wish to be disturbed by the changing of plates. He extracted a yellow pad and three pencils from his briefcase and placed them within the half circle of dishes. Speck was preparing his May-June show.
The right show at the right time: It was trickier than getting married to the right person at any time. For about a year now, Paris critics had been hinting at something missing from the world of art. These hints, poignant and patriotic on the right, neonationalist and pugnacious on the left, wistful but insistent dead center, were all in essence saying the same thing: “The time has come.” The time had come; the hour had struck; the moment was ripe for a revival of reason, sanity, and taste. Surely there was more to art than this sickness, this transatlantic blight? Fresh winds were needed to sweep the museums and galleries. Two days ago there had been a disturbing article in Le Monde (front page, lower middle, turn to page 26) by a man who never took up his pen unless civilization was in danger. Its title — ”Redemption Through Art — Last Hope for the West?” — had been followed by other disturbing questions: When would the merchants and dealers, compared rather unfairly to the money changers driven from the temple, face up to their share of responsibility as the tattered century declined? Must the flowering gardens of Western European culture wilt and die along with the decadent political systems, the exhausted parliaments, the shambling elections, the tired liberal impulses? What of the man in the street, too modest and confused to mention his cravings? Was he not gasping for one remedy and one only — artistic renovation? And where was this to come from? “In the words of Shakespr,” the article concluded, supposedly in English, “That is the qustn.”
As it happened, Speck had the answer: Say, a French painter, circa 1864–1949, forgotten now except by a handful of devoted connoisseurs. Populist yet refined, local but universal, he would send rays, beacons, into the thickening night of the West, just as Speck's gallery shone bravely into the dark street. Speck picked up a pencil and jotted rapidly: “Born in France, worked in Paris, went his own way, unmindful of fashion, knowing his hour would strike, his vision be vindicated. Catholical, as this retrospective so eloquently…” Just how does “catholical” come in, Speck wondered, forking up raw carrots. Because of ubiquity, the ubiquity of genius? No; not genius — leave that for the critics. His sense of harmony, then — his discretion.
Easy, Speck told himself. Easy on the discretion. This isn't interior decoration.
He could see the notices, knew which of the critics would write “At last,” and “It has taken Sandor Speck to remind us.” Left, right, and center would unite on a single theme: how the taste of two full generations had been corrupted by foreign speculation, cosmopolitan decadence, and the cultural imperialism of the Anglo-Saxon hegemony.
“The calm agnostic face,” Speck wrote happily, “the quiet Cartesian voice are replaced by the snarl of a nation betrayed (1914), as startling for the viewer as a child's glimpse of a beloved adult in a temper tantrum. The snarl, the grimace vanish (1919) as the serene observer of Universal Will (1929) and of Man's responsibility to himself return. But we are left shaken. We have stopped trusting our feelings. We have been shown not only the smile but the teeth.”