May says nothing. They have come near a main road and they wordlessly turn back, keeping away from the street lights, returning to the thistles.
Finch says, it was Nancy’s idea. She said why don’t we eat the statue.
May says, you told me already. You were nuts. She was nuts too but she was only joking. You should have known that he’s serious about everything. He really wants to blow up everything, not just the fucking statue.
Finch says, he’s a fascist.
May says, what’s a fascist?
Finch says, like Danko… like General Kooper… like Fantoni. He’s going to dig a hole in the backyard. He calls it the barbecue.
12.
In another two hours Finch will have earned enough money for the rent. Fantoni is paying him by the hour. In another two hours he will be clear and then he’ll stop. He hopes there is still two hours’ work. They are digging a hole among the dock weeds in the backyard. It is a trench like a grave but only three feet deep. He asked Milligan for the money but Milligan had already lent money to Glino and May.
Fantoni is wearing a pair of May’s trousers so he won’t get his own dirty. He is stripped to the waist and working with a mattock. Finch clears the earth Fantoni loosens; he has a long-handled shovel. Both the shovel and the mattock are new, they have appeared miraculously, like anything that Fantoni wants.
They have chosen a spot outside Finch’s window, where it is completely private, shielded from the neighbouring houses. It is a small private spot which Fantoni normally uses for sunbathing.
The top of Fantoni’s bristly head is bathed in sweat and small dams of sweat have caught in the creases on the back of his head; he gives strange grunts between swings and carries out a conversation with Finch who is too exhausted to answer.
He says, I want the whole thing… in writing, OK?… write it down… all the reasons… just like you explained it to me.
Finch is getting less and less earth on the shovel. He keeps aiming at the earth and overshooting it, collecting a few loose clods on the blade. He says, yes.
Fantoni takes the shovel from him. He says, you write that now, write all the reasons like you told me and I’ll count that as time working. How’s that?
And he pats Finch on the back.
Finch is not sure how it is. He cannot believe any of it. He cannot believe that he, Alexander Finch, is digging a barbecue to cook a beautiful girl called Florence Nightingale in the backyard of a house in what used to be called Royal Parade. He would not have believed it, and still cannot.
He says, thanks Fantoni.
Fantoni says, what I want, Finch, is a thing called a rationale… that’s the word isn’t it… they’re called rationales.
13.
Rationale by A. Finch
The following is a suggested plan of action for the “Fat Men Against The Revolution”.
It is suggested that the Fat Men of this establishment pursue a course of militant love, by bodily consuming a senior member of the revolution, an official of the revolution, or a monument of the revolution (e.g. the 16 October Statue).
Such an act would, in the eyes of the revolution, be in character. The Fat Men of this society have been implicitly accused of (among other things) loving food too much, of loving themselves too much to the exclusion of the revolution. To eat a member or monument of the revolution could be seen as a way of turning this love towards the revolution. Eating is a total and literal act of consummation. The Fat Men would incorporate in their own bodies all that could be good and noble in the revolution and excrete that which is bad. In other words, the bodies of Fat Men will purify the revolution.
Alexander Finch shivers violently although it is very hot. He makes a fair copy of the draft. When he has finished he goes upstairs to the toilet and tries, unsuccessfully, to vomit.
Fantoni is supervising the delivery of a load of wood, coke, and kindling in the backyard. He is dressed beautifully in a white suit made from lightweight wool. He is smoking one of Florence Nightingale’s cigars.
As Finch descends the stairs he hears a loud shout and then, two steps later, a loud crash. It came from May’s room. And Finch knows without looking that May has thrown his bowl of goldfish against the wall. May loved his goldfish.
14.
At dinner Finch watches Fantoni eat the omelette that Glino has cooked for him. Fantoni cuts off dainty pieces. He buries the dainty pieces in the small fleshy orifice beneath his large moustache.
15.
May wakes him at 2 a.m. He says, I’ve just realized where she is. She’ll be with her brother. That’s where she’ll be. I wrote her a letter.
Finch says, Florence Nightingale.
May says, my wife.
16.
Glino knows. Milligan knows. May and Finch know. Only the-man-who-won’t-give-his-name is unaware of the scheme. He asked Fantoni about the hole in the backyard. Fantoni said, it is a wigwam for a goose’s bridle.
17.
The deputation moves slowly on tip-toes from Finch’s room. In the kitchen annexe someone trips over Fantoni’s bicycle. It crashes. Milligan giggles. Finch punches him sharply in the ribs. In the dark, Milligan’s face is caught between laughter and surprise. He pushes his glasses back on the bridge of his nose and peers closely at Finch.
The others have continued and are now moving quietly through the darkened kitchen. Finch pats Milligan on the shoulder. He whispers, I’m sorry. But Milligan passes on to join the others where they huddle nervously outside the-man-who-won’t-give-his-name’s room.
Glino looks to Finch, who moves through them and slowly opens the door. Finch sums up the situation. He feels a dull soft shock. He stops, but the others push him into the room. Only when they are all assembled inside the room, very close to the door, does everybody realize that the-man-who-won’t-give-his-name is in bed with Florence Nightingale.
Florence Nightingale is lying on her side, facing the door, attempting to smile. The-man-who-won’t-give-his-name is climbing from the bed. Finch is shocked to see that he is still wearing his socks. For some reason this makes everything worse.
The-man-who-won’t-give-his-name seems very slow and very old. He rummages through the pile of clothes beside the bed, his breathing the only sound in the room. It is hoarse, heavy breathing that only subsides after he has found his underpants. He trips getting into them and Finch notices they are on inside out. Eventually the-man-who-won’t-give-his-name says, it is generally considered good manners to knock.
He begins to dress now. No one knows what to do. They watch him hand Florence Nightingale her items of clothing so she can dress beneath the sheet. He sits in front of her then, partially obscuring her struggles. Florence Nightingale is no longer trying to smile. She looks very sad, almost frightened.
Eventually Finch says, this is more important, I’m afraid, more important than knocking on doors.
He has accepted some new knowledge and the acceptance makes him feel strong although he has no real idea of what the knowledge is. He says, Fantoni is planning to eat Florence Nightingale.
Florence Nightingale, struggling with her bra beneath the sheet, says, we know, we were discussing it.
Milligan giggles.
The-man-who-won’t-give-his-name has found his dressing-gown in the cupboard in the corner. He remains there, like a boxer waiting between rounds.
Florence Nightingale is staring at her yellow dress on the floor. Glino and May bump into each other as they reach for it at the same moment. They both retreat and both step forward again. Finally it is Milligan who darts forward, picks up the garment, and hands it to Florence Nightingale, who disappears under the sheets once more. Finch finds it almost impossible not to stare at her. He wishes she would come out and dress quickly and get the whole thing over and done with.