"Yeah," said Richard. "That ought to cover it."
Beyond them, in the street outside, the old divisions of class and then race were giving way to the new divisions: good shoes versus bad shoes, good eyes as opposed to bad eyes (eyes that were clear, at one extreme, ranged against eyes that were far fierier than any Tabasco), different preparedness for the forms that urban life was currently taking, here and now. The young man looked at Richard with pain and with pre-weakened hostility. He had gone on working here much longer than he should have gone on working here, and so his eyes were as dim and marginal as the lights of a car left on all night and well into the next day. What divided the two of them, in the shop, was words-which were the universal (at least on this planet); the young man could look at Richard and be pretty sure there were more where they came from. Display fixtures were tacked to the wall, decorative or labor-saving, white cones and spheres. Beyond, in the back, in a valved heap like the wet city, lay all thestuff that wasn't working and would never work again: the unrecom-pleted, the undescribed.
On his way home he looked in at the Adam and Eve. Seated in the corner with a pint of bitter and a packet of Wotsits, the birthday boy slipped the brown envelope out of his pocket: Richard Tull, M.A. (Oxon). At Oxford (to hear Richard tell it), Gwyn had worked round the clock for his middle second, whereas Richard had taken a formal first without ever lifting a pen . . . He removed a single sheet of paper that might have been torn from a child's exercise book: blue-lined, softly creased, suggesting much effort, and little progress. The letter had been heavily corrected by another hand, but it still said,
Dear Richard You are the writer of a "novel." Aforethought. Congratulations! Hows it done. First, you get the topic. Next you package it. Then, comes the hipe.
I am thinking of becoming "an author." Snap. Shake. If you would like to meet and discuss these issues over a few "jars" feel free to give me a bell.
Yours DARKO
Well-known writers get this kind of letter every other day. But Richard was not a well-known writer, and he got this kind of letter every other year (and they were normally about book reviewing anyway- though he did receive the odd scrawled note from hospitals and mental institutions where his novels were found in the libraries or on the book trolleys and stirred strange responses in depressives and amputees and other patients whose minds were disorganized by drugs). So Richard looked at this letter rather harder than a well-known writer would have done. And his scrutiny was rewarded: in the lower left-hand corner of the half-filled sheet, almost hidden by the fringe of the rip, it said, TPO. Richard turned the page over.
I know the wierd girl, Belladonna. Shes the one they all wan't. Jesus what a looker. You'r mate Gwyn Barry, is in love with her of TV fame.
On the whole, this sounded like excellent news. Richard finished his drink. What he was looking at here might turn out to be a serviceable plan B. Though as it happened he was feeling exceptionally upbeat about plan A. Richard, in fact, was full of hope.
When he got back he made two telephone calls. The first telephonecall was to Anstice, his forty-four-year-old secretary at The Little Magazine. He talked to her for an hour, as he did every day, not about The Little Magazine and not because he wanted to, but in case she killed herself or told Gina that he had slept with her, once, about a year ago. The second telephone call was to Gwyn. Richard wanted to confirm their fortnightly snooker game. But Gwyn couldn't make it. The reason he (nauseatingly) offered was that he had spent too many evenings, just recently, "away from my lady." Gwyn, incidentally, wasn't just famous for being a novelist. He was also famous for being happily married. The previous spring a TV producer with a lot of time on his hands had cobbled together a series called "The Seven Vital Virtues." Gwyn had picked Uxoriousness. The program won wide praise, and two repeats, as an example of British charm. It was an hour long. It showed things like Gwyn helping Demi in the garden, and bringing Demi tea, and sitting there gazing at Demi in childish absorption while she talked on the telephone and absentmindedly rearranged lunch dates.
The weather wasn't great but it was still meant to be summer. Something had gone wrong with summer. But this is England-and that's nothing new.
Consider. The four seasons are meant to correspond to the four principal literary genres. That is to say, summer, autumn, winter and spring are meant to correspond (and here I list them hierarchically) to tragedy, romance, comedy and satire. Close this book for a second and see if you can work it out: which season corresponds to which genre.
It's obvious, really. Once you've got comedy and tragedy right, the others follow.
Summer: romance. Journeys, quests, magic, talking animals, damsels in distress.
Autumn: tragedy. Isolation and decline, fatal flaws and falls, the throes of heroes.
Winter: satire. Anti-utopias, inverted worlds, the embrace of the tundra: the embrace of wintry thoughts.
Spring: comedy. Weddings, apple blossom, maypoles, no more misunderstandings-away with the old, on with the new.
We keep waiting for something to go wrong with the seasons. But something has already gone wrong with the genres. They have all bled
into one another. Decorum is no longer observed.
Lady Demeter Barry had a driving instructor called Gary. And 13 had an older brother called Crash.
They were the same person.
Crash was his street name. It wasn't his real name, and it wasn't his professional name, even more obviously: for Crash was a driving instructor. His real name was Gary.
It is still not altogether clear how Gary came to be called Crash. Street names are by no means always descriptive, or even counter-descriptive. Among 13's acquaintances-among his brothers-there were several entirely nondescript personages with names like Big Cool and Lightning and Here-Behold. For instance, 13 had a little cousin called Ian whose street name was Emu. E stood for Ian; and Ian liked music: hence Emu. Brill. EMU was what Ian assiduously spray-canned all over the bridges and ramparts of West London, in between the more elaborate injunctions and imprecations and invocations like TOOL UP ZIMBABWE and FUCK THE POLICE and SONS OF THUNDER. Or take another cousin of 13's: Link. Link was called Link not, as one might readily assume, because of his fantastically rudimentary facial features, but as a preferred alternative to Chains, a name that commemorated a certain Carnival riot during which Link had cleared an entire high-rise stairwell of police, with only these two four-foot lengths of humming, spark-spattering steel. Chains were what Link spent the following eighteen months in, which is probably why it was Link that stuck.
Who knew? Crash might have been called Crash because he was very big and made a lot of noise when he fell over. Crash might have been called Crash because of the predictable rhythm of his personal finances: the thing that always happened after the fortnightly boom of his paycheck. Most probably, though, Crash was called Crash because of his long-abandoned habit of sleeping in other people's houses: on couches, floorboards, in bathtubs … A relative newcomer to the scene might intelligibly suppose that Crash was called Crash because of what kept happening to him in the cars at the driving school. Close my eyes and I see Crash presiding with arms unhappily folded over a ten-acre breaker's yard of totaled Metros. Or, by modest extension, one might assume that Crash was called Crash because of what kept happening to his students in their cars within days of passing the test. And their cars were burnished and German, with cruise control and the digitalized speedo: for the school was a fashionable one, and all the women asked for Crash- though not by that name.