'Oh my darling, what nonsense,' said he with perfect sincerity. 'But… if you must know… you see… I'm not good at deceiving, and well, I'd rather you knew. The fact is I felt a confounded pain in my chest and arm, so I thought I'd better dash to Berlin and see a doctor. He packed me off to bed there…. Serious?… No, I hope not. We discussed coronary arteries and blood supply and sinuses of Salva and he generally seemed to be a very knowing old beggar. I'll see another man in London and get a second opinion, though I feel fit as a fiddle today….'
I suppose Sebastian already knew from what exact heart-disease he was suffering. His mother had died of the same complaint, a rather rare variety of angina pectoris, called by some doctors 'Lehmann's disease'. It appears, however, that after the first attack he had at least a year's respite, though now and then he did experience a queer twinge as of inner itch in his left arm.
He sat down to his task again and worked steadily through the autumn, spring, and winter. The composing of Success turned out to be even more arduous than that of his first novel and took him much longer, although both books were about the same length. By a stroke of luck I have a direct picture of the day Success was finished. This I owe to someone I met later – and indeed many of the impressions I have offered in this chapter have been formed by corroborating the statements of Miss Pratt with those of another friend of Sebastian's, though the spark which had kindled it all belongs in some mysterious manner to that glimpse I had of Clare Bishop walking heavily down a London street.
The door opens. Sebastian Knight is disclosed lying spread-eagled on the floor of his study. Clare is making a neat bundle of the typed sheets on the desk. The person who entered stops short.
'No, Leslie,' says Sebastian from the floor, 'I'm not dead. I have finished building a world, and this is my Sabbath rest.'
10
The Prismatic Bezel was appreciated at its true worth only when Sebastian's first real success caused it to be presented anew by another firm (Bronson), but even then it did not sell as well as Success, or Lost Property. For a first novel it shows remarkable force of artistic will and literary self-control. As often was the way with Sebastian Knight he used parody as a kind of springboard for leaping into the highest region of serious emotion. J. L. Coleman has called it 'al clown developing wings, an angel mimicking a tumbler pigeon', and the metaphor seems to me very apt. Based cunningly on a parody of certain tricks of the literary trade, The Prismatic Bezel soars skyward. With something akin to fanatical hate Sebastian Knight was ever hunting out the things which had once been fresh and bright but which were now worn to a thread, dead things among living ones; dead things shamming life, painted and repainted, continuing to be accepted by lazy minds serenely unaware of the fraud. The decayed idea might be in itself quite innocent and it may be argued that there is not much sin in continually exploiting this or that thoroughly worn subject or style if it still pleases and amuses. But for Sebastian Knight, the merest trifle, as, say, the, adopted method of a detective story, became a bloated and malodorous corpse. He did not mind in the least 'penny dreadfuls' because he wasn't concerned with ordinary morals; what annoyed him invariably was the second rate, not the third or nth-rate, because here, at the readable stage, the shamming began, and this was, in an artistic sense, immoral. But The Prismatic Bezel is not only a rollicking parody of the setting of a detective tale; it is also a wicked imitation of many other things: as for instance a certain literary habit which Sebastian Knight, with his uncanny perception of secret decay, noticed in the modem novel, namely the fashionable trick of grouping a medley of people in a limited space (a hotel, an island, a street). Then also different kinds of styles are satirized in the course of the book as well as the problem of blending direct speech with narration and description which an elegant pen solves by finding as many variations of 'he said' as may be found in the dictionary between 'acceded' and 'yelped'. But all this obscure fun is, I repeat, only the author's springboard.
Twelve persons are staying at a boarding house; the house is very carefully depicted but in order to stress the 'island' note, the rest of the town is casually shown as a secondary cross between natural mist and a primary cross between stage-properties and a real-estate agent's nightmare. As the author points out (indirectly) this method is somewhat allied to the cinema practice of showing the leading lady in her impossible dormitory years as glamorously different from a crowd of plain and fairly realistic schoolmates. One of the lodgers, a certain G. Abeson, art dealer, is found murdered in his room. The local police officer, who is described solely in terms of boots, rings up a London detective, asking him to come at once. Owing to a combination of mishaps (his car runs over an old woman and then he takes the wrong train) he is very long in arriving. In the meantime the inhabitants of the boarding house plus a chance passer-by, old Nosebag, who happened to be in the lobby when the crime was discovered, are thoroughly examined. All of them except the last named, a mild old gentleman with a white beard yellowish about the mouth, and a harmless passion for collecting snuffboxes, are more or less open to suspicion; and one of them, a fishy art-student, seems particularly so: half a dozen blood-stained handkerchiefs are found under his bed. Incidentally, it may be noted that in order to simplify and 'concentrate' things not a single servant or hotel employee is specifically mentioned and nobody bothers about their non-existence. Then, with a quick sliding motion, something in the story begins to shift (the detective, it must be remembered, is still on the way and G. Abeson's stiff corpse lying on the carpet). It gradually transpires that all the lodgers are in various ways connected with one another. The old lady in No.3 turns out to be the mother of the violinist in No.11. The novelist occupying the front bedroom is really the husband of the young lady in the third floor back. The fishy art-student is no less than this lady's brother. The solemn moonfaced person who is so very polite to everyone, happens to be butler to the crusty old colonel who, it appears, is the violinist's father. The gradual melting process continues through the art-student's being engaged to the fat little woman in No.5, and she is the old lady's daughter by a previous marriage. And when the amateur lawn-tennis champion in No.6 turns out to be the violinist's brother and the novelist their uncle and the old lady in No.3 the crusty old colonel's wife, then the numbers on the doors are quietly wiped out and the boarding-house motif is painlessly and smoothly replaced by that of a country-house, with all its natural implications. And here the tale takes on a strange beauty. The idea of time, which was made to look comic (detective losing his way… stranded somewhere in the night), now seems to curl up and fall asleep. Now the lives of the characters shine forth with a real and human significance and G. Abeson's sealed door is but that of a forgotten lumber room. A new plot, a new drama utterly unconnected with the opening of the story, which is thus thrust back into the region of dreams, seems to struggle for existence and break into light. But at the very moment when the reader feels quite safe in an atmosphere of pleasurable reality and the grace and glory of the author's prose seems to indicate some lofty and rich intention, there is a grotesque knocking at the door and the detective enters. We are again wallowing in a morass of parody. The detective, a shifty fellow, drops his h's, and this is meant to look as if it were meant to look quaint; for it is not a parody of the Sherlock Holmes vogue but a parody of the modern reaction from it. The lodgers are examined afresh. New clues are guessed at. Mild old Nosebag potters about, very absent-minded and harmless.
He had just dropped in to see if they had a spare room, he explains. The old gag of making the most innocent-looking person turn out to be the master-villain seems to be on the point of being exploited. The sleuth suddenly gets interested in snuffboxes. ''Ullo,' he says, ''ow about Hart?' Suddenly a policeman lumbers in, very red in the face and reports that the corpse has gone. The detective: 'What dy'a mean by gorn?' The policeman: 'Gone, Sir, the room is empty.' There was a moment of ridiculous suspense. 'I think,' said old Nosebag quietly, 'that I can explain.' Slowly and very carefully he removes his beard, his grey wig, his dark spectacles, and the face of G. Abeson is disclosed. 'You see,' says Mr Abeson with a self-deprecating smile, 'one dislikes being murdered.'