LITMIR.BIZ

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fascination.

      ‘He is a painter,’ I said. ‘He has won prizes in Paris, not to mention London.’

      ‘How interesting,’ she said.

      Next day Piet arrived in a severe black suit. He looked like a predicant. His face was a solemn yard long. He carried a very large picture of a nude girl. He lifted it past the miserable English girls on the steps with an air of critical detachment. He put down the nude, and said: ‘There, you see I can still paint. And what is more, this afternoon I have been furthering the cause of art in this continent. I am now, you must know, a leading representative of the Council for Art. I am very respectable. There is an exhibition on. It is by a homosexual poor boy. He wrote to me and asked for my encouragement and patronage. His pictures are all of male nudes and in very great detail. The arts teacher at the school here for nice English girls wrote to me and asked for my help and encouragement. So this afternoon I met this teacher, poor woman, at the door, wearing my beautiful black suit and an expression of cultural integrity. I lowered my voice to an official note. And I entered the hall followed by the teacher and a hundred and fifty pretty girls, all in search of artistic experience. And I escorted them around for an hour, all around those pictures on one subject only, pointing out the technique and the line and the quality of the paint. With severity. He is a bad painter. And not once did I smile. Not once did that poor English teacher smile. Not once did all those little girls smile. We were in the presence of art.’ He flung himself across my bed and laughed. The whole building shook.

      ‘For the Lord’s sake,’ I said, ‘don’t shout.’

      ‘There, what did I tell you? Already you are asking me to lower my voice. The English will finish you, man. Ya.’

      ‘All the same, I wish you could hurry on that boat. I’ve been here six weeks, and I’m very unhappy. Apart from anything else, there’s an English couple across the passage and we have morning tea together all the time. And as soon as I say anything at all, about anything, they look very nervous and change the subject. It’s a bad augury for my life in England.’

      ‘Poor little one. Poor child. There, what did I tell you?’ He roared with delight. I heard a door open on to the passage.

      ‘Piet. And there’s a woman called Mrs Barnes. She’s very bad-tempered.’

      ‘Poor woman,’ he said. He took two large soundless strides to the door, opened it with a jerk, and there was Mrs Barnes in the passage. She frowned. He smiled. Slowly, unwillingly, and hating every second of it, she smiled. Then, furious, she went dark plum colour, glared at us both, and went into her room, slamming the door hard.

      ‘It is a terrible thing,’ said Piet sentimentally. ‘A bad-tempered woman. It is all the fault of her husband. I suppose he’s English.’

      ‘Scottish.’

      ‘It is all the same thing. That reminds me …’ He told a story. By the time he had ended I was laughing too hard to ask him to lower his voice. He was rolling in an agony of laughter back and forth over the floor. The whole boarding house was hushed.

      ‘That reminds me,’ said Piet again. He talked, listening with delight to the silence of his invisible audience. Then he told his story about his visit to a brothel in Marseilles. Unfortunately it is too indecent to write down. It was not too indecent for him to shout at the top of his voice. The end of the story was: ‘Imagine me, in her room, in such a predicament, and the boat was leaving. It was giving out long, sad hoots of pain, to warn us all there was no time to waste. And there I was. My friends came in. They bandaged me. And I walked down to the ship through the streets of Marseilles, cheered on by the onlookers, with a bloodstained bandage a foot and a half long sticking out in front of me. I climbed up the gangway, supported on either side by my loyal friends, watched by the captain, a very fine fellow, and at least five thousand women. That was the proudest day of my life. That afternoon they gave me the gold medal for my artistic talent was nothing compared to it.’

      Mrs Barnes came in. ‘I am afraid I have to tell you that I have had no alternative but to complain to the management.’ She went out.

      ‘Poor woman,’ said Piet. ‘It is a very sad thing, a woman like that. Don’t worry. I shall now go to Mrs Coetzee and tell her I’ll paint a picture for her.’

      Half an hour later I went to the kitchen. Mrs Coetzee was wheezing out helpless, wet laughter. Jemima, her face quite straight, her eyes solemn, had her hand cupped over her mouth, to catch any laughter that might well up and press it back again. Her narrow little body shook spasmodically. ‘I told you,’ said Piet. ‘It is all right. I have explained to her that she must have a picture of this fine boarding house. I shall paint it for her, at a medium cost. I shall also make a copy and donate it to the city’s archives, for the memory of a building such as this must not be lost to mankind. I feel it will be the finest pondokkie I have ever painted. Poor woman, she is very bitter. The war makes her unhappy.’

      ‘She’s doing very nicely out of it.’

      ‘No, the Boer War. Those concentration camps you had. Ya, ya, the English were never anything but savages. Now, please, think no more about it. I have made everything right for you.’

      He went. Almost at once Mrs Coetzee came in, with Jemima. It was a visit of goodwill. She was smiling. Then she noticed the picture, which unfortunately Piet had forgotten. Her face sagged into folds of disapproval.

      She spoke to Jemima. Jemima said: ‘Says will not picture her house.’ ‘Tell her it’s not my picture.’ ‘Says take it away.’ ‘I’ll tell my friend to take it tomorrow.’ ‘Says your picture, not his picture.’ ‘But it is his.’ ‘Says he is Afrikaans. A good boy.’ ‘It is a picture of his wife. She is a very good Afrikaans girl.’ ‘Says good boy does not make bad picture like that.’ Jemima’s face was expressionless, but her body shook. I tried to catch her eye. It was blank. Only her body was amused. ‘Says you bad woman, says you go,’ said Jemima.

      That evening, the shipping agents rang to say the boat would be in tomorrow. As a favour, Mrs Coetzee allowed me to stay for the one night. Mrs Barnes came in to say she was sorry there had been this unpleasantness. If she had known she would not have complained to Mrs Coetzee. I have never been able to understand this. But my chief problem was to find the right way to say good-bye to the Brooke-Bensons. At last, my suppressed instinct for communication blossomed into a large bunch of flowers. I presented these, not so much to the Brooke-Bensons, as to a failed relationship. I shook hands. I noticed Myra’s eyes were wet. She said, with formality: ‘I will be so sorry when you’ve gone. I feel I have made a real friend in you.’ Her husband said: ‘And please keep in touch. Now that we’ve got to know each other.’ I shook hands again and we said good-bye.

      The boat was full of English. That is, South African British, going home. I had no time to meet them. My son was so excited by the experience of being on the boat that he woke at five every morning and did not sleep until eleven at night. In between, he rushed, hurled himself, bounded and leaped all over the boat. I arrived in England exhausted. The white cliffs of Dover depressed me. They were too small. The Isle of Dogs discouraged me. The Thames looked dirty. I had better confess at once that for the whole of the first year, London seemed to me a city of such appalling ugliness that I wanted only to leave it. Besides, I had no money, I could have got some by writing to my family, of course, but it had to be the bootstraps or nothing.

      The first place I stayed in was a flat off the Bayswater Road. I passed the house the other day, and it now seems quite unremarkable. This is how it struck me at the time:

      ‘A curving terrace. Decaying, unpainted, enormous, ponderous, graceless. When I stand and look up, the sheer weight of the building oppresses me. The door looks as if it could never be opened. The hall is painted a dead uniform cream, that looks damp. It has a carved chest in it that smells of mould. Everything smells damp. The stairs are wide, deep, oppressive. The carpets are thick and shabby. Walking on them is frightening – no sound at all. All the way up the centre of this immense, heavy house, the stairs climb, silent and ugly, flight after flight, and all the walls are the same dead, dark cream colour. At last another hostile

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