Afterwards Betty rang me up to report: “Four of the five nights Professor Adams came in about ten or so.”
“Was Judith embarrassed?”
“Would you expect her to be?”
“Well, if not embarrassed, at least conscious there was a situation?”
“No, not at all. But I must say I don’t think he’s good enough for her. He can’t possibly understand her. He calls her Judy.” “Good God.”
“Yes. But I was wondering. Suppose the other two called her Judy—little Judy’—imagine it! Isn’t it awful? But it does rather throw a light on Judith?”
“It’s rather touching.”
“I suppose it’s touching. But I was embarrassed—oh, not because of the situation. Because of how she was, with him. ‘Judy, is there another cup of tea in that pot?’ And she, rather daughterly and demure, pouring him one.”
“Well yes, I can see how you felt.”
“Three of the nights he went to her bedroom with her—very casual about it, because she was being. But he was not there in the mornings. So I asked her. You know how it is when you ask her a question. As if you’ve been having long conversations on that very subject for years and years, and she is merely continuing where you left off last. So when she says something surprising, one feels such a fool to be surprised?”
“Yes. And then?”
“I asked her if she was sorry not to have children. She said yes, but one couldn’t have everything.”
“One can’t have everything, she said?”
“Quite clearly feeling she has nearly everything. She said she thought it was a pity, because she would have brought up children very well.”
“When you come to think of it, she would, too.”
“I asked about marriage, but she said on the whole the role of a mistress suited her better.”
“She used the word ‘mistress’?”
“You must admit it’s the accurate word.”
“I suppose so.”
“And then she said that while she liked intimacy and sex and everything, she enjoyed waking up in the morning alone and her own person.”
“Yes, of course.”
“Of course. But now she’s bothered because the professor would like to marry her. Or he feels he ought. At least, he’s getting all guilty and obsessive about it. She says she doesn’t see the point of divorce, and anyway, surely it would be very hard on his poor old wife after all these years, particularly after bringing up two children so satisfactorily. She talks about his wife as if she’s a kind of nice old charwoman, and it wouldn’t be fair to sack her, you know. Anyway. What with one thing and another. Judith’s going off to Italy soon in order to collect herself.”
“But how’s she going to pay for it?”
“Luckily the Third Programme’s commissioning her to do some arty programmes. They offered her a choice of The Cid—El Thid, you know—and the Borgias. Well, the Borghese, then. And Judith settled for the Borgias.”
“The Borgias,” I said, “Judith?”
“Yes, quite. I said that too, in that tone of voice. She saw my point. She says the epic is right up her street, whereas the Renaissance has never been on her wave length. Obviously it couldn’t be, all the magnificence and cruelty and dirt. But of course chivalry and a high moral code and all those idiotically noble goings-on are right on her wave length.”
“Is the money the same?”
“Yes. But is it likely Judith would let money decide? No, she said that one should always choose something new, that isn’t up one’s street. Well, because it’s better for her character, and so on, to get herself unsettled by the Renaissance. She didn’t say that, of course.”
“Of course not.”
Judith went to Florence; and for some months postcards informed us tersely of her doings. Then Betty decided she must go by herself for a holiday. She had been appalled by the discovery that if her husband was away for a night she couldn’t sleep; and when he went to Australia for three weeks, she stopped Jiving until he came back. She had discussed this with him, and he had agreed that if she really felt the situation to be serious, he would despatch her by air, to Italy, in order to recover her self-respect. As she put it.
I got this letter from her: “It’s no use, I’m coming home. I might have known. Better face it, once you’re really married you’re not fit for man nor beast. And if you remember what I used to be like! Well! I moped around Milan. I sunbathed in Venice, then I thought my tan was surely worth something, so I was on the point of starting an affair with another lonely soul, but I lost heart, and went to Florence to see Judith. She wasn’t there. She’d gone to the Italian Riviera. I had nothing better to do, so I followed her. When I saw the place I wanted to laugh, it’s so much not Judith, you know, all those palms and umbrellas and gaiety at all costs and ever such an ornamental blue sea. Judith is in an enormous stone room up on the hillside above the sea, with grape vines all over the place. You should see her, she’s got beautiful. It seems for the last fifteen years she’s been going to Soho every Saturday morning to buy food at an Italian shop. I must have looked surprised, because she explained she liked Soho. I suppose because all that dreary vice and nudes and prostitutes and everything prove how right she is to be as she is? She told the people in the shop she was going to Italy, and the signora said, what a coincidence, she was going back to Italy too, and she did hope an old friend like Miss Castlewell would visit her there. Judith said to me: ‘I felt lacking, when she used the word friend. Our relations have always been formal. Can you understand it?’ she said to me. Tor fifteen years,’ I said to her. She said: ‘I think I must feel it’s a kind of imposition, don’t you know, expecting people to feel friendship for one.’ Well. I said: ‘You ought to understand it, because you’re like that yourself.’ ‘Am I?’ she said. ‘Well, think about it,’ I said. But I could see she didn’t want to think about it. Anyway, she’s here, and I’ve spent a week with her. The widow Maria Rineiri inherited her mother’s house, so she came home, from Soho. On the ground floor is a tatty little rosticceria patronised by the neighbours. They are all working people. This isn’t tourist country, up on the hill. The widow lives above the shop with her little boy, a nasty little brat of about ten. Say what you like, the English are the only people who know how to bring up children, I don’t care if that’s insular. Judith’s room is at the back, with a balcony. Underneath her room is the barber’s shop, and the barber is Luigi Rineiri, the widow’s younger brother. Yes, I was keeping him until the last. He is about forty, tall dark handsome, a great bull, but rather a sweet fatherly bull. He has cut Judith’s hair and made it lighter. Now it looks like a sort of gold helmet. Judith is all brown. The widow Rineiri has made her a white dress and a green dress. They fit, for a change. When Judith walks down the street to the lower town, all the Italian males take one look at the golden girl and melt in their own oil like ice cream. Judith takes all this in her stride. She sort of acknowledges the homage. Then she strolls into the sea and vanishes into the foam. She swims five miles every day. Naturally. I haven’t asked Judith whether she has collected herself, because you can see she hasn’t. The widow Rineiri is matchmaking. When I noticed this I wanted to laugh, but luckily I didn’t because Judith asked me, really wanting to know: ‘Can you see me married to an Italian barber?’ (Not being snobbish, but stating the position, so to speak.) ‘Well yes,’ I said, ‘you’re the only woman I know who I can see married to an Italian barber.’ Because it wouldn’t matter who she married, she’d always be her own person. ‘At any rate, for a time,’ I said. At which she said, asperously: ‘You can use phrases like for a time in England but not in Italy.’ Did you ever see England, at least London, as the home of licence, liberty and free love? No, neither did I, but of course she’s right. Married to Luigi it would be the family, the neighbours, the church and the bambini. All the same she’s thinking about it, believe it or not. Here she’s quite different, all relaxed and free. She’s melting in the attention she gets. The
widow mothers her and makes her coffee all the time, and listens to a lot of good advice about how to bring up that nasty brat of hers. Unluckily she doesn’t take it. Luigi is crazy for her. At mealtimes she goes to the trattoria in the upper square and all the workmen treat her like a goddess. Well, a film star then. I said to her, you’re mad to come home. For one thing her rent is ten bob a week, and you eat pasta and drink red wine till you bust for about one and sixpence. No, she said, it would be nothing but self-indulgence to stay. Why? I said. She said, she’s got nothing to stay for. (Ho ho.) And besides, she’s done her research on the Borghese, though so far she can’t see her way to an honest presentation of the facts. What made these people tick? she wants to know. And so she’s only staying because of the cat. I forgot to mention the cat. This is a town of cats. The Italians here love their cats. I wanted to feed a stray cat at the table, but the waiter said no; and after lunch, all the waiters came with trays crammed with leftover food and stray cats came from everywhere to eat. And at dark when the tourists go in to feed and the beach is empty—you know how empty and forlorn a beach is at dusk?—well cats appear from everywhere. The beach seems to move, then you see it’s cats. They go stalking along the thin inch of grey water at the edge of the sea, shaking their paws crossly at each step, snatching at the dead little fish, and throwing them with their mouths up on to the dry sand. Then they scamper after them. You’ve never seen such a snarling and fighting. At dawn when the fishing boats come in to the empty beach, the cats are there in dozens. The fishermen throw them bits of fish. The cats snarl and fight over it. Judith gets up early and goes down to watch. Sometimes Luigi goes too, being tolerant. Because what he really likes is to join the evening promenade with Judith on his arm around and around the square of the upper town. Showing her off. Can you see Judith? But she does it. Being tolerant. But she smiles and enjoys the attention she gets, there’s no doubt of it.
“She has a cat in her room. It’s a kitten really, but it’s pregnant. Judith says she can’t leave until the kittens are born. The cat is too young to have kittens. Imagine Judith. She sits on her bed in that great stone room, with her bare feet on the stone floor, and watches the cat, and tries to work out why a healthy uninhibited Italian cat always fed on the best from the rosticceria should be neurotic. Because it is. When it sees Judith watching it gets nervous and starts licking at the roots of its tail. But Judith goes on watching, and says about Italy that the reason why the English love the Italians is because the Italians make the English feel superior. They have no discipline. And that’s a despicable reason for one nation to love another. Then she talks about Luigi and says he has no sense of guilt, but a sense of sin; whereas she has no sense of sin but she has guilt. I haven’t asked her if this has been an insuperable barrier, because judging from how she looks, it hasn’t. She says she would rather have a sense of sin, because sin can be atoned for, and if she understood sin, perhaps she would be more at home with the Renaissance. Luigi is very healthy, she says, and not neurotic. He is a Catholic of course. He doesn’t mind that she’s an atheist. His mother has explained to him that the English are all pagans, but good people at heart. I suppose he thinks a few smart sessions with the local priest would set Judith on the right path for good and all. Meanwhile the cat walks nervously around the room, stopping to lick, and when it can’t stand Judith watching it another second, it rolls over on the floor, with its paws tucked up, and rolls up its eyes, and Judith scratches its lumpy pregnant stomach and tells it to relax. It makes me nervous to see her, it’s not like her, I don’t know why. Then Luigi shouts up from the barber’s shop, then he comes up and stands at the door laughing, and Judith laughs, and the widow says: Children, enjoy yourselves. And off they go, walking down to the town eating ice cream. The cat follows them. It won’t let Judith out of its sight, like a dog. When she swims miles out to sea, the cat hides under a beach hut until she comes back. Then she carries it back up the hill, because that nasty little boy chases it. Well. I’m coming home tomorrow thank God, to my dear old Billy, I was mad ever to leave him. There is something about Judith and Italy that has upset me, I don’t know what. The point is, what on earth can Judith and Luigi talk about? Nothing. How can they? And of course it doesn’t matter. So I turn out to be a prude as well. See you next week.”
It was my turn for a dose of the sun, so I didn’t see Betty. On my way back from Rome I stopped off in Judith’s resort and walked up through narrow streets to the upper town, where, in the square with the vine-covered trattoria at the corner, was a house with Rosticceria written in black paint on a cracked wooden board over a low door. There was a door curtain of red beads, and flies settled on the beads. I opened the beads with my hands and looked into a small dark room with a stone counter. Loops of salami hung from metal hooks. A glass bell covered some plates of cooked meats. There were flies on the salami and on the glass bell. A few tins on the wooden shelves, a couple of pale loaves, some wine casks and an open case of sticky pale green grapes covered with fruit flies seemed to be the only stock. A single wooden table with two chairs stood in a corner, and two workmen sat there, eating lumps of sausage and bread. Through another bead curtain at the back came a short, smoothly fat, slender-limbed woman with greying hair. I asked for Miss Castlewell, and her face changed. She said in an offended, offhand way: “Miss Castlewell left last week.” She took a white cloth from under the counter, and flicked at the flies on the glass bell. “I’m a friend of hers,” I said, and she said: “Si,” and put her hands palm down on the counter and looked at me, expressionless. The workmen got up, gulped down the last of their wine, nodded and went. She ciao’d them; and looked back at me. Then, since I didn’t go, she called: “Luigi!” A shout came from the back room, there was a rattle of beads, and in came first a wiry sharp-faced boy, and then Luigi. He was tall, heavy-shouldered, and his black rough hair was like a cap, pulled low over his brows. He looked good-natured, but at the moment uneasy. His sister said something, and he stood beside her, an ally, and confirmed: “Miss Castlewell went away.” I was on the point of giving up, when through the bead curtain that screened off a dazzling light eased a thin tabby cat. It was ugly and it walked uncomfortably, with its back quarters bunched up. The child suddenly let out a “Ssssss” through his teeth, and the cat froze. Luigi said something sharp to the child, and something encouraging to the cat, which sat down, looked straight in front of it, then began frantically licking at its flanks. “Miss Castlewell was offended with us,” said Mrs. Rineiri suddenly, and with dignity. “She left early one morning. We did not expect her to go.” I said: “Perhaps she had to go home and finish some work.”
Mrs. Rineiri shrugged, then sighed. Then she exchanged a hard look with her brother. Clearly the subject had been discussed, and closed forever.
“I’ve known Judith a long time,” I said, trying to find the right note. “She’s a remarkable woman. She’s a poet.” But there was no response to this at all. Meanwhile the child, with a fixed bared-teeth grin, was staring at the cat, narrowing his eyes. Suddenly he let out another “Ssssssss” and added a short high yelp. The cat shot backwards, hit the wall, tried desperately to claw its way up the wall, came to its senses and again sat down and began its urgent, undirected licking at its fur. This time Luigi cuffed the child, who yelped in earnest, and then ran out into the street past the cat. Now that the way was clear the cat shot across the floor, up onto the counter, and bounded past Luigi’s shoulder and straight through the bead curtain into the barber’s shop, where it landed with a thud.
“Judith was sorry when she left us,” said Mrs. Rineiri uncertainly. “She was crying.”
“I’m sure she was.”
“And so,” said Mrs. Rineiri, with finality, laying her hands down again, and looking past me at the bead curtain. That was the end. Luigi nodded brusquely at me, and went into the back. I said goodbye to Mrs. Rineiri and walked back to the lower town. In the square I saw the child, sitting on the running board of a lorry parked outside the
trattoria, drawing in the dust with his bare toes, and directing in front of him a blank, unhappy stare.
I had to go through Florence, so I went to the address Judith had been at. No, Miss Castlewell had not been back. Her papers and books were still here. Would I take them back with me to England? I made a great parcel and brought them back to England.
I telephoned Judith and she said she had already written for the papers to be sent, but it was kind of me to bring them. There had seemed to be no point, she said, in returning to Florence.
“Shall I bring them over?”
“I would be very grateful, of course.”
Judith’s flat was chilly, and she wore a bunchy sage-green woollen dress. Her hair was still a soft gold helmet, but she looked pale and rather pinched. She stood with her back to a single bar of electric fire—lit because I demanded it—with her legs apart and her arms folded. She contemplated me.
“I went to the Rineiris’ house.”
“Oh. Did you?”
“They seemed to miss you.”
She said nothing.
“I saw the cat too.”
“Oh. Oh, I suppose you and Betty discussed it?” This was with a small unfriendly smile.
“Well, Judith, you must see we were likely to?”
She gave this her consideration and said: “I don’t understand why people discuss other people. Oh—I’m not criticising you. But I don’t see why you are so interested. I don’t understand human behaviour and I’m not particularly interested.”
“I think you should write to the Rineiris.”
“I wrote and thanked them, of course.”
“I don’t mean that.”
“You and Betty have worked it out?”
“Yes, we talked about it. We thought we should talk to you, so you should write to the Rineiris.” “Why?”