‘Like patriotism?’
Tokenhouse paid no attention, either because he never cared for flippancy, or, more likely, had passed beyond paying attention to most remarks made by other people. He had begun to speak quickly, excitedly, almost gabbling this account of his own development as a painter, reciting his painting creed like a lesson learnt by heart.
‘I suddenly saw in a flash, a revelation, that I could not retain any remnant of self-respect, if I gave way to Formalism again in the slightest degree. I must satisfy my own conviction that a new ideological content had to be infused into painting, one free of all taint of neutrality. That was just as important for an amateur like myself, as for a professional painter of long standing and successful attainment.’
Like an onlooker dexterously exposing an attempt to deceive in manipulation of the Three-Card Trick, Tokenhouse seized the three studies of miracle-rigging priests, two in his right hand, one in his left, with incredible speed setting in their place a single example of his interim period. It was larger in size than earlier exhibits, brighter in colour. Most of his pictures, Formalist or Reformed, were apt to end up a superfluity of brownish-carmine tones. This latest canvas, vermilion and light cobalt, showed the origins of the fresco technique in representation of what were evidently factory workers, stripped to the waist, pushing over a precipice a disordered group of kings and bishops, easily recognizable by their crowns and mitres. Perhaps deliberately, treatment of posture and movement was a trifle wooden, but the painter had clearly taken a certain pleasure in depicting irresolute terror in the features of monarchs and ecclesiastics toppling into the abyss. The subject suggested, not for the first time in the character of Tokenhouse, a touch of muted sadism, revealed occasionally in conversation, otherwise kept, so far as one knew, in check.
‘I found Politico-Symbolism, for a person of my limited imaginative faculties, a cul de sac. My aim latterly has been to depict social injustice in as straightforward a manner as possible, compatible with avoiding that too passive Realism of which I have spoken. My own constricted skill has prevented me from attempting some of the more ambitious subjects I have in mind, though I like to think there are signs of improvement. Ah-ha, you do too? I am glad. It is simply a question of documentation in the last resort. You meditate along the correct political lines, the picture almost paints itself. Look at this – and this.’
We inspected a representative collection of Tokenhouse’s more recent work.
‘I don’t want to bore you with my efforts. Shall we set out for the Biennale? If you want to see more, we could look in again after lunch, but I expect you’ve had enough by now.’
He found an ashplant walking-stick, placed on his head a battered grey hat with a greenish-black ribbon, turned down the brim all round, opened the door of the flat. We set off for the Giardini, Tokenhouse at his habitual short rapid stride, a military quickstep, suggesting chronic fear of unpunctuality. He hurried along, hobnailed shoes grinding the cobbles.
‘I’m feeling rather pleased about a letter received this morning. I’ve been revising my will, terms that may surprise some people, among others making the lawyers agree to insert a clause for no religious ceremony at the funeral. They didn’t like it. Don’t like that sort of thing, even these days. I had my way. No nonsense of that sort. Well, tell me about your Conference. What do you all discuss? Plenty of nonsense talked there, I’ll be bound.’
‘The Philosophy of Engagement – Obligations of the Writer – the Arts in relation to World Government – all that sort of thing.’
‘Ah-ha, yes. There can be serious sides to such questions, but they are rarely tackled. Now those attending your Conference, do any émigré writers from the USSR, or Balkan countries, turn up there? One would be interested to hear what such people are saying and thinking, especially the Russians. For example how they react to the “thaw”, as people call it. I’ve been looking through a novel called Dr Zhivago. I expect you’ve heard of it. It’s been given a good deal of publicity. I suppose that sort of book, purporting as it does to present the point of view of certain members of a generation very much on their way out, might give a certain amount of satisfaction to expatriate Russians? Those who’ve chosen to dissociate themselves from the great developments taking place in their country. It would gratify them, a book like that, by stilling their self-reproach. Have you come across instances of that? One would be interested to hear.’
‘I haven’t met any émigré Russians at the Conference. I couldn’t swear none are there.’
‘Which again reminds me. There’s a certain Dr Belkin who might have turned up. He visits Venice from time to time. Usually lets me know at the last moment.’
‘Not an émigré?’
‘No, no. Far from it. A man of the soundest views in his own country. He informed me some little while ago he might be looking in on this congress, or one about this time. He enjoys coming to Venice, because he’s devoted to painting. He’s even kind enough to be interested in my own humble brush. Of course my sort of painting is practised comparatively little in Western Europe. Nice of him to include a novice like myself in his survey. He’s been to visit me several times. Naturally we see eye to eye politically.’
‘Somebody else was asking about him.’
‘Belkin has many friends. I do what I can to keep him up to date about books and things. Hold them for him sometimes, if he’s afraid they’ll go astray in the post. That avoids delay in the long run. He admits his own impatience with some of the bureaucracy unavoidable in getting an entirely new system of government working, a revolutionary one. We all have to face that. There’s quite a lot of stuff he prefers to collect personally when he turns up here.’
‘Somebody said they thought he wouldn’t be able to come to the Conference.’
‘Very possibly not. It’s of no great importance. I can hold his stuff for him. I always like to see Belkin. Such a cheerful fellow. Full of ideas. Where does this Conference of yours meet?’
‘Over there on San Giorgio.’
A mist of heat hung over the dome and white campanile, beyond the glittering greenish stretch of water, across the surface of which needles of light perpetually flashed. It was so calm the halcyon’s fabled nest seemed just to have floated by, subduing the faintest tremor of wind and wave. We reached the Gardens, and entered the cool of the lime trees. Tokenhouse made for the enclosure permanently consecrated to the cluster of strange little pavilions, which, every two years, house pictures and sculpture by which each country of the world chooses to be known to an international public.
‘We’ll look at everything. Just to get an idea how low the art of painting has fallen in these latter days of capitalism. You were speaking of the obligations of the artist. I hope someone has pointed out that art has been in the hands of snobs and speculators too long. Indeed, I can guarantee that the only sanctuary from subjectless bric-à-brac here will be in the national pavilions of what you no doubt term the Iron Curtain countries. We will visit the USSR first.’
The white pinnacled kiosk-like architecture of a small building, no doubt dating from pre-Revolutionary times, seemed by its outwardly church-like style to renew the ecclesiological atmosphere that pursued Tokenhouse throughout life. Within, total embargo on aesthetic abstraction proved his forecast correct. We loitered for a while over Black Sea mutineers and tractor-driving peasants. Never able wholly to control a taste for antagonism, even against his own recently voiced opinions, Tokenhouse shook his head more than once over these images of a way of life he approved, here found wanting in executive ability.
‘Don’t think I’m lapsing into aestheticism in complaining that some of these scenes from the Heroic Epoch seem a little lacking in inspiration. Not all of this expresses with conviction the Unity of the Masses. I shall return for a further assessment. Now we will marvel at the subjective inanities you probably much prefer.’
Tokenhouse showed no ill will in exploring the other national selections on view, my own presence
giving excuse to examine what, alone, might have caused him to suffer guilt at inspecting at all.
‘Absurd,’ he kept muttering. ‘Preposterous.’
In the French pavilion we came upon Ada Leintwardine and Louis Glober. They were standing before a massive work, seven or eight foot high, chiefly constructed from tin or zinc, horsehair, patent leather and cardboard. Ada was holding forth on its points, good and bad, Glober listening with a tolerant smile. Glober saw us first. ‘Hi.’
As neither of them seemed attached to a party, it was to be supposed they had become sufficiently friendly at the Bragadin palace to arrange a visit to the Biennale together. There was the possibility, a remote one, that both had decided to spend Sunday morning at the Exhibition, run across each other by chance. Ada wore a skirt and carried a guidebook, outer marks of serious sightseeing, but the idea of Glober setting out on his own for such a trip was scarcely credible. Ada’s immediate assumption of the exaggeratedly welcoming manner of one caught in compromising circumstances was not very convincing either. The Biennale was hardly the place for a secret assignation.
‘Why, hullo,’ she said. ‘Everyone seems to have decided to come here today. What fun. We’re having such an argument about the things on show, especially this one. Mr Glober sees African overtones, influenced by Ernst. To me the work’s much more redolent of Samurai armour designed by Schwitters.’
To recognize a potential pivot of Conference gossip, a touch of piquancy, in detection of the pair of them together, was reasonable enough on Ada’s part. Glober’s greeting too, his serenely hearty manner always retaining a certain degree of irony, was seasoned this time with a small injection of deliberately roguish culpability. Nevertheless, their combined acceptance of giving cause for interesting speculation could not be taken at absolute face value. Pretence to an exciting vulnerability was more likely to be demanded by sexual prestige, an implied proposition that something was ‘on’, no more than mutual tribute to each other’s status as ‘attractive people’. That was to take a cool commonsense-inspired view. At the same time, the significance of so rapid a move towards association together was not to be altogether ignored, even if Glober, as playboy-tycoon, was no longer in his first youth; Ada, near-bestseller, mother of twins, alleged to prefer her own sex.
Ada’s pronouncements on the subject of the artefact in front of us, extensive and well informed, continued for some minutes, so there was no immediate opportunity to introduce Tokenhouse. He was contemplating the metal-and-leather framework with unconcealed dislike, dissatisfied, too, at prospect of meeting strangers, particularly an American, representing by his nationality all sorts of political and social attitudes to be disapproved. A pause in Ada’s talk giving opportunity to tell him she was a well-known novelist, also active force in a publisher’s office, so to speak, on the other side of the counter, he showed no awareness of her writing, but grudgingly muttered something about having heard of her husband. When, on the other hand, Glober’s name was announced, Tokenhouse displayed an altogether unexpected remembrance of him. He seemed positively glad to meet Glober again after thirty years.
‘You’re the man who put up the idea of the Cubist series. Of course you are. I’m not in the least interested in Cubists now, with their ridiculous aesthetic ideas, but I thought them a good proposition at the time, and I haven’t changed my mind about that. It was a good proposition then. I was quite right.’
This looked, at first, an altogether remarkable example of Glober’s mastery of those attributes which impose their owner’s personality for life; even after so trivial a business contact as that which had brought Tokenhouse and himself together. Then there turned out to exist a more tangible cause than Glober’s charm, in itself, to stimulate Tokenhouse’s memory. He began to chatter away in his rapid, assertive, disconnected manner, which, once under way, was impossible to check, however ill-adapted, or unintelligible, to his listeners.
‘We made the blocks for the Cubist illustrations. They were never used. Your firm went out of business, but it wasn’t due to that. Several American publishers went bust about that time. Some of the most active, as regards what were then new ideas. The whole thing was called off for quite other reasons. It was a great pity. I always held we could have made a success of things. I had a row with my board about it. They accused me of behaving in a highhanded manner. Very well, I said, if you think that, I’ll pay for the blocks myself. I’ll buy them at cost price. I’ll stand the damage. They’ll be my property. They could make no objection to that. So long as publishing remains in private hands, it might just as well be for my profit, as for that of any other speculator. I’d use them in my own good time. That was what happened. They’ve been in store ever since. I own them to this day. I stick to it that they would have made a good series in the light of what was being thought at the time.’
Tokenhouse was quite breathless by the end of his speech, excitement similar to that displayed by him when expatiating on what painting should be. Glober took in the situation at once. He grasped that he was dealing with an eccentric, one in a high class of his category, and roared with laughter. Glober may not have remembered much about Tokenhouse personally (he had shown no sign when I spoke of him earlier), but he appreciated that he was in the presence of an oddity, from whom amusement might, for the moment, be derived. Perhaps the notion of Tokenhouse buying the Cubists blocks appealed to Glober as, on however infinitesimal a scale, a touch of his own method, an element of playboy-tycoonery. That was in spite of Tokenhouse being, on the surface, about as far from a playboy as you could get, while his former status of tycoon, if ever to be so called, was an inconceivably modest one. Perhaps that was a misjudgment, however diluted, the characteristics being present in Tokenhouse too. The important fact was that, reunited with Glober, he was pleased to see him.
‘Maybe we were men before our time, Mr Tokenhouse. Too ready to experiment with new ideas too early. I’m sorry it all ended that way. Not long after we met in London, I abandoned publishing for motion pictures. When I came back to publishing for a while, things had greatly changed. That was why I returned to the Coast.’
‘Yes, yes.’
Tokenhouse spoke inattentively, still thinking about the blocks, certainly unapprised of ‘the Coast’, or why Glober should return there. This talk of publishing must have struck Ada as a useful opening. She had accepted without the least umbrage lack of acquaintance with herself as a novelist. The blocks offered as good, if not better, opportunity for impressing Glober with her own abilities.
‘I should like to hear more about the Cubist blocks, Mr Tokenhouse. My husband’s firm would certainly be glad to consider the question of taking them over from you, should you be interested in an advantageous price. In these days of steeply mounted production charges, they might find a place in our list.’
Tokenhouse, never much at ease with women, especially good-looking ones, approached this proposition with caution, but without open hostility. The incomparable training of having worked as Sillery’s secretary behind her, Ada had made rather a speciality of handling the older generation of Quiggin & Craggs authors, becoming so accomplished in that respect that she might now be indulging in mere display of that dexterity for its own sake. Whether or not she wanted the blocks, Tokenhouse accepted the principle of a tender. He began to discuss a lot of not specially interesting technical particulars. Retirement from publishing, changed taste in art, revised ideological opinions, had none of them blunted a keen business sense. Ada showed no less briskness about the potential deal. Glober looked at his watch.
‘Have you and Mr Tokenhouse any plans for luncheon? Mrs Quiggin and I – should I say Miss Leintwardine? – were going to the restaurant here. Why don’t you both join us?’
Ada looked for a moment as if she might have preferred to keep Glober to herself, a natural enough instinct, then changed her mind, welcoming the suggestion.
‘Do let’s all lunch together – and call me Ada.’
Tokenhouse also
hesitated for a moment at thus entangling himself with forms of social life against which he had openly declared war, but he had by no means finished what he had to say about the blocks. Having in any case planned to eat at the restaurant, refusal was difficult. Even if his reluctance, and Ada’s, had been more determined, Glober’s pressure to enlarge the party might have surmounted that too. To deny him would have required a lot of energy. If he had an ulterior motive, long or short term, nothing of the sort was apparent. As before in the Palazzo, he seemed to hope for no more than to collect round him as many persons as available. That was simply because collecting people round him (creating one of those rudimentary courts adumbrated by Dr Brightman) brought a sense of confidence in himself. Finally, everyone had by that time seen as much of the Exhibition as desired, whether to praise or blame. Art was abandoned. It was agreed the party should lunch together. We strolled across to the restaurant, finding a table to allow a good view of the water. Glober enquired about drinks.
‘A negrone,’ said Ada. ‘With an urgent request for plenty of gin.’
Tokenhouse declared that he never took more than a single glass of wine in the middle of the day. Glober would not hear of that. So gently importunate was he about everyone having an aperitif that in the end Tokenhouse, obstinate in his habits as a rule, surprisingly gave way, agreeing to begin with a ‘punt è mes’. That was more of a triumph than Glober knew. He went on to make suggestions about what we should eat, judicious so far as that went, even if originating in a wish to impose the will. They were not acceptable to Ada. When Quiggin had married her, he had still taken pride in being an austere man – like most persons of that pretension, imposing frugality on his acquaintances, while making a lot of fuss himself, if food happened not to be absolutely to his own taste. Ada put an end to all that. Under her sway, Quiggin would now discuss bad wine, salad dressings, regional dishes, with the best. Such gastronomic ascendancy behind her, Ada was not likely to accept dictation from Glober.