By Christopher Isherwood 3 страница

 

 

him. His undershirt, appearing in the open V of his unbuttoned collar, looks surgically clean, as always. Dreyer is a grade A scholar, and his European counterpart would probably be a rather dry and brittle stick. But Dreyer is neither dry nor brittle. He has discreet humor and, as an ex-Marine, considerable toughness. He once described to George a typical evening he and his wife, Marinette, spent with his buddy Tom Kugelman and Tom's wife. "Tom and I got into an argument about Finnegans Wake. It went on all through supper. So then the girls said they were sick of listening to us, so they went out to a movie. Tom and I did the dishes and it got to be ten o'clock and we were still arguing and we hadn't convinced each other. So we got some beer out of the icebox and went out in the yard. Tom's building a shed there, but he hasn't got the roof on yet. So then he challenged me to a chinning match, and we started chinning ourselves on the crossbeam over the door, and I whipped him thirteen to eleven."

 

George is charmed by this story. Somehow, it's like classical Greece.

 

"Good morning, Russ."

 

"Good morning, sir." It isn't the age difference which makes Dreyer call George "sir." As soon as they come to the end of this quasi-military relationship, he will start saying "George," or even "Geo," without hesitation.

 

Together they go over to the coffee machine, fill mugs, select doughnuts from the counter. As they turn toward the cash desk, Dreyer slips ahead of George with the change ready. "No--let me, sir."

 

"You're always paying."

 

Dreyer grins. "We're in the chips, since I put Marinette to work."

 

"She got that teaching job?"

 

"It just came through. Of course, it's only temporary. The only snag is, she has to get up an hour earlier."

 

"So you're fixing your own breakfast?"

 

"Oh, I can manage. Till she gets a job nearer in. Or I get her pregnant." He visibly enjoys this man-to-man stuff with George. (Does he know about me? George wonders; do any of them? Oh yes, probably. It wouldn't interest them. They don't want to know about my feelings or my glands or anything below my neck. I could just as well be a severed head carried into the classroom to lecture to them from a dish.)

 

"Say, that reminds me," Dreyer is saying, "Marinette wanted me to ask you, sir--we were wondering if you could manage to get out to us again before too long? We could cook up some spaghetti. And maybe Tom could bring over that tape I was telling you about--the one he got from the audio-visual up at Berkeley, of Katherine Anne Porter reading her stuff--"

 

"That'd be fine," says George vaguely, with enthusiasm. He glances up at the clock. "I say, we ought to be going."

 

Dreyer isn't in the least damped by his vagueness. Probably he does not want George to come to supper any more than George wants to go. It is all symbol-ic. Marinette has told him to ask, and he has asked, and now it is on record that George has accepted, for the second time, an invitation to their home. And this means that George is an intimate and can be referred to in after years as part of their circle in the old days. Oh yes, the Dreyers will loyally do their part to make George's place secure among the grand old bores of yesteryear. George can just picture one of those evenings in the 1990's, when Russ is dean of an English department in the Middle West and Marinette is the mother of grown-up sons and daughters. An audience of young instructors and their wives, symbolically entertaining Dr. and Mrs.

Dreyer, will be symbolically thrilled to catch the Dean in an anecdotal mood, mooning and mumbling with a fuddled smile through a maze of wowless sagas, into which George and many many others will enter, uttering misquotes. And Marinette, permanently smiling, will sit listening with the third ear--the one that has heard it all before--and praying for eleven o'clock to come. And it will come. And all will agree that this has been a memorable evening indeed.

 

As they walk toward the classroom, Dreyer asks George what he thinks about what Dr. Leavis said about Sir Charles Snow. (These far-off unhappy Old Things and their long ago battles are still hot news out here in Sleepy Hollow State.) "Well, first of all--" George begins.

 

They are passing the tennis courts at this moment. Only one court is occupied, by two young men playing singles. The sun has come out with sudden fierce heat through the smog-haze, and the two are stripped nearly naked. They have nothing on their bodies but gym shoes and thick sweat socks and knit shorts of the kind cyclists wear, very short and close-fitting, molding themselves to the buttocks and the loins. They are absolutely unaware of the passers-by, isolated in the intentness of their game. You would think there was no net between them. Their nakedness makes them seem close to each other and directly opposed, body to body, like fighters. If this were a fight, though, it would be one-sided, for the boy on the left is much the smaller. He is Mexican, maybe, black-haired, handsome, catlike, cruel, compact, lithe, muscular, quick and graceful on his feet. His body is a natural dark gold-brown; there is a fuzz of curly black hair on his chest and belly and thighs. He plays hard and fast, with cruel mastery, baring his white teeth, unsmiling, as he slams back the ball. He is going to win. His opponent, the big blond boy, already knows this; there is a touch-lug gallantry in his 25

 

 

defense. He is so sweet-naturedly beautiful, so nobly made; and yet his classical cream marble body seems a handicap to him. The rules of the game inhibit it from functioning. He is fighting at a hopeless disadvantage. He should throw away his useless racket, vault over the net, and force the cruel little gold cat to submit to his marble strength. No, on the contrary, the blond boy accepts the rules, binds himself by them, will suffer defeat and humiliation rather than break them. His helpless bigness and blondness give him an air of unmodern chivalry. He will fight clean, a perfect sportsman, until he has lost the last game. And won't this keep happening to him all through Ins life? Won't he keep getting himself involved in the wrong kind of game, the kind of game he was never born to play, against an opponent who is quick and clever and merciless?

 

This game is cruel; but its cruelty is sensual and stirs George into hot excitement. He feels a thrill of pleasure to find the senses so eager in their response; too often, now, they seem sadly jaded. From his heart, he thanks these young animals for their beauty. And they will never know what they have done to make this moment marvelous to him, and life itself less hateful...

 

Dreyer is saying, "Sorry, sir--I lost you for a minute, there. I understand about the two cultures, of course--but do you mean you agree with Dr. Leavis?" Far from taking the faintest interest in the tennis players, Dreyer walks with his body half turned away from them, his whole concentration fixed upon George's talking head.

 

For it obviously has been talking. George realizes this with the same discomfiture he felt on the freeway, when the chauffeur-figure got them clear downtown. Oh yes, he knows from experience what the talking head can do, late in the evening, when he is bored and tired and drunk, to help him through a dull party. It can play back all of George's favorite theories--

just as long as it isn't argued with; then it may become confused. It knows at least three dozen of his best anecdotes. But here, in broad daylight, during campus hours, when George should be on-stage every second, in full control of his performance! Can it be that talking head and the chauffeur are in league? Are they maybe planning a merger?

 

"We really haven't time to go into all this right now," he tells Dreyer smoothly. "And anyhow, I'd like to check up on the Leavis lecture again.

I've still got that issue of The Spectator somewhere at home, I think... Oh, by the way, did you ever get to read that piece on Mailer, about a month ago--in Esquire, wasn't it? It's one of the best things I've seen in a long time...."

 

 

 

GEORGE'S classroom has two doors in its long side waII, one up front, the other at the back of the room. Most of the students enter from the back because, with an infuriating sheep-obstinacy, they love to huddle together, confronting their teachers from behind a barrier made of empty seats. But this semester the class is only a trifle smaller than the capacity of the room.

Late comers are forced to sit farther and farther forward, to George's sly satisfaction; finally, they have to take the second row. As for the front row, which most of them shun so doggedly, George can fill that up with his regulars: Russ Dreyer, Tom Kugelman, Sister Maria, Mr. Stoessel, Mrs.

Netta Torres, Kenny Potter, Lois Yamaguchi.

 

George never enters the classroom with Dreyer, or any other student.

A deeply rooted dramatic instinct forbids him to do so. This is really all that he uses his office for--as a place to withdraw into before class, ', imply in order to re-emerge from it and make his entrance. He doesn't interview students in it, because these offices are shared by at least two faculty members, and Dr. Gottlieb, who teaches the Metaphysical Poets, is nearly always there. George cannot talk to another human being as if the two of them were alone when, in fact, they aren't. Even such a harmless question as

"What do you honestly think of Emerson?" sounds indecently intimate, and such a mild criticism as "What you've written is a mixed metaphor and it doesn't mean anything" sounds unnecessarily cruel, when Dr. Gottlieb is right there at the other desk listening or, what's worse, pretending not to listen. But Gottlieb obviously doesn't feel this way. Perhaps it is a peculiarly British scruple.

 

So now, leaving Dreyer, George goes into the office. It is right across the hallway. Gottlieb isn't there, for a wonder. George peeps out of the window between the slats of the Venetian blinds and sees, in the far distance, the two tennis players still at their game. He coughs, fingers the telephone directory without looking at it, closes the empty drawer in his desk, which has been pulled open a little. Then, abruptly, he turns, takes his briefcase out of the closet, leaves the office and crosses to the front classroom door.

 

His entrance is quite undramatic according to conventional standards.

Nevertheless, this is a subtly contrived, outrageously theatrical effect. No hush falls as George walks in. Most of the students go right on talking. But they are all watching him, waiting for him to give some sign, no matter how slight, that the class is to begin. The effect is a subtle but gradually increasing tension, caused by George's teasing refusal to give this sign and the students' counterdetermination not to stop talking until he gives it.

 

Meanwhile, he stands there. Slowly, deliberately, like a magician, he takes a single book out of his briefcase and places it on the reading desk. As he does this, his eyes move over the faces of the class. His lips curve in a faint but bold smile. Some of them smile back at him. George finds this frank confrontation extraordinarily exhilarating. He draws strength from these smiles, these bright young eyes. For him, this is one of the peak moments of the day. He feels brilliant, vital, challenging, slightly mysterious and, above all, foreign. His neat dark clothes, his white dress shirt and tie (the only tie in the room) are uncompromisingly alien from the aggressively virile informality of the young male students. Most of these wear sneakers and garterless white wool socks, jeans in cold weather, and in warm weather shorts (the thigh-clinging Bermuda type--the more becoming short ones aren't considered quite decent). If it is really warm, they'll roll up their sleeves and sometimes leave their shirts provocatively unbuttoned to show curly chest hair and a St. Christopher medal. They look as if they were ready at any minute to switch from studying to ditch-digging or gang-fighting.

They seem like mere clumsy kids in contrast with the girls, for these have all outgrown their teen-age phase of Capri pants, sloppy shirts and giant heads of teased-up hair. They are mature women, and they come to class dressed as if for a highly respectable party.

 

This morning George notes that all of his front-row regulars are present. Dreyer and Kugelman are the only ones he has actually asked to help fill the gap by sitting there; the rest of them have their individual reasons for doing so. While George is teaching, Dreyer watches him with an encouraging alertness; but George knows that Dreyer isn't really impressed by him. To Dreyer, George will always remain an academic amateur; his degrees and background are British and therefore dubious. Still, George is the Skipper, the Old Man; and Dreyer, by supporting his authority, supports the structure of values up which he himself proposes to climb. So he wills George to be brilliant and impress the outsiders--that is to say, everyone else in the class. The fanny thing is that Dreyer, with the clear conscience of absolute loyalty, feels free to whisper to Kugelman, his lieutenant, as often as he wants to. Whenever this happens, George longs to stop talking and listen to what they are saying about him. Instinctively, George is sure that Dreyer would never dream of talking about anyone else during class: that would be bad manners.

 

Sister Maria belongs to a teaching order. Soon she'll get her credential and become a teacher herself. She is, no doubt, a fairly normal, unimaginative, hardworking good young woman; and no doubt she sits up front because it helps her concentrate, maybe even because the boys still 28

 

 

interest her a little and she wants to avoid looking at them. But we, most of us, lose our sense of proportion in the presence of a nun; and George, thus exposed at short range to this bride of Christ in her uncompromising medieval habit, finds himself becoming flustered, defensive. An unwilling conscript in Hell's legions, he faces the soldier of Heaven across the front line of art exceedingly polite cold war. In every sentence he addresses to her, he calls her "Sister"; which is probably just what she doesn't want.

 

Mr. Stoessel sits in the front row because he is deaf and middle-aged and only lately arrived from Europe, and his English is terrible.

 

Mrs. Netta Torres is also middle-aged. She seems to be taking this course out of mere curiosity or to fill in idle hours. She has the look of a divorcee. She sits up front because her interest is centered frankly and brutally on George as George. She watches rather than listens to him. She even seems to be "reading" his words indirectly, through a sort of Braille made up of his gestures, inflections, mannerisms. And this almost tactile scrutiny is accompanied by a motherly smile, for, to Mrs. Torres, George is just a small boy, really, and so cute. George would love to catch her out and discourage her from attending his class by giving her low grades. But, alas, he can't. Mrs. Torres is listening as well as watching; she can repeat what he has been saying, word for word.

 

Kenny Potter sits in the front row because he's what's nowadays called crazy, meaning only that he tends to do the opposite of what most people do; not on principle, however, and certainly not out of aggressiveness. Probably he's too vague to notice the manners and customs of the tribe, and too lazy to follow them, anyway. He is a tall skinny boy with very broad stooped shoulders, gold-red hair, a small head, small bright-blue eyes. He would be conventionally handsome if he didn't have a beaky nose; but it is a nice one, a large, humorous organ.

 

George finds himself almost continuously aware of Kenny's presence in the room, but this doesn't mean that he regards Kenny as an ally. Oh, no--

he can never venture to take Kenny for granted. Sometimes when George makes a joke and Kenny laughs his deep, rather wild, laugh, George feels he is being laughed with. At oilier times, when the laugh comes a fraction of a moment late, George gets a spooky impression that Kenny is laughing not at the joke but at the whole situation: the educational system of this country, and all the economic and political and psychological forces which have brought them into this classroom together. At such limes, George suspects Kenny of understanding the in-nermost meaning of life--of being, in fact, some sort of a genius (though you would certainly never guess this from his 29

 

 

term papers). And then again, maybe Kenny is just very young for his age, and misleadingly charming, and silly.

 

Lois Yamaguchi sits beside Kenny because she is his girl friend; at least, they are nearly always together. She smiles at George in a way that makes him wonder if she and Kenny have private jokes about him--but who can be sure of anything with these enigmatic Asians? Alexander Mong smiles enigmatically, too, though his beautiful head almost certainly contains nothing but clotted oil paint. Lois and Alexander are by far the most beautiful creatures in the class; their beauty is like the beauty of plants, seemingly untroubled by vanity, anxiety or effort.

 

All this while, the tension has been mounting. George has continued to smile at the talkers and to preserve his wonderful provocative melodramatic silence. And now, at last, after nearly four whole minutes, his silence has conquered them. The talking dies down. Those who have already stopped talking shush the others. George has triumphed. But his triumph lasts only for a moment. For now he must break his own spell. Now he must cast off his mysteriousness and stand revealed as that dime-a-dozen thing, a teacher, to whom the class has got to listen, no matter whether he drools or stammers or speaks with the tongue of an angel--that's neither here nor there.

The class has got to listen to George because, by virtue of the powers vested in him by the State of California, he can make them submit to and study even his crassest prejudices, his most irresponsible caprices, as so many valuable clues to the problem: How can I impress, flatter or otherwise con this cantankerous old thing into giving me a good grade?

 

Yes, alas, now he must spoil everything. Now he must speak.

 

"AFTER many a summer dies the swan.' " George rolls the words off his tongue with such hammy harmonics, such shameless relish, that this sounds like a parody of W. B. Yeats reciting. (He comes down on "dies"

with a great thump to compensate for the "And" which Aldous Huxley has chopped off from the beginning of the original line.) Then, having managed to startle or embarrass at least a few of them, he looks around the room with an ironical grin and says quickly, schoolmasterishly, "I take it you've all read the Huxley novel by this time, seeing that I asked you to more than three weeks ago?"

 

Out of the corner of his eye, he notices Buddy Sorensen's evident dismay, which is not unexpected, and Estelle Oxford's indignant now-they-tell-me shrug of the shoulders, which is more serious. Estelle is one of his brightest students. Just because she is bright, she is more conscious of being a Negro, apparently, than the other colored students in the class are; in fact, she is hypersensitive. George suspects her of suspecting him of all kinds of 30

 

 

subtle discrimination. Probably she wasn't ii the room when he told them to read the novel. Damn, he should have noticed that and told her later. He is a bit intimidated by her. Also he likes her and is sorry. Also he resents the way she makes him feel.

 

"Oh well," he says, as nicely as he can, "if any of you haven't read it yet, that's not too important. Just listen to what's said this morning, and then you can read it and see if you agree or disagree."

 

He looks at Estelle and smiles. She smiles back. So, this time, it's going to be all right.

 

"The title is, of course, a quotation from Tennyson's poem `Tithonus.'

And, by the way, while we're on the subject--who was Tithonus?"

 

Silence. He looks from face to face. Nobody knows. Even Dreyer doesn't know. And, Christ, how typical this is! Tithonus doesn't concern them because he's at two removes from their subject. Huxley, Tennyson, Tithonus. They're prepared to go as far as Tennyson, but not one step farther.

There their curiosity ends. Because, basically, they don't give a shit,.

 

"You seriously mean to tell me that none of you knows who Tithonus was? That none of you could be bothered to find out? Well then, advise you all to spend part of your weekend reading Graves's Greek Myths, and the poem itself. I must say, I don't see how anyone can pretend to be interested in a novel when he doesn't even stop to ask himself what its title means."

 

This spurt of ill temper dismays George as soon as he has discharged it. Oh dear, he is getting nasty! And the worst is, he never knows when he's going to behave like this. He has no time to check himself. Shamefaced now, and avoiding all their eyes--Kenny Potter's particularly--he fastens his gaze high up on the wall opposite.

 

"Well, to begin at the beginning, Aphrodite once caught her lover Ares in bed with Eos, the goddess of the Dawn. (You'd better look them all up, while you're about it.) Aphrodite was furious, of course, so she cursed Eos with a craze for handsome mortal boys--to teach her to leave other people's gods alone." (George gets a giggle on this line from someone and is relieved; he has feared they would be offended by their scolding and would sulk.) Not lowering his eyes yet, he continues, with a grin sounding in his voice, "Eos was terribly embarrassed, but she found she just couldn't control herself, so she started kidnapping and seducing boys from the earth.

Tithonus was one of them. As a matter of fact, she took his brother Ganymede along too--for company--" (Louder giggles, from several parts of the room, this time.) "Unfortunately, Zeus saw Ganymede and fell madly in love with him." (If Sister Maria is shocked, that's too bad. George doesn't look at her, however, but at Wally Bryant--about whom he couldn't be more 31

 

 

certain--and, sure enough, Wally is wriggling with delight.) "So, knowing that she'd have to give up Ganymede anyway, Eos asked Zeus, wouldn't he, in exchange, make Tithonus immortal? So Zeus said, of course, why not?

And lie did it. But Eos was so stupid, she forgot to ask him to give Tithonus eternal youth as well. Incidentally, that could quite easily have been arranged; Selene, the Moon goddess, fixed it up for her boy friend Endymion. The only trouble there was that Selene didn't care to do anything but kiss, whereas Endymion had other ideas; so she put him into an eternal sleep to keep him quiet. And it's not much fun being beautiful for ever and ever, when you can't even wake up and look at yourself in a mirror." (Nearly everybody is smiling, now--yes, even Sister Maria. George beams at them.

He does so hate unpleasantness.) "Where was I? Oh yes--so poor Tithonus gradually became a repulsively immortal old man--" (Loud laughter.) "And Eos, with the charac-teristic heartlessness of a goddess, got bored with him and locked him up. And he got more and more gaga, find his voice got shriller and shriller, until suddenly one day he turned into a cicada."

 

This is a miserably weak payoff. George hasn't expected it to work, and it doesn't. Mr. Stoessel is quite frantic with incomprehension and appeals to Dreyer in desperate whispers. Dreyer whispers back explanations, which cause further misunderstandings. Mr. Stoessel gets it at last and exclaims, "Ach so--eine Zikade!" in a reproachful tone which implies that it's George and the entire Anglo-American world who have been mispronouncing the word. But by now George has started up again--and with a change of attitude. He's no longer wooing them, entertaining them; he's telling them, briskly, authoritatively. It is the voice of a judge, summing up and charging the jury.

 

"Huxley's general reason for choosing this title is obvious. However, you will have to ask yourselves how far it will bear application in detail to the circumstances of the story. For example, the fifth Earl of Goniar can be accepted as a counterpart of Tithonus, an: ends by turning into a monkey, just as Tithonus turned into an insect. But what about Jo Stoyte? And a Obispo? He's far more like Goethe's Mephistopheles than like Zeus. And who is Eos? Not Virginia Maunciple, surely. For one thing, I feel sure she doesn't up early enough." Nobody sees this joke. George sometimes throws one away, despite all his experience, by muttering it, English style. A bit piqued by their failure to applaud, he continues, in an almost bully tone,

"But, before we can go any further, you've got to make up your minds what this novel actually about."

 

They spend the rest of the hour making up their minds.

 

At first, as always, there is blank silence. The class sits staring, as it were, at the semantically prodigious word. About. What is it about? Well, what George want them to say it's about? They'll say about anything he likes, anything at all. For nearly all of them, despite their academic training, deep, deep down still regard this about business as a tiresomely sophisticated game. As for the minority who have cultivated the about approach until it has become second nature, who dream of writing an about book of the own one day, on Faulkner, James or Conrad, proving definitively that all previous about books on that subject are about nothing--they aren't going to say anything yet awhile. They are waiting for the moment when the can come forward like star detectives with the solution to Huxley's crime. Meanwhile, let the little ones flounder. Let the mud be stirred up, first.

 

The mud is obligingly stirred up by Alexander Mong. He knows what he's doing, of course. He isn't dumb. Maybe it's even part of his philosophy as an abstract painter to regard anything figurative as merely childish. A Caucasian would get aggressive about this, but not Alexander. With that beautiful Chinese smile, he says, "It's about this rich guy who's jealous because he's: afraid he's too old for this girl of his, and he thinks this young guy is on the make for her, only he isn't, and he doesn't have a hope, because she and the doctor already made the scene. So the rich guy shoots the young guy by mistake, and the doctor like covers up for them and then they all go to England to find this Earl character who's monkeying around with a chick in a cellar--"

 

A roar of joy at this. George smiles good-sportingly and says, "You left out Mr. Pordage and Mr. Propter--what do they do?"

 

"Pordage? Oh yes--he's the one that finds out about the Earl eating those crazy fish--"

 

"Carp."

 

"That's right. And Propter"--Alexander grins and scratches his head, clowning it up a bit--"I'm sorry, sir. You'll just have to excuse me. I mean, I didn't hit the sack till like half past two this morning, trying to figure that cat out. Wow! I don't dig that jazz."

 

More laughter. Alexander has fulfilled his function. He has put the case, charmingly, for the philistines. Now tongues are loosened and the inquest can proceed.

 

Here are some of its findings: Mr. Propter shouldn't have said the ego is unreal; this proves that he has no faith in human nature.

 

This novel is arid and abstract mysticism. What do we need eternity for, anyway?

 

This novel is clever but cynical. Huxley should dwell more on the warm human emotions.

 

This novel is a wonderful spiritual sermon. It teaches us that we aren't meant to pry into the mysteries of life. We mustn't tamper with eternity.

 

Huxley is marvelously zany. He wants to get rid of people and make the world safe for animals and spirits.

 

To say time is evil because evil happens in time is like saying the ocean is a fish because fish happen in the ocean.