The milk-bar proved to be so crowded that they decided to walk under The Arcades toward the railway station café. He knew (but could do nothing about it) that all night he would regret having deliberately overlooked the fact — the main, agonizing fact — that he had not seen his Ada for close to three months and that in her last note such passion had burned that the cryptogram’s bubble had burst in her poor little message of promise and hope, baring a defiant, divine line of uncoded love. They were behaving now as if they had never met before, as if this was but a blind date arranged by their chaperone. Strange, malevolent thoughts revolved in his mind. What exactly — not that it mattered but one’s pride and curiosity were at stake — what exactly had they been up to, those two ill-groomed girls, last term, this term, last night, every night, in their pajama-tops, amid the murmurs and moans of their abnormal dormitory? Should he ask? Could he find the right words: not to hurt Ada, while making her bed-filly know he despised her for kindling a child, so dark-haired and pale, coal and coral, leggy and limp, whimpering at the melting peak? A moment ago when he had seen them advancing together, plain Ada, seasick but doing her duty, and Cordula, apple-cankered but brave, like two shackled prisoners being led into the conqueror’s presence, Van had promised himself to revenge deceit by relating in polite but minute detail the latest homosexual or rather pseudo-homosexual row at his school (an upper-form boy, Cordula’s cousin, had been caught with a lass disguised as a lad in the rooms of an eclectic prefect). He would watch the girls flinch, he would demand some story from them to match his. That urge had waned. He still hoped to get rid for a moment of dull Cordula and find something cruel to make dull Ada dissolve in bright tears. But that was prompted by his amour-propre, not by their sale amour. He would die with an old pun on his lips. And why ‘dirty’? Did he feel any Proustian pangs? None. On the contrary: a private picture of their fondling each other kept pricking him with perverse gratification. Before his inner bloodshot eye Ada was duplicated and enriched, twinned by entwinement, giving what he gave, taking what he took: Corada, Adula. It struck him that the dumpy little Countess resembled his first whorelet, and that sharpened the itch.

They talked about their studies and teachers, and Van said:

‘I would like your opinion, Ada, and yours, Cordula, on the following literary problem. Our professor of French literature maintains that there is a grave philosophical, and hence artistic, flaw in the entire treatment of the Marcel and Albertine affair. It makes sense if the reader knows that the narrator is a pansy, and that the good fat cheeks of Albertine are the good fat buttocks of Albert. It makes none if the reader cannot be supposed, and should not be required, to know anything about this or any other author’s sexual habits in order to enjoy to the last drop a work of art. My teacher contends that if the reader knows nothing about Proust’s perversion, the detailed description of a heterosexual male jealously watchful of a homosexual female is preposterous because a normal man would be only amused, tickled pink in fact, by his girl’s frolics with a female partner. The professor concludes that a novel which can be appreciated only by quelque petite blanchisseuse who has examined the author’s dirty linen is, artistically, a failure.’

‘Ada, what on earth is he talking about? Some Italian film he has seen?’

‘Van,’ said Ada in a tired voice, ‘you do not realize that the Advanced French Group at my school has advanced no farther than to Racan and Racine.’

‘Forget it,’ said Van.

‘But you’ve had too much Marcel,’ muttered Ada.

The railway station had a semi-private tearoom supervised by the stationmaster’s wife under the school’s idiotic auspices. It was empty, save for a slender lady in black velvet, wearing a beautiful black velvet picture hat, who sat with her back to them at a ‘tonic bar’ and never once turned her head, but the thought brushed him that she was a cocotte from Toulouse. Our damp trio found a nice corner table and with sighs of banal relief undid their raincoats. He hoped Ada would discard her heavy-seas hat but she did not, because she had cut her hair because of dreadful migraines, because she did not want him to see her in the role of a moribund Romeo.

(On fait son grand Joyce after doing one’s petit Proust. In Ada’s lovely hand.)

(But read on; it is pure V.V. Note that lady! In Van’s bed-buvard scrawl.)

As Ada reached for the cream, he caught and inspected her dead-shamming hand. We remember the Camberwell Beauty that lay tightly closed for an instant upon our palm, and suddenly our hand was empty. He saw, with satisfaction, that her fingernails were now long and sharp.

‘Not too sharp, are they, my dear,’ he asked for the benefit of dura Cordula, who should have gone to the ‘powder room’ — a forlorn hope.

‘Why, no,’ said Ada.

‘You don’t,’ he went on, unable to stop, ‘you don’t scratch little people when you stroke little people? Look at your little girl friend’s hand’ (taking it), ‘look at those dainty short nails (cold innocent, docile little paw!). She could not catch them in the fanciest satin, oh, no, could you, Ardula — I mean, Cordula?’

Both girls giggled, and Cordula kissed Ada’s cheek. Van hardly knew what reaction he had expected, but found that simple kiss disarming and disappointing. The sound of the rain was lost in a growing rumble of wheels. He glanced at his watch; glanced up at the clock on the wall. He said he was sorry — that was his train.

‘Not at all,’ wrote Ada (paraphrased here) in reply to his abject apologies, ‘we just thought you were drunk; but I’ll never invite you to Brownhill again, my love.’

28

The year 1880 (Aqua was still alive — somehow, somewhere!) was to prove to be the most retentive and talented one in his long, too long, never too long life. He was ten. His father had lingered in the West where the many-colored mountains acted upon Van as they had on all young Russians of genius. He could solve an Euler-type problem or learn by heart Pushkin’s ‘Headless Horseman’ poem in less than twenty minutes. With white-bloused, enthusiastically sweating Andrey Andreevich, he lolled for hours in the violet shade of pink cliffs, studying major and minor Russian writers — and puzzling out the exaggerated but, on the whole, complimentary allusions to his father’s volitations and loves in another life in Lermontov’s diamond-faceted tetrameters. He struggled to keep back his tears, while AAA blew his fat red nose, when shown the peasant-bare footprint of Tolstoy preserved in the clay of a motor court in Utah where he had written the tale of Murat, the Navajo chieftain, a French general’s bastard, shot by Cora Day in his swimming pool. What a soprano Cora had been! Demon took Van to the world-famous Opera House in Telluride in West Colorado and there he enjoyed (and sometimes detested) the greatest international shows — English blank-verse plays, French tragedies in rhymed couplets, thunderous German musical dramas with giants and magicians and a defecating white horse. He passed through various little passions — parlor magic, chess, fluff-weight boxing matches at fairs, stunt-riding — and of course those unforgettable, much too early initiations when his lovely young English governess expertly petted him between milkshake and bed, she, petticoated, petititted, half-dressed for some party with her sister and Demon and Demon’s casino-touring companion, bodyguard and guardian angel, monitor and adviser, Mr Plunkett, a reformed card-sharper.

Mr Plunkett had been, in the summer of his adventurous years, one of the greatest shuler’s, politely called ‘gaming conjurers,’ both in England and America. At forty, in the middle of a draw-poker session he had been betrayed by a fainting fit of cardiac origin (which allowed, alas, a bad loser’s dirty hands to go through his pockets), and spent several years in prison, had become reconverted to the Roman faith of his forefathers and, upon completing his term, had dabbled in missionary work, written a handbook on conjuring, conducted bridge columns in various papers and done some sleuthing for the police (he had two stalwart sons in the force). The outrageous ravages of time and some surgical tampering with his rugged features had made his gray face not more attractive but at least unrecognizable to all but a few old cronies, who now shunned his chilling company, anyway. To Van he was even more fascinating than King Wing. Gruff but kindly Mr Plunkett could not resist exploiting that fascination (we all like to be liked) by introducing Van to the tricks of an art now become pure and abstract, and therefore genuine. Mr Plunkett considered the use of all mechanical media, mirrors and vulgar ‘sleeve rakes’ as leading inevitably to exposure, just as jellies, muslin, rubber hands, and so on sully and shorten a professional medium’s career. He taught Van what to look for when suspecting the cheater with bright objects around him (‘Xmas tree’ or ‘twinkler,’ as those amateurs, some of them respectable clubmen, are called by professionals). Mr Plunkett believed only in sleight-of-hand; secret pockets were useful (but could be turned inside out and against you). Most essential was the ‘feel’ of a card, the delicacy of its palming, and digitation, the false shuffle, deck-sweeping, pack-roofing, prefabrication of deals, and above all a finger agility that practice could metamorphose into veritable vanishing acts or, conversely, into the materialization of a joker or the transformation of two pairs into four kings. One absolute requisite, if using privately an additional deck, was memorizing discards when hands were not pre-arranged. For a couple of months Van practiced card tricks, then turned to other recreations. He was an apprentice who learned fast, and kept his labeled phials in a cool place.

In 1885, having completed his prep-school education, he went up to Chose University in England, where his fathers had gone, and traveled from time to time to London or Lute (as prosperous but not overrefined British colonials called that lovely pearl-gray sad city on the other side of the Channel).

Sometime during the winter of 1886-7, at dismally cold Chose, in the course of a poker game with two Frenchmen and a fellow student whom we shall call Dick, in the latter’s smartly furnished rooms in Serenity Court, he noticed that the French twins were losing not only because they were happily and hopelessly tight, but also because milord was that ‘crystal cretin’ of Plunkett’s vocabulary, a man of many mirrors — small reflecting surfaces variously angled and shaped, glinting discreetly on watch or signet ring, dissimulated like female fireflies in the undergrowth, on table legs, inside cuff or lapel, and on the edges of ashtrays, whose position on adjacent supports Dick kept shifting with a negligent air — all of which, as any card sharper might tell you, was as dumb as it was redundant.

Having bided his time, and lost several thousands, Van decided to put some old lessons into practice. There was a pause in the game. Dick got up and went to a speaking tube in the corner to order more wine. The unfortunate twins were passing to each other a fountain pen, thumb-pressing and re-pressing it in disastrous transit as they calculated their losses, which exceeded Van’s. Van slipped a pack of cards into his pocket and stood up rolling the stiffness out of his mighty shoulders.

‘I say, Dick, ever met a gambler in the States called Plunkett? Bald gray chap when I knew him.’

‘Plunkett? Plunkett? Must have been before my time. Was he the one who turned priest or something? Why?’

‘One of my father’s pals. Great artist.’

‘Artist?’

‘Yes, artist. I’m an artist. I suppose you think you’re an artist. Many people do.’

‘What on earth is an artist?’

‘An underground observatory,’ replied Van promptly.

‘That’s out of some modem novel,’ said Dick, discarding his cigarette after a few avid inhales.

‘That’s out of Van Veen,’ said Van Veen.

Dick strolled back to the table. His man came in with the wine. Van retired to the W.C. and started to ‘doctor the deck,’ as old Plunkett used to call the process. He remembered that the last time he had made card magic was when showing some tricks to Demon — who disapproved of their poker slant. Oh, yes, and when putting at ease the mad conjurer at the ward whose pet obsession was that gravity had something to do with the blood circulation of a Supreme Being.