Grievance. Marguerite Alexander

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СКАЧАТЬ slender, finely moulded and delicately featured, with the kind of colouring – black hair, blue eyes and pale, almost white skin – that immediately makes his heart leap.

      He is particularly struck by her attitude. She is kneeling, body upright from the knees, looking intently away from her friends. Steve slows down and sees that she is following the progress of the last pair in the group crossing the quad.

      At first he thinks that her interest is in the young guide, so unlikely does it seem that an educated girl of her generation would stare so blatantly at someone with an obvious mental handicap. The young man is tall, fair-haired, tanned and would, Steve imagines, gaze deep into the eyes of anyone prepared to listen and tell them how much God loves them. He feels a vague resentment that such a remarkable girl should squander her attention on such an unworthy object.

      Almost immediately, however, he decides he’s mistaken. To his practised eye, her manner does not suggest sexual interest. He looks as closely as he can at the muscular Christian’s partner, who is on the far side and can only be seen in profile. He, too, is tall and fair-haired, but his features, like those of the girl who reminded him of Emily, are marked by Down’s syndrome. Their arms are linked, but the arrangement seems purely mechanical, the one showing no awareness of the other’s presence.

      Steve’s attitude to the guide changes to respect, particularly for his attempts to interest his charge in their surroundings. His free arm is busy indicating points of interest in the quad and he keeps up a steady flow of conversation, but the other boy’s head remains averted, whether or not as a deliberate snub, it’s impossible to say. Then as the pair, who have been drifting away from the rest of the group, turn to catch up, Steve sees that the boy with Down’s syndrome is holding a long chiffon scarf in a brilliant pink. Never taking his eyes off the scarf, and with remarkably deft and practised movements, he waves it in an elaborate series of loops to produce an effect of some beauty.

      Steve supposes it was the scarf that caught the girl’s eye, and then she became mesmerised by the performance. Still a puzzle remains, that she should find the boy so compelling that she forgets her friends and the party taking place around her. He is struck by the irony: he has been transfixed by the girl, who shows no awareness of his presence, while the boy, who has eyes only for his scarf, absorbs her.

      Then suddenly this long, suspended moment, to which the still September air and slanting rays of golden sunshine have contributed, is broken. The young man and the boy with the scarf are gone, along with the rest of their group. And the young woman has dropped back on her heels and turned to her friends, who now seem to Steve noisy, even raucous, after the intense quiet of the boy and the girl who was watching him. He turns away in the direction of his office.

      As the afternoon slides into memory, Steve comes to see it as marking the end of his sabbatical, gaining importance with the new turn of events. But memory can be treacherous. What stays in the mind is the girl, for whom everything else becomes merely setting – not just the chestnut tree and the early-autumn sunshine, but her friends too. In the manner of sheep and goats, they serve to emphasise her difference: her apartness, her seriousness and her intensity.

      Her beauty is striking enough against her own immediate background, but when the other young people, so cruelly served by nature, are brought into play, it acquires iconic value. What he forgets, as the days pass, is her mysterious absorption in the boy with the pink chiffon scarf. It may be that it’s beyond his scope to see someone so signally lacking in beauty and intelligence as capable of meaning.

      In responding as he does, reordering and refiguring the world according to unexamined prejudices, he makes a fatal error, one that he is always careful to warn his students against. He ignores the context in which he first saw the girl, all those other elements in the scene that are crucial to understanding. And context, as he has spent so much of his professional life arguing, is different from background, which gives the central object transcendent status, encouraging the interpreter to impose his own meaning.

      

      Meanwhile Steve picks up the threads of his professional life and falls back into patterns and routines. There is his new undergraduate course on Irish literature to think about. He has his first sessions with two new doctorate students, both too awed by his reputation to do more than mouth the platitudes into which his own once groundbreaking work has fossilised. There are emails and letters to answer and papers to read, but while he dispatches everything with his usual efficiency, he feels himself to be only half there, semi-detached from his professional self. This isn’t just because he’s been away from it all. The truth is that, although nobody but his wife Martha yet knows of his plans, he is already planning at least a partial escape, in search of another outlet for his talents, and hopes to make an even bigger impact than, as a young scholar, he made on the academic world.

      He’s pulled back sharply into the here and now when Charles Rowe pays his welcome-back call. Just for that moment Steve wishes, as must his colleague, that they were still in the time of Rowe’s beloved Jane Austen when a card left on a platter might do the trick.

      Steve knows that it’s Rowe even before he’s in the room. There is a shuffling sound outside the door, the unmistakable signal of Rowe’s approach, then a light, tentative knock, followed by a much louder one, in case the first wasn’t heard, both indications of his unease at the prospect of seeing Steve.

      ‘Yes, come in.’ Steve turns from his desk as Rowe’s overlarge head twists round the door. He wonders whether, as a boy, his colleague was encouraged to see it as stuffed with brains to compensate for the embarrassment it must have caused.

      ‘Ah, Steven. Good. You’re here. Excellent.’ The words are carefully articulated, suggesting a stutter, once painfully overcome, which always seems on the verge of returning in Steve’s presence: although they’ve rubbed along well enough together for some time now, it’s clear that Rowe has never recovered from the shock he received when Steve was first appointed to the English department and set about overturning the cherished assumptions of his older colleagues.

      This was in the early eighties, the beginning of the Thatcher era, when young men (and a few young women) like Steve brazenly presented themselves as a countercultural revolutionary force. Ignoring much of the traditional canon, Steve required his students to read French critics and philosophers like Foucault and Barthes. Rowe, ever eager to learn, dipped into them himself, and finding the prose impenetrable – an unhappy afternoon spent struggling with one paragraph of Derrida has left painful scars on his memory – dismissed them as rubbish, then found to his dismay that the students lapped them up. When they started quoting what he came to think of as the ‘Gallic wreckers’ in essays he had set, he was at a loss how to grade them.

      For Rowe and others of his generation, there was a seismic shift. Literature as a repository of eternal values was dismissed in favour of the idea that it was all culturally determined. Even worse was the thought that some of the most valued works in English were hoodwinking their readers into accepting bourgeois values. Jane Austen came under scrutiny and Rowe had to swallow the bitter pill that Mansfield Park, his own favourite, was not after all about personal morality and religious vocation but slavery. It seemed that the only ‘correct’ way to read a text was to concentrate on those who were ‘marginalised’ (another new concept) by it: colonial subjects, women, homosexuals. And slaves. The forces of righteousness had arrived.

      Traditionalists like Rowe, who in the beginning found comfort in dismissing the new critical theories as absurd – ‘the emperor’s new clothes’ was the phrase he used with like-minded colleagues – were soon silenced by Steve. His face had a way of setting in contempt at opinions different from his own, and this induced an acute sense of humiliation in those who had been foolhardy enough to voice them. For one so young, Steve was remarkably confident – a confidence that was rapidly justified by events. His first book sold in numbers previously undreamed-of СКАЧАТЬ