The Temptation of Jack Orkney: Collected Stories Volume Two. Doris Lessing

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      She shook herself away from him, up and away from the settee. She went to the window.

      ‘What are you doing?’

      ‘Enjoying your view.’

      The sky was clear, it was evening, and far below in the streets the lights had come on, making small yellow pools and gleams on pavements where the tiny movement of people seemed exciting and full of promise. Now he got himself out of his machine-like chair and came to stand by her. He did not touch her; but he would not have come at all if she had not been there. He supported himself with one big hand on the glass and looked out. She felt him take in a deep breath. She stood silent, feeling the life ebbing and coiling along the pavements and hoping he felt it. He let out his breath. She did not look at him. He took it in again. The hand trembled, then tensed, then set solid, a big, firmly made hand, with slightly freckled knuckles – its steadiness comforted her. It would be all right. Still without looking at his face, she kissed his cheek and turned away. He went back to his chair, she resumed her place on the blanket. The room was filling with dusk, the sky was greying, enormous, distant.

      ‘You should get curtains, at least.’

      ‘I should be tempted to keep them drawn all the time.’

      ‘Why not, then, why not?’ she insisted, feeling her eyes wet again. ‘All right, I won’t cry,’ she said reasonably.

      ‘Why not? If you feel like crying.’

      She no longer wept. But once, and not so long ago, she had wept herself almost to pieces over him, her, their closeness which nevertheless the cold third, like a cruel king, refused to sanction. She noted that the pulse moving in her ankle had the desperate look of something fighting death; her foot in the dusk was a long way off; she felt divided, not in possession of herself. But she remained where she was, containing her fragmentation. And he held out his fist, steady, into the glimmer of grey light from the sky, watching it exactly as she looked at her own pulse, the stranger.

      ‘For God’s sake turn the light on,’ she said, giving in. He put out his hand, pressed down the switch, a harsh saving light filled the room.

      He smiled. But he looked white again, and his forehead gleamed wet. Her heart ached for him, and for herself, who would now get up deliberately and go away from him. The ache was the hurt of exile, and she was choosing it. She sat smiling, chafing her two ankles with her hands, feeling the warmth of her breathing flesh. Their smiles met and exchanged, and now she said: ‘Right, it’s time to go.’

      She kissed him again, he kissed her, and she went out, saying: ‘I’ll ring you.’

      Always, when she left his door shut behind her, the black door which was exactly the same as all the others in the building except for the number, she felt in every particle of herself how loneliness hit him when she (or anybody) left.

      The street she went out into was unfamiliar to her, she felt she did not know it. The hazy purple sky that encloses London at night was savage, bitter, and the impulse behind its shifting lights was a form of pain. The roughness of the pavement, which she knew to be warm, struck cold through the soles of her sandals, as if the shadows were black ice. The people passing were hostile, stupid animals from whom she wished to hide herself. But worse than this, there was a flat, black-and-white two-dimensional jagged look to things, and (it was this that made it terrifying) the scene she walked through was a projection of her own mind, there was no life in it that belonged there save what she could breathe into it. And she herself was dead and empty, a cardboard figure in a flat painted set of streets.

      She thought: Why should it not all come to an end, why not? She saw again the potato face of Fred the vegetable seller whose interest in Ada’s husband’s illness was only because she was a customer at his stall; she looked at Ada whose ugly life (she was like a heave of dirty earth or some unnameable urban substance) showed in her face and movements like a visible record of thick physical living. The pathos of the adolescents did not move her, she felt disgust.

      She walked on. The tall building, like a black tower, stood over her, kept pace with her. It was not possible to escape from it.

      Her hand, swinging by her thigh, on its own life, suddenly lifted itself and took a leaf off a hedge. The leaf trembled: she saw it was her fingers which shook, with exhaustion. She stilled her fingers, and the leaf became a thin hard slippery object, like a coin. It was small, round, shining, a blackish-green. A faint pungent smell came to her nostrils. She understood it was the smell of the leaf which, as she lifted it to her nostrils, seemed to explode with a vivid odour into the senses of her brain so that she understood the essence of the leaf and through it the scene she stood in.

      She stood fingering the leaf, while life came back. The pulses were beating again. A warmth came up through her soles. The sky’s purplish orange was for effect, for the sake of self-consciously exuberant theatricality, a gift to the people living under it. An elderly woman passed, mysterious and extraordinary in the half-light, and smiled at her. So. She was saved from deadness, she was herself again. She walked slowly on, well-being moving in her, making a silent greeting to the people passing her. Meanwhile the dark tower kept pace with her, she felt it rising somewhere just behind her right shoulder. It was immensely high, narrow, terrible, all in darkness save for a light flashing at its top where a man, held upright by the force of his will, sat alone staring at a cold sky in vertiginous movement.

      She moved steadily on, on the rhythm of her own pleasantly coursing blood. With one hand, however, she secretly touched the base of the tower whose shadow would always follow her now, challenging her, until she dared to climb it. With the other hand she held fast to the leaf.

       Notes for a Case History

      Maureen Watson was born at 93 Nelson’s Way, N. I., in 1942. She did not remember the war, or rather, when people said ‘The War,’ she thought of Austerity: couponed curtains, traded clothes, the half-pound of butter swapped for the quarter of tea. (Maureen’s parents preferred tea to butter.) Further back, at the roots of her life, she felt a movement of fire and shadow, a leaping and a subsidence of light. She did not know whether this was a memory or a picture she had formed, perhaps from what her parents had told her of the night the bomb fell two streets from Nelson’s Way and they had all stood among piles of smoking rubble for a day and night, watching firemen hose the flames. This feeling was not only of danger, but of fatality, of being helpless before great impersonal forces; and was how she most deeply felt, saw, or thought an early childhood which the social viewer would describe perhaps like this:

      Maureen Watson, conceived by chance on an unexpected granted-at-the-last-minute leave, at the height of the worst war in history, infant support of a mother only occasionally upheld (the chances of war deciding) by a husband she had met in a bomb shelter during an air raid: poor baby, born into a historical upheaval which destroyed forty million and might very well have destroyed her.

      As for Maureen, her memories and the reminiscences of her parents made her dismiss the whole business as boring, and nothing to do with her.

      It was at her seventh birthday party she first made this clear. She wore a mauve organdie frock with a pink sash, and her golden hair was in ringlets. One of the mothers said: ‘This is the first unrationed party dress my Shirley has had. It’s a shame, isn’t it?” And her own mother said: ‘Well of course these war children don’t know what they’ve missed.’ At which Maureen said: ‘I am not a war child.’ ‘What are you then, love?’ said her mother, fondly exchanging glances.

      ‘I’m Maureen,’ СКАЧАТЬ