The Complete Enderby (4 page)

When Enderby was seventeen, his father went off to Nottingham to be shown over a tobacco factory, was away for the night. July heat (she showed up badly in that) broke in monsoon weather, with terrifying lightning. But it was only the thunder that scared her. Enderby awoke at five in the morning to find her in his bed, in dirty winceyette, clutching him in fear. He got up, was sick in the lavatory, then locked himself in, reading till dawn the scraps of newspaper on the floor.

Her death was reported to him when he was in the Army, L. of C. troops in Catania. She had died after drinking a morning cup of tea, brought by his father. Heart failure. The night of hearing the news, Enderby went with a woman of Catania (one tin of corned beef and a packet of biscuits) and, to her almost concealed laughter, could do nothing. Also, on arriving back at his billet, he was sick.

Well, there it was. His stepmother had killed women for him, emerging in a ladylike belch or a matchstick picking of teeth from behind the most cool and delectable façade. He had got on quite
nicely
on his own, locked in the bathroom, cooking his own meals (ensuring first that the fat was tepid), living on his dividends and the pound or two a year his poems earned. But, as middle-age advanced, his stepmother seemed to be entering slyly into him more and more. His back ached, his feet hurt, he had a tidy paunch, all his teeth out, he belched. He had tried to be careful about laundry and cleaning the saucepans, but poetry got in the way, raising him above worry about squalor. Yet dyspepsia would cut disconcertingly in, more and more, blasting like a tuba through the solo string traceries of his little creations.

The act of creation. Sex. That was the trouble with art. Urgent sexual desire aroused with the excitement of a new image or rhythm. But adolescence had prolonged its techniques of easy detumescence, normal activities of the bathroom. Walking towards the Freemason’s Arms he felt wind rising from his stomach. Damn. Brerrrrp. Blast. He was, however, on the whole, taking all things into consideration, by and large, not to put too fine a point on it, reasonably well self-sufficient. Brrrrrp. Blast and damn.

Arry, head cook at the Conway, was standing by the bar of the Freemason’s with a pint tankard of brown ale and bitter mixed. He said to Enderby, ‘’Ere yar.’ He handed over a long bloody parcel, blood congealed on a newspaper headline about some woman’s blood. ‘A said ad get it an a got it.’ Enderby said, ‘Thanks, and a happy New Year. What will you have?’ He eased away some of the newspaper at one end, ‘Missing Persons’, covered with blood, and the head of a mature hare stared at him with glass eyes. ‘Yer can joog it today,’ said Arry. He was in a brown sports-coat that reeked of old fat, a tout’s cap on his head. His upper jaw had only two canines. These were gateposts between which his tongue, car-like, occasionally eased itself out and in. He came from Oldham. ‘Red coorant jelly,’ said Arry. ‘What a generally do is serve red coorant jelly on a art-shaped croutong. Coot out a art-shaped bitter bread with a art-cooter. Fry it in ’ot fat, quick. Boot, livin’ on yer own, a don’t suppose yer’ll wanter go to that trooble.’ He drank down
his
brown ale and bitter and, on Enderby, had another pint. ‘Good job yer coom in when yer did,’ he said. ‘’Ave to go now. Special loonch for South Coast Association of Car Salesmen.’ He swigged the pint in one lift of the tankard, had another, yet another, all in two minutes flat. Like most cooks he could eat little. He had ferocious gastric pains which endeared him to Enderby. ‘Seein’ yer,’ he said, leaving. Enderby nursed his hare.

This bar was the haunt of all local lesbians over fifty. Most of them fulfilled the paradigms of marriage, a few were divorced, widowed or estranged. On a stool in the corner was a woman called Gladys, a peroxided Jewess of sixty with tortoise-shell spectacle-rims and leopard-skin jeans. She was kissing, more often and more passionately than seemed necessary, another woman in New-Year greeting. This woman wore a bristling old fur coat and was delicately cross-eyed. A fierce-looking thin woman in a dress as hairy and simple as a monk’s habit, a nutria coat swinging open over it, crashed into the bar and greeted her too, long and gluily. ‘Prudence, my duck,’ she said. Prudence seemed to be a popular girl. The peculiar charm of strabismus. And then the fragments of a new poem came swimming with a familiar confidence into Enderby’s head. He saw the shape, he heard the words, he felt the rhythm. Three stanzas, each beginning with birds.
Prudence, prudence, the pigeons call
. And, of course, that’s what they did call, that’s what they’d always called.
Act, act, the ducks give voice
. And that was true, too. What were the other birds? They weren’t seagulls. The dyed-blonde Jewess, Gladys, suddenly, raucously, laughed. It was a bird like that.
Caution, caution
. Rooks, that was it. But why were they calling, giving voice, proclaiming?

He had a ball-point pen, but no paper. Only the wrapping of the hare. There was a long empty stop-press column, two forlorn football results at the head. He wrote the lines he had heard. Also other fragments that he could hear dimly. The meaning? Meaning was no concern of the poet.
The widow in the shadow. The widow in the meadow
. A voice, very clear and thin, spoke as though pressed to his ear:
Drain the sacrament of choice
. Gladys began to sing, pop garbage composed by some teenager, much heard on radio discprogrammes. She sang loudly. Excited, Enderby cried, ‘Oh, for Christ’s sake shut up!’ Gladys was indignant. ‘Who the bloody hell
do
you think you’re telling to shut up?’ she called across, with menace. ‘I’m trying to write a poem,’ said Enderby. ‘This,’ said someone, ‘is supposed to be a respectable pub.’ Enderby downed his whisky and left.

Walking home quickly he tried to call back the rhythm, but it had gone. The fragments ceased to be live limbs of some mystical body that promised to reveal itself wholly. Dead as the hare, meaningless onomatopoeia; a silly jingle:
widow, shadow, meadow
. The big rhythms of the nearing tide, the winter sea-wind, the melancholy gulls. A gust shattered and dispersed the emerging form of the poem. Oh, well. Of the million poems that beckoned, like coquettish girls, from the bushes, how very few could be caught!

Enderby stripped the hare of its bloody paper as he approached 81 Fitzherbert Avenue. There was a public litter basket attached to a lamp-post almost in front of the front-steps. He threw the crumpled mess of news, blood, inchoate poetry in, and got out his key. A tidy town, this. Must not let our standards relax even though there are no holiday visitors. He entered the kitchen and began to skin the hare. It would give him, he thought, stewed with carrots, potatoes and onions, seasoned with pepper and celery salt, the remains of the Christmas red wine poured in before serving, enough meals for nearly a week. He slapped the viscera on to a saucer, cut up the carcass, and then turned on the kitchen tap. Hangman’s hands, he thought, looking at them. Soaked in blood up to the elbows. He tried out a murderer’s leer, holding the sacrificial knife, imagining a mirror above the kitchen sink.

The water flowing from the faucet cast a faint shadow, a still shadow, on the splashboard. The line came, a refrain:
The running tap casts a static shadow
. That was it, he recognized, his excitement mounting again. The widow, the meadow. A whole stanza blurted itself out:

‘Act! Act!’ The ducks give voice.

‘Enjoy the widow in the meadow.

Drain the sacrament of choice.

The running tap casts a static shadow.’

To hell with the meaning. Where the hell were those other birds? What were they? The cuckoo? The sea-gull? What was the name
of
that cross-eyed lesbian bitch in the Freemason’s? Knife in hand, steeped in blood to the elbows, he dashed out of his flat, out of the house, to the rubbish-basket clamped to the lamp-post. Others had been there while he had been gutting and skinning and quartering. A Black Magic box, a Senior Service packet, banana-peel. He threw it all out madly into the gutter. He found the defiled paper which had wrapped the beast. Frantically he searched page after crumpled page.
THIS MAN MAY KILL, POLICE WARN. NOW THIS BOY IS LOVED
.
Most people stop Acid Stomach with Rennies
. Compulsive reading. He read: ‘The pain-causing acid is neutralized and you get that wonderful sensation that tells you the pain is beginning to go. The antacid ingredients reach your stomach gradually and gently – drip by drip …’

‘What’s this? What’s going on?’ asked an official voice.

‘Eh?’ It was the law, inevitably. ‘I’m looking for these blasted birds,’ said Enderby, rummaging again. ‘Ah, thank God. Here they are. Prudence, pigeons. Rooks, caution. It’s as good as written. Here.’ He thrust the extended sheets into the policeman’s arms.

‘Not so fast,’ said the policeman. He was a young man, apple-ruddy from the rural hinterland, very tall. ‘What’s this knife for, where did all that blood come from?’

‘I’ve been murdering my stepmother,’ said Enderby, absorbed in composition.
Prudence, prudence, the pigeons call
. He ran into the house. The woman from upstairs was just coming down. She saw a knife and blood and screamed. Enderby entered his flat, ran into the bathroom, kicked on the heater, sat on the low seat. Automatically he stood up again to lower his trousers. Then, all bloody, he began to write. Somebody knocked – imperious, imperative – at his front door. He locked the bathroom door and got on with his writing. The knocks soon ceased. After half an hour he had the whole poem on paper.

‘Prudence! Prudence!’ the pigeons call.

‘Scorpions lurk in the gilded meadow.

An eye is embossed on the island wall.

The running tap casts a static shadow.’

‘Caution! Caution!’ the rooks proclaim.

‘The dear departed, the weeping widow

Will meet in you in the core of flame.

The running tap casts a static shadow.’

The injunction of the last stanza seemed clear enough, privy enough. Was it really possible, he wondered, for him to follow it, making this year different from all others?

‘Act! Act!’ The ducks give voice.

‘Enjoy the widow in the meadow.

Drain the sacrament of choice …’

In the kitchen, he could now hear, the water was still flooding away. He had forgotten to turn it off. Casting a static shadow all the time. He got up from his seat, automatically pulling the chain. Who was this blasted widow that the poem referred to?

WHILE ENDERBY WAS
breakfasting off reheated hare stew with pickled walnuts and stepmother’s tea, the postman came with a fateful letter. The envelope was thick, rich, creamy; richly black the typed address, as though a new ribbon had been put in just for that holy name. The note-paper was embossed with the arms of a famous firm of chain booksellers. The letter congratulated Enderby on his last year’s volume –
Revolutionary Sonnets
– and was overjoyed to announce that he had been awarded the firm’s annual Poetry Prize of a gold medal and fifty guineas. Enderby was cordially invited to a special luncheon to be held in the banqueting-room of an intimidating London hotel, there to receive his prizes amid the
plaudits
of the literary world. Enderby let his hare stew go cold. The third Tuesday in January. Please reply. He was dazed. And, again, congratulations. London. The very name evoked the same responses as
lung cancer, overdrawn, stepmother
.

He wouldn’t go, he couldn’t go, he hadn’t a suit. At the moment he was wearing glasses, a day’s beard, pyjamas, polo-neck sweater, sports-jacket and very old corduroys. In his wardrobe were a pair of flannel trousers and a watered-silk waistcoat. These, he had thought when settling down after demobilization, were enough for a poet, the watered-silk waistcoat being, perhaps, even, an unseemly luxury of stockbroker-like extravagance. He had had it, by mistake, knocked down to him for five shillings at an auction.

London. He was flooded with horrid images, some derived from direct experience, others from books. At the end of the war, searching for William Hazlitt’s tomb in its Soho graveyard, he had been abused by a constable and had up in Bow Street on a charge of loitering with intent. He had once slipped on the greasy pavement outside Foyle’s and the man who had helped him up – stocky, elderly, with stiff grey hair – had begged five bob to ’elp aht a bit cos they was on strike that week, guv. That was just after he had bought the watered-silk waistcoat: ten bob down the drain. In the urinal of a very foggy pub he had, unbelievably, been invited to a fellation party by a handsome stranger in smart city wear. This man had become nasty at Enderby’s polite refusal and threatened to scream that Enderby was assaulting him. Very unpleasant. Along with other memories that made him wince (including one excruciating one of a ten-shilling note in the Café Royal) came gobbets from
Oliver Twist, The Waste Land
, and
Nineteen Eighty-Four
. London was unnecessarily big, gratuitously hostile, a place for losing money and contracting diseases. Enderby shuddered, thinking of Defoe’s
Journal of the Plague Year
. And there he was – as he emptied his cold plateful back into the saucepan – with his stepmother again. At the age of fifteen he had bought off a twopenny stall in the market a duo-decimo book of recipes, gossip, and homilies, printed in 1605. His stepmother, able to read figures, had screamed at the sight of it when he had proudly brought it home. 1605 was ‘the olden days’, meaning Henry VIII, the executioner’s axe, and the Great Plague. She thrust the book into the kitchen fire with the tongs, yelling
that
it must be seething with lethal germs. A limited, though live, sense of history.