The Acceptance World - Anthony Powell [83]
‘Is there anything you would like?’ he asked in a formal voice.
‘Yes,’ said Stringham, whose mood was now completely changed. ‘A couple of those little pills in the box on the left of the dressing-table. They will knock me out finally. I do dislike waking at four and thinking things over. Perhaps three of the pills would be wiser, on second thoughts. Half measures are never any good.’
He was getting sleepy again, and spoke in a flat, mechanical tone. All his excitement was over. We gave him the sleeping tablets. He took them, turned away from us, and rolled over on his side.
‘Good-night, all,’ he said.
‘Good-night, Charles.’
‘Good-night, Stringham,’ said Widmerpool, rather severely.
We perfunctorily tidied some of the mess in the immediate neighbourhood of the bed. Stringham’s clothes were piled on a chair. Then we made our way down into the street.
‘Great pity for a man to drink like that,’ said Widmerpool.
I did not answer, largely because I was thinking of other matters: chiefly of how strange a thing it was that I myself should have been engaged in a physical conflict designed to restrict Stringham’s movements: a conflict in which the moving spirit had been Widmerpool. That suggested a whole social upheaval: a positively cosmic change in life’s system. Widmerpool, once so derided by all of us, had become in some mysterious manner a person of authority. Now, in a sense, it was he who derided us; or at least his disapproval had become something far more powerful than the merely defensive weapon it had once seemed.
I remembered that we were not far from the place where formerly Widmerpool had run into Mr. Deacon and Gypsy Jones on the night of the Huntercombes’ dance. Then he had been on his way to a flat in Victoria. I asked if he still lived there with his mother.
‘Still there,’ he said. ‘Though we are always talking of moving. It has great advantages, you know. You must come and see us. You have been there in the past, haven’t you?’
‘I dined with you and your mother once.’
‘Of course. Miss Walpole-Wilson was at dinner, wasn’t she? I remember her saying afterwards that you did not seem a very serious young man.’
‘I saw her brother the other day at the Isbister Retrospective Exhibition.’
‘I do not greatly care for the company of Sir Gavin,’ said Widmerpool. ‘I dislike failure, especially failure in one holding an official position. It is letting all of us down. But—as I was saying—we shall be rather occupied with my new job for a time, so that I expect we shall not be doing much entertaining. When we have settled down, you must come and see us again.’
I was not sure if his ‘we’ was the first person plural of royalty and editors, or whether he spoke to include his mother; as if Mrs. Widmerpool were already a partner with him in his bill-broking. We said good-night, and I wished him luck in the Acceptance World. It was time to make for Jean’s. She was reaching London by a late train that evening, again lodged in the flat at the back of Rutland Gate.
On the way there I took from my pocket the postcard she had sent telling me when to arrive. I read it over, as I had already done so many times that day. There was no mistake. I should be there at the time she asked. The events of the evening seemed already fading into unreality at the prospect of seeing her once more.
The card she had sent was of French origin, in colour, showing a man and woman seated literally one on top of the other in an armchair upholstered with crimson plush. These two exchanged ardent glances. They were evidently on the best of terms, because the young man, fair, though at the same time rather Semitic of feature, was squeezing the girl’s arm just above the elbow. Wearing a suit of rich brown material, a tartan tie and a diamond ring on the third finger of his right hand, his face, as he displayed a row of dazzling teeth, reminded me of Prince Theodoric’s profile—as the Prince might have been painted by Isbister. The girl smiled back approvingly as she balanced on his knee.
‘Doesn’t she look like Mona?’ Jean had written on the back. Dark, with corkscrew curls, the girl was undeniably pretty, dressed in a pink frock, its short sleeves frilled with white, the whole garment, including the frills, covered with a pattern of small black spots. The limits of the photograph caused her legs to fade suddenly from the picture, an unexpected subordination of design created either to conceal an impression of squatness, or possibly a purely visual effect