Grievance. Marguerite Alexander

And it isn’t as though the style has been cultivated to compensate for deficiencies in appearance, as is all too evidently the case with one or two of the younger lecturers. His black hair, brushed back from his face, is thick and only slightly greying, his mouth is full, red and sensual, his eyes, behind the wire-framed glasses, large, dark and – well, yes, brooding, as one or two of the girls concede to each other, cliché though it is.

      The mind of Phoebe Metcalfe is as likely as not to be preoccupied with such matters, so her friends are surprised when, instead of a note to that effect – enlivened, as her communications usually are, with a little drawing of a smiling face and other icons expressive of good cheer – she makes an intervention that shows she has been attending to the substance of Steve’s argument. He has just delivered his thoughts on the question of national character.

      ‘I must make clear, right at the outset,’ he has said, ‘that I don’t want any of the texts that we’ll be reading explained by a woolly reference to national character, as though that’s a fixed and mysterious essence that we all more or less understand. The Irish have suffered more than most from the stereotypes that other people have imposed on them. Like all national stereotypes, they tell us more about the prejudices of those who use them than about the Irish themselves.’

      He sounds genuinely indignant, and one or two remember that Steve is Jewish, which might account for his fellow feeling with another racially stereotyped group. He removes his glasses to massage the bridge of his nose and in that pause of temporary sightlessness he fails to see Phoebe, who is already bobbing excitedly up and down in her chair. His sight restored, Steve returns to his argument.

      ‘We’ve already had a contribution to that effect, of course. We used to see the Irish as commercially backward and God-fearing, one or both due to some flaw in the national character. Now, the Republic at any rate is an economic model for the rest of Europe and one of its coolest holiday destinations. Meanwhile, revelations of child abuse have undermined the hold of the Church in less than a generation. So, characteristics that once seemed fixed are vulnerable to changing circumstances.’

      Phoebe finally explodes: ‘Oh, but the Irish are special and, like, different?’

      Steve has been intermittently aware of her throughout the session, although so far he has restrained himself from showing annoyance. There is a general air of noise and bustle about her that suggests, to his trained eye, someone with poor concentration. Her chair seems to scrape every time she moves, which is a good deal more often than others find necessary. She has spent most of the class so far trying, and rejecting, a series of pens that are kept in an enormous carpet bag; and each time one is replaced by another, the bag is dragged from floor to lap and back again. And in the gaps allowed by her fidgeting, she has made a series of attempts – all, so far, unsuccessful – to engage the girl next to her in whispered conversation. Now, however, all her efforts are concentrated on developing her argument.

      ‘I mean, we all, like, know that the Irish are spiritual and charming and fantastic story-tellers, which is why they’re such brilliant writers? Why is that a stereotype? It’s, like, common sense? And if we need a reason for it, surely it’s because they’re Celts? And the Celts are amazingly imaginative and sensitive. And surely they have an oral tradition? You know what I mean?’

      While she’s speaking, the ripples of amusement throughout the room suggest that her views are known and affectionately tolerated. Steve takes in her long, crinkly red hair, pale freckled face and light blue eyes. She could be Irish or, since her accent – English public school overlaid by London demotic – doesn’t suggest that, of Irish descent. Whatever her racial identity, however, she favours a Camden Market ethnicity in dress. A sheepskin Afghan coat, which must take real dedication to wear on such a close, muggy day, is slung over the back of her chair, while a flowing Indian print dress, decorated with quantities of beads, scarves and silver bangles, covers her soft, full figure.

      Steve’s own particular brand of Irish romance (though it’s a term he’s reluctant to use), rooted as it is in historical reality, makes him particularly hostile to the one so aptly embodied in this flabby, messily eclectic girl.

      ‘It’s as well Phoebe doesn’t realise she’s just made his point for him,’ Nick says to Pete. ‘She’s told him pretty much everything he needs to know about her.’

      ‘He’s wondering whether he’s got an alien in the class,’ Pete whispers back. ‘Phoebe will challenge his rationalism, if anybody can.’

      What’s challenging Steve about Phoebe, however, is the niggling sense that he knows her from a different context. Then he remembers the scene under the chestnut tree and places her as the Dionysian figure in the summer dress, with the wreath of daisies in her hair, holding the jug of Pimm’s. The picturesque stillness of that moment, snatched from time and larger circumstance, evaporates in the human reality of this girl, who is mouthing clichés as though nobody has thought of them before.

      When he replies, he ignores Phoebe and addresses the group more generally. ‘The Celtic origins of Ireland were so distorted and sentimentalised in the nineteenth century that they exist for us as myth rather than useful historical reality.’

      While he is speaking, however, he thinks of the other girl, who claimed his attention for herself, not as an element in a larger picture, beautiful in any setting, her face enlivened more by thought than by the occasion. He glances quickly round the room, to see if she, too, is there, and as his eyes come to rest on her, the girl next to Phoebe, who has been keeping her head down, resisting her companion’s attempts to distract her, looks up. She is unmistakably the girl in the black jeans and white T-shirt.

      His eyes meet hers and, at this closer range, he sees their clear, dark blue, set in a small face of perfect symmetry. He notices, as he did before, a remarkable self-possession; that she is unusual in being able to look at another person without smiling. She seems to him complete and apart, isolated from the commonplace reality around her. The difference between her and Phoebe is so marked, the one so grossly material, the other light and ethereal, that they could belong to different species. Before she lowers her eyes he tries to read their expression but finds it unfathomable.

      Steve’s total disengagement is broken abruptly by another student, a fierce-looking girl with many-studded ears. ‘Could I take us back to a point you made just a minute ago – about child abuse among priests weakening the power of the Catholic Church? I’d say that you were taking too rosy a view of modern Ireland in implying that all that – the power of the Church and of patriarchy generally – is now in the past when Irish women are still denied the right to abortion.’ Emma Leigh is a notable feminist, women’s officer in the union and scourge of any lecturer who fails to give due prominence to the female perspective.

      Startled out of his reverie Steve, who prides himself on his sharpness and speed in argument, finds it difficult to adjust to the change in topic. When his brain clears, he is immediately irritated by the stridency of this young woman, so different from the stillness and quiet of the other, whom he has been contemplating with such pleasure. That doesn’t stop her being right, of course. All his life he has been a champion of women’s rights, but her intervention suddenly seems like a meaningless cliché when set against his own recent experience of Ireland.

      Forcing himself to look at Emma, who is sitting back in her chair – smirking with satisfaction, it seems to him, at having landed a punch – he says, ‘I don’t think that’s an issue that can be discussed without considering the full complexity of modern Ireland.’

      His manner is dismissive, one that he perfected early in his career for crushing older colleagues, who were forced, often against their better judgement, to concede that he knew more than they did. Emma, although silenced for now, doesn’t conceal her outrage, and may well prove a tougher opponent than the likes of Rowe. And although most of the group are relieved by this reprieve from Emma’s agenda, which has been known to dominate entire sessions, some see that Steve has been wrong-footed, that in failing to give modest support to Emma’s views, he has violated his own known principles. Are they to take it that he is always right, even when he is wrong?

      Smiling now, as though aware that he has lost ground, Steve says, ‘I