The Invitation: Escape with this epic, page-turning summer holiday read. Lucy Foley

empties of all thought.

      Afterwards, he goes to pour them each another drink. She lies in the bed and watches him, the sheets pulled up about her. He brings the glasses back to her, and they drink in silence for a few minutes. He wonders if she, like him, has suddenly been reminded of the strangeness of the situation, of the fact that they know nothing about one another.

      ‘Is that where you write?’

      He follows her gaze to the makeshift desk, the typewriter, and realizes that what she must be seeing is a romantic image – a false one. He drains the glass, feels it burn through the centre of him. And perhaps it is the work of the whisky, perhaps it is his knowledge that they may never meet again, but he feels a sudden compelling need for honesty. ‘I have a confession. I’m not a writer. I thought I was, once.’ She has turned her head on the pillow to look at him. He coughs, continues. ‘I had a collection of short stories published. Not in a big way, you know – but it was something.’

      In 1938, just out of university. It was a very small press, and the print run had been a few hundred copies. And yet, nevertheless, here it was: him, a published author, at the age of twenty-one. The sole review had been good if not absolutely effusive. That was enough. There was time for improvement. He had his whole life ahead of him. His mother had been overjoyed. His father, a Brigadier, a hero of the Great War, had been … what? A little bemused. All well and good for Hal to have this hobby before doing the thing, the real job, that would mark him out as a man. Hal knew, though, that this was the thing he wanted to do for ever. He feared it, because he wanted it so badly.

      ‘I’ve lost it now,’ he says. ‘I can’t do it any longer.’

      There is no answer at first, and he wonders if she might have fallen asleep. But then she says, ‘What happened?’

      ‘The war,’ he says, because it is an accepted cliché these days – and also partially true.

      It was something that had changed, in him. Every time he tried to write he felt the words coloured by this change, as though it infected everything. As though it could be read in every sentence: this man is a coward; is a fraud.

      He won’t see her again. ‘Someone died,’ he says, ‘a friend. He wrote, too. After that, I haven’t felt like I deserved to be doing it … not when he never will.’ The liberation, of saying it aloud.

      She doesn’t ask for him to explain further, and he is relieved, because he feels only a hair’s breadth away from telling her the whole thing, which he might regret.

      ‘You won’t have lost it. Once you’re a writer, it’s in you, somewhere.’

      ‘What makes you say that?’

      ‘My father was one.’

      ‘Would I have heard of him?’

      ‘No,’ she says. ‘No. I don’t think so.’

      ‘Tell me about him.’ But no answer comes, and when he looks down at her, he sees that her eyes are closed.

       2

      That morning, watching her readying herself to leave, his body had been alive with remembered sensation. In the unforgiving early light he had seen with some surprise that she was a little older than he had thought: several years his senior, perhaps.

      She was pale, anxious, altered. She had hardly looked at him, even when he spoke to her, asked her if he could get her anything, walk her to her hotel. When she had sat and rolled on her stockings she had ripped the heel of one in her haste to be dressed and gone.

      The last thing she had said before she left was: ‘You won’t …’

      ‘What?’

      ‘You won’t tell anyone about this?’

      ‘No. Will you?’

      ‘No.’ She had said it with some force, and he had wondered if he should be offended.

      Then she had left, and his apartment had become once again the small, untidy, unremarkable place it had been before. He had lain in the tangled sheets, with the warmth of the new memory upon his skin.

      She will be back in America now, no doubt. Undoubtedly she is no longer in Rome. But he keeps imagining he sees her. Through a café window, in the Borghese gardens, buying groceries at the Campo de’ Fiori market.

      Those few whispered sentences, in the moments before sleep, had been the frankest conversation he could remember having with anyone in a long time. Perhaps since before the war. That had been one of the problems, with Suze. Every time he had tried to talk she had seemed so uneasy, or, worse, bored – that he hadn’t wanted to say any more. So he’d never managed to tell her about what he had done; about his guilt. Perhaps she had guessed that there was something she wouldn’t want to know, and this was why she had been so resistant to being told. She had wanted to see him, as everyone did, as the returned hero. If you had returned alive, whole, you had had a Good War; you were heroic. This thing he wanted to tell her would not fit with that image.

      Stella: he realizes he never even found out her last name. Yet he doubts that she would have told him, had he asked. It was all part of it, the sense that she was holding some vital part of herself back. It had intrigued him, this reticence, because he recognized it in himself. And then, in bed, she had briefly come apart, and he thought he had caught a glimpse of that hidden person.

      He would like to talk to her again, to see her once more. But no doubt the peculiar magic of it had been due to them being strangers.

      He can’t even remember her face. Had she been so beautiful as all that? Usually, he has a good recall of detail. He can recall what she had been wearing, but when he thinks of her face, the impression he is left with is like the after- effect of staring too long at a lamp.

      There is one thing, though, one inarguable fact. For the first time in years – years of insomnia or fitful, disturbed sleep – he had a full night’s rest, and did not dream.

      He learns that the Contessa has got the funding for her picture. Fede tells him it is some American industrialist, keen to cloak himself in culture perhaps. Filming has apparently already begun, somewhere on the coast, and in a studio near Rome. Not Cinecittà, though, but a tiny set-up owned by the Contessa herself. An interesting name: il Mondo Illuminato. The Illuminated World.

      On a whim, he takes a detour one morning past the building that had housed the party. But the whole place is shut up, looking almost as though it has remained thus for the last five hundred years. Perhaps he should not be surprised. The whole night had felt hardly real.

       3

       March 1953

      An early spring day, almost warm. He walks to work along the river, squinting against the light that flashes off the water. The city looks as glorious as he has ever seen it, wreathed in gold, and yet as ever he feels as if he is looking at it through a pane of glass; one step removed. Perhaps it is time to move again, he thinks. Perhaps he should have gone further afield in the first place: out of Europe. America. Australia. Money, though: that is a problem. North Africa could be more feasible. Somewhere out of the way, where he might live on very little and make a last attempt at the wretched writing. The war novel: the one meant to make some sense of it all. The problem, he thinks, is that one has to have made sense of something in one’s own mind before committing it to paper.

      As soon as he enters the office, he is stopped by Arlo, the post boy.

      ‘A woman called, and asked for you.’

      ‘She did? What was her name?’

      ‘Um.’ Arlo checks the note. ‘No name.’ And then defensively, ‘She