The Squire Quartet. Brian Aldiss

filtered through the long windows. His carriage clock pronounced the time to be five-twenty. He was lying cramped on the chesterfield in his study, with a quarter-full glass of whisky standing on the carpet beside him. His head ached. His mouth was dry.

      The pallid light seemed to cast a veil between Squire and a painting on the wall on which his sickened gaze rested. The painting dated from 1821, and had been executed by a nineteenth-century artist whom Squire had collected consistently over the past quarter century, Edward Calvert. Entitled ‘The Primaeval City’, it showed a scene which charmingly mingled the rural with the urban. A bullock cart trundled among trees into a city of thatch and domes and ruin, where figures could be seen in cameo, a bucolic pressing wine, a nun entering the church, a woman hanging out washing, a man pulling a donkey. In the background, garlanded with leaves, a gibbous moon rose like a planet above the crumbling rooftops, and a shepherd tended his sheep. In the foreground, dominating everything, stood a nude maiden in a leafy bower of pomegranate trees, having climbed from a brook. She looked over one shoulder without coquetry at the viewer, a bewitching mixture of flesh and spirit.

      Recalling the previous evening, Squire turned his regard from these symbols and yawned.

      Painfully, he got to his feet and staggered across to the french windows. When he twisted the latch, they opened with a squeal. He walked stealthily across the terrace, arms enfolding his chest to ward off the chill. He went on tiptoe down a gravel path and made his way barefoot over damp grass to the nearest clump of rhododendrons.

      Down by the Guymell, faintly, he could see cattle standing without movement. Steam attended their flanks. All was still, artificial. The nearby cedars stood in a mist which rendered them as outlines. As a painter reduces a tree to a symbol which will function within his composition as a real tree does in a real landscape, so these outlines rendered the awakening world artificial. They and it had been sponged, as if Cotman were temporarily God.

      As Squire turned after relieving himself, he saw the Jaguar standing at the front of the house, half-hidden by a corner of the building. Its two doors hung open. Something on the driver’s side had fallen out onto the gravel; a travel atlas, possibly.

      In the mist-blurred wall of the house, fluorescent light spread towards the garden, where he had left on the kitchen lights when getting tea.

      Looking up at the damp eaves as he picked his way back to the study, he observed that the bedroom light also was burning. The bedroom curtains had been pulled half-way back. The light spread a faded orange wash across the ceiling, a glow belonging to midnight rather than dawn, an ominous shade boding no good.

      So she had not slept, or would not sleep, or could not sleep. Or was already prowling about the house. It had only been a minor tiff. He must eat humble pie, reassure her. All would be well again in a day or two.

      He entered the study, shivering. As he turned from securing the windows, he discovered with a start that Teresa had entered the room while he was out of it; she stood in her dressing-gown, drawn up to her full height, by the door into the rear hall, in shadow. Her motionlessness was unnatural. She regarded Squire with fixed intensity.

      ‘You startled me, Tess. A Lady Macbeth act? Couldn’t you sleep?’

      In a tone different from her usual tone, she said, ‘You have been getting into bed with that piece of goods, Laura, haven’t you?’

      ‘Yes. Yes, Teresa, I have. I’m sorry if it hurts you. It means very little to me but I could not resist the temptation. I have been to bed with her.’

      Teresa said, as if that was the really important matter, ‘You lied to me last night, you rotten bastard.’

      4

      Conversation with ‘Drina’s’

      Ermalpa, September 1978

      Darkness had fallen. The first-floor corridor of the Grand Hotel Marittimo was littered with silver trays, lying forlorn with a mess of coffee-pots, used cups, and tousled napkins. As Thomas Squire left Room 143, a guest was in another room playing a violin behind locked doors.

      After a half-an-hour suspended in sarvangasana, followed by a cold shower, Squire was feeling alert and ready for the evening. Downstairs, before turning into the bar, he took a stroll in the busy street. One of the Canadian delegates, seeing him walk towards the swing doors, said, in honest horror, ‘You’re not going out alone in Ermalpa after dark, Mr Squire? You know this place is the headquarters of the Mafia?’

      Surviving a turn in the muggy air, Squire went to fulfil his seven o’clock appointment in the bar.

      Selina Ajdini was there already. Several young Italians were talking to her, pressing round her armchair. She had changed her clothes, and now wore an ankle-length white jersey dress with long sleeves and edged with gold braid, its only decoration being a criss-cross pattern of braid with loose tassels which covered the bosom. Several thin gold bracelets hung at her slender right wrist, three rings glittered on her rather cruel-looking fingers. Her neat black hair, gathered into a thick tail, hung asymmetrically to one shoulder. She still carried her bulky bag.

      The bar was full of the cheerful noises characteristic of a popular time. Three barmen in smart uniforms moved freely behind their gilded pallisades, smiling, exchanging jokes with each other and their customers as they worked; glass chinked against glass; the cash register whirred; wallpaper music played softly in the background; a waitress bustled among the customers, collecting glasses; and a murmur of many languages grew from all sides. A female voice called Squire’s name.

      He turned and there was a small dark Italian lady he had watched earlier in the day. She was an efficient messenger for Frenza, the conference secretary, and spoke a little English. She had a minor administrative detail to sort out with Squire and, as she talked, he realized that she was Frenza’s wife; her well-turned ankles and heavy gold hair were immediately recognizable. Her name was Maria. She wore a neat black dress, had one bracelet on her wrist and two rings on her fingers. The smile she gave him was tired.

      When they had settled the matter, he moved towards the bar. Ajdini had dismissed her retinue and sat smoking through a long holder, awaiting him. Although the bitter herb of her Huxley speech still flavoured his memory, he could not help smiling as he joined her, sinking into an armchair facing her.

      The eroded bone was softened in artificial light. She said, ‘These Italians are so sociable, that we would talk with less disturbance in one of the rooms off the foyer. I have spoken about it to one of the barmen, who is very kind, and he will serve us with drinks as long as we are there.’

      ‘Very well.’

      ‘Let’s go, then.’

      The room she referred to led off the passage where the case of silk ties stood. It was small, containing by way of ornament only a large marble bust of a general, whose remarkable cranial development alone was worth commemoration. Some earlier occupant of the room, perhaps idly waiting a tryst, had pencilled in the general’s pupils, making him appear cross-eyed.

      ‘This is a privilege for me,’ she said, lightly arranging the white dress as they sat down. ‘I suppose that any university in the capitalist world – and not only there – would be delighted to be able to address you face to face, Mr Squire. Your television series, and the book, which is a delight in its own right, does for the culture of today what Lord Clark’s Civilization did for the past.’

      ‘The series was the work of a team. They made it work – Grahame Ash, the director, in particular. Ash is a genius. He has a way with people and he thinks in pictures.’

      ‘Your work in general. Since the Hyde Park Expo – and before. What you do enables the various artists of today, and those who would not presume or care to call themselves artists, to go ahead with more confidence, as one always can when one sees oneself working within some kind of a tradition. You generously defined a revolutionary tradition. However, I must not embarrass you, a modest Englishman, with my praises, although I am aware they can have no significance for you.’

      ‘That is a mistaken assumption. I am delighted to have your good