Scenes From Provincial Life - J. M. Coetzee [134]
He mails the letter and waits for a reply. Meanwhile he buys Teach Yourself Chinese and begins to practise the strange clenched-teeth sounds of Mandarin.
Day after day passes; from the Chinese there is no word. Have the British secret services intercepted his letter and destroyed it? Do they intercept and destroy all letters to the Embassy? If so, what is the point in letting the Chinese have an embassy in London? Or, having intercepted his letter, have the secret services forwarded it to the Home Office with a note to say that the South African working for International Computers in Bracknell has betrayed communist leanings? Is he going to lose his job and be expelled from England on account of politics? If it happens, he will not contest it. Fate will have spoken; he is prepared to accept the word of fate.
On his trips to London he still goes to the cinema, but his pleasure is more and more spoiled by the deterioration of his eyesight. He has to sit in the front row to be able to read the subtitles, and even then he must screw up his eyes and strain.
He visits an optician and comes away with a pair of black horn-rimmed spectacles. In the mirror he resembles even more closely Major Arkwright’s comic boffin. On the other hand, looking out through the window he is amazed to discover he can make out individual leaves on the trees. Trees have been a blur of green ever since he can remember. Should he have been wearing glasses all his life? Does this explain why he was so bad at cricket, why the ball always seemed to be coming at him out of nowhere?
We end up looking like our ideal selves, says Baudelaire. The face we are born with is slowly overwhelmed by the desired face, the face of our secret dreams. Is the face in the mirror the face of his dreams, this long, lugubrious face with the soft, vulnerable mouth and now the blank eyes shielded behind glass?
The first film he sees with his new glasses is Pasolini’s Gospel According to St Matthew. It is an unsettling experience. After five years of Catholic schooling he had thought he was forever beyond the appeal of the Christian message. But he is not. The pale, bony Jesus of the film, shrinking back from the touch of others, striding about barefoot issuing prophecies and fulminations, is real in a way that Jesus of the bleeding heart never was. He winces when nails are hammered through the hands of Jesus; when his tomb is revealed to be empty and the angel announces to the mourning women, ‘Look not here, for he is risen,’ and the Missa Luba bursts out and the common folk of the land, the halt and the maimed, the despised and rejected, come running or hobbling, their faces alight with joy, to share in the good news, his own heart wants to burst; tears of an exultation he does not understand stream down his cheeks, tears that he has surreptitiously to wipe away before he can emerge into the world again.
In the window of a second-hand bookseller off Charing Cross Road, on another of his expeditions to the city, he spots a chunky little book with a violet cover: Watt, by Samuel Beckett, published by Olympia Press. Olympia Press is notorious: from a safe haven in Paris it publishes pornography in English for subscribers in England and America. But as a sideline it also publishes the more daring writings of the avant-garde – Vladimir Nabokov’s Lolita, for instance. It is hardly likely that Samuel Beckett, author of Waiting for Godot and Endgame, writes pornography. What kind of book, then, is Watt?
He pages through it. It is printed in the same full-bodied serif type as Pound’s Selected Poems, a type that evokes for him intimacy, solidity. He buys the book and takes it back to Major Arkwright’s. From the first page he knows he has hit on something. Propped up in bed with light pouring through the window, he reads and reads.
Watt is quite unlike Beckett’s plays. There is no clash, no conflict, just the flow