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The Alexandria Quartet - Lawrence Durrell [105]

By Root 14119 0
Secret Service had gravelled him, and he was now able to spend most of the day in bed with what he called a ‘bottle of wallop’ at his elbow. But he was lonely, hence his correspondence. These letters were useful to me. My feeling of unreality had grown to such a pitch that at times I distrusted my own memory, find ing it hard to believe that there had ever been such a town as Alexandria. Letters were a lifeline attaching me to an existence in which the greater part of myself was no longer engaged. As soon as my work was finished I locked myself in my room and crawled into bed; beside it lay the green jade box full of hashish-loaded cigarettes. If my way of life was noticed or com-mented upon at least I left no loophole for criticism in my work. It would be hard to grudge me simply an inordinate taste for solitude. Father Racine, it is true, made one or two attempts to rouse me. He was the most sensitive and intelligent of them all and perhaps felt that my friendship might temper his own intellectual loneli-ness. I was sorry for him and regretted in a way not being able to respond to these overtures. But I was afflicted by a gradually in-creasing numbness, a mental apathy which made me shrink from contact. Once or twice I accompanied him for a walk along the river (he was a botanist) and heard him talk lightly and brilliantly on his own subject. But my taste for the landscape, its flatness, its unresponsiveness to the seasons had gone stale. The sun seemed to have scorched up my appetite for everything — food, company and

even speech. I preferred to lie in bed staring at the ceiling and listening to the noises around me in the teachers’ block: Father Gaudier sneezing, opening and shutting drawers; Father Racine playing a few phrases over and over again on his flute; the rumina-tions of the organ mouldering away among its harmonies in the dark chapel. The heavy cigarettes soothed the mind, emptying it of every preoccupation.

One day Gaudier called to me as I was crossing the close and said that someone wished to speak to me on the telephone. I could hardly comprehend, hardly believe my ears. After so long a silence who would telephone? Nessim perhaps?

The telephone was in the Head’s study, a forbidding room full of elephantine furniture and fine bindings. The receiver, crepitating slightly, lay on the blotter before him. He squinted slightly and said with distaste ‘It is a woman from Alexandria.’ I thought it must be Melissa but to my surprise Clea’s voice suddenly swam up out of the incoherence of memory: ‘I am speaking from the Greek hospital. Melissa is here, very ill indeed. Perhaps even dying.’

Undeniably my surprise and confusion emerged as anger. ‘But she would not let me tell you before. She didn’t want you to see her ill — so thin. But I simply must now. Can you come quickly?

She will see you now.’

In my mind’s eye I could see the jogging night train with its interminable stoppings and startings in dust-blown towns and villages — the dirt and the heat. It would take all night. I turned to Gaudier and asked his permission to absent myself for the whole week-end. ‘In exceptional cases we do grant permission’ he said thoughtfully. ‘If you were going to be married, for example, or if someone was seriously ill.’ I swear that the idea of marrying Melissa had not entered my head until he spoke the words.

There was another memory, too, which visited me now as I packed my cheap suitcase. The rings, Cohen’s rings, were still in my stud-box wrapped in brown paper. I stood for a while looking at them and wondering if inanimate objects also had a destiny as human beings have. These wretched rings, I thought — why, it was as if they had been anxiously waiting here all the time like human beings; waiting for some shabby fulfilment on the finger of someone trapped into a mariage de convenance. I put the poor things in my pocket.

Far off events, transformed by memory, acquire a burnished brilliance because they are seen in isolation, divorced from the details of before and after, the fibres and wrappings of time. The

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