The Sea, The Sea - Iris Murdoch [51]
How high-flown, almost pompous, I am becoming, now that I am a prose-writer! I know many playwrights who regard continuous prose as a sort of alien language which they could not dream of mastering. I think I may have felt like this myself at one time. And yet look at all the pages I have already covered! I have been looking back over my little sketch of James and it is quite stylish. Is it true however? Well, it is not totally misleading, but it is far too short and ‘smart’. How can one describe real people? James looks, in my description of him, so complete, so hard. I have omitted to say that he has little square teeth and an inane childish grin. Sometimes his mouth hangs vacantly open. He has a hooked nose and a dark complexion. Aunt Estelle was rather dark too. Perhaps she had Red Indian blood?
I must work harder on these portraits. Perhaps that is what this book will turn out to be, simply my life told in a series of portraits of the people I have known. What a funny heterogeneous crew: Clement, Rosina, Wilfred, Sidney, Peregrine, Rita, Fritzie, Jeanne, Al Bull . . . I must write about Clement. She is the main theme. How mad and bad she became at the end when she had lost her beauty and was losing her wits. And what a bitchy old bore she was, telling the same scandalous obscene stories over and over again. That terrible atmosphere in her flat, the smell of drink, the smell of tears and hysterics. Her deep sonorous drunken voice droned on in endless recrimination. Did I face it well? I think I did. Forgiveness and mercy were so ready to hand as soon as I knew that she was doomed. That sounds cynical. I always loved her; and we were rewarded. At the very end we were both perfect. Poor Clement. That is a dreadful land, old age. I shall soon be entering it myself. Is that why I feel I need Lizzie?
I am writing this the next morning. I was sitting writing the above late last night in my drawing room when something very disconcerting happened. I looked up and was for a moment perfectly sure that I saw a face looking at me through the glass of the inner room. I sat absolutely still, paralysed by sheer terror. The vision was only momentary but, although I cannot now describe the face, very definite. Perhaps it is significant that I cannot remember the face? After an interval of course I got up to investigate. The new oil lamp is easy to carry so I was not reduced to peering about with a candle. And of course there was nothing to be seen. I even walked round the house. I felt, I must confess, very odd. I went, with a sort of deliberate slowness, up the stairs to bed and took a sleeping pill. I thought I heard the bead curtain clinking in the night, but that is a natural phenomenon. A little wind has arisen today and the sea is blue and white again.
I have considered two possible explanations of my apparition. One is that it was simply a reflection of my own face in the blackness of the glass. But (unless I had unconsciously risen?) I was sitting well below the level at which I could have been thus mirrored. Also, the face appeared rather high up in the window, and so (a further thought) must have belonged to a very tall person or to someone standing on something. (Only there is nothing to stand on, since I have moved the folding table in here.) Another theory I shall check tonight. The window that gives onto the sea was uncurtained and there was an almost full moon. Could I have seen the moon reflected in the inner glass?
‘Everything is full of gods’, cousin James once said, quoting somebody. Perhaps I have been surrounded by little gods and spirits all my life, only the magic of the theatre exorcized or absorbed them? Theatre people are notoriously superstitious. Now we are all alone together! Well, I have