Читать книгу The Squire Quartet - Brian Aldiss - Страница 11

Ermalpa, September 1978

Two men were walking in Mediterranean sunlight only four blocks from their hotel.

An observer following behind them would have learnt much from their backs. One was a comparatively small-built man, with thick heels on his shoes to compensate for a lack of height. He was thin almost to the point of being emaciated, so that, as he talked, which he did with a wealth of gesture, his shoulder blades could be seen moving beneath his jacket like two ferrets working back and forth in a cage.

He wore a brown suit with a faint yellow stripe, a neat suit light enough in weight for the climate, but somewhat worn. It was shiny round the seat. It was an expressive suit, the jacket flapping slightly as its owner vigorously demonstrated a point, or looked up sharply laughing, to see if his companion was also enjoying the joke. This sideways glance would have enabled an observer to catch a glimpse of a thin yellowish cheek belonging to a man slightly on the shady side of forty, and a neat beard shot through with grey.

The feature that announced the man in most companies, however, was his flow of copper hair. As if to compensate for the meagreness of his stature, the colourlessness of his cheek, his hair blazed. He wore it amply, down to his collar. In the sixties, it had trailed considerably further down his backbone. Now as then, it showed no white hairs.

The hands, when they appeared, were small and sharp, more useful in debate than games. They were the chief illustrators of gesture, and scattered words rather than spreading them evenly. Their possessor was a Frenchman by the name of Jacques d’Exiteuil, the chairman of the conference.

D’Exiteuil’s companion was taller and more solidly built than he, and stooped slightly, although he was at present walking briskly and with relish, smiling and nodding his head in a genial manner at d’Exiteuil’s remarks. The observer would not have seen a slight developing paunch, although he would certainly have noticed the bald spot below the crown of the head. The surrounding hair was decidedly sandy, with a crisp dry curl to it. The white hairs in it were no more plentiful than d’Exiteuil’s, though the latter was the younger of the two men by some eight or nine years.

The taller man wore slacks of light brown colour and fashionable cut, with a neat Scandinavian canvas jacket patterned with vertical stripes of red, brown, and white. The jacket fitted smoothly across strong shoulders. This man also gesticulated as he spoke, but his gestures, like his walk, were looser than his companion’s and less precisely aimed. When he turned his head, a powerful countenance was revealed, tanned of cheek, with heavy lines – not necessarily misanthropic – running from nose to chin, bracketing a full, square mouth.

He was guest of honour at the conference, and he signed his cheques Thomas Squire or, more impressively, Thomas C. Squire.

Although the scene and the city were strange to them, neither Squire nor d’Exiteuil paid much attention to their surroundings, beyond stepping out of the way of the occasional more aggressive pedestrian who refused to move out of their path. They were discussing the state of the world, each from his own point of view. Both had strong and opposed beliefs, and blunted some of the force of what they had to say in order to proceed without undue argument.

The first day’s business of the conference was about to start. The two men worked in different disciplines. D’Exiteuil was primarily an academic, with a good position in the Humanities Faculty of the Sainte Beuve University in Paris. He and his wife Séverine d’Exiteuil had made several experimental films. Squire was a small landowner, a director of a London insurance firm, and an exponent of popular aesthetics. He had become something of a national hero in the late sixties, when he planned and executed the Hyde Park Pop Expo in London. For that spectacular event, he had received the CBE. His more recent television work had reinforced his success.

The conference was d’Exiteuil’s brainchild.

D’Exiteuil and Squire had known each other for many years. They corresponded irregularly and met occasionally – the previous New Year at Squire’s publisher’s home outside London, or at conferences or symposia, once in San Francisco, once in Stockholm, once in Poland, and twice in Paris.

Though they were in some respects enemies, they shared close common interests. The Frenchman recognized in the Englishman knowledge and wit; the Englishman recognized in the Frenchman integrity and application. All these qualities both admired. Because they could also be useful to each other, they had discovered a way to talk to each other, which seemed, over the years, to function effectively.

The relationship, while not a friendship, had proved more durable than many friendships, and was valued by both men.

When they came to the bottom of the side street down which they had been progressing, they reached an entry to the harbour. Before them stood a low double wall, in the middle of which had been planted bedding plants and cacti. The two men stood by the wall, looking across at a desolate area which stretched between them and the water; it was given over mainly to cracked concrete, grass, and dull square concrete buildings left over from Cubist paintings. An old lorry moved slowly among cranes. In the distance were warehouses, wharves, warning notices. Then the sea, or a section of it, tamed by a confining wall which terminated in a lighthouse. Beyond that wall lay the Mediterranean.

‘Looks promising,’ Squire said.

‘I don’t mind sitting on a beach with a book,’ d’Exiteuil said, ‘but I can’t bear going on or in the sea. Are you a yachtsman?’

‘Not really, but I did once sail right round Sicily with a couple of friends. I wouldn’t mind doing it again. Shall we go and stand at the water’s edge?’

D’Exiteuil looked smartly at his wrist watch.

‘We’d better go back to the hotel. It is fourteen minutes to nine o’clock. You and I have to set a good international example, Tom. On the first day, if not later.’ His English was fluent and almost without accent.

‘As you say.’ A headland crowned with palm trees stretched out into the sea to one side of the harbour, and there a white sail could be seen.

As they turned away, a boy ran up carrying newspapers. D’Exiteuil bought a copy and scanned the front page.

‘The Pope sends a message to the peoples of Poland.’ He ran a finger further down the page. ‘Scientists forecast 20,000 cool years ahead. The glaciers retreated to their present positions about 11,000 years ago, but now the cooling is beginning again. During the next 20,000 years, we can expect that considerable depths of ice will build up over the Northern Hemisphere. They could reach as far south as Milan. The cause is irregularities in the Earth’s orbit.’

He looked up, grinning.

‘So says Oggi in Ermalpa. It means the end of England.’

‘Yes, and France. Not a political collapse but a geophysical one.’

They walked briskly up a side street, where men in aprons were sweeping shop fronts, brushing water into the gutter. The first side street they had tried was entirely blocked by parked Fiats, beached like whales on either pavement as well as down the centre of the roadway. The street they were traversing held a mixture of offices, apartments, shops, and a restaurant or two. Outside one of the restaurants, men in shirt-sleeves were unloading containers of fish from a cart. They paused to allow the two visitors to pass.

The top of the street formed an intersection with the broad Via Milano. The Via Milano divided its opposing traffic flows with narrow islands of green on which palm trees grew. Traffic was thick at this hour.

A short distance along on the other side of the road, the Grand Hotel Marittimo faced them. It had a heavy facade of lichenous stone, with a high portico imitating a grander structure. It was set back only slightly from the uproar of the road. Despite its name, it offered its guests no glimpse of the sea from its old-fashioned bedroom windows. Last century, perhaps, it had stood where it could command a splendid view of the sailing ships in the harbour. Since then, upstart lanes of banks, offices and shops had come between it and the water.

Above the entrance, a nylon banner hung. On it were the words:

FIRST INTERNATIONAL CONGRESS OF INTERGRAPHIC CRITICISM

Of the four doors of thick plate glass set inside its porch, only one opened. The two men bowed to each other and went through it.

The heat, light, and noise of the outside were replaced by a melancholy coolness.

The foyer of the Grand Hotel was extremely capacious. Its floors and balustrades gave an impression of marble, its reception desks of fumed oak. To either side, this effect tailed off into cloakrooms or petty chambers in which a man might wait for a mistress, or smoke a cigar, or pretend to write a letter. In one petty chamber stood a glass case offering Capodimonte pottery and other objects to the tourists’ gaze. A similar case (both with curly bronze feet, betraying their age) displayed a number of silk ties.

Such subsidiary matters did not detract from the chief glory of the foyer, a centrally placed white marble of Paolo and Francesca in the Second Circle of Hell, by Canova. Squire had identified it as soon as he entered the hotel the previous evening, recalling involuntarily the volume of Dante’s Inferno with Doré illustrations, which his father had bought, and the line where Dante comments on the fate of these lovers:

Alas! by what sweet thoughts, what fond desire,

Must they at length to that ill pass have reached!

When he had first read the passage, he had been too innocent to understand what the lovers had done to deserve such punishment. This morning at the hotel breakfast table, between pineapple juice and bacon and eggs, he had written a postcard to his daughters, referring to the statue jokingly as ‘two undressed people retreating from something rather nasty’. Whilst writing, he had averted his mind from the actual situation of Ann and Jane, who were in the care of his sister Deirdre in Blakeney.

The postcard had come from a temporary stall set up on the threshold of the conference hall. The stall had extended itself this morning, and was staffed by smiling students, two girls, presumably from the faculty of Ermalpa University involved with the conference. Prominent on the bookstall among other titles were the English edition of Frankenstein Among the Arts, published by Webb Broadwell, and the new Italian translation of the same, Frankenstein a ‘la Bella Scuola’ in its glowing orange jacket. Also on display was the American paperback edition of Squire’s earlier book, a collection of essays entitled Against Barbarism. It was published when television had still to make him famous, and had not achieved an Italian translation.

Standing by the bookstall was a white board announcing that the television series had been captured on videotape and would be shown in its entirety over the four evenings of the conference, Wednesday to Saturday inclusive, at twenty-three hundred hours. In the small conference hall. No admission charge.

Delegates were crowding round the stall, which did brisk business. A number of other delegates stood about the main foyer, in groups or singly. The sight of them was enough to remind d’Exiteuil and Squire, if they needed reminding, that they were fragments of a greater whole, and they moved away from each other without a word of parting.

The polyglot d’Exiteuil appeared to know everyone here. He could have been observed at breakfast, making a courteous round of the tables, welcoming his guests. Squire, who spoke no Italian, knew few people. He moved politely among the delegates, smiling and nodding.

‘Ah, Signor Squire. Good morning.’

Squire looked at the slender man who confronted him. He was fairly typical of what Squire regarded as the medium-young generation of Italians: born after the Second World War ended, but torn by the divisiveness of the peace. He had dark liquid eyes, which darted nervously about as if the foyer was full of enemies. He had a trim beard, kept his hair oiled and combed, wore a cappuccino-coloured suit, and was remarkably tidy. His manners were polite; he had a certain style; and there were many men rather like him.

This man Squire could identify. His nervous eagerness was familiar.

‘Carlo Morabito,’ he said, holding out his hand. ‘Animal Behaviour. You remember me? How nice to see you here, Signor Squire. I never dreamed you would be in Sicily. You have taken a walk already?’

As they shook hands, Squire said, ‘I was up early. I am a yoga freak.’ Seeing the other’s blank look, he said, ‘I practise yoga.’

‘Oh, you practise yoga, eh? I now work at the University of Ermalpa. Before, I was at Milan, when we last met at your Norwich Symposium, three years away.’

At that, Squire’s memory grudgingly yielded a few details. With help from the University of East Anglia, he had organized a symposium on Animals in the Popular Imagination, which had turned into a lot of fun for the local children, if nothing else. Morabito, already making his name in his field, had been invited to contribute, and had been almost as big a success as Desmond Morris.

‘That was a good occasion.’

‘You know, Signor Squire, best time for me was when we finished the symposium and you kindly drove me to your lovely house. We had tea on the lawn and your wife served it, helped by another lady. It was a perfect English place and I don’t forget it.’

‘I remember you achieved a perfect understanding with our Dalmatian, Nellie.’

‘And with your pretty daughters.’

‘Ann and Jane. Yes, they are lovely.’

The Italian sighed, cleared his throat, shuffled his feet. ‘One day I get married also. I also would like two lovely daughters. Your wife told me when I was at your house that every year you have a pop festival in your gardens, like Woodstock and Knebworth. Is it so?’

‘They were only small festivals. Nothing grand, but great fun. We had The Who one year and they were fantastic. We’ve stopped doing it now, I’m afraid. It got too complicated and too expensive … How do you like the university here?’

‘I take you round for inspection, if you like, one evening.’ Morabito looked anxious, fixing Squire with his luminous eyes. ‘About the delegates to this conference, I have some doubts. Do you know many of them personally?’

‘Only a few. You must know many more.’

Morabito made an expressive gesture and moved closer to Squire. ‘I tell you, maybe I shouldn’t tell this, but I think many are second-rate, and you will be disappointed. Another thing – they have here the Russians.’

‘A couple of them. We’re pretty safe – they’re outnumbered. You have to invite them these days if you want to seem international.’

‘For myself, I don’t like the Russians and just having them here will not make a crowd of provincials seem at all international. You will see how these small men bow to the Russians. Excuse my saying so.’

Squire smiled. ‘I’m glad of the information. Frankly, I’m a bit lost. Are you going into the conference hall now?’

‘Yes, yes. It’s time for the procedure to start.’ He gestured Squire in ahead of him.

‘We’ll have a glass of wine together later.’

‘I will buy you one, in return for that tea-time in your English garden.’

The conference room was situated at the rear of the hotel, through a marble gallery lined by busts interspersed with plants – an elegant place in which to saunter. Beyond the gallery, the chamber in which all sessions were to be held was walled by mirrors framed in gilt. Three large chandeliers glittered over the green baize hectares of the table. At the far end of the chamber behind arches, a small area was set apart for any members of the general public who might wish to attend. Above was a balcony, in which some members of the press were gathering.

In an adjoining chamber, reached by wide shallow steps, four glass booths had been built; inside the booths the interpreters sat waiting, ready to translate anything into, or out of, English, Italian, French, and Russian. Behind the glass, their expressions were apprehensive as they watched the delegates enter.

The delegates ambled round the table, looking for their places, pushing politely.

By each place was a name card, a microphone, a folder and pencil, a shining drinking glass with a sanitary paper lid, and a bottle of San Pellegrino mineral water still beaded from the refrigerator. Thomas Squire found his name looking up at him, and sat down, laying his briefcase before him. He was seated at the top of the table, with Jacques d’Exiteuil on his right and the secretary, Gianni Frenza, beyond d’Exiteuil. On Squire’s left was a place for a delegate from the Soviet Union, Vasili Rugorsky.

At meetings elsewhere, Squire would have taken his jacket off and hung it over the back of his chair, as much to make other people feel comfortable as for his own ease. He saw that the delegates here preferred to be formal. He sat down, content to be there before his neighbours arrived; an element of ascendancy enters into everything.

He opened his folder. In it was a ballpoint pen, clipped to a timetable of the sessions of the conference with a list of speakers. Tucked into the pocket of the folder were some foil-wrapped perfumed tissues for refreshing the face and hands, and a map of the city of Ermalpa and surroundings, presented by courtesy of the local tourist board.

A separate dossier, on variously coloured papers, presented biographies of the main speakers, with Squire’s heading the list. He looked it through idly. It had been copied and abridged from Who’s Who or some similar work of reference; he reflected on how curiously little the curt sentences told of his real life.

Squire, Thomas Charles. C.B.E. (1969)

B. July, 1929. Educ: Orwell Park, Ipswich, 1937–42; Gresham School, Holt, 1942–45 (First XIV); King’s College, Cambridge, 1947–50.

Mar. Teresa Rosemary Davies, 1951. Ch. John, b. 1953; George, b. 1955 (d. 1959); Ann, b. 1965; Jane, 1966.

Nat. service. Royal Mendips, 1945–46.

BIA, Belgrade, 1946; Exhib. ‘Restoration of Serbian Monasteries’, Wellcome Hall, 1950; ‘American Noises’, Newnham College, Camb., 1950; ‘Microgroovey: Style in L.P. Record Covers’, Verlaine Gallery, London, 1954–55; ‘Piranesi Goes Pop’, ICA, 1962; ‘On the Road Roadshow’, ICA, 1965.

Regal Insurance, dir., 1951-

Lect., Univ. of East Anglia, 1958-

Prs., Anglo-Yugoslav Assoc., 1964-

Ch. and dir., Hyde Park Pop Expo, 1968. Founder, Soc. For Pop. Aesthetics, 1969. Lect. in Pop Aesthetics at Berkeley (1971), Bahrain (1973), Austin, Texas (1975) Univs. Ch., Animals in the Popular Imagination Symp., Norwich, 1975.

Pubs. Against Barbarism, 1960; Cult and Culture, 1975; Frankenstein Among the Arts, 1978.

Fellow, King’s College, Cambridge; Wolfson, Oxford.

T.V., How Serbia Served the West, 1965. Frankenstein Among the Arts, 1978.

Clubs, Travellers, Arts,

Home, Pippet Hall, Hartisham, Norfolk, England. Tel., Thursford 336.

The desiccated facts were followed by extracts from an interview published in The Times some years earlier. There was also a photograph, reproduced in green on yellow paper, but nevertheless distinct. It was, in its way, quite a famous photograph, having served as a still to advertise ‘Frankenstein Among the Arts’. Squire was dressed in a flapping canvas shirt and swimming trunks; beside him was Laura Nye in a bikini, hair streaming, in her role as Sex Symbol of the series; they were jumping through the shallow waves of the North Sea. The photo, more than the potted biog., said something about Squire’s life style.

Also included in the presentation folder were envelopes and a pad of A4 paper of good quality, handsomely decorated with the name of the Faculty of Iconographic Simulation, University of Ermalpa, Sicily. Below the inscription was the symbol of the conference, five red tulips on parallel stalks – or they could be lollipops or hearts – the iconography was deliberately ambiguous – with one stalk, the longest, branching off sideways at right angles, with a spearhead – or was it a rocketship with vapour trail? – neatly piercing a red sun. At the top of the paper on the other side, was another symbol, the symbol of the organization of which Thomas Squire was founder and president, SPA, the Society for Popular Aesthetics, with the S and the A buttressing the big P with a wide eye in its centre. Squire recognized the placing of this hieroglyph as at once a tribute to him and an insinuation. They wanted his organization.

One hundred and fifty delegates from fifteen countries were listed in the programme. The seating round the table, as a rapid computation showed, allowed for only half that number to appear. Fairly standard practice.

Squire watched the delegates seat themselves, observing their various ploys. An arrangement of pens. A watch removed from wrist and prominently displayed – LCD digital quartz most likely, to judge by its brutal shape, possibly new. A manly and immediate attack on the mineral-water bottle. Earnest writing of notes. Intense communication with one’s next-door neighbour. A deliberate stare towards the ornate ceiling. Someone whistling. Smiling. Frowning. Everything equally effective, really, in asserting one’s individuality, if one needed to do so.

Gianni Frenza, the secretary of the conference, said hello to Squire before sitting down. He was a decent solid man with a heavy face and thick shaggy hair which curled over his heavy spectacles. Probably a good family man.

Vasili Rugorsky entered with a colleague. Both bowed formally to Squire before sitting down. Rugorsky had written a curious book on Shakespeare and Evolution, which ranged Shakespearean characters on a sort of evolutionary ladder, starting with the ‘youth heroes’ like Romeo and Hamlet and proceeding through Mark Antony and Julius Caesar to Lear and Prospero. A curious work for a Russian critic. His book had been translated into French but not English. Rugorsky was a handsome man in a rather porcine way, his white hair brushed back over a good broad brow. He wore a blue double-breasted suit, with a white handkerchief protruding, neatly folded, from the breast pocket. A bit like a nineteen-forties big bandleader, thought Squire.

Rugorsky’s compatriot, according to the notice before him, which he was examining with blunt figures, was Georgi Kchevov. He was listed in the curriculum simply as ‘Leningrad critic’. Nobody knew his name. The editor who had been invited, a distinguished academician well known in the West, had not materialized; Kchevov had materialized instead. That too was fairly standard. Kchevov could be a truck driver, judging by his muscles and rugged looks. The gold-rimmed spectacles contributed a parody of a Weimar professor.

The Russians were escorted into the conference hall by one of the vulpine young academics from the University of Ermalpa who played some part in the organization of the conference. Squire observed that Kchevov spoke fluent Italian to this dignitary; Rugorsky maintained a watchful silence, blinking as he gazed about the room. He hardly looked up as the Ermalpan delegate bowed himself away.

When Jacques d’Exiteuil entered through the double doors, his copper hair gleaming, the chatter in the large room was slightly hushed. His arrival was a signal that business was about to begin. Slight but important, he smiled at all and sundry as he advanced, slipping easily from one language to another according to the nationality of the delegate he addressed. Even to the Greek …? Well, it sounded remarkably like it.

Using the biography list, Squire started to make a nationality count. Three quarters of the delegates were Italian, over half of them from the University of Ermalpa, which gave the proceedings the provincial air of which Morabito had spoken. There were ten French, five Americans, including the youthful Albert Russell Cantania, who had already made a name for himself in academic circles with his large structural work, Form Behind Formula. Had he been invited because he was likely to make a real contribution or because he had an Italian surname? Then a rabble of nationalities, including Squire himself, the only Englishman present. He was sorry to see there was no Yugoslav delegate.

The Americans, two Canadians, and two Australians, who were very young and studying in Ermalpa (and apparently invited along for the ride), all dressed in sloppy style, without ties or jackets; one Canadian wore an old T-shirt with an advertisement for something across his chest. They all seemed to be heavy smokers, lighting up as soon as they slumped into their chairs.

‘Are we going to be too hot in here, Tom?’ d’Exiteuil asked as he passed Squire and took his seat.

‘Temperature’s fine as far as I’m concerned.’

‘No windows, you notice. Poor psychological effect. Well, we will proceed. We can always scream for ice, I suppose.’

He dropped his head, looking at his watch; his hand rested on his knee. He studied it so hard that Squire looked at his own watch. Nine four on the morning of Wednesday, 13 September. It was the same time in Britain. And where was Teresa and what would she be doing? The possibilities which swam to mind in response to that question made him sigh. He took a deep breath and held it, diverting his attention. D’Exiteuil would not be studying the time but gathering his thoughts for his opening speech.

Something like calm settled round the table.

Frenza whispered to d’Exiteuil and then began speaking into his microphone without standing up. He sounded amiable and relaxed.

Putting on his headphones, Squire twiddled with the translation box. Instructions said Dial 3 for English. He switched to 3, but nothing happened. He noted that the other English-speakers were having trouble.

Then a girl’s voice entered his ear, saying in a foreign accent, ‘Sorry, he is saying some general words of welcome to delegates, from a number of important people – like the mayor of Ermalpa, I think he said, or maybe – yes, the mayor couldn’t be present. The Faculty of Icon – Iconographology Stimulation – well, yes, all from the great University here. The first ever of such international affairs on such a subject and of such an importance. To be in keeping with the modern age and find a way of accessing all the productions of all the mediums generally regarded as of little weight, which is in fact where culture, it begins. So first he’ll let Mr Sagrado from the Azienda Autonoma di Turismo di Ermalpa e Nontreale give his address to us.’

Squire glanced covertly at d’Exiteuil, but the chairman was staring ahead, following everything without headphones.

The man from the tourist office rose to his feet and spoke at some length. He praised the conference, its delegates, its objectives. He welcomed everyone to Ermalpa, and hoped that, despite the brevity of their stay, they would be able to forget work for a short while and see something of the beautiful coastline and the city and provinces which were, he could assure them, stuffed with antiquities, not only from Roman times but Norman, Arab, and Gothic periods. On the Sunday, at the close of the conference, there would be an excursion for delegates, in special luxury coaches provided by the Board of Tourism. He also expected that they would have a marvellous discussion in this room where Garibaldi was known to have been, and was only dismayed that he was unable to stay to hear their words of wisdom. He thanked them for listening and sent the mayor’s regrets.

Delegates clapped. They murmured among themselves.

The two Russians sitting on Squire’s left had remained looking straight ahead, arms folded, not even exchanging a word with each other. The Englishman was conscious of the bulk of Rugorsky in the next chair, and so prepared when the Russian turned to him and remarked, in French, ‘The speaker did not mention the cathedral at Nontreale, which is only some kilometres from here. Yet it is famous even in my country for its mosaics.’

‘I’ve heard the mosaics are very fine. I’ve not been there.’

‘Perhaps it will prove possible to go there. Perhaps one can get a coach.’

The impact of his gaze was considerable. For a moment, Squire received the impression that he recognized Rugorsky. The man’s eyes were hazel, with a golden gleam at their centre; they were fortified behind marked folds beneath the eye and cheeks positioned high on the face. Looking at Rugorsky, Squire remembered the old Russian saying, ‘Scratch a Russian and you will find a Tartar.’

‘Possibly we may talk together later.’

‘I’d be glad to. I enjoyed your book on Shakespeare.’

D’Exiteuil rose, clutching his beard.

He began to speak in English, then switched to his native language, then, with a small joke, to Italian. He spoke for about half-an-hour, about the nature of the conference and about what they should strive to achieve during the conference. He reminded delegates that they would not be allowed to talk for more than thirty minutes, because of pressure of time, but full or extended versions of their papers would be published later in the proceedings. There was tremendous interest all over the world in what had been termed ‘arts of no refinement’, the instant clichés and iconophilism in various media given off like radioactive particles by the bourgeois societies of the West. Whole genres were being born which invited categorization and scholarly attention, since these reservoirs of the dystopian imaginary were where we could go to learn most about the social dimensions of contemporary mondial life.

Changing tack slightly, and putting a small restless right hand into his trouser pocket, he went on to praise the University of Ermalpa for having established the Faculty of Iconographic Simulation, and for its foresight in setting Dottore Gianni Frenza at its head. Even better, the University had agreed – not without a couple of years of prompting from the present speaker in his watchdog role as editor of Intergraphic Studies – to host this present vitally needed conference. They had secured monies from the International Universities Foundation, for which they were most grateful. And the Ermalpa Tourist Board had been extremely helpful also. The Faculty felt that it was following parameters set down almost a decade ago by that doyen of popular culture, Thomas C. Squire, whose series of TV programmes, ‘Frankenstein Among the Arts’, had done much to further interest in a vital study area. They esteemed themselves very fortunate to have Tom Squire with them as guest of honour.

Squire appeared pleased at this, nodded to both sides of the table, and restrained himself from reaching for the water glass.

The small hand returned from its trip to the pocket and took a slow circuit through the air in a clockwise direction as d’Exiteuil explained that they hoped this First International Congress of Intergraphic Criticism would first of all promote deeper interest in polyvalent media throughout Italy, and then throughout the rest of the world, including the socialist countries.

He knew that the socialist countries had already begun to express interest, and even to study the subject academically.

As he said this, he turned slightly, to smile beyond Squire at the slightly bowed white head of Vasili Rugorsky.

‘I feel bound at this point to inject the personal note,’ the interpreter of d’Exiteuil continued. ‘I have been personally involved on this issue, and I know that all my colleagues are in general compliance that we have reached significance here only because we have taking part members of one of the foremost nations or I should say states on the planet today. It’s the home of most powerful coinages, achieved nowhere else, followed everywhere. Let’s just say without emotion how we welcome very much the two colleagues from the USSR, Vasili Rugorsky and Georgi Kchevov.’

D’Exiteuil started to clap his hands, and most of the Italian members joined in. So did the Americans. Other delegates followed suit. Squire, sitting next to Rugorsky, joined in. The applause mounted. The two Russians rose from their chairs, and stood there smiling amiably. Everyone was clapping now, smiling and nodding in agreement to each other.

‘Merci mille fois,’ said Rugorsky. There was general laughter as if a witticism had been delivered. The clapping died. The two Russians sat down. D’Exiteuil raised his left hand, palm inward, letting it drop to a horizontal position as he inclined his head with a similar movement, and then sat down himself. It was not entirely a modest gesture, not when linked with a sly little smile which chased itself into his beard. It appeared to say, ‘Well, there you are, I gave them to you. It’s what you all wanted.’

After a pause, Frenza spoke into his microphone, and the English voice in the earphones said, ‘Now our first formal speaker of our first formal session, our guest of honour, Mr Thomas Squire, will address us. Afterwards, just fifteen minutes, please. Thanks, Mr Squire, if you would …’

Squire removed his earphones, placing them on the table before him as the clapping died. He regarded the faces round the table. Sharp, intelligent, youthful, for the most part. An audience he, like d’Exiteuil, had worked for.

‘Mr Chairman, Ladies and Gentlemen, I must address you in my native tongue, and trust that the interpreters will carry my meaning to you. Will the interpreters please stop me if I go too fast?’ His mouth was slightly dry, his heart beating strongly. He was used to the effect; it gave him power and his voice resonance as he breathed deeply. In any case, it would pass as it always did when he got into his stride.

‘It’s not for me but for our hosts to say “Welcome to Ermalpa”; what I can say is welcome to a select band, the band of people who attack that great open conspiracy, critical contempt of popular culture. That band comprises not only critics but readers, viewers, and general doers. Everyone benefits from popular culture, and a reasoned critical view should be to wish to survey it, not condemn it. The pop art of one generation becomes the classic of the next; Homer was, in his day, the Bronze Age equivalent of the TV soap opera.

‘I will remind you of the simple and seminal idea of my founding of SPA, the Society for Popular Aesthetics, which has led to our present encouraging situation here, with the Faculty enjoying IUF support. As a child in the thirties and forties of this century, I was addicted to the cinema, the great popular art form of the period. I went as often as I could in the small town in which I lived. I kept lists of the films I saw, of the actors in them – not only the stars but the minor players – and of the directors and companies who made them. I could tell by the sets and the lighting whether I was watching a film made by MGM or Warner Brothers or Gainsborough.

‘All this activity was opposed by my parents. They regarded the cinema simply as a repository for trash, as too many people today regard television. In particular, they disliked the way in which I settled on two actors as my heroes. Those actors were Errol Flynn and Humphrey Bogart. Flynn was at first my particular favourite, then I shifted to Bogart. The bitter and wise-cracking character Bogart played, on whichever side of the law, spoke to me of something enduring in human nature, and personified the man who lives his life battling in obscurity, often against forces of which the rest of the world has no knowledge.

‘Although I was quite inarticulate about it, I revered Bogart. For himself and for what he symbolized. My parents came to hate him. To them, Bogart was just a gangster and, if I followed him, I should go the same way. It may sound ridiculous, but so it was; nor is that kind of unthinking opposition to living symbols defunct today. There will always be a vocal minority against whatever is vital in our culture; it prefers what is safely dead.

‘The Hollywood system as it was in its hey-day has passed away. In the hour of its downfall, critics suddenly found good things to say about it, where before they had done nothing more than sneer. As soon as Bogart had died, they did the same for him. They pretended they had always praised him. He became – as Elvis Presley did a few years ago – a great cult hero. He was dead, and safe. You recognize one of the themes of Frankenstein Among the Arts: praise only for the dead; exile, cultural exile, for the living.

‘What we hope to bring about here, and hereafter, is a much wider appreciation of what it is in popular culture which had genuine vitality, and how its roots are always based firmly in the fertile soil of the past, even when that is by no means easily apparent.

‘Which brings me to my paper. You will see from your programme that it is entitled “Since the Enlightenment”. Because of the time limit sensibly imposed on speakers, I can give only a résumé now. The full paper will be published in our proceedings, and also in the next issue of our friend Jacques’s Intergraphic Studies. Am I going slowly enough for you, interpreters?’

He caught a flash of smile in one of the boxes, and continued.

‘The subject we study is admittedly amorphous. It must often seem even to us that we are all studying different, even conflicting, subjects. I believe that not to be the case, and expect that conferences such as this one will bind more closely together not only our interests but us ourselves. To that end, I hope you will consider a proposal that we should adopt a common term for our diverse subject matter. My suggestion is, “Future Culture”. FC for short. Or perhaps you prefer “Symbols Future”. SF.

‘Under some such heading, we can consider the arts which interest us, the arts of today, the arts scorned by higher criticism in whatever field. You see them listed in your programmes: pinball machines, movies, prophecy, TV, pop art, rock’n’roll, the Top Twenty, science fiction, design, and the rest. Everything from make-up to metropolises. I have nothing against higher criticism, but its analytical tools are honed towards the objectives of its dissection. It has shown itself unable to discuss effectively our Future Culture.

‘Because Future Culture is something, according to my definition, which has sprung up since the beginning of the last century. It is either affected by, or the product of, mass-production. The machine has transformed it. A paperback novel, for instance, can be purely a product of the mass-market, designed as a unit package with its cover to sell this month at check-out point in a million supermarkets and never be seen again; or it can be a newly edited edition of Henry James’s The Ambassadors. What are the differences and similarities between a James novel and the latest catastrophe novel? It’s rich ground for investigation.

‘Some of our subjects do not claim to be art or even folk art. Car bumper-stickers. I know a man in Toronto studying them now. Are they ripe for something more than sociological study? Some subjects are simply commercial ways of doing traditional things. But are T-shirts a modern equivalent of sandwich-boards or a way of legitimizing graffiti? We have to improvise questions and answers as we go along. Virtually all arts have been touched by the change-compelling system of mass-production and mass-consumption.

‘We believe that precisely in this amorphous situation lies a hope for future acculturalization. Improvisation and spontaneity are still possible, contrary to what is sometimes argued. Older arts tend always towards formalization or even fossilization, and never more so than now, as we move towards the eighties, when global change is swift. The fluidity of non-art may become one of the staples of the future. It’s up to us to forge a methodology to help direct it constructively.

‘I see from the noticeboard in the foyer that some ingenious person on the Faculty of Iconographic Simulation has videotaped my television series, “Frankenstein Among the Arts”, and will be showing it in the adjoining small hall for the next three nights. You’ll excuse me if I stay in the bar while it’s showing – I lived with the series for so long, I almost know it by heart. Of course, it does relate closely to the subject of our discussions. But I must remind you, for all the kindness you have done me, that I am an amateur in a field where you are experts, and I took as my text for the series a tag from the philosopher Gurdjieff, which I discovered long ago in Ouspensky’s fascinating book, In Search of the Miraculous.

‘It’s a tag which many authors could use at the front of their books as a warning. Gurdjieff says, speaking of his work, “The object I had in view was to produce an interesting and beautiful spectacle. Of course there is a certain meaning hidden beneath the outward form, but I have not pursued the aim of exposing and emphasizing this meaning.”

‘Nor have I, because I am unable to. I only know that the traditions of the West, strong and honourable though they are, are insufficient to live by. We have to embrace the new and rise up to change.’