George Orwell - The Essential Works of George Orwell

'Mister Com-stock!'

Gordon went to the door. 'Yes?' he called down.

'Your supper's been waiting for you this ten minutes. Why can't you come down and have it, 'stead of keeping me waiting for the washing up?'

Gordon went down. The dining-room was on the first floor, at the back, opposite Flaxman's room. It was a cold, close-smelling room, twilit even at midday. There were more aspidistras in it than Gordon had ever accurately counted. They were all over the place—on the sideboard, on the floor, on 'occasional' tables; in the window there was a sort of florist's stand of them, blocking out the light. In the half-darkness, with aspidistras all about you, you had the feeling of being in some sunless aquarium amid the dreary foliage of water-flowers. Gordon's supper was set out, waiting for him, in the circle of white light that the cracked gas-jet cast upon the table cloth. He sat down with his back to the fireplace (there was an aspidistra in the grate instead of a fire) and ate his plate of cold beef and his two slices of crumbly white bread, with Canadian butter, mousetrap cheese and Pan Yan pickle, and drank a glass of cold but musty water.

When he went back to his room the oil-lamp had got going, more or less. It was hot enough to boil a kettle by, he thought. And now for the great event of the evening—his illicit cup of tea. He made himself a cup of tea almost every night, in the deadliest secrecy. Mrs Wisbeach refused to give her lodgers tea with their supper, because she 'couldn't be bothered with hotting up extra water', but at the same time making tea in your bedroom was strictly forbidden. Gordon looked with disgust at the muddled papers on the table. He told himself defiantly that he wasn't going to do any work tonight. He would have a cup of tea and smoke up his remaining cigarettes, and read King Lear or Sherlock Holmes. His books were on the mantelpiece beside the alarm clock—Shakespeare in the Everyman edition, Sherlock Holmes, Villon's poems, Roderick Random, Les Fleurs du Mal, a pile of French novels. But he read nothing nowadays, except Shakespeare and Sherlock Holmes. Meanwhile, that cup of tea.

Gordon went to the door, pushed it ajar and listened. No sound of Mrs Wisbeach. You had to be very careful; she was quite capable of sneaking upstairs and catching you in the act. This tea-making was the major household offence, next to bringing a woman in. Quietly he bolted the door, dragged his cheap suitcase from under the bed and unlocked it. From it he extracted a sixpenny Woolworth's kettle, a packet of Lyons' tea, a tin of condensed milk, a teapot and a cup. They were all packed in newspaper to prevent them from chinking.

He had his regular procedure for making tea. First he half filled the kettle with water from the jug and set it on the oil-stove. Then he knelt down and spread out a piece of newspaper. Yesterday's tea-leaves were still in the pot, of course. He shook them out onto the newspaper, cleaned out the pot with his thumb and folded the leaves into a bundle. Presently he would smuggle them downstairs. That was always the most risky part—getting rid of the used tea-leaves. It was like the difficulty murderers have in disposing of the body. As for the cup, he always washed it in his hand basin in the morning. A squalid business. It sickened him, sometimes. It was queer how furtively you had to live in Mrs Wisbeach's house. You had the feeling that she was always watching you; and indeed, she was given to tiptoeing up and downstairs at all hours, in hope of catching the lodgers up to mischief. It was one of those houses where you cannot even go to the WC in peace because of the feeling that somebody is listening to you.

Gordon unbolted the door again and listened intently. No one stirring. Ah! A clatter of crockery far below. Mrs Wisbeach was washing up the supper things. Probably safe to go down, then.

He tiptoed down, clutching the damp bundle of tea-leaves against his breast. The WC was on the second floor. At the angle of the stairs he halted, listened a moment longer. Ah! Another clatter of crockery.

All clear! Gordon Comstock, poet ('of exceptional promise', The Times Lit. Supp. had said), hurriedly slipped into the WC, flung his tea-leaves down the waste-pipe and pulled the plug. Then he hurried back to his room, rebolted the door, and, with precautions against noise, brewed himself a fresh pot of tea.

The room was passably warm by now. The tea and a cigarette worked their short-lived magic. He began to feel a little less bored and angry. Should he do a spot of work after all? He ought to work, of course. He always hated himself afterwards when he had wasted a whole evening. Half unwillingly, he shoved his chair up to the table. It needed an effort even to disturb that frightful jungle of papers. He pulled a few grimy sheets towards him, spread them out and looked at them. God, what a mess! Written on, scored out, written over, scored out again, till they were like poor old hacked cancer-patients after twenty operations. But the handwriting, where it was not crossed out, was delicate and 'scholarly'. With pain and trouble Gordon had acquired that 'scholarly' hand, so different from the beastly copperplate they had taught him at school.

Perhaps he would work; for a little while, anyway. He rummaged in the litter of papers. Where was that passage he had been working on yesterday? The poem was an immensely long one—that is, it was going to be immensely long when it was finished—two thousand lines or so, in rhyme royal, describing a day in London. London Pleasures, its name was. It was a huge, ambitious project—the kind of thing that should only be undertaken by people with endless leisure. Gordon had not grasped that fact when he began the poem; he grasped it now, however. How light-heartedly he had begun it, two years ago! When he had chucked up everything and descended into the slime of poverty, the conception of this poem had been at least a part of his motive. He had felt so certain, then, that he was equal to it. But somehow, almost from the start, London Pleasures had gone wrong. It was too big for him, that was the truth. It had never really progressed, it had simply fallen apart into a series of fragments. And out of two years' work that was all that he had to show—just fragments, incomplete in themselves and impossible to join together. On every one of those sheets of paper there was some hacked scrap of verse which had been written and rewritten and rewritten over intervals of months. There were not five hundred lines that you could say were definitely finished. And he had lost the power to add to it any longer; he could only tinker with this passage or that, groping now here, now there, in its confusion. It was no longer a thing that he created, it was merely a nightmare with which he struggled.

For the rest, in two whole years he had produced nothing except a handful of short poems—perhaps a score in all. It was so rarely that he could attain the peace of mind in which poetry, or prose for that matter, has got to be written. The times when he 'could not' work grew commoner and commoner. Of all types of human being, only the artist takes it upon him to say that he 'cannot' work. But it is quite true; there are times when one cannot work. Money again, always money! Lack of money means discomfort, means squalid worries, means shortage of tobacco, means ever-present consciousness of failure—above all, it means loneliness. How can you be anything but lonely on two quid a week? And in loneliness no decent book was ever written. It was quite certain that London Pleasures would never be the poem he had conceived—it was quite certain, indeed, that it would never even be finished. And in the moments when he faced facts Gordon himself was aware of this.

Yet all the same, and all the more for that very reason, he went on with it. It was something to cling to. It was a way of hitting back at his poverty and his loneliness. And after all, there were times when the mood of creation returned, or seemed to return. It returned tonight, for just a little while—just as long as it takes to smoke two cigarettes. With smoke tickling his lungs, he abstracted himself from the mean and actual world. He drove his mind into the abyss where poetry is written. The gas-jet sang soothingly overhead. Words became vivid and momentous things. A couplet, written a year ago and left as finished, caught his eye with a note of doubt. He repeated it to himself, over and over. It was wrong, somehow. It had seemed all right, a year ago; now, on the other hand, it seemed subtly vulgar. He rummaged among the sheets of foolscap till he found one that had nothing written on the back, turned it over, wrote the couplet out anew, wrote a dozen different versions of it, repeated each of them over and over to himself. Finally there was none that satisfied him. The couplet would have to go. It was cheap and vulgar. He found the original sheet of paper and scored the couplet out with thick lines. And in doing this there was a sense of achievement, of time not wasted, as though the destruction of much labour were in some way an act of creation.