Mavis Gallant - Overhead in a Balloon

“All at once, in a rush of blinding anger, he knew what he believed. His first words were inaudible, but as he regained hold on his feelings the sense of his wild protest became clear: ‘All that money. All that money . Does he enjoy it? They say he lives in the kitchen, like a squatter. As if the house did not belong to him. He could travel. He could own things. He could have twenty-two servants. He does not deserve to have a fortune, because he doesn’t know how to use one.’

“His hostess plucked at her table napkin. She was accustomed to hearing poor young men say what they could do with money. She had heard the hunger in the voice, the incoherence and the passion. She had often aroused this longing, putting out the bait and withdrawing it, which was the only form of wickedness she knew. She seemed to be reflecting on what Prism had just said. There was no denying it was original. Who ever had seen Picasso at an auction of rare furniture? At the races, straining after one of his own horses? Photographed at a gala evening in Monte Carlo? Boarding a yacht for a cruise in Greek waters?

“ ‘What do you think?’ said Prism boldly.

“ ‘He is the most attractive man in the world. My brother would look good, too, if he could stop drinking and pull himself together. What’s your opinion of his goats?’ Prism shook his head. ‘The sculpture. You can see Picasso doesn’t care for animals. Those goats are half starved. I suppose you’ll be wanting to get to work.’

“Prism in a very short time came to the conclusion he had climbed on the wrong springboard. He saw that the anxiety and frustration of patronage, the backer’s terror of being duped, of having been taken in, was second only to the protégé’s fear of being despoiled, stripped, robbed, and left bankrupt by the side of the road. Miss Pugh did not loosen her grip on his two chapters, and even Prism’s decision that he wanted to have nothing more to do with them did not lessen the tension.

“He would not claim those two chapters today. If they followed him in the street, he would probably threaten them with an umbrella. And yet the story is his; it is his duchess, his rustic bandstand. It was also Miss Pugh’s. ‘Have you moved that poor woman out of that filthy old palace yet?’ she would ask Prism at lunch. ‘Have you found out any more about the china?’ When the leaves of Mrs. Wharton’s ash tree began to droop and turn yellow, patroness and protégé were at a stalemate that could be ended only by sincere admission of defeat. Miss Pugh was in her own house; Prism had to play the loser. One day he sat down at the Louis XVI period table in his room and considered the blank pages still in the manila envelope. He wondered if the time had not come to return to England, try for a good degree, and then teach.

“ ‘I can always branch out from there,’ he said to himself. (How easy it must have sounded.)

“He saw in his mind the museum rooms full of portraits of St. Sebastian, with nothing for protection but a thin coat of varnish. There were two opinions about the conservation of art. One claimed it was a mistake to scour paintings in order to lay bare the original colour. The other believed it was essential to do so, even if the artist had made allowances for the mellowing and darkening effect of the glaze, and even if the colours revealed turned out to be harsher than the artist had intended. Prism drew a blank sheet towards him and began to write, ‘Are we to take it for granted that the artist thinks he knows what he is doing?’ At that moment, Prism the critic was born.

“Miss Pugh was sorry when she heard he wanted to give up the duchess, but it was not her policy to engage the Muses in battle. Prism presented her with the manuscript; she gave him the crêpe-soled shoes. She was never heard to speak of him slightingly, and she read with generous pleasure all the newspaper cuttings concerning himself that he sent her over the years. Whenever he came to Paris Miss Pugh would ask him to tea and rejoiced in the rich texture of his career, which he unfolded by the hour, without tiring speaker or audience. Prism made Miss Pugh the subject of countless comic anecdotes and the central female character of Goldfinches . He was always evenhanded.”

Another Easter went by before Grippes received an acknowledgment — a modest cheque in lieu of the promised fee, and an apology: His memoir had been mailed to Victor Prism to be checked for accuracy, and Prism had still not replied. During the year sweeping changes had been made. The Angliciste had published a paper on the Common Market as seen through English fiction. It was felt to contain a political bias, and the Ministry had withdrawn support. The publisher had no choice but to replace him as editor by the only responsible person who seemed to be free at the time, a famous Irlandiste on leave from a university in Belgium. The Irlandiste restored the project to its original three volumes, threw out the English section as irrelevant, and added a division with potted biographies of eight hundred Irish poets favourable to France and the Common Market.

Grippes has heard that it is to be published in 2010, at the very latest. He knows that in the meantime they are bound to call on him again — more and more as time goes on. He is the only person still alive with any sort of memory.

At an early hour for the French man of letters Henri Grippes — it was a quarter to nine, on an April morning — he sat in a windowless, brown-painted cubicle, facing a slight, mop-headed young man with horn-rimmed glasses and dimples. The man wore a dark tie with a narrow knot and a buttoned-up blazer. His signature was “O. Poche”; his title, on the grubby, pulpy summons Grippes had read, sweating, was “Controller.” He must be freshly out of his civil-service training school, Grippes guessed. Even his aspect, of a priest hearing a confession a few yards from the guillotine, seemed newly acquired. Before him lay open a dun-coloured folder with not much in it — a letter from Grippes, full of delaying tactics, and copies of his correspondence with a bank in California. It was not true that American banks protected a depositor’s secrets; anyway, this one hadn’t. Another reason Grippes thought O. Poche must be recent was the way he kept blushing. He was not nearly as pale or as case-hardened as Grippes.

At this time, President de Gaulle had been in power five years, two of which Grippes had spent in blithe writer-in-residenceship in California. Returning to Paris, he had left a bank account behind. It was forbidden, under the Fifth Republic, for a French citizen to have a foreign account. The government might not have cared so much about drachmas or zlotys, but dollars were supposed to be scraped in, converted to francs at bottom rate, and, of course, counted as personal income. Grippes’ unwise and furtive moves with trifling sums, his somewhat paranoid disagreements with California over exchange, had finally caught the eye of the Bank of France, as a glistening minnow might attract a dozing whale. The whale swallowed Grippes, found him too small to matter, and spat him out, straight into the path of a water ox called Public Treasury, Direct Taxation, Personal Income. That was Poche.

What Poche had to discuss — a translation of Grippes’ novel, the one about the French teacher at the American university and his doomed love affair with his student, Karen-Sue — seemed to embarrass him. Observing Poche with some curiosity, Grippes saw, unreeling, scenes from the younger man’s inhibited boyhood. He sensed, then discerned, the Catholic boarding school in bleakest Brittany: the unheated forty-bed dormitory, a nightly torment of unchaste dreams with astonishing partners, a daytime terror of real Hell with real fire.