Alberto Moravia: Conjugal Love

'Of course.'

We were silent again for some little time, then I made a movement as if to take her in my arms. But she at once pushed me away: 'No,' she said, 'from this evening onwards we must stop doing that.' She laughed and, as if to soften the bitterness of her refusal, took my face between her long, slim hands — delicately, as one takes hold of a precious vase — and said: 'Now you'll see you'll write all sorts of fine things — I'm sure of it.' She looked closely at me, and then added in a strange way: 'D'you love me?'

'You don't need to ask me that,' I said, deeply moved.

'Well, you shall have me again only when you've read me the story. . Remember that.'

'And supposing I'm not able to write it?'

'You've got to be able.'

She was imperious; and this imperiousness of hers, ingenuous, inexperienced, but at the same time inflexible, was strangely pleasing to me. I thought again of the knight in the legend whose lady, in exchange for her love, demands that he shall kill the dragon and bring back the fleece; but this time I thought of him without anger, almost with admiration. She knew nothing of poetry, just as the lady probably knew nothing of the fleece and the dragon; but just because of this her command pleased me. It was as though it were a confirmation of the miraculous, heaven-sent character of all creative work. All at once there came to me a sudden exaltation mingled with confidence and hope and gratitude. I put my face close to hers, kissed her tenderly and whispered: 'For love of you, I will become a writer. . not on my own merit, but for love of you.' She said nothing. I got down from the bed and slipped out of the room.

After that I took up my work again with renewed courage; and I soon realized that my calculations had not been wrong and that, somehow or other, even if there was not that connexion between love and work that I had tried to perceive, the obsession of impotence that had oppressed me hitherto could never have been dispelled except in the way I had chosen. Every morning I felt myself stronger, more aggressive, as I faced my paper, more — at least, so it seemed to me — creative. And so, after love, the greatest aspiration of my life was fulfilled: poetry, too, smiled upon me. Every morning I wrote from ten to twelve pages, my pen flowing rapidly and impetuously but in no disorderly or uncontrolled fashion; and then, for the rest of the day, I was left dazed, stunned, half alive, with the feeling that, outside my work, nothing now mattered in my life, not even my love for my wife. All that remained after those ardent morning hours was the residue, the ashes and cinders of a glorious blaze; and until the new blaze was kindled, next morning, I was left strangely inert and detached, filled with an almost morbid sense of well-being, indifferent to everything. I saw that, if this rhythm continued, I should soon have finished my work, perhaps even earlier than I had foreseen; and I felt that I must exert myself in every possible way to gather in the last grain of this bountiful and unexpected harvest: nothing else, for the moment, mattered. To say that I was happy would be saying too little, and at the same time too much: I was, for the first time in my life, outside myself, in an independent, perfect world all made up of harmony and certainty. This state made me selfish; and I suppose that, if my wife had fallen ill at that moment, I should have felt no other anxiety but that of a possible interruption of my work. Not that I did not love my wife; as I have said, I loved her more than ever: but she was, as it were, relegated to a detached, remote region, together with all the other things that had nothing to do with my work. I was, in fact, convinced, for the first time in my life, not merely that I had found self-expression — a thing that I had attempted a thousand times without success-but also that my self-expression was taking a perfect and complete form. In other words, I had the precise sensation, founded, it seemed to me, on my experience as a man of letters, that I was writing a masterpiece.

AFTER working all the morning, I spent the afternoon in the usual way, being careful only to avoid sudden emotions and shocks and distractions; though in appearance far removed from literature, I was in reality, in the dark depths of my mind, gloating with affectionate delight over what I had written during the morning and what I intended to write next day. Later, at bed-time, I said good night to my wife on the landing between the doors of our two rooms, and went straight to bed. I slept with a feeling of confidence I had never known, conscious, as it were, that I was accumulating the fresh energies that I would expend upon my work next morning. On awaking I felt ready and well-disposed, light and vigorous, my head filled with ideas which had sprung up there during sleep like grass in a meadow during a night of rain. I sat down at my desk, hesitated only one minute, and then my pen, as if moved by an independent will, would start running over the sheets of paper, from one word to another, from one line to the next, as though between my mind and the ceaselessly unfolding arabesque of ink upon paper, there were neither interruptions of continuity nor any difference in material. I had inside my head a large and inexhaustible reel of thread and, by my act of writing, all I did was to pull and unwind this thread, arranging it on the sheets of paper in the elegant black patterns of handwriting; and in this reel of thread there were no knots or gaps; and it went round and round in my head as I unwound it; and I had the feeling that, the more I unwound it, the more there was to unwind. As I have already said, I would write from ten to twelve pages, urging myself to the point of physical exhaustion, fearful above all that this flood of activity might, for some mysterious reason, suddenly decrease or even dry up altogether. At last, when I could do no more, I would rise from my desk with tottering legs and a feeling of giddiness in my head, walk over to a mirror and look at myself. There in the mirror I could see, not one but two, or even three, images of myself slowly doubling and redoubling as they mingled and criss-crossed each other. A long and careful toilet would put me right again, although, as I have said, I remained dazed and stunned all the rest of the day.

Later, at table, I ate with a hearty, automatic appetite, feeling, almost, that I was not a human being at all but an empty machine that required to be filled up again with fuel after several hours of fierce efficiency. As I ate I laughed and joked and even made puns — quite a new thing for me, who am usually serious and thoughtful. As always happens with me when, for some reason or other, I yield to enthusiasm, there was a sort of indiscreet quality, almost an immodesty, in this exuberance of mine: I was aware of it, but whereas once I should have been ashamed of myself for giving way to it, I was now almost pleased with myself for displaying it. There I was, sitting at table, facing my wife, in the act of eating; but really I was not there at all. The best part of me had remained in my study upstairs, at the writing table, pen in hand. The rest of the day passed in the same atmosphere of gaiety — the rather disconnected, extravagant gaiety of a drunkard.

Had I been less enthusiastic, less intoxicated with good fortune, I might perhaps have recognized in the productiveness of those days the presence of that same quality of goodwill that I sometimes thought I could detect in my wife's attitude towards me. To express it differently, and without inferring that the story I was in process of writing was not the masterpiece I believed it to be, the thought might have entered my head that all this was too good to be true. Perfection is not a human thing; and more often than not, it resides in falsehood rather than in truth, whether that falsehood becomes established in the relations between us and other people or presides over the relations between us and ourselves. For, in order to avoid the ugly irregularities and roughnesses of the truth, a fabrication which achieves its purpose without obstacles or misgivings is more effective than a scrupulous mode of action which sticks closely to the matter in hand. As I have said, I might have become suspicious of my affairs going so smoothly, after ten or more years of fruitless attempts. But happiness, besides making us selfish, often makes us thoughtless and superficial as well. I told myself that my meeting with my wife had been the spark which had at last set alight this great and generous blaze; and beyond the recognition of this fact I did not go.