Will Self - My Idea of Fun

‘I'm sorry, Master, there's nothing I can do, it's the sheer weight of traffic.’

‘Mere weight of traffic? Mere weight of traffic? What the hell are you talking about, man, there's nothin’ “mere” about this — we're completely hemmed in and’ — he checked his Rolex — ‘running late.’

‘I don't think you heard me correctly, Master, I said “sheer weight of traffic”.’

There was silence for two or three beats until The Fat Controller managed to take this on board and then, of course, he began to laugh. ‘Ahahaha! Hahahaha! “Mere” for “sheer”, ahahaha! That's very good — very fine, doncha’ think so, Hieronymus?’

‘It is extraordinarily diverting,’ Gyggle effused, ‘and it reminds me that we've yet to introduce our young friend to Mr Souvanis — ’

‘Oh, I know who he is,’ Ian broke in. ‘He does point-of-sale leaflet dispensers for D.F. & L., runs a little outfit in Clacton called Dyeline.’

‘That's right,’ said The Fat Controller. ‘And we're giving him the contract for the “Yum-Yum” standing booths. I do hope he'll be able to fulfil it — he's getting so chubby that I fear for his engorged heart; it may just pack up one of these days, or else he'll get some terrible cancer of the fat, disappear in a great greasy white truffle of sarcoma, yech!’

‘What he really needs,’ said Ian, choosing his words and placing them carefully in the car's close and hilarious atmosphere, ‘is an oinkologist.’

‘Ha-ha-ha-ha!’ The Fat Controller went critical with laughter, his great neck swelling up redly, like Dizzy Gillespie's when he used to hit a high note. ‘Oh my God, don't! Hahahahahaha! It is too, too funny, “an oinkologist”. D'ye like that, Souvanis? You're a porky little bugger, aren't you?’ He grabbed a fold of the dewlap beneath the Greek's chin and started to tug at it, syncopating his tugs with his rap: ‘Piggy, piggy, piggy, oink, oink, oink — oinkology!’ After a while Ian joined in, grabbing a fold of Souvanis's neck, then Gyggle did as well; and that's how the three of them spent the rest of the journey, teasing and hurting the poor man.

The Money Critic squinted down from his window at the three men as they crossed the central courtyard of the Barbican in the late-afternoon sunlight. He knew the fat man who waddled in front as Samuel Northcliffe, banker and financier. The tall thin man with the preposterous ginger beard he knew as Hieronymus Gyggle, a psychiatrist with pretensions to understanding the psychology of the markets. The third man, who was much younger and whose face was rather unpleasantly soft and eroded at the edges, he didn't recognise.

The Money Critic turned from the window and picked his way across the main room of the flat to where the entryphone was clipped on the wall. He waited for it to buzz, his face drawn into a desperate predatory mien. He had made it very clear to Northcliffe on the phone, when he called to make the appointment: ‘Please be sure to give the buzzer the lightest of presses, don't push it right in — there's no need, one very light touch is all that's required. You must understand that the least sound is exquisite torture to me, I insist on silence, reverent silence.’ But despite this he was convinced that Northcliffe would forget his injunction — he wasn't mistaken.

In the nanosecond that had elapsed while he ran through this speech in his mind, the buzzer started to sound and to the Money Critic's ears it was horribly loud and insistent. (Although in actual fact he had had the mechanism adjusted so that the noise it made was no louder than an insect's agitated wing.) He fumbled in agony for the handset and, pressing it to his large, cartilaginous, sensitive ear, breathed, ‘Yes?’

‘It's Northcliffe here,’ bellowed The Fat Controller down the entryphone. ‘I've got Dr Hieronymus Gyggle and Ian Wharton from D.F. & L. Associates with me. May we come up?’

‘Oh yes, I suppose so but please, please remember — ’

‘I know, “the least sound is exquisite torture” to you, we know, don't rupture yourself over it.’

The Money Critic pressed the button to admit them to the block and retreated to the sanctity of his armchair.

There was barely room in the aluminium box for the three of them. As it accelerated upwards The Fat Controller expostulated, ‘Pah!’ and sprayed Gyggle and Ian with musty saliva. ‘Pah!’ he reiterated. ‘The man's an utter poove, “The least sound is exquisite torture to me”.’ He parodied the Money Critic's breathy tones. ‘I think the man's a complete fraud.’

‘Yes, yes, maybe — ’ Gyggle was staring at the ceiling as he spoke. ‘But fraud or not he is a successful one and people listen to him.’

‘Oh I know it,’ said The Fat Controller, ‘don't I just.’ The trio relapsed into silence. Alighting from the lift they proceeded to the door of the flat. The Fat Controller was just about to beat it down, his frozen turkey of a hand raised up for the task like a sledge hammer, when it swung open.

The Money Critic was wearing a floor-length djellaba of unparalleled richness, patterned with interlocking geometrical shapes and financial symbols. The robe was iridescent even in the muted light of the flat. As soon as he had opened the door he worked his way back to his high-backed Queen Anne armchair, where he picked up his bone-china cup and took a sip of a rarefied tisane. He didn't invite the trio to sit and indeed they couldn't have even if they had wanted to, for there were no other chairs.

Instead, the whole floor of the room which the front door opened into was covered with irregular piles and heaps of money. Money of all kinds: neat stocks of freshly printed bank notes as slick as stationery; plastic rolls of new coinage broken into elbows; used notes of all denominations and currencies, stacked in loose bundles; necklaces of cowrie shells; criss-crossed stacks of lead and iron plugs; notched bones; the filed teeth of narwhals; totemic spirit boards; myriads of different kinds of share-issue certificates, government bills, gilts, bonds (junk and otherwise) from all the two hundred and fifty-two countries of the world; dry-cleaning tokens; Indian State Railway chitties; Luncheon Vouchers; pemmican; piltjurri; balls of crude opium; pots of cocaine basta; gold (in HM Government ingots, also US issue from Fort Knox and Reichsbundesbank wartime loot still stamped with the Nazis’ bonnet mascot eagle); other ingots of precious metals; diamonds, pearls, emeralds and dustbin bags full of semi-precious stones; and all kinds of plastic — there was a great slick drift, made up solely of service-till cards, which flooded into the kitchenette.

Here and there, there was an item of what might of been furniture, faintly visible beneath the riot of dosh, but overall the impression the Money Critic's room gave was of a relief map of currencies, in which the lumpings and moundings of diverse kinds indicated their relative liquidity and value.

The Money Critic's room was the room of a man who criticised money with a vengeance; for into these expensive spits and promontories of pelf there was written clear evidence of careful lapidary arrangement. There was nothing in the least vulgar about this, rather, the same mind that had conceived of the collection as an opportunity to demonstrate the raw mechanics of money — its great gearing, both into itself and into the subsidiary world of things — had also chosen to regard the things-that-were-money as aesthetic objects in their own right. A lacy bridal veil pinned with high-denomination drachma notes was draped over the lampshade; the sunlight from the window fell through — and was filtered by — a collection of abacuses that were ranged along the sill, each one like a miniature Venetian blind.

‘Well, this is cosy,’ exclaimed The Fat Controller. He shouldered his way to the centre of the room and stood there breathing noisily through his shofar nose.