Anthony Powell - Temporary Kings

‘The point I remember about Glober was that he seemed rather intelligent.’

‘Ah-ha.’

The answer was non-committal, possibly disapproving, either because Gwinnett thought such a judgment, even if favourable, impertinent to pass on another human being, or because he was himself reluctant to allow the laurels of intelligence to decorate a brow of Glober’s type. As not seldom when Americans utter that sound, hard to transliterate, I was uncertain. We talked of some of the reputed exploits; the blazing Hollywood restaurant from which Glober had carried shoulder-high down a ladder a famous film star — Dietrich, Hepburn, Harlow — neither of us was certain of the heroine; the methusalem of champagne that burst celebrating the return from Europe of Texas Guinan; the fight (almost won) in some night-club with an ex-middle-weight champion of Australia. A reporter never seemed far away to chronicle these vignettes of Glober as a picturesque or glamorous figure, his own clear-cut sense of the dramatic occasion endearing him to press and public wherever he went. Even in England, where he was not much known, editors instinctively printed the intermittent Glober item, compressed into a couple of lines on the back page. I mentioned that.

‘Would they report him today?’

‘Perhaps not.’

‘Glober must be about washed up.’

‘What is he? In his sixties? Just about.’

Gwinnett gave the impression of not greatly caring for the idea of Glober, at the same time granting some respect to a romantic so unusually successful at giving public expression to his romanticism; showing ability too, even if a fluctuating one, in making a success of financial ventures. My own memory of Glober was far from unsympathetic, even if he now sounded rather different — though not all that different — from the young American first set eyes on. The mere fact that he was staying with Jacky Bragadin for the Film Festival, that he had been car-racing in Germany, argued survival powers of a sort; resilience not always found in characters of his type.

‘Who’s he married to now?’

Glober’s wives had always been beauties. Once, very briefly, he had been husband of a world-famous film star. These unions lasted only a few years before being dissolved; soon renewed in similar fashion to the accompaniment of further widespread exudations of publicity in the appropriate quarters.

‘No one, so far as I know. His last wife died quite a long while ago. They’d been wed only a very short time. It was leukemia, I think. Glober was photographed kneeling at her grave. There was a blanket of lilies, and, on a card written large enough to read in a newspaper picture, a message: Farewell, Fleurdelys, farewell, fair one .’

‘Fleurdelys was her name?’

‘It looked almost as if Glober was lying in the grave.’

Gwinnett spoke with an odd sense of excitement. He stared at me hard. I did not know quite whether he were criticizing Glober, or applauding him, expressing irony or admiration. The thought of what Dr Brightman had said about the dead girl came back.

‘He was in a different mood when I met him.’

That had been towards the end of the nineteen-twenties. Glober had arrived in London as representative of a recently founded New York publishing house. Even before he landed, his name went round among the London publishers as a young American colleague with a head full of bright new ideas; by no means an unqualified recommendation to that particular community. Glober came to call on my own firm. He saw Daniel Tokenhouse. One of the bright ideas was the Cubist series. The suggestion was to produce generously illustrated, cheaply produced studies of these painters, blocks to be made in Holland or Germany by some newly devised process. Apart from the fact that the Cubists were still very generally regarded as wild men, if not worse, certainly unwise to encourage, transactions that included overseas production always entailed risks not every publisher was prepared to take. That was where Tokenhouse came in. Tokenhouse did not mind an element of risk. His predisposition for certain forms of rebellion against a humdrum approach to life was one of his unexpected sides. He also derived pleasure from the thought of how much the series would annoy other publishers, not to mention booksellers. Then, at quite an early stage, something went wrong in connexion with the issue of the series. I did not remember exactly what upset the project, but it never went forward. There had been rather a row, money and tempers lost. I was in too subordinate a position at the time to be concerned, or greatly interested, except so far as being well disposed to ‘modern art’. There were other things to think about, better ones, it then seemed, the business aspects forgotten among elements more memorable.

Tokenhouse was still occupied when Glober arrived for his appointment. Negotiations on the matter of St John Clarke’s Introduction to The Art of Horace Isbister had just begun. St John Clarke was still haggling about payment. He was too well known a novelist to be dismissed out of hand, so Glober could not be received. The manager, with whom I shared a not over-luxurious office, was wrangling with a binder in the firm’s waiting-room, a cubicle from its austerity in any case unsuitable for reception of another publisher, especially an American one. Tokenhouse rang through on the house-telephone with instructions to hold Glober in play for the further few minutes required to dislodge St John Clarke. The room where the manager and I passed our days, its walls grimly lined with file copies, was almost as comfortless as the waiting-room, but Glober was shown in. From the moment he entered, there was no need to provide distraction from the frugality of the surroundings. Glober himself took charge. In a matter of seconds we seemed already on the friendliest of terms. That was Glober’s speciality. I made some apology for this delay after an appointment had been made.

‘Don’t worry. It’s great to draw breath. There’s a lot of running round in London. I didn’t get to bed till late last night.’

He sat down in the collapsed armchair, and looked about him.

‘You’ve got a real Dickensian place here.’

‘ Bleak House ?’

Glober laughed his quiet attractive laugh.

‘ The Old Curiosity Shop ,’ he said. ‘In the illustration.’

I supposed him thirty, possibly a year or two more, to my own twenty-two or twenty-three, but his self-confidence, maturity of manner, separated us by several decades. Unusually tall, incontrovertibly good-looking, Glober’s features — in the later words of Xenia Lilienthal — were those of a ‘young Byzantine emperor’. One saw what she meant. It showed she had taken in that aspect of him, in spite of her bad cold. His quietly forceful manner suggested a right to command, inexhaustible funds of stored up energy, overwhelming sophistication, limitless financial resource. At that age I did not notice a hard core of melancholy lurking beneath these assets. Perhaps in those days that side of his nature was better concealed. The instinct he so essentially possessed was getting on the right terms with everybody, no matter how transiently encountered. This intuitive impulse caused him to move from illustrating Dickens to pictures in general, the fact that he himself wanted to buy an Augustus John drawing before he left England. The gallery handling John’s work had shown him nothing he fancied. Had I any ideas? I suggested direct approach to the painter himself, all the time feeling there was some quite easy answer, which Glober’s flow of questions had put from my head.

‘John’s out of the country. If I could meet some private person that had a drawing he was willing to trade.’

Then I remembered such an opportunity had been announced the previous week. The Lilienthals were trying to sell a John drawing for Mopsy Pontner. Moreland had mentioned the fact. Moreland had been searching for a secondhand copy of The Atheist’s Tragedy in the Lilienthals’ bookshop, and Xenia Lilienthal had told him that Mopsy Pontner — more correctly, Mopsy Pontner’s husband — had an Augustus John drawing to sell. The Lilienthals were accustomed to take books off Mr Deacon’s hands, when included in miscellaneous ‘lots’ acquired by him at auction to add to his stock of antiques. Mr Deacon was not above marketing the odd volume of curiosa — eroticism preferably confined to the male sex — but did not care to be bothered with the sale of more humdrum literary works. The Lilienthals’ shop was just around the corner. They were familiar with his quirks, like the Pontners, frequenters of The Mortimer, though not regularly.