Javier Marías - Your Face Tomorrow 1 - Fever and Spear

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In a return to the British setting of his much loved novel All Souls, Javier Marias embarks on a remarkable 'novel in parts', set in the murky world of surveillance and espionage. Fever and Spear is the first volume. In it Marias begins to weave a web of intrigue, both narrative and intellectual, that will entice the reader to follow him into the labyrinth of the novel's future books. Recently divorced, Jacques Deza moves from Madrid to London in order to distance himself from his ex-wife and children. There he picks up old friendships from his Oxford University days, particularly Sir Peter Wheeler, retired don and semi-retired spy. It is at an Oxford party of Wheeler's that Jacques is approached by the enigmatic Bertram Tupra. Tupra believes that Jacques has a talent: he is one of those people who sees more clearly than others, who can guess from someone's face today what they will become tomorrow. His services would be of use to a mysterious group whose aims are unstated but whose day-to-day activities involve the careful observation of people's character and the prediction of their future behaviour. The 'group' may be part of MI6, though Jacques will find no reference to it in any book; he will be called up to report on all types of people from politicians and celebrities, to ordinary citizens applying for bank loans. As Deza is drawn deeper into this twilight world of observation, Marias shows how trust and betrayal characterise all human relationships. How do we read people, and how far can the stories they tell about themselves be trusted when, by its very nature, all language betrays? Moving from the intimacy of Jacques' marriage to the deadly betrayals of the Spanish Civil War, Your Face Tomorrow is an extraordinary meditation on our ability to know our fellow human beings, and to save ourselves from fever and pain.

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'Catalan?' It was as if Tupra had heard the name for the first time.

'Yes, it's the language spoken in Catalonia, as much or more, well, much more nowadays than Spanish or castellano, as we often call it. Catalonia, Barcelona, the Costa Brava, you know.' But Tupra did not respond at once (perhaps he was trying to remember), so I added as further orientation: 'The artists Dali and Miro.'

'Mention Montserrat Caballe, the soprano,' De la Garza suggested, almost breathing down my neck. 'The silly git is bound to like opera.' He could clearly understand more than he could speak and was drawn like a magnet by any Spanish names he happened to catch. He had got up from the pouffe in order to pester me again (Beryl had crossed her legs now, that was probably the real reason). I assumed he had meant to use the word 'gypsy' again about Tupra (because of his curly hair, I assumed, those ringlets), but that, after all the outrageous toasts he had drunk, he could now only manage to say 'git'.

'Gaudi, the architect,' I suggested, I had no intention of taking any notice of De la Garza, that would have been tantamount to giving him permission to join in the dialogue.

'Yes, yes, of course, George Orwell and all that,' said Tupra at last, finally placing the name. 'Sorry, I was remembering… I've forgotten most of what I read about the Spanish Civil War, things I read in my youth, you know, you tend to read about that romantic war when you're nineteen or twenty, perhaps because of all those idealistic young British volunteers who died there, some of them poets, you identify easily with other people at that age. Well, I don't know about nowadays, I'm talking about my day, of course, although I would say it was still the same, for restless young people that is: they still read Emily Bronte and Salinger, Ten Days that Shook the World and books about the Spanish Civil War, things haven't changed that much. I remember being particularly impressed by what happened to Nin, I mean, how utterly ridiculous to accuse him of spying. And the complete farce of those German members of the International Brigade passing themselves off as Nazis come to liberate him, it just goes to show how even the craziest, most unlikely things have their moment to be believed. Sometimes the moment lasts only a matter of days, sometimes it lasts forever. The truth is that, initially, everything tends to be believed. It's very odd, but that's how it is.'

'Nin, the Trotskyist leader?' I asked, surprised. I couldn't believe that Tupra knew nothing about Dali and Miro, Caballe and Gaudi (or so I deduced from his silence), and yet knew so much about the slandered Andres Nin, probably more than I did. Perhaps he didn't know about art and didn't like opera, and his field was politics or history.

'Yes, who else? Although, of course, he did break with Trotsky in the end.'

'Well, there was a musician called Nin, and, of course, that awful woman writer,' I began, but stopped myself. Things he had read in his youth, he had said. Something as real to me and still so close was, in another not so distant country, just like Wuthering Heights had been for years: that is, a fiction, a romantic fiction, read by the surlier, angrier university students in order, in their imaginings, to feel defeated, pure and perhaps heroic. It's probably the fate of all horrors and all wars, I thought, to end up abstract and embellished by dint of sheer repetition and, ultimately, to feed both youthful and adult fantasies, more quickly if the war happens abroad, perhaps for many foreigners our war seems as literary and remote as the French Revolution and the Napoleonic campaigns or perhaps even the sieges of Numantia or Troy. And yet my father had nearly died in that war, wearing the uniform of the Republic in our besieged city, and, when it was over, had endured a mock trial and imprisonment under Franco, and an uncle of mine aged seventeen had been killed in Madrid and in cold blood by those on the other side – that side split into so many factions, and so full of calumnies and purges – by the militiamen who wore no uniform and were subject to no control and who would bump off anyone, they had killed him for no reason at an age when almost all one does is fantasise and when there are only imaginings, and his older sister, my mother, had searched that same besieged city for his body without finding it, only the tiny, bureaucratic photograph of his corpse, which I've seen and which is now in my possession. Perhaps in my country, too, without my realising it, this was all turning into fiction, everything moves ever faster, is less enduring, more quickly cancelled out and filed away, and our past grows ever denser and fuller and more crowded because it has been decreed – and even accepted as true – that yesterday is passé, the day before yesterday mere history, and what happened a year ago remote and immemorial. (Perhaps what happened three months ago too.) I thought that the time had come to find out at last what his 'line of work' was, I had earned enough brownie points, always assuming I needed them. In my thoughts I didn't believe this to be so, yet I had the distinct feeling that it was. 'Tell me, Mr Tupra, what is your field, if you don't mind my asking? It's not, by any chance, the history of my country, is it?' I realised that I was still awaiting permission to ask the easiest and most harmless of questions asked in our societies.

'No, no, of course not, you can be quite sure of that,' he replied, laughing loudly and with genuine mirth, his teeth were small but very bright, his long eyelashes danced. When you had got used to it, his was the sort of face to which you warmed more and more with each minute, objectivity would not last long with him, and suspicion would quickly dissolve. You noticed at once the generosity of the interest he took in you, as if at every moment he was concerned only with the person he was with and as if, behind you, the lights of the world had gone out and the world had been transformed into a mere backdrop designed to set you off. He also knew how to hold the attention of the person he was talking to, in my case that mention of Andres Nin had been enough to intrigue me, and not merely because of what he knew, for I was filled now with a desire to plunge into Orwell's Homage to Catalonia or into Hugh Thomas's summary and to brush up on the story of the slandered Andres Nin, of which I could barely remember a thing. One also noticed in Tupra that strange tension – a sort of postponed vehemence – but I took it at first as simply part of his natural alertness. He was well dressed, but not extravagantly so, discreet fabrics and colours (the cloth was always of extraordinarily high quality, his superb ties always pinned with a tie-pin), his vanity evident only – unless it was a remnant of past bad taste – in the perennial waistcoats he wore under his jacket, and one of which he was wearing at Wheeler's buffet supper. 'No, my activities have been as diverse as yours, but my real talent has always been for negotiating, in different fields and circumstances. Even serving my country, one should if one can, don't you think, even if the service one does is indirect and done mainly to benefit oneself.'

He had evaded the question, this was all very vague, he hadn't even said what he had studied at Oxford, although Toby Rylands, one of his teachers, had been Professor of English Literature. Not that this meant anything. In that university it doesn't really matter what you study, what counts is to have been there and to have submitted to its method and its spirit, and no course of study, however eccentric or ornamental, prevents its postgraduates and graduates from going on to do whatever they choose to do afterwards, however different that may be: you can spend years analysing Cervantes and end up in the world of finance, or studying the traces left by the ancient Persians and convert that afterwards into the extravagant preamble to a career in politics or diplomacy, doubtless the latter for Tupra, I thought again, basing this now not only on my intuition or on his appearance, but on that verb 'negotiate' and that expression, 'serving my country'. He was lucky – in a way – that there is no one-word English equivalent for the unequivocal 'patría' of my own language (or only highly recondite, rhetorical ones): the word he had used, 'country', means different things depending on the context, but is less emotive and less pompous and should almost always be translated as 'país'. Otherwise, I might perhaps have thought – that is, if he had used the Spanish word 'patría', which was impossible; and yet the shadow of that mad idea did cross my mind, though without taking proper shape – that he had a fascist mind, in the analogical sense, despite the evident solidarity and sympathy with which he had referred to the fate of Nin, Trotsky's former secretary, for in the colloquial or analogical sense the word is compatible with all ideologies, one's ideology isn't necessarily relevant, which is why it has become such a vague term, I've known official champions of the old Left, the apparently incontrovertible Left, who were intrinsically fascist by nature (and in their writing style too, if they were writers). In that idea of serving one's country I had noticed a hint of coquetry and a touch of arrogance. The coquetry of someone who enjoys appearing mysterious, the arrogance of someone who sees or conceives of himself as a granter of favours, even to his own country. A third foreign Briton, perhaps, a third bogus Englishman, I thought, like Toby, according to all the rumours, and like Peter, as he himself had confessed a few weeks ago. I had still not had a chance to ask him about that. Bogus at least to judge by the surname, that strange name Tupra, though perhaps not by birth in his case, the newly arrived and those with suspicious names are always and everywhere the most patriotic, the readiest to render a service, noble or base, clean or dirty, they feel grateful and volunteer, or perhaps it is their way of believing themselves to be indispensable to the country that one day allowed them to stay and continues to do so, as it would even if they had changed their name, like that poor Anatolian Hohanness who went on to be Joe Arness in America, or the fabulously wealthy Battenburg, who was transformed into Mountbatten for his English existence. It was strange that Tupra should have kept his name, perhaps it seemed excessive or too risky, 'strange to abandon even one's own name'.

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