Hanif Kureishi - Something to Tell You

Valerie came from a family which had been rich and distinguished for a couple of hundred years. They were art collectors, professors, scholars, newspaper editors. Henry would sometimes say of some full-of-it reprobate, “Oh yes, that’s Valerie’s second cousin by marriage. Better zip it, or you’ll ruin someone’s Christmas.”

He added, “They’re so everywhere, that family, I’d say they were overextended.” Not only were they wealthy, they had a hoard of social capital. They were friends with, and had married into, numerous Guinnesses, Rothschilds and Freuds. The living room contained a Lucian Freud drawing, a Hockney portrait of Valerie and Henry, a Hirst spot painting, a Bruce McLean, a little thing by Antony Gormley, as well as various old and interesting things that you could look at or pick up as you wondered about their history. The house was like a family museum, or body even, indented, scarred and marked everywhere by the years which each new generation was forced to carry with it.

Most nights his crowd went to drinks parties and then to dinner. It was expensive: the clothes, food, drugs, drink, taxis. Not that money was an issue for them. “But it’s like an Evelyn Waugh novel!” Lisa said, going to some trouble never to see any of them again. “He’s one of my favourite writers,” Henry replied. Anyhow, you couldn’t accuse this group of artists, directors and producers, architects, therapists, pop stars and fashion designers of being either indolent or illiberal.

This was privilege, and Henry knew it was. The only way to pay for it was to work, which most of them did. Nor were they particularly dull. Henry just knew them too well. He claimed you could walk into a party in Marrakech or Rio and see the same faces and suffer the same claustrophobia and déjà vu as when you holidayed or visited some art fair or film festival. So, if he was off to a dinner, to a party or opening, he’d want someone new to talk to in the cab or to leave with, after staying a few minutes and finding it dreary. I’d be dragged along, and I was curious too. Anyhow, I was interested to hear what he had to say.

Henry was twelve years older than me, and had been living and working in London all his life; he knew “everyone.” He’d had analysis for two years when his marriage broke up, with a silent, old-school, stern guy who wasn’t as intelligent as him. Henry was interested in therapy, claiming to be “completely fucking messed up,” but not enough to find another analyst. He used me to talk his problems through with, going into the most intimate and serious things right from the start. I liked that about him, but our friendship wasn’t only that.

I’d started my work, of course, with only a few patients, and inadequate ones at that, who refused to let me cure them. I’d also learned from being with Karen that, unless you had cachet, social progress in London could be slow, painful and futile. On occasions, out with Henry, it seemed that everyone else couldn’t wait to kiss and effusively greet one another, while I’d stand in the corner in my best clothes, being ignored even by the waiters.

By now, with Tahir’s words in my head, I was shameless enough to push into others’ conversations; I wasn’t as shy as I used to be, and I’d try to pick up a waitress: the staff was always more attractive than the party-goers and certainly dressed better. Dinner parties were the worst; I’d be stuck beside the neglected wife of the deputy director of a publishing house while everyone else was tucked in satisfactorily next to their greatest friend or greatest fan.

Henry had worked in the theatre since leaving Cambridge and had little experience of such serious condescension; in fact, he didn’t believe it existed. On the other hand, there were others, like Angela Carter, who were not that way. They would remember your name after having met you only once before, and didn’t consider London’s social world to be like a violent version of snakes and ladders.

Valerie hardly noticed me when Henry and I first became friends, though I often went to the house. It was as though she couldn’t quite work out who I was, or why I was there. She was renowned, and had been for a long time, for what was known in London as the “enraptured gaze.” With one elbow on the table, and her chin resting on her fist, she would look directly at you forever, her eyes unblinking, as though you were the pinnacle of fascination. This was an opportunity, among the pompous or frightened, for many monologues, but it could induce, in the more insecure, total collapse or at least a catastrophe of self-doubt.

It wasn’t until I received a good, prominent review in The Observer for Six Characters in Search of a Cure, my first published work, that her eyes enlarged when she saw me, and she came forward to seize my shoulders and slide her lips across my cheeks, leaving a faint pink trace, calling me, at last, her “darling, darling, darling.” Gazed upon, I was in; now I wouldn’t be ejected.

Not at all discombobulated by this abrupt switchback of emotional flow, I doubt whether Valerie troubled to pass her eyes over the book. She herself was on Prozac; for her, Freud’s time had long gone, like Surrealism and the twelve-tone scale. But the book remained in a prime position on her living-room table for a few weeks.

Six Characters had sold well, “considering what it was,” as the publisher said, particularly in paperback. It was said to have even breached the self-help market. A big chunk of the reading population, it turned out, needed help. Apparently people wanted to develop their minds as they did their bodies; they saw the brain as just another muscle, and personal neuroses with a profound history as merely correctable mental dysfunctions.

I gave talks on this stupidity. I was asked to debate Freud’s “fraudulence,” delighted he still had the ability to infuriate. I went on the radio several times, and once on TV, where I was expected to précis my work in a “pithy” paragraph. I was flown to conferences abroad and gave “keynote” speeches. Like a proper writer, I visited bookshops to do signings. I was invited to literary festivals, where I read, was interviewed by Henry, and took questions in a half-empty windy tent. Shortlisted for a couple of prizes, nerve-racked, I had to wear a too-tight dinner jacket with a floppy tie, shine my shoes and attend terrible dinners.

It was worth it: I heard from my next ex, Karen Pearl, again. I’m not sure what image of myself I had created in her head, something of a lost cause I suspect, for she was surprised and intrigued by the “hip young analyst” label. She phoned me, and we began to meet for lunch. After her, at the end of the 80s, in a rush of libidinousness, there had been numerous others, some awkward, some fun, many embarrassing, before I found the unfortunate cure for my restlessness-Josephine. Karen and I had parted more than acrimoniously after two years together. But she had found someone and appeared almost happy.

As for Valerie, when Henry gave her a copy of my book and she saw the name on the cover and was able to say, “I know him, he’s always here,” I became a real person for her, a name with social cachet, one she could pass on.

Valerie was intelligent and decent enough company if you didn’t mind the steady name-dropping (unusually vulgar in someone of her background), as though she were filling your pockets with stones. Her tragedy was the fact that, despite her fuck-you shoes and fuck-me tits, she was plain, and couldn’t help disliking women younger and more beautiful, unless they were well known. But she had made her own way and had shown her worth by becoming a film producer, buying “pleasant enough” novels, putting them with directors and raising the money to make the movies.