Doris Lessing - Love, Again

She imagined a shepherd boy from a long time ago — hundreds of years, for it was more restful if this scene lived in an antique air, as if it had come off a wall or the side of a vase. This young creature was illiterate, had never seen words on a page, or on a parchment. There were tales in his head, for there has never been a country or a culture without them. But when he sat on his dry hillside, under his tree, watching — what? sheep, probably — his mind was empty, and memories or thoughts came to him in the shape of pictures. Sarah did not allow this poor youth even the traditional shepherd's pipe. Silence it had to be. Only a breeze moving through the tree he sat under. A cricket. The sheep cropping the grass. This figure had to be a boy. A girl — no. She would almost certainly be wondering whom she would be married off to. Girls were seldom allowed to be alone, but it did not matter, a girl or a boy — and silence. Sarah tried to imagine what it would be like not to have a brain set by the printed word. Not easy.

When the week was up, Sarah telephoned Stephen to say she believed the script — the libretto? how was this hybrid to be described? — was ready. No doubt that he was pleased to hear her voice, and she was disproportionately pleased that his voice warmed and lifted. Then he said, 'But you know, you really don't have to… ' in the way of someone not expecting much consideration. Which was surely remarkable?

'But of course,' said Sarah. 'We are co-authors after all.'

'I'm not going to complain. Tomorrow?'

And now began a time which, when she looked back on it, seemed like a country where she had gone by chance, one she had not known existed, a place of charm, a landscape like a dream landscape, with its own strong atmosphere, that speaks in a language one half knows or has forgotten. Before meeting Stephen somewhere — a restaurant, a garden, a park, she would say to herself, Oh come on, you're imagining it. When it was time to part, she was reluctant, and made excuses to put off the moment. She knew he was doing the same. He too probably thought before meeting her or after they separated, 'Nonsense, I'm imagining it.' But they could not doubt that when they were together they were in a pleasantness, an ease, an air different from quotidian life. A charmed place where anything could be said. And yet this was not a case of two people finding each other's lives a reason for being intrigued. If she was not much interested in his, it was because she had not experienced anything like it: he was rich, he owned a large and historic house. When he asked about her life, she gave him the facts: she had been married young, widowed young, she had successfully brought up two children by herself. She had almost by accident — so it seemed now — become well known in the theatre. Oh yes, she had for a time been responsible for her brother's child. He listened, thought, and remarked, 'When people tell you about their lives — well, the plot — they don't tell you much about themselves. Not really.' As if he thought she was about to disagree, he went on, 'That is, not if they are people with anything to them. What's interesting about people is not what life hands out to them. We can't help that, can we?'

He was making some kind of plea for himself, or an explanation, so she believed. But why did he need to? He often seemed to feel the need to apologize. What for?

Meanwhile they went on — well, yes, they were enjoying themselves.

'I do enjoy being with you,' he said, and not only did this have the frankness — the generosity — she expected from him, but he sounded surprised. Was enjoyment not something he expected? Well, this kind of delightfulness was not anything she was used to either. She really had had to work so hard, had been so weighed down with responsibility… but surely a man with so many advantages did not lack opportunities for… but it was the two of them, their being together, as if they both owned a key to this place whose air was happiness.

And they might shake their heads, offering each other ironic smiles because of the improbability of this affinity. Charm. Like opening a wonderfully wrapped package and finding in it a gift secretly hankered after for years but never really expected. Her life had become charmed because of this Stephen What's-his-name, who was in love with a dead woman. Which passion they discussed a good deal, he with perfect good humour because, as he informed her, he had carried away his Julie into some fastness where she, Sarah, could not come. 'I simply have to save her from you,' he said. They had fallen into the habit of talking whimsically about his craziness — she could use the word because he did. 'You're crazy, Stephen.' 'Yes, I'll freely admit it, Sarah.' But to say someone is crazy is almost to make it all harmless. It is a joky little word.

Yet she believed he was doing himself real harm. Sometimes, when a silence had fallen between them she saw his face sombre, abstracted: yes, indeed 'his' Julie was in some deep place inside him where he visited her. But this was not doing him good, to judge from the dark hurt look he wore then. Sometimes, when she saw that look, she decided not to think about what it meant, for fear she too would succumb. She had learned this habit of self-protection with Joyce: there was a point when she decided not to enter imaginatively into the poor girl's state of mind, for fear of being taken over. Surely there was something here that contradicted the outward life of this man, which was everything it should be, public-spirited, sane, generous, open for anyone to look at and judge. To joke about his 'crush' on Julie, choosing to avert her mind from what it might mean, saved their friendship from Julie. For Sarah — and she was ashamed of the irrationality of it — wondered more and more what witchery that woman must have had to influence people so strongly after she was dead. One might even fancifully see her as Orpheus, charming victims into dark places, by the power of her music and her words.

As for Sarah's play — or script — Stephen said, 'You've got her pretty well. I do realize I was being partial — I mean, in the play I did. And I'm glad you've made me see her… rounded out. It's odd, what a block I had about reading her thoughts. But it hasn't changed what I feel about her. You see, we were made for each other, Julie and I. Well, Sarah, your face isn't exactly designed to hide what you think… is that because you don't believe there can be someone made for you? I remember I thought that once. But the truth is, there can be just the one person. It's funny, isn't it, how few people there are who… but you can have this feeling about the most unlikely people. I remember once -1 was in Kenya, on active service. Everyone's forgotten Kenya. Too many wars, I suppose. I met this woman. She was an Indian woman. Older than I was. And it was there… we knew each other at once. You have to trust in this kind of thing. If you don't, you are denying the best part of life. You and I have something of the kind — well, we know that. It has nothing to do with age, or sex, or colour, or anything of that sort.'

Sarah was saying to herself, about 'this thing I have with Stephen', that if she had had a brother — a real one, not a clown like Hal — then this is what it might have been like. Extraordinary it had not ever occurred to her that to have a brother might be a pleasant thing.

Sarah and Mary flew together to Nice. When high in the air over Europe, Sarah observed that Mary's mouth was moving as she sat with closed eyes. No, Mary was not praying. She made a point of repeating her mantra as a public relations woman several times a day: 'This summer dozens of festivals will compete for attention. The Julie Vairon Festival will be only one of them. I shall make sure it will be the best, the most visible, and that everyone will want to come.'