Peter Carey - Theft - A Love Story

She said Amberstreet was overseas.

He said he did not give a flying fuck. He planned to X-ray him so severely the semen in his testicles would lose its wiggly little tails.

If I could have found my way out of the building I would have run away but instead I picked up the money he was wasting and then I assisted Marlene, carrying the canvas towards the lift while the sergeant was left with the receipt. My brother was not himself. Finally he came and wrenched the painting from us and threw it across his shoulder and this was obviously not the right mood to begin a BUSINESS LUNCH with Jean-Paul.

Even at four years of age my son was very serious about his duties in the studio and you could give him a pair of tweezers and set him to picking up dust and hairs and finally he would leave the paint as slick and unperturbed as melting ice. Children raised on Space Invaders and Battlezone will tire quickly of this stuff—no enemy to destroy, no gold coins to collect—but my Bill was a Bones deep to his bloody marrow and he worked beside his dad and uncle, solemn, freckle-faced, with his lower lip stuck out, his tongue half up his nose, and there were many days in East Ryde when we had been all three silently engaged in the sweet monotony of such housekeeping, hours punctuated by not much more than the song of blackbirds in the garden or a loud friarbird with its wattles hanging like sexual embarrassments on its ugly urgent face. Of course my apprentice was also a boy with his own employment, climbing the jacaranda, falling, howling, hooked by a branch stuck through his britches, suspended twenty feet up in the air, but Bill loved Hugh, and me, and the three of us could labour side by side sustained by nothing more than white sugar rolled in a fresh lettuce leaf and never called to dinner until we called ourselves, our stomachs sounding like the timbers in a clinker boat finally riding at anchor for the night.

On the day we carried the injured canvas into Bathurst Street, Bill was there, and not there—the normal phantom pain of amputees. The flesh of my flesh had been chopped off by order of the bloody law and the entire city of Sydney, roads, rivers, railway lines shrunk around my missing son like iron filings making contour lines around a magnetic pole. But he was in residence, as a shadow, as a mirror, and most fucking particularly because Marlene Leibovitz made the same shape in the sonar of my feelings, something very like Bill, benevolent, generous, blessedly in need of love thank Jesus.

I entered Bathurst Street a wild ass of a man, carrying my own corpse across my own shoulder—I, the Speaker, now as diminished as a Bugatti abandoned in a West Street parking garage, recovered with dust and feathers and pigeon shit, its battery flat, a dull sickening click, no light at all.

Marlene went off to call Jean-Paul, and Hugh helped me clear the second floor, although my recollections are doubtless filled with all the errors of eyewitness testimony, that fiction used to hang so many innocents. Who knows what really happened?

Who cares? The Bones boys were Marines on the last day of a war, throwing helicopters overboard, dragging mattresses to the landing, sending them tumbling down the stairs. Of course I destroyed my private bedroom, but sex was not the point. We found a straw broom as stubby as a good Dulux brush, and I swept urgently, opening the windows to both street and lane, and all the while the tragedy lay folded and rumpled, dead as bloody doornails, on the landing.

Hugh has a reputation for being quiet and shy but the old bugger's normal medicated state is as continuously noisy as a kettle—bee-bop and shee-bop—and as we—phtaaa—unfolded the canvas on the floor he set up a sort of vibrato. My brother had become a car, God help us, a Vauxhall Cresta at eighty miles an hour. These things get on your nerves, but we endure, continue, and I may have looked sour and he may have appeared retarded but we worked like a team of carpet layers tugging and stretching, battling the stiff unsupple canvas, each victory celebrated by a small explosion as we stapled the fuck to Arthur Murray's resistant hardwood floor. Hugh was soon down to stinky socks and khaki shorts, all his rosy venous imperfection, a sweaty shining Rubens double-declutching on the S bends, I, the Speaker reached almost the length of the room but the width was not so easily accommodated and stapling on the long sides was like playing tennis on an indoor court—the damn baseline too close, but never mind.

"Bill," he said.

This was not a useful thing to say to me although there is not the tiniest bloody doubt that—forget the idiot Court Guardian with three pens in his shirt pocket—Bill had the skill to use the staple gun. Instead of which we two dangerous men must work alone, two steps forward, one step back as the canvas—having been wet very bloody judiciously—surrendered a millimetre here and a millimetre there.

I invented a steamer based on a Birko kettle and made a cunning nozzle to direct it. I bought a cheap syringe and, having filled it with GAC 100, lifted the cracked impasto exactly, precisely, as if I were controlling a bloody molecular jack. On the first day we did not quit until the light from the west caught the edge of St.

Andrew's and filled the upstairs room like single malt, Laphroaig, Lagavulin, God bless the distilleries of Islay. I did not drink until after eight o'clock.

The next hungover morning I woke to confront the great dead whale still beached upstairs and in the geometric centre, this vast trauma still confronted me. The rectangle of collaged canvas was not thirty by twenty-and-a-half, but it was too late to argue. This single vital patch of goose-turd "GOD" had been pulled back from one corner to reveal the same answer they had gotten from X-ray and infrared, i. e. there was sweet fuck-all to see, some underpainting, but certainly not the missing Monsieur et Madame Tourenbois. God knows how long they spent on the X-rays, but this final assault must have taken the cops all of five seconds, more than enough time to stretch and tear the underlying canvas and leave five lines of weft behind. I will not bore you with the surgical operation needed to remove those threads. For a conservator or a surgeon it might have been a lot of fun. For me, forget it. There was no reward in this, no risk, no discovery, nothing except the growing conviction that I was destroying what I had made, sucking out the holy deadly light I had created as a high-wire artist, guided by God, flying blind, my head between the legs of angels.

I was about to have a great show. I could not have a show.

I was about to have a love affair. I could not think about it. I was in a rush. I could not rush. At this teetering moment I was everything that makes an artist a hateful loathsome beast. That is, I stole, I grabbed, I sucked love like phthalo green sucks light.

I accepted the most monumental kindness from Marlene who appeared off and on, like a series of surprising gifts, through every day, like a six-winged seraph, her colour high, her eyes narrowed in blessing, offering, for instance, a great lump of wax and an iron with which she intended I should affix the injured collage when it was flat and straight again. Everything about this gift was touching but the most weirdly painful thing was the iron, a Sunbeam steam iron, pale blue plastic, at least ten years old, an instrument that made me think of Saturday afternoon races on the radio, our mother ironing in the musty sleep-out.

Life in the half-light of the pit, so far from art.

I've known dealers and gallery owners and authenticators half my bloody life, and not one of them would have thought to give me the wax and the iron. For a refugee from the Benalla High School she was very well informed. And sometimes, in that first mad week, with my own bedroom given over to the Speaker, while Hugh snored on the floor, Marlene and I simply shared the Japanese catalogues. She talked. I stroked the pale illuminated hairs on her tanned arms, terrified by happiness.