Context

All beyond was in deep darkness, under he saw thick mist above, night-glow from the luminous city around them thrown up saffron against filmy overcast, to be drawn in there, under great lifting curtains and pale coils of cloud, so that light was shed back down too faint anywhere, he hardly made out what this window gave on, below, muffled in black geometries of shadow; a small private square it seemed. And even elegant, a seicento façade over across, arcaded and ornate, the galleria a run of rounded arches all along it, also what must be the shape of a fountain, some spouting nymph he supposed, or riding marble waves a boy and dolphin, anyhow he heard the cold splash of water on stone. Silence again too everywhere, only damp breaths of night-sound rising like exhalations from dark streets and squares, where at last it smelt of spring.

So ecco, he said over his shoulder, in reassurance, and let the long folds of the curtain swing down straight again—there was nothing; had been nothing; late-night passanti scuffling. In any case not that rabble they’d run into, or anything like. But this without looking round at her, for he thought fright, yes, but also the delicate point now was, more likely, how with kindness to get her over what she was so stricken had happened, this helpless shock at herself he supposed: trouble with innocence was historical perspective, it had still to learn what was praxis. So, first, then, deal also with this woebegone nudity. Engaging or not.

There should be the usual toweling vestaglie warming on pipes in the bathroom. Where when he went to look there of course were. So he draped himself in one and brought her the other, saying amiably, here, put this round her pretty shoulders, she couldn’t spend her life under these comic European eiderdowns could she? while he saw to the fire.

On whose incandescent hummocks of ember he took his time shaking from the scuttle dribblings of fresh coal. Culm, it appeared: soft dusts kindled instantly, showering sparks, then soon the whole hearth glowed again, strewing its roses deep into the room’s vaults of shadow, so that when he turned round at last and found great innocent eyes dolefully upon him, those crimsons fluttering in her cheek anyone would have taken for hopeless blushing, so deep among the bed’s canopies of night had the hearth distributed its insubstantial emblems.

And blushing she may have been—helplessly not even he supposed being sure merely what next, or expected to know, for in the fire-fringed shadows she dropped her eyes from his to her cold hands. It seemed she could not speak for misery. Or gêne, for he saw it might be she had no idea what in this situation a girl found—desperately, or even at all—to say. A topic, even. Or, generally, what was, well, expected!

This unforeseen . . . could he label it “threshold-ritual”? anthropologically speaking it had been gone through like an angel, but on from there is not so near second nature. Including light drawing-room conversation if called for.

So, humanely, and still from across the room, imagine, he said to her (as if in complaint), getting caught in another of these pointless Mediterranean revolutions, what a damn’ nuisance. Assuming revolution was actually what it was, for he said genially he hardly thought Italy, Firenze anyhow, was a place any practical-minded Marxist would pick to start one. With their millennial history of total political cynicism? And all the black-marketable antiquities!

But she said in a shamed voice, “I thought we were going to die.”

Yes, well, after a moment he conceded, he supposed it was mostly that ominous lowering sound of a mob coming, like a typhoon. It was daunting; daunted anybody. So in pure primitive reflex people turned and ran.

Whereas she’d seen for herself all they’d really needed to do, she and he, was step into the nearest doorway, or a courtyard, or anywhere out of the way. He was appalled he’d frightened her by not doing that on the spot. Instead of haring off first like a fool—luxurious as this pensione (or whatever it was) had in the event turned out to be.

But still it seemed she could not look at him, it was such a hopelessness, only murmuring something downcast about “. . . una condotta di collegio . . .” as if she did not see how, in English, she could possibly ever bring herself to face such a thing.

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The Complete Fiction of W. M. Spackman,
published by Dalkey Archive Press, 1997.

CONTEXT is a triquarterly publication intended to create an international and historical context in which to read modern and contemporary literature. Its goal is to encourage the development of a literary community.

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