The Collector

He showed me how he gets his “haze” effect. Tonksing gouache. With all his little home-made tools.

Some friends of his came in, Barber and Frances Cruik-shank. He said, this is Miranda Grey I can’t stand her aunt, all in one breath, and they laughed, they were old friends. I wanted to leave. But they were going for a walk, they had come in to make him go with them, and they wanted me to go too. Barber Cruikshank did; he had special seduction eyes for me.

Supposing aunt sees us, G.P. said. Barber’s got the foulest reputation in Cornwall.

I said, she’s my aunt. Not my duenna.

So we all went to the Vale of Health pub and then on to Kenwood. Frances told me about their life in Cornwall and I felt for the first time in my life that I was among people of an older generation that I understood, real people. And at the same time I couldn’t help seeing Barber was a bit of a sham. All those funny malicious stories. While G.P. was the one who led us into all the serious things. I don’t mean that he wasn’t gay, too. Only he has this strange twist of plunging straight into what matters. Once when he was away getting drinks, Barber asked me how long I’d known G.P. Then he said, I wish to God I’d met someone like G.P. when I was a student. And quiet little Frances said, we think he’s the most wonderful person. He’s one of the few. She didn’t say which few, but I knew what she meant.

At Kenwood G.P. made us split. He took me straight to the Rembrandt and talked about it, without lowering his voice, and I had the smallness to be embarrassed because some other people there stared at us. I thought, we must look like father and daughter. He told me all about the background to the picture, what Rembrandt probably felt like at that time, what he was trying to say, how he said it. As if I knew nothing about art. As if he was trying to get rid of a whole cloud of false ideas I probably had about it.

We went out to wait for the others. He said, that picture moves me very much. And he looked at me, as if he thought I might laugh. One of those flashes of shyness he has.

I said, it moves me now, too.

But he grinned. It can’t possibly. Not for years yet.

How do you know?

He said, I suppose there are people who are purely moved by great art. I never met a painter who was. I’m not. All I think of when I see that picture is that it has the supreme mastery I have spent all my life trying to attain. And shall not. Ever. You’re young. You can understand. But you can’t feel that yet.

I said, I think I do.

He said, then that’s bad. You should be blind to failure. At your age. Then he said, don’t try to be our age. I shall despise you if you do.

He said, you’re like a kid trying to see over a six-foot wall.

That was the first time. He hated me for attracting him. The Professor Higgins side of him.

Later, when the Cruikshanks came out, he said, as they walked towards us, Barber’s a womanizer. Refuse to meet him if he asks.

I gave him a surprised look. He said, smiling at them, not you, I can’t stand the pain for Frances.

Back in Hampstead I left them and went on home. All the way back there I’d realized that G.P. was making sure Barber Cruikshank and I shouldn’t be left alone. They (Barber) asked me to come to see them if I was ever in Cornwall.

G.P. said, see you one day. As if he didn’t care whether he did or not.

I told Caroline I’d met him by chance. He had said he was sorry (lie). If she’d rather I didn’t see him, I wouldn’t. But I found him very stimulating to be with, full of ideas, I needed to meet such people. It was too bad of me, I knew she would do the decent thing if I put it lite that. I was my own mistress— and so on.

And then she said, darling, you know I’m the last person to be a prude, but his reputation . . . there must be fire, there’s so much smoke.

I said, I’d heard about it. I could look after myself.

It’s her own fault. She shouldn’t insist on being called Caroline and treated like a girl in so many ways. I can’t respect her as an aunt. As a giver of advice.

Everything’s changing. I keep on thinking of him: of things he said and I said, and how we neither of us really understood what the other meant. No, he understood, I think. He counts possibilities so much faster than I can. I’m growing up so quickly down here. Like a mushroom. Or is it that I’ve lost my sense of balance? Perhaps it’s all a dream. I jab myself with the pencil. But perhaps that’s a dream, too.

If he came to the door now I should run into his arms. I should want him to hold my hand for weeks. I mean I believe I could love him in the other way, his way, now.

October 23rd

The curse is with me. I’m a bitch to C. No mercy. It’s the lack of privacy on top of everything else. I made him let me walk in the cellar this morning. I think I could hear a tractor working. And sparrows. So daylight, sparrows. An aeroplane. I was crying.

My emotions are all topsy-turvy, like frightened monkeys in a cage. I felt I was going mad last night, so I wrote and wrote and wrote myself into the other world. To escape in spirit, if not in fact. To prove it still exists.

I’ve been making sketches for a painting I shall do when I’m free. A view of a garden through a door. It sounds silly in words. But I see it as something very special, all black, umber, dark, dark grey, mysterious angular forms in shadow leading to the distant soft honey-whitish square of the light-filled door. A sort of horizontal shaft.

I sent him away after supper and I’ve been finishing Emma. I am Emma Woodhouse. I feel for her, of her and in her. I have a different sort of snobbism, but I understand her snobbism. Her priggishness. I admire it. I know she does wrong things, she tries to organize other people’s lives, she can’t see Mr. Knightley is a man in a million. She’s temporarily silly, yet all the time one knows she’s basically intelligent, alive. Creative, determined to set the highest standards. A real human being. Her faults are my faults: her virtues I must make my virtues.

And all day I’ve been thinking—I shall write some more about G.P. tonight.

There was the time I took some of my work round for him to look at. I took the things I thought he would like (not just the clever-clever things, like the perspective of Ladymont). He didn’t say a thing as he looked through them. Even when he was looking at the ones (like the Carmen at Ivinghoe) that I think are my best (or did then). And at the end he said, they’re not much good. In my opinion. But a bit better than I expected. It was as if he had turned and hit me with his fist, I couldn’t hide it. He went on, it’s quite useless if I think of your feelings in any way at all. I can see you’re a draughtsman, you’ve a fairish sense of colour and what-not, .sensitive. All that. But you wouldn’t be at the Slade if you hadn’t.

I wanted him to stop but he would go on. You’ve obviously seen quite a lot of good painting. Tried not to plagiarize too flagrantly. But this thing of your sister—Kokoschka, a mile off. He must have seen my cheeks were red because he said, is all this rather disillusioning? It’s meant to be.

It nearly killed me. I know he was right; it would have been ridiculous if he hadn’t said exactly what he thought. If he’d just kind-uncled me. But it hurt. It hurt like a series of slaps across the face. I’d made up my mind that he would like some of my work. What made it worse was his coldness. He seemed so absolutely serious and clinical. Not the faintest line of humour or tenderness, even of sarcasm, on his face. Suddenly much, much older than me.

He said, one has to learn that painting well—in the academic and technical sense—comes right at the bottom of the list. I mean, you’ve got that ability. So have thousands. But the thing I look for isn’t here. It just isn’t here.

Then he said, I know this hurts. As a matter of fact, I nearly asked you not to bring this round. But then I thought - . . . there’s a sort of eagerness about you. You’d survive.

You knew they wouldn’t be any good, I said.

I expected just about this. Shall we forget you brought them? But I knew he was challenging me.

I said, tell me in detail what is wrong with this. And I gave him one of the street scenes.

He said, it’s quite graphic, well composed, I can’t tell you details. But it’s not living art. It’s not a limb of your body. I don’t expect you to understand this at your age. It can’t be taught you. You either have it one day, or you