Elizabeth lay on the sofa in the Lackersteens’ drawing-room, with her feet up and a cushion behind her head, reading Michael Arlen’s These Charming People. In a general way Michael Arlen was her favourite author, but she was inclined to prefer William J. Locke when she wanted something serious.
The drawing-room was a cool, light-coloured room with lime-washed walls a yard thick; it was large, but seemed smaller than it was, because of a litter of occasional tables and Benares brassware ornaments. It smelt of chintz and dying flowers. Mrs Lackersteen was upstairs, sleeping. Outside, the servants lay silent in their quarters, their heads tethered to their wooden pillows by the death-like sleep of midday. Mr Lackersteen, in his small wooden office down the road, was probably sleeping too. No one stirred except Elizabeth, and the chokra who pulled the punkah outside Mrs Lackersteen’s bedroom, lying on his back with one heel in the loop of the rope.
Elizabeth was just turned twenty-two, and was an orphan. Her father had been less of a drunkard than his brother Tom, but he was a man of similar stamp. He was a tea-broker, and his fortunes fluctuated greatly, but he was by nature too optimistic to put money aside in prosperous phases. Elizabeth’s mother had been an incapable, half-baked, vapouring self-pitying woman who shirked all the normal duties of life on the strength of sensibilities which she did not possess. After messing about for years with such things as Women’s Suffrage and Higher Thought, and making many abortive attempts at literature, she had finally taken up with painting. Painting is the only art that can be practised without either talent or hard work. Mrs Lackersteen’s pose was that of an artist exiled among ‘the Philistines’—these, needless to say, included her husband—and it was a pose that gave her almost unlimited scope for making a nuisance of herself.
In the last year of the War Mr Lackersteen, who had managed to avoid service, made a great deal of money, and just after the Armistice they moved into a huge, new, rather bleak house in Highgate, with quantities of greenhouses, shrubberies, stables and tennis courts. Mr Lackersteen had engaged a horde of servants, even, so great was his optimism, a butler. Elizabeth was sent for two terms to a very expensive boarding-school. Oh, the joy, the joy, the unforgettable joy of those two terms! Four of the girls at the school were ‘the Honourable’; nearly all of them had ponies of their own, on which they were allowed to go riding on Saturday afternoons. There is a short period in everyone’s life when his character is fixed for ever; with Elizabeth, it was those two terms during which she rubbed shoulders with the rich. Thereafter her whole code of living was summed up in one belief, and that a simple one. It was that the Good (‘lovely’ was her name for it) is synonymous with the expensive, the elegant, the aristocratic; and the Bad (‘beastly’) is the cheap, the low, the shabby, the laborious. Perhaps it is in order to teach this creed that expensive girls’ schools exist. The feeling subtilised itself as Elizabeth grew older, diffused itself through all her thoughts. Everything from a pair of stockings to a human soul was classifiable as ‘lovely’ or ‘beastly’. And unfortunately—for Mr Lackersteen’s prosperity did not last—it was the ‘beastly’ that had predominated in her life.
The inevitable crash came late in 1919. Elizabeth was taken away from school, to continue her education at a succession of cheap, beastly schools, with gaps of a term or two when her father could not pay the fees. He died when she was twenty, of influenza. Mrs Lackersteen was left with an income of £150 a year, which was to die with her. The two women could not, under Mrs Lackersteen’s management, live on three pounds a week in England. They moved to Paris, where life was cheaper and where Mrs Lackersteen intended to dedicate herself wholly to Art.
Paris! Living in Paris! Flory had been a little wide of the mark when he pictured those interminable conversations with bearded artists under the green plane trees. Elizabeth’s life in Paris had not been quite like that.
Her mother had taken a studio in the Montparnasse quarter, and relapsed at once into a state of squalid, muddling idleness. She was so foolish with money that her income would not come near covering expenses, and for several months Elizabeth did not even have enough to eat. Then she found a job as visiting teacher of English to the family of a French bank manager. They called her notre mees Anglaise. The banker lived in the twelfth arrondissement, a long way from Montparnasse, and Elizabeth had taken a room in a pension near by. It was a narrow, yellow-faced house in a side-street, looking out onto a poulterer’s shop, generally decorated with reeking carcases of wild boars, which old gentlemen like decrepit satyrs would visit every morning and snuff long and lovingly. Next door to the poulterer’s was a flyblown café with the sign ‘Café de l’Amitié. Bock Formidable.’ How Elizabeth had loathed that pension! The patronne was an old black-clad sneak who spent her life in tiptoeing up and down stairs in hopes of catching the boarders washing stockings in their hand-basins. The boarders, sharp-tongued bilious widows, pursued the only man in the establishment, a mild, bald creature who worked in La Samaritaine, like sparrows worrying a bread-crust. At meals all of them watched each other’s plates to see who was given the biggest helping. The bathroom was a dark den with leprous walls and a rickety verdigrised geyser which would spit two inches of tepid water into the bath and then mulishly stop working. The bank manager whose children Elizabeth taught was a man of fifty, with a fat, worn face and a bald, dark-yellow crown resembling an ostrich’s egg. The second day after her arrival he came into the room where the children were at their lessons, sat down beside Elizabeth and immediately pinched her elbow. The third day he pinched her on the calf, the fourth day behind the knee, the fifth day above the knee. Thereafter, every evening, it was a silent battle between the two of them, her hand under the table, struggling and struggling to keep that ferret-like hand away from her.
It was a mean, beastly existence. In fact, it reached levels of ‘beastliness’ which Elizabeth had not previously known to exist. But the thing that most depressed her, most filled her with the sense of sinking into some horrible lower world, was her mother’s studio. Mrs Lackersteen was one of those people who go utterly to pieces when they are deprived of servants. She lived in a restless nightmare between painting and housekeeping, and never worked at either. At irregular intervals she went to a ‘school’ where she produced greyish still lifes under the guidance of a master whose technique was founded on dirty brushes; for the rest, she messed about miserably at home with teapots and frying-pans. The state of her studio was more than depressing to Elizabeth; it was evil, Satanic. It was a cold, dusty pigsty, with piles of books and papers littered all over the floor, generations of saucepans slumbering in their grease on the rusty gas-stove, the bed never made till afternoon, and everywhere—in every possible place where they could be stepped on or knocked over—tins of paint-fouled turpentine and pots half full of cold black tea. You would lift a cushion from a chair and find a plate holding the remains of a poached egg underneath it. As soon as Elizabeth entered the door she would burst out:
‘Oh, mother, mother dearest, how can you? Look at the state of this room! It is so terrible to live like this!’
‘The room, dearest? What’s the matter? Is it untidy?’
‘Untidy! Mother, need you leave that plate of porridge in the middle of your bed? And those saucepans! It does look so dreadful. Suppose anyone came in!’
The rapt, other-worldly look which Mrs Lackersteen assumed when anything like work presented itself, would come into her eyes.
‘None of my friends would mind, dear. We are such Bohemians, we artists. You don’t understand how utterly wrapped up we all are in our painting. You haven’t the artistic temperament, you see, dear.’
‘I must try and clean some of those saucepans. I just can’t bear to think of you living like this. What have you done with the scrubbing-brush?’
‘The scrubbing-brush? Now let me think, I know I saw it somewhere. Ah yes! I used
