Walking in the Shade Page 11

  The Writers’ Group was about to fall apart under the weight of its contradictions. Ah, with what nostalgia I use that old jargon…but how useful were those contradictions, always on our lips, while we tried to keep hold of the roller coaster of those days.

  Remarkable people, they were. First, John Sommerfield. He had fought in the Spanish Civil War and written a book, Volunteer in Spain, describing various actions he had taken part in. It was dedicated to John Cornford, his friend, who had died there. He had also written good short stories, Survivors. He was a tall, lean man, pipe-smoking, who would allow to fall from unsmiling lips surreal diagnoses of the world he lived in, while his eyes insisted he was deeply serious. A comic. He knew everything about English pubs, had written a book about them. It was he who took me to the Soho clubs, saying that their great days were over, the war had been their heyday. He was married to Molly Moss, the painter. Like everyone else then, they had no money. They bought for a couple of hundred pounds a little Victorian house in Mansfield Road, NW3, and filled it full of her paintings, and Victorian furniture and bric-a-brac which could be bought for a few shillings because everything Victorian was unfashionable. This cherished little treasure house, a jewel box of a house, was pulled down with hundreds of others in those great days for architecture, the sixties, and replaced with some of the ugliest blocks of flats in London. During one hard winter, when the Sommerfields were broke, their big tomcat caught pigeons for them, which they stewed, giving him half of what he caught.

  The meetings were held in my room because, since I had a child, it was hard for me to go out. Also because I had informed John Sommerfield that I loathed meetings and had had enough of them to last my life. He said, In that case we’ll come to you and you can’t get out of it. John had said that when you joined the CP it was a good principle to say that there was something you couldn’t do, like taking buses or being out at night. Why? To let them know they couldn’t put anything over on you. ‘But no, you cannot say you won’t go to the meetings.’ Them? The Party, King Street.

  All the writers shared this attitude to King Street, not much different in spirit from David Low’s cartoon trade-union horse, a great lump of obstinate stupidity. The loyalty that they could not feel for ‘the Party’ was deflected to the Soviet Union, which of course could not be anything like as stupid as King Street.

  Montagu Slater was a smallish, quick, lively, clever man, and many-sided. He had done the libretto for Benjamin Britten’s Peter Grimes. He was under pressure, because he had written a book about the Kenyan war, then at its height, exposing the machinations and dirty tricks of the British government against Jomo Kenyatta, and was being reviled by the newspapers: ‘What can you expect from a communist?’ Everything he said was true, but soon it didn’t matter, because Kenyatta won the war in Kenya and in no time at all had become a Grand Old Man, revered by everyone, not least the whites in Kenya.

  Jack Beeching was a poet, with a wife and new baby. I visited them in Bristol, with Peter. They had no money and were in an old, run-down flat in a terrace now beyond the means of anyone not rich. Enormous, beautiful, freezing rooms. I haven’t said much about the cold in those days, when houses were often heated with a bar or two of tiny electric fires, sometimes no heat at all. The five of us—Jack, his wife, the new baby, Peter, and I—huddled like refugees under sweaters and blankets in the centre of the great room, where the draughts blew about like cold winds. Jack is still alive in Spain, writing poetry and history.

  Jack Lindsay, the Australian, was perhaps the purest example I know of a good writer done in by the Party. He was a polymath, knowledgeable on a variety of subjects, and wrote two kinds of novel. One was party-line orthodox, factories and workers and the proletariat, the other fanciful, whimsical, novels, like Iris Murdoch, but nothing like as good. They might have been written by two different writers. He also wrote biographies.

  Asked by some researcher about Randall Swingler, I said he was not a member of the Writers’ Group but later found he was. I simply did not remember him. Perhaps he was never there: I was told as I wrote this that he had said the Writers’ Group was nothing but a sink of lost talent. What did impress me about him was that he and his wife bought a cottage in Essex for five pounds, without running water, light, telephone, heat, or toilet. A paradise in summer, but in winter? There they lived, solving the problems of poverty, for years. Then Essex cottages became fashionable….

  Soon after our return from the Soviet Union, there was the last of the great fogs. Truly you could hardly see your hand in front of your face. Naomi was having a reunion for the people on the trip, in the Mitchison flat on the Embankment. I was standing on the Embankment, unable to move, having lost my way. I was submerged in fog as in dirty water. Suddenly a man bumped into me. It was a Soviet official—Surkov,* I think—in a state of ecstasy because of the fog, because all foreigners adore Dickens’s fogs and to this day will say, ‘Your terrible London fogs…’ ‘But we don’t have them any longer; we have the Clean Air Act.’ It is a disappointment. You can’t sweep away potent symbols so easily.

  When I was a member of the Communist Party I did not go to the ordinary meetings. Much later, many years, when I was no longer a communist, I was invited to address a Communist Party group, a real one, of the rank and file. It was a house in a poor street in South London. I was appalled. Here was a room full of failures and misfits, huddled together because the Party for them was a club, or a home, a family. But—and this was the heartbreak—there, too, were the village Hampdens, inglorious Miltons, often self-taught, with original and questioning minds on every subject in the world but communism.

  A visit to a Communist Party meeting in Paris was a very different affair. I told King Street I was going to Paris, would like to see what the French CP was like. I was told to contact Tristan Tzara. He was a Party member. A likeable man. King Street had had to get permission from the top brass in the French CP, who instructed Tristan Tzara. The local branch on the Left Bank were ordered to receive me, but they said only on condition that I left when they began discussing policy. We had lunch. Only politics were discussed. This was the communist Tzara, not a sign of the anarchic surrealist Tzara. I said to him, What did the Left Bank local branch of the French Communist Party expect? That I might blow them all up? He did not find this amusing. I said that in Britain someone thinking of joining the Party might drop in to a meeting to see how he liked it, but Tristan’s silence confirmed that this was no more than what could be expected of British comrades. I insisted: what was wrong with that? He asked: how did you guard against infiltration from hostile elements? I said that there is no way to prevent spies or hostile elements from gaining entry anywhere they like, if they set their minds to it. He said, with an efficient air, that I was wrong: vigilance is essential. The exchange, classic for this kind of situation—and how often so many of us had it!—did not prevent good feeling, but he was truly disappointed in me. He made it clear that the French CP despised the British CP.

  Tristan took me to a building somewhere near the boulevard St.-Germain, on the Left Bank, just beginning to be touristland. Guards at the door inspected us, and then we were checked again inside—I had been given a temporary pass. We entered a large, drab room, with a small table at one end for the officials. A hundred or so communists, and they all looked like recruits for an army, for everyone wore at least one item of war dress, probably army surplus. Certainly they all saw themselves as soldiers in a war, men and women, for that is how they carried themselves, how they spoke, cold, clipped, and responsible. No one smiled. Perhaps they were in imagination still in the great days of the Partisans, the Occupation, the Free French. They might look as if they expected war to begin tomorrow, but what they were talking about was a fund-raising event in the quartier. After an hour or so, I was requested to leave. Tristan asked how I found it, and I said I thought it unsurprising that the French and English have such a hard time getting on. Did they really need such a military atmosphere? After all,
the German Occupation had ended getting on for ten years ago. He said gently, forgiving me, that I underestimated the strength of the enemy. When I reported this visit to the Writers’ Group, they said that one must expect this kind of thing from the French. They have to dramatize everything.

  I think there couldn’t have been more than ten or so of these Writers’ Group meetings. Discussions about literature did not defer at all to the party line and were critical of ‘socialist realism’. As for me, I was told by the comrades, as a summing-up of my contributions to Party thinking, that I raised questions none of them had thought of before or which had such obvious solutions no one would dream of wasting time on them. My trouble was that I couldn’t see the difference.

  And now the Communist Party Writers’ Group put me into a truly ridiculous situation. Montagu Slater and John Sommerfield told me that they had gone to the Annual General Meeting of the Society of Authors.* This, they said, was an authoritarian, undemocratic organisation, run by a self-perpetuating oligarchy. No member ever went to an AGM. They had put my name forward to be on the management committee. I was furious, said I had meant it when I told them I hated meetings. I would not go. Too late, they said airily, and after all, I did have to do something as a Party member. I could regard it as my revolutionary duty. They did speak with the sardonic relish for incongruity which I understood so well. I therefore found myself in that charming Chelsea house, at a meeting, to help run the affairs of the Society. They, of course, knew that I was a communist, having been proposed by two well-known communists, and they saw me as a beachhead for an invading force. They expected from me the dishonesty and double-dealing characteristic of the comrades. After all, they could hardly be innocent of the ways of the Party, since some of them were bound to have been in it, or near it. I cannot remember who they were. A young woman announced that she was a Conservative. She was there as a counterbalance to this subversive person, and scarcely took her satiric and knowledgeable eye off me. How I wish I could remember who she was. As for me, I was depressed and discouraged. I knew nothing about the policies of British literature, and did not care much, being so absorbed in the difficulties of trying to write when so beset with the problems of money, my child, my mother, my psychotherapist, my lover, and—not least—wishing I could slip unnoticed from the Party. For this was a time when, if any public person left the Party, it was to the accompaniment of press furore: ‘So-and-so has left the Communist Hell.’ ‘Communist Party Secrets Revealed.’ You were always meeting ex-comrades apologising: ‘I’m terribly sorry, I didn’t say that. They made it all up.’ (Then, as now.)

  I was a year on that committee, hating every minute.* Accustomed as I am to being in a false position—sometimes I think it was a curse laid on me in my cradle—this was the falsest. A false position is when people around you believe you think as they do; or that you stand for something quite different, and they assume this difference is what they have decided it is. Or when you have found this position or that oversimplified, a mere set of precepts, and this means that in any gathering your mind is supplying a running commentary, amplifying what is being said or assumed. I have always done this, even as a child. When I was young, this opposing commentary was irritable and intemperate, but the older I get, the more weary: ‘Oh God, I suppose it has to be like this?’

  There was another problem, which I do not have to explain to any ex-colonial (which includes here Canada, Australia, South Africa, and all the other indisputable ex-dominions) and to most foreigners. All your life you have been used to seeing the Brits working in difficult places, often isolated, coping with all kinds of deprivations and savageries. You know that the British are never happier than when on the top of some dangerous mountain, or crossing the Atlantic in a cockleshell, or alone in a desert, or deep in a jungle. Indomitable is the word. Self-sufficing. Solitude-loving. And yet a group of these same people, in England, seems cosy, seems insular, and, confronted by an alien, they huddle together, presenting the faces of alarmed children. There is an innocence, something unlived, often summarised by: ‘You see, Britain hasn’t been invaded for hundreds of years.’

  There is a dinkiness, a smallness, a tameness, a deep, instinctive, perennial refusal to admit danger, or even the unfamiliar: a reluctance to understand extreme experience. Somewhere—so the foreigner suspects, and for the purposes of comparison, while writing this I am one too—somewhere deep in the psyche of Britain is an Edwardian nursery, fenced all around with sharp repelling thorns, and deep inside it is a Sleeping Beauty with a notice pinned to her: Do Not Touch. One Christmas, when I had a child visitor to entertain—and this was the seventies—the following were on offer in London: Peter Pan. Let’s Make an Opera. The Water Babies—child chimney sweeps. Alice in Wonderland. Toad of Toad Hall. Pooh Bear. To sit through a matinee of Pooh Bear, while the young mothers, not the children, weep bitterly, makes you think a bit.

  Two episodes stand out among memories of that unlucky year as a committee member. One, a discussion of My Fair Lady, derived from Shaw’s Pygmalion. Shaw actually wrote a future for Eliza. She accepts her rich, effete suitor, to save herself from her background and from her tormentor, Higgins, but then takes charge of her life. The makers of the musical insisted she should settle for Higgins. And so there is yet another masochistic woman in literature happy to bring a man’s slippers and lick his hands. The Society of Authors acts as agent to Shaw’s estate—10 percent. I was shocked at this then and am shocked now. I could not believe then and find it hard now that when Shaw made his intentions so clear, they should be overridden for the sake of the money. It was this incident which told me how out of place I was among those people, who could see nothing wrong with what they were doing. The other bad moment was when Dylan Thomas was off to New York and wanted to use the Society’s contacts there. He was by then very drunk and destructive, and it was agreed that people in New York should be warned. I was shocked then—an artist’s sacred right to anarchic behaviour: that kind of thing—but think differently now, having seen not a few poets and writers allowing themselves every kind of licence and expecting other people to clear up after them.

  Another experience which I suppose could be called communist was when I took Peter down to Hastings during one of his holidays, to a hotel run by Dorothy Schwartz for communists. Oakhurst provided lectures, courses, and the usual amenities. I found the place dispiriting. It was the atmosphere of us and them, of the faithful against the ignorant world. For someone used to sun and large skies, Hastings is not easy to love. I keep meeting people now who you would never think could have been communist, such pinnacles of respectability they are, but they were there, listening to or giving lectures, and in one case actually working as a waiter. What I did find intriguing was that Aleister Crowley had lived just down the road in the sister house, Netherwood. In the twenties and thirties, flamboyant occult groups flourished in Britain, and not all of the participants were negligible: Yeats, for instance, and the New Dawn. Crowley had a reputation, even in the fifties, of dazzling arcane accomplishments, but at the end of his life he was a pitiful figure. He had died in 1947, but they were still saying of him in Hastings, ‘Supposed to be a magician, was he? Then why was he living like an old tramp?’ The hotel, Dorothy’s place, was reputed to have been the house that Robert Tressell used as a setting for The Ragged Trousered Philanthropists. The living room had a beautiful ceiling, and all guests were shown it as a possible work of Tressell’s hands.

  The Ragged Trousered Philanthropists, a classic of working-class life, had been published several times, first in 1914, but only in a truncated form. Fred Ball, who had been researching Tressell’s life for many years, managed to locate the original manuscript and bought it, with the help of friends, for seventy pounds. Some people doubted its authenticity, but it was genuine. It was difficult to get the full version published, because the abridged version was still in print and several publishers felt that the full text was too much of a socialist tract. Eventually Maurice Cornforth
at Lawrence and Wishart, the communist publishers, were persuaded to publish. It was very successful. Jonathan Clowes, who was to become a well-known literary agent, was working as a painter and decorator then. He was a friend of Fred Ball, helped him with advice, and was able to place his biography of Tressell with Weidenfeld—a mainstream publisher, not a socialist one. Lawrence and Wishart did not want to publish the biography, because Fred Ball discovered that Tressell, probably the son of a well-off Irish RM, was not working class. This was about the same time as Joan Littlewood had a big success with a ‘working-class’ play about building workers called You Won’t Always Be on Top, by Henry Chapman, also Jonathan’s friend—described by the press as the Hastings bricklayer. Much to the disgust of the Communist Party cultural commissars, Henry also turned out to have impeccable middle-class origins.*

  During this time, when almost all the people I met saw themselves as the vanguard of the working class, the only person I knew who was a genuine representative, unredeemed and unpolitical, was—classically—the woman who came to clean my flat once a week. What interested me most about her was that she was just like the Scottish farmers’ wives I had grown up with. She was Mrs. Dougall, about sixty, thin, pale, unwell, never without a cigarette, but if Fate had taken her winging across the seas to Southern Rhodesia? Instead she was as downtrodden as anyone I’ve known, but a willing accomplice in her exploitation. She was on the books of a firm employing cleaning women, which charged us the maximum per hour, paid her half. It was no use telling her that if she set up for herself she would earn twice as much. ‘They’ve been good to me,’ she would sigh. She had an unsatisfactory husband, whom she often had to keep. She loved him. My little splinter of a story ‘He’ was suggested by her. When not talking lovingly of her husband and kindly of her employers, she brooded about 10 Rillington Place, just up the road, the scene of horrific murders.