Stories: All-New Tales

Michael Moorcock. STORIES

THIS IS THE STORY OF MY FRIEND Rex Fisch who blew out his complicated brains in his Lake District library all over his damned books one Sunday afternoon last September. Naturally the place was a horror to clean, but Rex never really cared much about the mess he left in his wake. What pissed me off was the waste: each blasted cell was a story he’d never tell; a story no one else would ever tell. Rex knew how to hurt himself and the old friends who loved him. Only a few of us are now left. Cancer took Hawthorn, Hayley, Slade and Allard that same year. The first three had shared digs with Rex when he first lived in London. It didn’t seem fair of the bastard to deliberately deplete what remained of our joint memory.

As I said at his funeral Rex had more fiction in him than could ever come out, no matter how long he’d lived. A superb raconteur, he produced stories in every form, from dry, funny narrative verse to self-dramatising social lies. Novels, plays, short stories, comic strips, operas, movies, RPGs: throughout his career he was never stuck for a narrative. In that respect we were pretty much alike and shared a kind of discomfort at our own facility. We both identified with Balzac, sharing a fascination for Jacques Collin, his sinister and ubiquitous many-named master villain who set out to ruin La Torpille in Splendeurs et misères des courtisanes. Rex discovered that most people prefer a good story and a bit of conventional prejudice to honest ambiguity; they made their most profound life decisions based on tales they saw in the tabloids or on reality TV. That didn’t stop Rex telling the truth when it frequently occurred to him. Truth was always in there somewhere, even when he thought he was lying. For all his later right-wing posturing, he had, like Balzac, a way of tapping into poor peoples’ dreams and understanding what they wanted most in the world. I envied him his empathy, if not his ambition. There was one story he couldn’t write. I think it was what we were all waiting for and which might have brought him the literary recognition he longed for. But he believed Paris Review editors could “smell the pulp writer on you,” while as an editor I rejected stories because I could smell Paris Review on them. I believed we were too good for the reviews even when we appeared in them. The conventions of genre were staler in literary writing than Harlequin romances: exactly why Rex turned out to be the writer we most needed on Mysterious.

We were both six-two and shared the same colouring and humour, though Rex was already balding. I guess our differences came from our backgrounds. I was a Londoner. Rex had been born and raised in Wrigley, Texas, pop. 1, 204, about forty miles from Waco. He’d believed everything they told him until he went to Austin where he found out how to doubt his small-town certainties, trading them for the snobberies of the UT literary enclave. Dumping his provincialism a little late, he never lost his reverence for academia. Furiously cynical, he was determined to tell readers what fools they were to believe his stories. Despite this, he seemed oddly innocent when he turned up in London fresh from the UT campus via Spain, with the remnants of his jaundice, an uncompleted creative-writing degree and a few sales to the American crime and sci-fi digests, to be disgusted by our rates, even lower than the U.S., but delighted when we bought whatever he wrote, at whatever length he did it. When we met we were both twenty-five. Literary powers like Julie Mistral had already called him the James M. Cain of his generation. Angus Wilson had compared me to Gerald Kersh and Arnold Bennett.

The “digests” were the pulps’ attempts to look more sophisticated, with abstract expressionist covers and cooler titles, but I had grown up reading the real pulps with their powerful pictures and raving shout lines (Donna was a dame who dared to be different-Kelly was a cop who craved to kill!). The quality of the fiction didn’t alter, just the presentation.

I found it hard to come in at the end of that era, working on the Falcon and Sexton Blake Library, but it had proved one thing to me. There were no such things as pulp writers. Bad writers like Carroll John Daly and brilliant ones like Dashiell Hammett just happened to write for the pulps. Mostly their reputation had to do with context. Jack Trevor Story would write a novel for Sexton Blake then, with minor modifications, turn it into a novel for Secker and Warburg.

By the time I took it over, Hank Janson’s Mystery Magazine was about the last of the UK thriller digests and I had some crackbrained notion to lift it away from genre altogether and make it into something addressing the widest possible readership. By 1964 there were few short story mags left and most of those were generic. They ran romances, military adventures, mysteries and sci-fi. To get published and paid you had to adapt your work, usually by inserting a clunky rationalised plot. That way you earned a bit as you learned a bit. We didn’t want to write what we called Englit-fic: the styles and themes of which came out of universities in sad imitation of the great modernists. We wanted to write something that had the vitality of good commercial fiction and the subtle ambition of good literary fiction, reflecting the sensibilities and events of our times: stuff that would get us high with the sense of enthusiasm and engagement of Proust or Faulkner but with the disciplined vitality of genre fiction pulsing from every page.

A few of us talked about a “two-way street” to reunite junk, middle-brow and highbrow fiction. Some people out there had to be as frustrated as us, dissatisfied by pretty much everything on offer, literary or commercial. For ages people had discussed the “two cultures.” We might just be the guys to unite them: writing for a reader who knew a bit about poetry, painting and physics, enjoyed Gerald Kersh, Elizabeth Bowen and Mervyn Peake, merging realism with grotesquerie and doing it elegantly, eloquently. By 1963 we were publishing a few examples in the digests and with Billy Allard and Harry Hayley, my two closest writer friends; we made plans for a “slick” quarto magazine bringing together designers, artists, scientists, poets, but of course the cost of the art paper alone made publishers shake their heads.

Then Len Haynes, the decent old drunk who ran it forever, proposed that I take over Janson’s when he retired to live with his daughter in Majorca.

Married less than a year, Helena Denham and I lived in Colville Terrace, still Rackman’s Notting Hill fiefdom. We’d had our first daughter, Sara, and Helena, beautiful as ever with her pageboy chestnut hair framing a heart-shaped face, was furiously pregnant with Cass, our second. I’d been fired from Liberal Topics, the party magazine whose wages I’d taken in spite of promising Winston Churchill, when I was eleven, never to become a Liberal. So I needed Janson’s money. More important, it would be a chance to do what we’d been saying we should do for so long. I talked it over with Helena and the others.

When I went back to Dave and Howard Vasserman, the publishers, I made only three conditions: that I decide policy, that they let me change the title gradually and if our circulation went up they give me the paper and size I wanted. I would help them get mainstream distribution with their more upmarket titles. I convinced them I could make their imprint respectable enough to be taken on by the high-street retailers. Then I got my friends busy. We lacked a decent designer but I did my best. Our first issue would not merely offer a manifesto, we would attempt to demonstrate policy-and we’d have a lot of illustrations, one of the secrets, in my experience, of a successful periodical. They were Jack Hawthorn’s job.

Hayley started finishing a novella he’d been talking about, a weird thing in which the detective’s dreams informed his case. Allard began writing us a new serial, full of brooding metaphysical imagery borrowed from Dali and Ernst. Helena finished her alternate-world Nazi creeper. I drafted my editorial about pulp influences on William Burroughs, and Burroughs gave us a chapter from his new book. American beats and British pop artists had something in common with noir movies, our other great enthusiasm. Allard produced a guest editorial arguing that “the space age” needed a new lexicon, new literary ideas. I did a short under a regular pseudonym and the rest came from Janson’s stable of favourites.

All three of us were English but had known little conventional upbringing. Hayley had been orphaned by a buzz bomb, taken a job on a local paper before being conscripted into the RAF, studied metaphysics at Oxford where he’d met Allard who’d been raised in occupied France with an Anglo-Jewish mother who’d been on one of the last transports to Auschwitz, worked for the Resistance as a kid then come home not to prewar Mayfair fantasy but despairing suburban austerity, the world Orwell captured. After his conscription served in the RAF, he did physics at Oxford, where he met Harry. They both dropped out after a few terms, writing features and noirish sci-fi stories for mags like Authentic or Vargo Statten’s. Allard was qualified to fly obsolete prop planes, Hayley was a qualified radio operator and I’d done a couple of miserable ATC years before they abolished conscription about a nanosecond before I was due to be drafted, edited juvenile story papers, trade mags and Sexton Blake, so I had loads of editorial experience but little formal education.

We’d spent half our lives in the pub discussing why modern fiction was crap and why it needed an infusion of the methods and concerns of popular fiction, all of us having sold a bit to the surviving thriller and science fantasy pulps. I think we felt we knew what we were talking about, having been raised in the social margins, thanks to one trick of fate or another, and loved surrealism, absurdism, French new wave movies as well as Pound, Eliot, Proust and the rest. In common with a few other restless autodidacts of our day we loved anything containing Gabin’s smoking.38, Mitchum’s barking.45 or Widmark’s glittering knives, all mixed up with Brecht and Weill, Camus’ Fascist Caligula screaming “I’m still alive” and the black bars crossing the faces of Sartre’s Huis Clos, emphasizing the prisons in which we place ourselves. Into that mix we threw James Mason in Odd Man Out, Harry Lime, Gerald Kersh’s Night and the City, Bester’s Demolished Man, Bradbury’s Fahrenheit 451, Household’s Rogue Male, Lodwick’s Brother Death. We’d met the likes of Francis Bacon, Somerset Maugham and Maurice Richardson at the Colony, read Beckett, Miller and Durrell in Olympia Press and generally got our education from the best novelists, journalists and artists of our day. Allard liked Melville more than I did, Hayley preferred Kafka and I loved Meredith. We were agreed that their lessons needed to be brought back into contemporary culture via the popular arts. Borges, too, though his stuff was only just being done into English via Ferlinghetti’s City Lights press. We also thought that fiction should be able to carry as many narratives per paragraph as possible, using techniques borrowed from absurdism, futurism and combined with new ideas of our own. We’d thought there were hundreds of writers dying for the chance to do the same as us, but though a lot more readers welcomed what we made of Mysterious, contributors were slow in coming.

By 1965 we’d at least laid the foundations of the two-way street. Pop art came one way, pulp the other. The Beatles and Dylan were doing the sound track. They broke new ground and got paid for it, but most people had no real idea what we meant when we talked about combining “high” and “low” arts, in spite of the two cultures being as popular a subject in features pages as the big bang and planet-size computers. We wanted to rid pop fiction of its literalism, taking exaggeration for granted in ambitious work, but were only slowly developing a critical vocabulary, trying to bring a deeper seriousness to the novel, but were still frustrated, reckoning we were still missing a piece in the equation. Whittling the title slowly down to one word hadn’t been enough. We needed writers desiring to emulate modern classicism to help build a genuine bridge able to take the weight of our two-way traffic.

It took Rex turning up in 1965 to show us what we needed to convince readers and writers of our authority. Like Allard or Hayley, he wrote better than any other contemporary I knew. His sardonic style was deceptively simple. He, too, was a Balzac fan with a special love of Jacques Collin/Vautrin. We were almost exactly the same age. Like me, he’d supported himself since the age of sixteen. He’d climbed out of a family of father-dominated German Catholic drunks, dropping out of the University of Texas after selling a few stories to the digests which got him a couple of book contracts to fund the trip to Europe he felt was the next rung on his career ladder, which he planned with his friend Jake Slade, a fellow Texan Catholic and a master ironist.

I was only familiar with Rex’s world through what little fiction I’d read of Jim Thompson or what he’d described himself in Paine in Congress or The Clinic. I’d certainly never been to Texas and only knew Manhattan. Jake’s stories had never seen print; they were dry, sly and ticking with the energy of unexploded bombs. Rex’s were like Henry James on speed. Quick-mouthed contemporary clarity; good fast fiction fresh off the calendar and with plenty of class. Rooted in our familiar world.

Jake and Rex had planned to write a mystery together in Spain, travel around Europe for a while, then return either to Austin or to New York. But they hadn’t anticipated catching jaundice from bad acid in Spain and having to stay with friends in London until they could finish the book. Rex, having read about us in Juliette Masters’s NYT column, came to see me in the hope of raising some living money. He also brought some of Jake’s manuscripts and I immediately knew we were in luck. Neither had come from populist traditions but they thirsted for pulp. They brought the best academic ambitions to the subject matter we featured. They were exactly what I’d been looking for, roaring down from the other end of the two-way street and bringing a bunch of new writers and readers after them. Two for the price of one. Murder and the human soul. The face of society and the fabric of the future. Their intensity and intelligence lacked the hesitancy or vulgarity I’d rejected when posh literary agents thought they’d found somewhere to dump their clients’ awful bits of generic slumming, neither did they stink of the creative-writing class.

Sociable, a little formal, a knowing catalyst, Rex introduced me to friends he had known at UT, including the talented fine artists Peggy Zorin, Jilly Cornish and her husband, Jimmy, as well as others who were yet to leave Texas en route for Mysterious and London. At last we had a full set of talented contributors who could give us a substantial inventory, interacting with increased gravity, attracting other writers who added superb stories to our contents list, the best anyone had read in ages, combining a sophistication and vitality taken for granted today but representing a quantum jump at the time and making us the most celebrated fiction magazine of our day. The debate was suddenly over. We could demonstrate everything we’d discussed. That was what Rex Fisch did for Mysterious and the rough-and-ready movement we’d always denied was a movement. We entered a golden age. Almost every story we published was anthologized. A good many won prizes.

I knew of course that our little revolution would collapse rapidly once we achieved what we hoped for and our individual careers were made. Real life grew darker after those good years. The first tragedy was Jane Allard’s death on a trip back to the family home near Nantes. Billy moved to Streatham to bring up his kids. We drove over with our own to visit from time to time. Next, Rex took part in a poetry tour with several well-known poets, including the notoriously omnisexual Spike Allison. He came back gay (no surprise to his friends) and monstrously troubled about it after Spike dumped him on their return to London. Our relationships were only just surviving the divorces, rearrangements and general infighting. People join revolutions until they get what they want as individuals, then start quarrelling over the spoils, however imaginary. I was surprised by how many of our friendships remained intact. Writing mostly nonfiction, Jake settled down with a local girl, Daisy Angelino, in Portobello Road, near our offices. Rex met Chick Archer, who was from Maine, at an S amp; M bar in Paris. They fell in love, travelled for a few years, then bought their lovely freezing old house in the English Lakes. The place couldn’t be more Wordsworthy with its hard, driving cloud banks bringing relentless rain, rewarding you with bursts of sunshine, the whole fell moving like a living body in its contours and shadows, over which Rex presided with a rather proprietorial air at his huge sitting-room windows. Sometimes the wind bawled against the long scar of Wattendale Edge, creating waves across the black tarn. You can see those landscapes, beautifully drawn by Chick in their Mary Stone comic. They’re still syndicated. Almost nobody knew Rex wrote that great, gritty newspaper strip which made them more money than anything else and which explained why their home smelled so strongly of well-loved wealth.

Rex and I still made each other laugh uncontrollably, much to Chick’s silent disgust. This of course drove the sadistic Rex to increase Chick’s discomfort. I suspect that’s why we didn’t get invited up so often. Harry went to live in Ireland with his Dublin-born wife, to look after her mother who lived on a miserable council estate just outside Cork. Stuck there, Harry grew increasingly depressed and began a long book on Nietschze. I saw him occasionally when he came to do research at the British Library. Jimmy and Jill Cornish settled near the old mill in Tufnell Hill. He wrote reviews, criticism for the LRB and nonfiction guides. She produced commercial posters to supplement her gallery shows. Others continued to get novels published and exhibitions arranged with increased success. Pete Bates disappeared on a cycling holiday in France. His bike was found at the bottom of a sea cliff in Brittany. Other good writers and artists came and went. Charlie Ratz joined us as our designer. I performed and made records with the Deep Fix.

I thought we were extending the ’60s golden age but really it was the end. I continued to publish Mysterious but now it was edited by others as affairs and relationships collapsed dramatically across four continents. Gender roles rolled in every possible direction. Stable quartets became full orchestras; ramshackle duets became rock-solid trios. If you visited friends in San Francisco, you needed a complicated chart to know who was with whom, why, when and where. As he and Rex settled in to do the old Alan Bennetts, Chick now wore the slightly self-conscious air of a resting chorus boy down from London for the weekend. Rex had exchanged his Texan brogue for a rather attractive Cowardian drawl which disappeared on the few occasions he phoned home. Chick’s tones grew increasingly clipped. They were models of moral righteousness, so thoroughly faithful that when AIDS came it gave them no hint of anxiety. They adopted a very superior attitude to everyone else, of course. And particularly, it turned out, to me. With three much-loved offspring to care for, I weakly divorced Helena, married again and moved across the street with my child bride, Jenny.

Though I had suffered with Rex through his sexual transition and every minor treachery practiced on and by him, he chose to see my breakup with Helena as perhaps the most infamous deed since Eddie’s in Death of the Heart. My separation from Helena was reasonably amicable, I thought. I was still supporting everyone. I’d done it pretty straightforwardly. But the first time I took Jenny up to Wattendale to see them and a group of friends they’d invited, I thought the murmured commentary from Rex would never end. If Kim and Di Stanley hadn’t as usual conned me into giving them a lift up from Bury I would have gone back on the Saturday morning. I was furious and very close to ending our friendship on the spot.

Jenny talked me out of it. “I love hearing you and Rex tell your stories.” She grinned. “You’re such great liars.”

I hardly saw Rex or Chick for the next three years. Chick sent a card at Christmas with just his signature on it. Jenny sent one from us. But I’d had enough. Rex wasn’t the only moody bastard writing for Mysterious and I just didn’t have the energy to work at anything more. At least he was still sending his stuff in, via Charlie Ratz, the new editor. Charlie still saw him regularly. His parents had retired to a massive house outside Keswick, only a couple of miles from Rex and Chick. Whenever Charlie returned to London, he had a new story or two with him. Or Jake Slade would go up and bring something back.

Rex knew the prestige of publishing in the mag. The public saw no ruptures. We were getting more praise than was probably healthy. In fact, a critic brought about our reconciliation. Julie Mistral, the NYT reviewer who had been our early champion, now lived about half the year in England. She threw one of her so-called A-list parties and we were all invited. The party was held in the huge rundown hotel restaurant she rented.

Jenny and I were amongst the first to arrive. Rex and Chick were already there, sipping Jacquesson from dusty flutes. Rex spotted me, came over and greeted us with all his old, amused affection. The Great Big Hi as Jake called it. We were embraced. We were kissed. We were mystified.

I was wise enough not to ask how or why this had happened but Jenny found out later from Chick. Rex had come across a review written by Helena for Tribune, which had a circulation of about twenty. She had failed to praise Lost Time Serenade, Rex’s Proustian parody, as much as Rex felt it should be praised. It wasn’t a bad review, given I knew she’d found the whole thing pretentious and unworthy of such a good writer, but with Rex you were expected as a friend either to praise him to the skies or not review him at all. Now I knew why Helena hadn’t been invited and since I’d never made that particular error of diplomacy I was back in favour again. Then Chick came up and gave me that look of wordless disgust, which was his way of maintaining friendships when Rex blew hot and cold. I was still unsure of him. I was a bit unsure of everything, in fact, because Jenny was just getting into what she’d call her experimental phase, which would enliven our sex life and destroy our marriage. Fourteen years younger than me, she felt she hadn’t experienced enough of the world.

I have to admit our sexual experiments were funny to me at first. There’s not a lot of sexual pleasure to be got from hopping shouting around your bedroom having failed to wallop your wife’s bottom and whacked your own leg instead. I had no instinct for it. Eventually though I was able to play the cruel Sir Charles with reasonable skill. A bit like faking an orgasm.

Ever since we’d been together Jenny had a fantasy about me watching one of my friends fuck her. There were a thousand scenarios in her little head and scarcely one in mine. I think I used up all my stories while I was working. I didn’t dream either. I needed a rest from tale spinning at the end of the day. But I did my best. I hated to disappoint her.

I had an idea of the scenario she planned one evening when Rex turned up holding a bottle of Algerian red in one hand and his dripping cap and overcoat in the other, beaming. “Hi!” A wild giggle at his own physical discomfort. Charming. On his best and happiest behaviour. He embraced us in his soft gigantic arms. He had some meetings with Universal Features and wanted to stay for a bit. I thought the evening was to be a celebration of our reborn friendship. Jenny was all over him, flirting like a fag hag, bringing Rex out all atwitter. So we dined. While I washed up, she whispered in his ear.

It turned out Jenny loved threesomes but mostly with her looking on frigging herself blind while waiting to get fucked by the least exhausted bloke. Mostly that was me, as Rex jerked off. That image is no more appealing to me than to you. After three or four nights and days of this, I realised that Rex was getting most of his buzz from knowing Chick had no suspicion of what he was up to.

Of course, to add to his own wicked relish Rex told Chick what he’d done with us. He had to. He never could resist a good story, particularly if he was telling it. Our few nights of passionless sex had become a means of manipulating Chick. This time Chick cut us.

Inevitably Jenny and I grew further apart as our games got more fantastic. Rex had already been through all that with Chick in Paris. Real-life fantasies are distractions for a working writer. Years before Rex told me that himself. “It’s as bad as going to law. The story starts to take over. Like falling in love. All sentimentality and melodrama. The scenarios are repetitive, conventional. All they offer are the comforts of genre.” He was right. Sex games are more boring than an Agatha Christie novel.

Anyway Jenny, despite our investment in special clothing and sex aids, wasn’t getting a big enough buzz out of my efforts. It’s like horror movies or superhero comics, you either stop and give them a rest or you have to keep heightening the action. Even if the games didn’t bore me, our widening circle of acquaintances did. I wasn’t finding enough time alone. Individuals, couples, whole fucking communes got involved. If they gave me a good paragraph or two, I wouldn’t have minded so much, but there was an infantile sameness about their scenarios. Jenny and I were driven further apart by what the courts call intimacy. I tried to get to see Rex and Chick on their own, desperately needing to find out how they had rescued themselves from the crack of the crop, the smell of damp leather, the spell of repetition. Did you just grow out of it? Sometimes Jenny seemed to be flagging until some fresh variation on a familiar theme perked her up again. She was a natural addict. I’ve never been seriously addicted to anything. So I started trying to get her off the habit. It didn’t work. She made excuses, started doing stuff in secret. I hate ambiguity in my day-to-day life. There’s enough in my work. A writer needs routines and certainties. What can I say? As well as losing real intimacy with old friends, I lost it with Jenny. In a half-arsed attempt to restore our earlier closeness, she told me some of her new adventures. Then I got hooked for a while. I started pumping her for more revelations. She owed me that, I decided. They added nothing but did become pretty chilling. The seduction of underage girls. Things my friends liked to do. It amazed me how so many women took the odd rape for granted. Too many secrets revealed. Friendships frayed. Rex came back in the picture. I moved out.

I took my kids, whom I’d been missing anyway, on a long trip round the USA. It made us feel better. To my relief we grew back together. Feeling my old self I got home, bought a short lease on a little flat in Fulham, just when Notting Hill turned into a gentrified suburb. I saw enough of Jenny to know it was thoroughly over. I didn’t like what she’d done to herself. She’d dyed her hair bright blond and her brown eyes had a vaguely dazed, mirrorlike quality, as if they only reflected and no longer saw anything. She’d lost her sense of humour, too, and was into various odd relationships, still searching for the good life. When I shifted the last of my stuff she made a halfhearted attempt to patch things up. She wanted to have a baby, she said, and get back into our old domestic routine. Even while she proposed this deal, a bloke I vaguely knew was sleeping upstairs in what had been our bed, where once, like Proust, I’d done most of my writing. From being a place of concentration in which I conceived stories it had become a place of distraction, where real stories died. I said she could keep the place. All she had to do was pay the mortgage.

“But I love you.” She wept. She made an awkward attempt to remind me of the old days. “I love just lying in your arms at night while you tell me a story.”

I was sad. “It’s too late, Jenny.” Those stories were over.

I went up to Windermere, phoned Rex and Chick, but Chick was frosty. Did I know I had almost broken them up? I apologized. I said how much I regretted what had happened. Rex, just as distant and haughty, put the phone down on me. I saw them in Kendal once or twice and in Grasmere. They wouldn’t speak to me. Once, over his shoulder, Rex gave me the most peculiar leer. Did he wish we were still deceiving Chick? It made me shudder. Was something wrong with him?

Of course I longed to be back with Helena but she’d settled down with a jolly Scottish chef and was doing her best work. Why would she want to change that?

Even though our pillow talk inspired a couple of shorts, I really hated having been part of Jenny’s daisy chain. Some of those people I never wanted to see again, others I needed distance from; I wasn’t ready to see Charlie Ratz or Jonny Fowler yet. Pete was still missing in France, presumed dead. I gave up any interest in Mysterious, which was now doing fine without me, bought a house near Ingleton, West Yorks, and settled in first with Emma MacEwan, who couldn’t stand the rain and cold, and then started seeing a local woman who disapproved of central heating. I desperately hoped to restore my friendship with Rex, even after I met Lucinda, to this day the love of my life. Lu found my obsession weird, I know, until she eventually met Rex in Leeds, at a Ted Hughes literary weekend we’d all been invited to. Lu’s teenage daughter loved Rex’s work and wanted him to autograph her books. She was too shy to ask him, so Lucy, her fair hair flying and blue eyes blazing, marched up to the table where he was sitting and said: “I gather you’re Mike’s old friend. Well, I’m his new wife and this is my daughter, who’s read most of your work and loves it. I think it’s pretty good, too. So what about some autographs and while you’re at it why don’t you two shake hands?” And, that being just one of her powers, we did.

Later at the bar Rex told me Chick blamed me for the infamous “seduction.” At that idea we continued to laugh for the rest of the day, until the next, when Chick turned up, glaring when he saw us, and Lucinda, nearly six feet herself, took him in hand as well. “It’s all over,” she said. “If you’re going to blame anyone, blame that poor, barmy bitch Jenny. She got you all involved in her folly and now look at you.” And when Chick grumbled that Rex was still seeing Jenny, which surprised me, Lu said: “Well, she’s poison as far as I can tell, and he doesn’t need her now he has Mike back.” Chick teared up then. He told her I was the best friend Rex had ever had but I had betrayed them both. Which again I admitted. And the following weekend Lu and I went up and stayed with them. On our way home she said: “You two could make Jeremiah roll about on the floor laughing himself sick.”

I didn’t know why Rex went on seeing Jenny, unless he simply enjoyed wounding Chick. He still had that cruel streak in him. Chick and I talked about it. Chick thought it had to be directed at him, too. He guessed Jenny was a substitute for me, especially when Rex dropped Jenny so soon after we were reconciled. She still phoned him.

I saw Jenny myself a few times after that. She seemed more her old self in some ways. She’d had twins and was living with her mother in Worthing, on the Sussex coast. She had the washed-out look of so many single mothers, said she was happy, if poor, and even suggested my “sexual conservatism” had dulled me down. Next time I bumped into her in Kensington High Street she was again pale, overpainted, dyed up. She looked as if all the vitality had been sucked from her. I thought she was doing junk. Her eyes were back to blank. Was she living in London? Did she have someone? She laughed and looked even more devitalized. “None of your business,” she said. I couldn’t argue with that.

Of course, I was curious to know what she and Rex had been up to. I guessed she hadn’t accepted that he’d dropped her. At a party in Brighton a year or two later she looked worse than ever, clinging to Rupert Herbert, one of those new Low Tories on the Spectator. More makeup, too blond and getting through a packet of Gauloises a minute. I did really feel sorry for her. Then Rex turned up and snubbed her so royally he pissed me off, so I made a point of going over to talk to her but she snubbed me in turn. Lucinda came over and murmured “poor bitch” and meant it. Between us the Mysterious crew had ruined a nice, unimaginative girl, she thought. Not entirely fair. You could hear Jenny over the general buzz talking about some famous film producer she’d lived with. He’d been the one who bought The Vices of Tom from Rex and then turned it into that pot of toss. “The bastard…,” she was saying. You could guess the rest. Maybe Lu was right.

For the next ten years or so life settled into routines nobody felt like messing with though Rex grew increasingly unreasoning in his arguments with editors, then publishers, then agents until almost nobody would work with him. His books didn’t sell enough for any editor to bother keeping him sweet. He took offence easily and frequently and, through his vengeful verse, publicly. Chick said he could no longer manage him. I would have thought this a good thing. I believed Chick’s natural leanings towards convention and literary respectability pushed Rex away from his saving self-mocking vulgarity. Balzac and Vautrin were less his models than Proust or Albertine. His work seemed to apologise for itself. He lost his popular touch without gaining critical prestige. Only Mary Stone went on making money for them. His short stories came out less frequently, but he kept his habit of phoning and often reading the whole thing to you. And he still enjoyed inventing a story when he got your answering machine. “Oh, I know what you’re doing. You’ve met that good-looking farmer again and gone badger watching with him.” Usually the time would be up before he could complete his fantasy. His new novels tended to peter out after a few chapters. I’d get frustrated and consider continuing them for him. They were wonderful ideas. Occasionally they would reemerge when a way of telling them occurred to him. His aptitude for ironic narrative verse never left him. I’d labour for hours to get anything close to what usually took him minutes. Chick helped him develop his taste for classical music, which is how he came to write his three operas, one of which he based on Kersh’s The Brazen Bull and another on Balzac’s Illusions Perdue but he became snobbish about popular music or he’d have written some great lyrics. I used a few of his verses in my own music stuff. I inserted another into one of my hack thrillers, its redeeming feature. His only opera to reach the stage was a version of Firbank’s Cardinal Pirelli. Rex delighted in upsetting Catholics, although his attacks meant little to most of us.

Then, as we limped into our sixties, we began to suffer from real illnesses, as opposed to passing scares. Rex was diabetic, arthritic. Chick was the first of us to be diagnosed with cancer. I think it was colon, he wouldn’t say. Even Rex refused to betray him on that occasion. His surgery seemed to cure him. We heard Jenny survived a stroke. By that time she hardly saw any old friends. When she had an operation, I’m not sure what for. Rex didn’t speak of the years when he’d seen her regularly, even as we grew closer than ever, all living up in those northern hills, from Todmorden to Kendal. Harry, of course, was still in Ireland. Billy Allard went to Corfu after his children grew up. Pete continued to be presumed dead. Peggy Zoran returned to New York and was very successful. The Cornishes moved to Kirkby Lonsdale. I had a hernia operation which went wrong. Bad stitching cut off an artery and caused problems in my leg. I couldn’t walk or climb anymore. Rex’s diabetes was complicated by drinking. Chick successfully got him on the wagon. In 2005, while we were at our place in Paris, I got an e-mail from Rex referring casually to Chick’s return to Airedale General, so I phoned the hospital at once. “It’s spread a bit,” Chick said. “I’ll be out in a few days.” So we flew home and drove over. Chick had lost a lot of weight. He was ghastly white but Rex pretended nothing was wrong. A lot of surgery was involved. Chick started a short story called “Over the Knife.” He showed it to us. Very mystical and sardonic. He got me to ask Jack Hawthorn if he’d take over Mary Stone, but Jack wasn’t up to it. The next thing we knew he was admitted again and we made the first of several trips to Skipton. Chick was bitter about friends who couldn’t find time to visit or phone. “Or send a bloody Hallmark card and a bunch of fucking flowers.” Rex, sometimes there when I was, echoed all this. I did what I could to make friends visit. Very few did. People were fighting to keep some sort of income, I suppose. At the hospital we made the usual jokes, complimented Chick on his courage. He found this amusing. “You’re just thanking me for not making you feel bad. It’s easy to be brave when everyone’s attention’s focused on you.” He could do the best wan smile, remembered Rex, giggling later. Chick asked us to stop sending flowers. The smell reminded him too much of funerals. I remembered my mother making the same complaint.

Rex was still pretty much in denial. Who could blame him? His responses became more and more monosyllabic, either because he didn’t want to cry or because he didn’t want to be reminded of what was happening. His partner of nearly forty years, however, spoke more freely. He had so little time. Subsequent operations were done to “repair” his intestines. When he went home he was only there for a matter of weeks, even days, before they sent him back again. Another series of surgeries was proposed but Chick refused any more. He wanted to die with a semblance of dignity. A quietly practicing Anglican for some years, he was ready to go. I asked if he was scared. “In a way,” he said, “as if I were going for a job interview.” He chiefly needed promises that we’d keep an eye on Rex, make sure he paid bills, had repairs done, all the jobs Chick had taken on so Rex could write without worry. “I know it’s hard, but you’re the best friends he has.” A kind of blackmail. I didn’t resent it. He probably said the same to others. “He mustn’t start drinking. He won’t look after the place unless you pester him. There’s still a bit on the mortgage. He’ll let the pool go. Make sure he gives you a key. Oh, and he has a gun. Get the bullets if you can. You know what a drama queen he can be.” Next time we saw him he had written out a list in his educated American hand. Where the stopcocks were, what needed watering when, the names and numbers of the oil-delivery people, the gas and electricity people, the best plumber, the most reliable electrician. Their handyman, the local rates office: all the details of their domestic lives. We promised to do all we could.

His thin, grey face with its grey toothbrush moustache became earnest. “In spite of anything Rex says?”

We promised.

“Or anything he tells you? Or I tell you?” This was puzzling, but we agreed. Once he had our promises, he drew a long breath. Then: “You know, don’t you, what he was doing with Jenny?”

“We don’t want to.” Lucinda spoke before I could answer. Of course I wanted him to tell me.

“Okay.” Chick turned on his pillows. “Probably just as well.”

Lu and I drove home in unspeaking silence.

Chick died a few days later. In late August many friends were on holiday and couldn’t make it to the funeral. Rex blamed them, of course. If Chick’s frail old dad could make the trip, then surely…? I went to stay with him. He was dazed. He’d found Chick’s diaries before we could. “I never realised what he gave up. Why he was so unhappy.” I pointed out that journals are almost always misleading. We use them to record miseries, frustrations of the moment, anger we don’t want to put into the air. We didn’t need them when we were content. But he refused to be comforted. He had failed Chick. That’s all he had to say. He was drinking again.

Rex was very particular about the funeral, insisting we wear what he called “full mourning,” which meant black hats and veils for women, suits and ties for men. There were only seven of us in the Grasmere cemetery where Chick wanted to be buried. Rex bore his grief through his familiar haughty disguise. Lucinda had organized the funeral meats, such as they were. Rex had insisted on everything being simple. Chick had wanted the same. After we had all gone to bed or home, Rex sat down in his study and phoned everyone who hadn’t been able to make it. If they didn’t pick up, he left messages on their machines. Not the usual whimsical tales. He told them what he and Chick had always said behind their backs about their lack of talent, their ugly child, their gigantic ego, their terrible cooking, their bad taste. When Rex hurt, everyone got hurt. Next day, high on his own vengeance, he told me in a series of vignettes what he’d done. Some of the people phoned me next. Many were in tears. Almost all tried to forgive him. Several wanted to know if he was right. My daughter Cass had given him Helena’s regards and been snubbed so badly by Rex she was still crying when she got through to me. She was readier to forgive him than I was.

About a week later, while Lu visited her hypochondriacal mother, I went over to see how Rex was doing. He’d been drinking heavily. “I’m glad you came,” he said. “I wanted you to know about a favour I did you a few years back.” I cooked us dinner, after which he told me what he’d done for me. He was sure I’d be pleased, he said. I didn’t know who he was mocking. Gasping and yelping with pain from the arthritis brought on by the booze, he poked up the fire and poured us cognacs. Then he started with the slow, dramatic relish he reserved for his readings. I suppose you could call it a revenge tale, with all the elements he enjoyed in Balzac and the Jacobeans. Soon after Jenny and I split up, and blaming her for “luring” him into the threesome with which he had taunted Chick, Rex became, in his words, her confessor, suggesting ideas to her for sexual adventures, often helping her make specific contacts and introducing her to what he called his list of “forty famous perverts.” He had sometimes accompanied her to dinners and parties, encouraging her to risks she’d never have dared take on her own. “I drove her farther and farther down that road, Mike. You’d have loved it! Whenever she faltered I was there encouraging her to stay the course. I told her heroin wasn’t addictive!” (Luckily he’d only been able to persuade her to snort it.) “I convinced her she was a natural whore. I became her best friend, just as Vautrin took Emma under his wing!” That terrible, self-approving chuckle followed as he sat there in his big leather chair overlooking the darkening fell, staring in sardonic satisfaction at the sky, speaking in the tones of measured mockery usually reserved for his satirical verse. “I knew you wanted to do it but couldn’t. So I took your revenge for you, Mike!”

“Jesus, Rex. She didn’t deserve…I would never…”

“Oh, Mike, you know what she deserved. You’d never do it, but Vautrin could, eh? I learned the lessons of Balzac better than you ever did!” At that point, as the world grew darker and the fire reflected on his face, he was every inch Balzac’s monster, apparently completely mad. I felt physically sick, concerned for his sanity, deeply sorry for Jenny. I wondered if Lucinda had guessed what had gone on. Was that why she had refused to let Chick tell us anything? Rex relished every revelation. Giggling, he explained how he persuaded her to do something particularly demeaning. I was no sadist but of course he was. He could hate women. He went on for ages, offering chapter and verse, names, places, bringing all the horror and misery back. He explained little mysteries, offered anecdotes, consequences, a whole catalogue of betrayal. Chick could not have known the half of it. I wanted to walk out on him there and then but I was too fascinated. Besides, I had promised Chick I would stand by Rex. I couldn’t abandon him. This was Rex’s way of being my friend. I knew how much he relished revenge. He sincerely believed others merely pretended not to take the same pleasure in it.

I had promised to stay the night. By the time I went to bed, I had nothing to say to him. I knew how kind he could often be, how kind he had been to Jenny. I could hardly imagine such complicated, elaborate cruelty. Around three A.M. I took a couple of sleeping pills and woke up at eight on a wonderful sunny morning. Under a clear grey-blue sky the granite glittered and the grass glowed. Rex was down in the big, stone-flagged kitchen making breakfast. I ate it as if it might be poisoned. Standing in his drive beside my car, I hugged him. “I love you, Rex,” I said. And I did, even at that moment, when I could barely look at him. He paused, appearing to consider this. Then he teared up, making that muted humming sound I became used to hearing when he searched for an appropriate word, the little smack of his lips and intake of breath when he’d found it.

“I love you, too,” he said at last.

I got home that afternoon. I’d had to pull over twice to collect myself. Lucinda was still out. I’d hoped so much she would be home before me. The message light was flickering on the phone. I had a sickening premonition something had happened to her. But it was Rex sounding dramatically cheerful, a sure sign he’d been drinking. “Hi, Mike! I know you’re off ratting with your friend the vicar and your Jack Russells. Clearly you’ve no time to spend for poor old Rex…” And so on until the machine cut him off. I was relieved I’d taken longer getting home. When Lu finally arrived with fish and chips from the local, she was too full of her own frustrations with her mother to notice my mood so I explained how I was tired from staying up all night with Rex.

We saw a bit more of Rex after that. Because I would never know anything different, I decided to treat most of what he'd told me that night as an elaborate fiction. I was probably right. A couple of months later, as if he had been practicing on me with the Jenny story, he began writing again. At first I was relieved, but we eventually realised he was unable to finish anything. He had lost his gift for narrative, his sense of the future. We did all we could to encourage him, to keep him engaged. The ideas themselves were as brilliant as ever. He phoned to read me a couple of opening paragraphs over the answer machine and they were so good, so typical of Rex at his best, Lucinda wouldn’t let me erase them. When I was home he might read several pages, even a chapter. But two chapters were the most he could manage of anything. Chick had always been the one to help with construction. After I stopped editing he wouldn’t let me do it anymore. He claimed Chick’s diary had left him unable to complete a story. “Maybe because I know how it finishes. How they all finish.”

Rex had spent his whole life telling stories. There wasn’t much I could say. He was still writing narrative verse and every fortnight or so he would phone again with the start of a new story, still leaving it on the machine if we weren’t in.

Then his troubles began to increase. Phoning him I learned how he was threatened by the VAT authorities because of his failure to send in his forms or how a builder had gone off on a second job in the middle of fixing the library roof, how rain was drenching his books. I’d go over and do what I could but eventually I’d have to return home. I felt horribly guilty, recalling my promise to Chick. Not that I failed to remind Rex of what Chick had mentioned, but I couldn’t be there the whole time. Often he seemed to resent our help. I suppose the boxed wine he bought by mail order didn’t help. He ate a lot, but badly for a diabetic, and for all the various domestic disasters, which his friends coped with pretty well among us, things appeared to improve with time. If anything his grasp on reality seemed to strengthen. He broke down less and began going to a few parties and conferences. He made his peace with the friends he’d insulted and was mostly forgiven. Optimistically, we spoke of him as becoming his old self again. He was introspective in a positive way.

When another August came round he seemed pretty positive. He might start off feeling miserable but conversation soon cheered him up. We’d share a piece of gossip or make fun of a good friend. That was how we were. He joked about Chick, too. I saw that as another sign of healing. Lucinda could always tell who was on the phone because of the laughter. I spoke to him on the first Monday in September. He was drunk, but no more than usual. He’d sent me an e-mail, he said. This was unusual. He hated e-mail as a rule. So I went to my PC and there it was. Rex rarely offered that amount of self-revelation and this had the feel of a continuing conversation, maybe with himself. It knocked me back a bit. So much that I made plans to see him the following weekend. It was as short as it was shocking:

“The story I never wrote was the story of my life, my unhappiness at failing to convince my father of my worth. I tried so hard, but I never had the courage or the method to tell that story. I wrote to impress. The verses always had to be witty, the prose clever. You remember me telling you, when we were young, how scared I was about dropping my guard. Truth wasn’t as important as success to me. I needed to impress the people my dad approved of. Nobody else’s opinion meant much. Either he saw me in the Saturday Evening Post or I simply didn’t exist as a writer.” I think he’d planned to say more, but that’s all there was.

On the Thursday, Jimmy Cornish called and told me Rex was dead. The rest was in the obits. Gone but not forgiven.

I had failed to keep my word to Chick. I hadn’t found the bullets. I should have spoken to his accountant. I should have helped him back to AA. I’ve never understood booze. People have to be rolling in the gutter singing “Nellie Dean” before I get the picture. I missed all the signs and fell down on a solemn promise. Not for the first time. I never gave a promise to a child I couldn’t keep, but I made a habit of breaking them to adults. Rex knew exactly what he was doing. I’m not the only survivor still running scenarios through their head. If I’d found the gun and stolen it…If I’d checked to see how much he was drinking…If I’d listened more closely…

Rex wrote some great ghost stories. When it came to haunting his friends, he was a bloody expert. What he’d done to Jenny told me he knew exactly what he was up to. People say all ghost stories are optimistic because they show a belief in life after death. Equally, all artists are optimists because the act of creation is optimistic in itself. Rex’s poems and openings are still on our machine. Lu won’t erase them. On a bad night I’ll pour myself a glass of wine and press the button until I hear his voice. I’ll listen to his gentle mockery as he invents an outrageous tale about my getting my toe stuck in the bath’s hot tap or being arrested for vagrancy on my way back from a climb. He always gets cut off. If I’m feeling up to it, I’ll listen the way you listen to a sweet, familiar tune.

I think that was the real reason why, after Chick’s death, Rex never completed anything. There was only one story he really had to tell and from deep habit he had repressed it, choosing suicide rather than write it. “The Story of Rex and Chick.” Even under such dreadful stress he couldn’t let it come out. He had destroyed Chick’s journals to ensure it never would be known. And then he had destroyed himself.

Rather than dwell on that I’ll listen to his familiar fantasies once again. Then I’ll turn off the machine, curse the bastard for a liar and a coward and a calculating fucking sadist, pick up one of his books and head for bed, glad enough, I guess, that I still have a few stories of my own to tell and some rotten bloody friends to remember.