spoke several Slavic-like dialects which existed, maybe, on Terra, but certainly not in Estotiland. Alas, another case (with a quibble on cas) engaged his attention subverbally.
She asked questions with pretty co-ed looks of doelike devotion, but it did not require much scientific training on a professor’s part to perceive that her charming embarrassment and the low notes furring her voice were as much contrived as her afternoon effervescence had been. Actually she thrashed in the throes of an emotional disarray which only the heroic self-control of an American aristocrat could master. Long ago she had made up her mind that by forcing the man whom she absurdly but irrevocably loved to have intercourse with her, even once, she would, somehow, with the help of some prodigious act of nature, transform a brief tactile event into an eternal spiritual tie; but she also knew that if it did not happen on the first night of their voyage, their relationship would slip back into the exhausting, hopeless, hopelessly familiar pattern of banter and counterbanter, with the erotic edge taken for granted, but kept as raw as ever. He understood her condition or at least believed, in despair, that he had understood it, retrospectively, by the time no remedy except Dr Henry’s oil of Atlantic prose could be found in the medicine chest of the past with its banging door and toppling toothbrush.
As he gloomily looked at her thin bare shoulders, so mobile and tensile that one wondered if she could not cross them in front of her like stylized angel wings, he reflected abjectly that he would have to endure, if conforming to his innermost code of honor, five such days of ruttish ache — not only because she was lovely and special but because he could never go without girl pleasure for more than forty-eight hours. He feared precisely that which she wanted to happen: that once he had tasted her wound and its grip, she would keep him insatiably captive for weeks, maybe months, maybe more, but that a harsh separation would inevitably come, with a new hope and the old despair never able to strike a balance. But worst of all, while aware, and ashamed, of lusting after a sick child, he felt, in an obscure twist of ancient emotions, his lust sharpened by the shame.
They had sweet, thick Turkish coffee and surreptitiously he looked at his wrist watch to check — what? How long the torture of self-denial could still be endured? How soon were certain events coming such as a ballroom dance competition? Her age? (Lucinda Veen was only five hours old if one reversed the human ‘time current.’)
She was such a pathetic darling that, as they proceeded to leave the grill, he could not help, for sensuality is the best breeding broth of fatal error, caressing her glossy young shoulder so as to fit for an instant, the happiest in her life, its ideal convexity bilboquet-wise within the hollow of his palm. Then she walked before him as conscious of his gaze as if she were winning a prize for ‘poise.’ He could describe her dress only as struthious (if there existed copper-curled ostriches), accentuating as it did the swing of her stance, the length of her legs in ninon stockings. Objectively speaking, her chic was keener than that of her ‘vaginal’ sister. As they crossed landings where velvet ropes were hastily stretched by Russian sailors (who glanced with sympathy at the handsome pair speaking their incomparable tongue) or walked this or that deck, Lucette made him think of some acrobatic creature immune to the rough seas. He saw with gentlemanly displeasure that her tilted chin and black wings, and free stride, attracted not only blue innocent eyes but the bold stare of lewd fellow passengers. He loudly exclaimed that he would slap the next jackanapes, and involuntarily walked backward with ridiculous truculent gestures into a folded deck chair (he also running the reel of time backward, in a minor way), which caused her to emit a yelp of laughter. Feeling now much happier, enjoying his gallant champagne-temper, she steered Van away from the mirage of her admirers, back to the lift.
They examined without much interest the objects of pleasure in a display window. Lucette sneered at a gold-threaded swimsuit. The presence of a riding crop and a pickax puzzled Van. Half a dozen glossy-jacketed copies of Salzman were impressively heaped between a picture of the handsome, thoughtful, now totally forgotten, author and a Mingo-Bingo vase of immortelles.
He clutched at a red rope and they entered the lounge;
‘Whom did she look like?’ asked Lucette. ‘En laid et en lard?’
‘I don’t know,’ he lied. ‘Whom?’
‘Skip it,’ she said. ‘You’re mine tonight. Mine, mine, mine!’
She was quoting Kipling — the same phrase that Ada used to address to Dack. He cast around for a straw of Procrustean procrastination.
‘Please,’ said Lucette, ‘I’m tired of walking around, I’m frail, I’m feverish, I hate storms, let’s all go to bed!’
‘Hey, look!’ he cried, pointing to a poster. ‘They’re showing something called Don Juan’s Last Fling. It’s prerelease and for adults only. Topical Tobakoff!’
‘It’s going to be an unmethylated bore,’ said Lucy (Houssaie School, 1890) but he had already pushed aside the entrance drapery.
They came in at the beginning of an introductory picture, featuring a cruise to Greenland, with heavy seas in gaudy technicolor. It was a rather irrelevant trip since their Tobakoff did not contemplate calling at Godhavn; moreover, the cinema theater was swaying in counterrhythm to the cobalt-and-emerald swell on the screen. No wonder the place was emptovato, as Lucette observed, and she went on to say that the Robinsons had saved her life by giving her on the eve a tubeful of Quietus Pills.
‘Want one? One a day keeps «no shah» away. Pun. You can chew it, it’s sweet.’
‘Jolly good name. No, thank you, my sweet. Besides you have only five left.’
‘Don’t worry, I have it all planned out. There may be less than five days.’
‘More in fact, but no matter. Our measurements of time are meaningless; the most accurate clock is a joke; you’ll read all about it someday, you just wait.’
‘Perhaps, not. I mean, perhaps I shan’t have the patience. I mean, his charwoman could never finish reading Leonardo’s palm. I may fall asleep before I get through your next book.’
‘An art-class legend,’ said Van.
‘That’s the final iceberg, I know by the music. Let’s go, Van! Or you want to see Hoole as Hooan?’
She brushed his cheek with her lips in the dark, she took his hand, she kissed his knuckles, and he suddenly thought: after all, why not? Tonight? Tonight.
He enjoyed her impatience, the fool permitted himself to be stirred by it, the cretin whispered, prolonging the free, new, apricot fire of anticipation:
‘If you’re a good girl we’ll have drinks in my sitting room at midnight.’
The main picture had now started. The three leading parts — cadaverous Don Juan, paunchy Leporello on his donkey, and not too irresistible, obviously forty-year-old Donna Anna — were played by solid stars, whose images passed by in ‘semi-stills,’ or as some say ‘translucencies,’ in a brief introduction. Contrary to expectations, the picture turned out to be quite good.
On the way to the remote castle where the difficult lady, widowed by his sword, has finally promised him a long night of love in her chaste and chilly chamber, the aging libertine nurses his potency by spurning the advances of a succession of robust belles. A gitana predicts to the gloomy cavalier that before reaching the castle he will have succumbed to the wiles of her sister, Dolores, a dancing girl (lifted from Osberg’s novella, as was to be proved in the ensuing lawsuit). She also predicted something to Van, for even before Dolores came out of the circus tent to water Juan’s horse, Van knew who she would be.
In the magic rays of the camera, in the controlled delirium of ballerina grace, ten years of her life had glanced off and she was again that slip of a girl qui n’en porte pas (as he had jested once to annoy her governess by a fictitious Frenchman’s mistranslation): a remembered triviality that intruded upon the chill of his present emotion with the jarring stupidity of an innocent stranger’s asking an absorbed voyeur for directions in a labyrinth of mean lanes.
Lucette recognized Ada three or four seconds later, but then clutched his wrist:
‘Oh, how awful! It was bound to happen. That’s she! Let’s go, please, let’s go. You must not see her debasing herself. She’s terribly made up, every gesture is childish and wrong —’
‘Just another minute,’ said Van.
Terrible? Wrong? She was absolutely perfect, and strange, and poignantly familiar. By some stroke of art, by some enchantment of chance, the few brief scenes she was given formed a perfect compendium of her 1884 and 1888 and 1892 looks.
The gitanilla bends her head over the live table of Leporello’s servile back to trace on a scrap of parchment a rough map of the way to the castle. Her neck shows white through her long black hair separated by the motion of her shoulder. It is no longer another man’s Dolores, but a little girl twisting an aquarelle brush in the paint of Van’s blood, and Donna Anna’s castle is now a bog flower.
The Don rides past three windmills, whirling black against an ominous sunset, and saves her from the miller who accuses her of stealing a fistful of flour and tears her thin dress. Wheezy but still game, Juan carries her across a brook (her bare toe acrobatically tickling his face) and sets her