The Matisse Stories

Shona McRury telephones. She asks to speak to Debbie, who has in fact answered the phone, and spends a long time congratulating Debbie on an article on feminist art in A Woman’s Place, an article about the amorphous things that women make that do not claim the ‘authority’ of ‘art-works’, the undignified things women ‘frame’ that male artists have never noticed, tampons and nappies but not only those, and the painted interior cavities of women, not the soft fleshy desirable superficies explored/exploited by men. Debbie has made a lovely centre-spread of the crayon drawings of an artist called Brenda Murphy, who works in the kitchen with her children, using their materials, crayons and felt-tips on paper, creating works that are a savage and loving commentary on their lives together. Shona asks Debbie if she knows if Ms Murphy has an agent or a gallery, and Debbie answers abstractedly, praises the interesting variety, the eclectic brilliance of Callisto’s shows, and is rewarded by Shona McRury’s request to see Debbie’s husband’s work, which is so witty, she thinks, she just loves that mysteriously funny little painting in Toby’s loo, a jewel in a desert. Debbie thinks a jewel in a desert is a good phrase, but is not sure the idea of wit bodes well. Robin is, she recognises, somewhat humourless in his driven state. But she fixes something exact, for this coming Wednesday, without consulting Robin. Robin is perturbed and threatened by the closeness of Wednesday, as Debbie has foreseen. She becomes ever so slightly minatory, and at the same time plaintive. ‘It isn’t so easy to get a chance of getting the work seen by a gallery, you can’t just pick and choose your moments or you end up with none, as you ought to know by now, and I’ve done my best for you, I pinned her down, you have to, she’s so busy, even with the best will in the world …’Robin condescends, in terror, to have his work viewed.