When Hollier told Mamusia he did not recognize the Knave of Coins, the unjust servant, I could not believe my ears. Parlabane was worse than ever, and his demands for money, which had been occasional before Christmas, were now weekly and sometimes more than weekly. He said he needed money to pay for the typing of his novel, but I couldn't believe it, for he would take anything from two dollars to fifty, and when he had sponged from Hollier he would come to me and demand further tribute.
When I say "demand" I mean it, because he was not an ordinary borrower; his words were civil enough but behind them I felt a threat, though what the threat might be I never found out – took care not to find out. He begged me with intensity, a suggestion that to refuse him would provoke more than just abuse; he seemed not far from violence. Would he have struck me? Yes, I know he would, and it would have been a terrible blow, for he was a very strong little man, and very angry, and I feared the anger even more than the pain.
So I kept up a modern woman's pretence that I was acting from my own choice, however unwillingly; but not far below that I was simply a woman frightened by masculine strength and ferocity. He bullied money out of me, and I never reached the point of anger where I would rather run the risk of a blow than submit to further bullying.
He didn't bully Hollier. Nobody could have done that. Instead he worked on the loyalty men feel for old friends who are down on their luck, which I suppose has at least one of its roots in guilt.
His novel was to him what the Gryphius MSS were to Hollier. He lugged masses of typescript around in one of those strong plastic bags you get at supermarkets. There must have been at least a thousand pages of that typescript, for the bag was full even when Parlabane at last handed Hollier a wad which was, he said, almost a complete and perfect copy of the book. He hinted, but did not actually say, that a typist somewhere had the final version, and was making copies for publishers, and that what he still had in the bag was a collection of notes, drafts, and unsatisfactory passages.
Parlabane made rather a ceremony of handing over his typescript, but after he had gone, Hollier glanced at it, retreated in dismay, and asked me to read it for him and make a report, and perhaps to offer some criticism that he could pass on as his own. Whether Parlabane ever suspected this deceit I do not know, but I took care that he never found me grappling with his rat's-nest of fiction.
Some typescripts are as hard to read as bad handwriting, and Parlabane's was one of these. It was on that cheap yellow paper that does not stand up to correction in ink and pencil, to frequent crossings-out, and especially to that pawing a book undergoes when it is in the writing process. Parlabane's novel,
I read it, though I had to flog myself to the work. It was about a young man who was studying philosophy at a university that was obviously ours, in a college that was obviously Spook. His parents were duds, unfit to have such a son. He had long philosophical pow-wows with his professors and friends, and these gurgled with such words as "teleological" and "epistemological", and there was much extremely fine-honed stuff about scepticism and the whole of life being a can of worms. There was a best friend called Featherstone, who seemed to be Hollier; he was just bright enough to play straight man to the Hero, who of course was Parlabane himself. (He had no name and was referred to throughout as
He denied himself nothing. Everybody wrangled far too much and didn't do nearly enough – even in the sexy parts. They weren't much fun except with the G.G. and those encounters were described so rhapsodically that it was hard to figure out what was happening except in a general way, because they talked so learnedly about it.