Читаем The Rebel Angels полностью

I was in great anxiety about what the newspapers would say. Had Parlabane written to them in the same unbuttoned spirit that he had written to me and Hollier? No: a joker in this as in everything, Parlabane had written his letter to us and delivered it by hand on the Saturday night after he had killed McVarish. The much-abbreviated accounts that he had written for the three Toronto papers and which were, I later learned, terrible muddles of crossing out and misused carbon copying, he had posted – but in a mailbox that was intended for overseas post only; upon each he had put a few details in his own hand, so that no paper received quite the same story. This confusion, and the fact that there was no postal delivery on Easter Monday, meant that the papers did not have their story until Thursday; the police, who had been sent a carbon and some further details, did not get their letter until Friday, such is the caprice of modern postal service. Therefore, the story of Urky's taking-off appeared on the Monday as a report of an inexplicable murder, and at the weekend figured again with all the rich embroidery of Parlabane's confession. God be praised, he had not named either me or Hollier in his accounts of the "ceremonies" – only as custodians of his great book. The police let it be known that they had information not granted to anyone else, and that they were not going to tell all they knew; great destruction among the drug-pushers was predicted by the press.

Between the news of the murder on Monday, and the revelation of its nature and its cause on Thursday, University authorities had lavished much praise on the character of Urky; a devoted teacher, a great scholar, a man of fine character and irreproachable conduct, a loss to the academic community never to be replaced – he was given the works, in a variety of distinguished styles. There was great speculation about The Demon Knitter who had slain the blameless scholar and grossly "interfered" with his body by stuffing him with velvet ribbon. This was a relief from the bread-and-butter murders with guns and hammers upon obscure and uninteresting victims, with which the press has to do the best it can. This came to an abrupt stop when the real story broke; the plans that had been going forward for a splendid memorial service in Convocation Hall were abandoned. Murray Brown spoke in the Legislature, pointing out that the education of the young was in dubious hands and something like a purge of the whole University community would not be amiss. And of course the news about Parlabane's book galvanized the publishers. The telephone began to ring.

Who was there to answer it but myself? I had been mentioned in Parlabane's letter as one of the two people who had access to the complete typescript, and Hollier could not be reached. He was still cosy, lucky man, in his bed at his mother's house and could not speak on the telephone, his mother said. So I temporized, and evaded direct questions and commitments, and refused to see people, and then was forced to see them when they pushed through the door of Hollier's rooms. Unwillingly I was photographed by newspapermen who lay in wait outside Spook, and hounded by literary agents who wanted to free me from tedious cares; I experienced all the delights of unsought notoriety. I was offered a lot of money for my story, John Parlabane as I Knew Him, and the services of a ghost to write it up from my verbal confession. (It was assumed that, as a student, I would not be capable of coherent expression.) I was invited to appear on TV. Hollier's mother was outraged by the newspaper publicity and suspected, by the sixth sense given to mothers, that I had designs on her innocent son, and seemed convinced that the whole thing was my fault. After someone had attempted a clumsy robbery in Hollier's rooms I put the typescript of Be Not Another in the vault at Spook – and attempted to have the telephone disconnected, but that took several days to accomplish. O tohubohu and brouhaha! –

Another thing for which I had cause to thank the spirit of Parlabane was that in none of his letters to police or newspapers had he mentioned the Gryphius Portfolio. Where it was now I had no idea. But late on the Friday of the second week of this siege by newspapers and publishers I was sitting in Hollier's outer room, trying to get on with some of my own work, and not managing to do so, when there came a knock at the door.

"Go away," I shouted.

The knock was repeated, more powerfully.

"Bugger off!" I called, in something like a roar.

But I had not locked the door, and now it opened and Arthur Cornish poked his head around it, grinning.

"That's no way to speak to an old friend, Maria."

"Oh, it's you! If you're an old friend, why didn't you come sooner?"

Перейти на страницу:

Похожие книги

Шедевры юмора. 100 лучших юмористических историй
Шедевры юмора. 100 лучших юмористических историй

«Шедевры юмора. 100 лучших юмористических историй» — это очень веселая книга, содержащая цвет зарубежной и отечественной юмористической прозы 19–21 века.Тут есть замечательные произведения, созданные такими «королями смеха» как Аркадий Аверченко, Саша Черный, Влас Дорошевич, Антон Чехов, Илья Ильф, Джером Клапка Джером, О. Генри и др.◦Не менее веселыми и задорными, нежели у классиков, являются включенные в книгу рассказы современных авторов — Михаила Блехмана и Семена Каминского. Также в сборник вошли смешные истории от «серьезных» писателей, к примеру Федора Достоевского и Леонида Андреева, чьи юмористические произведения остались практически неизвестны современному читателю.Тематика книги очень разнообразна: она включает массу комических случаев, приключившихся с деятелями культуры и журналистами, детишками и барышнями, бандитами, военными и бизнесменами, а также с простыми скромными обывателями. Читатель вволю посмеется над потешными инструкциями и советами, обучающими его искусству рекламы, пения и воспитанию подрастающего поколения.

Вацлав Вацлавович Воровский , Всеволод Михайлович Гаршин , Ефим Давидович Зозуля , Михаил Блехман , Михаил Евграфович Салтыков-Щедрин

Классическая проза / Юмор / Юмористическая проза / Прочий юмор / Проза