Phillip had given me the key to his place. My own flat was noisy and Fiona often slept during the day: she was working with young offenders, and had overnight duties. So I’d stroll down to Phillip’s in the morning after he’d left for work.
If it was warm, I’d sit on the roof, a flat area with an iron fence looking out over Earls Court, my typewriter on a crate, a beer and an ashtray next to it, trying to write this movie. I’d stride about, saying the dialogue, attempting to see the different scenes crashing together. It wasn’t long before I learned that a movie uses up a lot of imagination quickly.
I was anxious all the time, with, I believed, much to be anxious about. During the high success of the play, I had travelled whenever I was invited, meeting journalists, giving talks, as well as doing some reviewing and article writing. My directness was considered amusing and mischievous, and I had appeared on a couple of TV quiz shows. I wasn’t optimistic that any of this would last. Indeed, convinced it was a fluke, success induced a plague of symptoms in me, twitches, compulsions, huge anxiety and, on some days, agoraphobia.
Like some of the untalented and talented people I’ve known, I was preoccupied by the idea that eventually people would understand that I was a fraud and a fool. After all, if you were a professional musician or even a footballer, you had already achieved a high level of competence. In my line of work, I could still feel as useless as a drunk, even as I won a short-story competition for a couple of pages about a woman being devoured by dogs, and my agent rang me with the figures from my latest opening. An older writer whose advice I sought sometimes had said to me, ‘It’s nothing to write one good or successful piece. Unless you choose to die young, you have to repeat it your whole life. Good luck.’
This wasn’t my only doubt and conflict. Fiona and I had been living together for four years, but were separating. She was waiting for a flat she would rent to become available, and soon I would buy my own place. Both of us had been seeing other people, but most nights we slept in the same bed. As a child adored by his parents, I discovered it took an axe to your identity to live with someone who despised you, who looked at you with loathing, refusing to let you give them anything.
Around five o’clock each day it was a relief when Phillip came home, thus signalling the end of my work. If I’d been on the roof, I went down into the flat to greet him, and would bring him a gin and tonic and a cigar. The effort of writing, and the paranoia which solitude engendered, had destabilised me by the afternoon. I believed there could be no luckier man than someone like Phillip who had spent the day working fruitfully, having exhausted his guilt.
*
While Phillip read the paper, I’d cook for him. If I’d been sunbathing, as I often had, I’d continue to walk about naked as he looked on. I’d been doing yoga in the mornings, I ran and cycled by the river, swam, and lifted weights in our small flat in front of the mirror. I had sculpted this chunky little hot body and was keen for it to be admired.
I’ve become aware that I have always liked to have a best friend, someone older than me to be brother, guide, accomplice. Phillip was the person with whom I laughed the hardest, and whom I most wanted to hear my thoughts and know me. I could crack him up doing the voices, having always been able to pick up accents and attitudes, mimicking them in a minute. I did resent being an entertainer, but he’d beg me to do them: sturdy lefties in the party, friends, TV personalities. In those days of grave and serious political struggle, frivolity was not only at a premium, it was subversion.
I’d always been an indifferent student, but having a tolerance for others I now recognise as unusual in a writer, I was smart enough to see that if I made intelligent friends, there was much I could pick up with minimal concentration or study. Phillip was also the most fun of anyone around at the time, his conversation being a mixture of personal anecdote — detailed and hilarious accounts of his romantic and sexual misfortunes with both men and women — and literary reference and political gossip: he was a busy member of the Labour Party, and ran the local CND branch. The one-bedroom flat, with a large living room, was stuffed with books. He and I and Fiona spent weekends putting up new shelves while drinking and holding parties on his roof.
I guess Fiona and I were a desirable couple then, both of us good-looking. She’d briefly been a model, and we were bright, keen on the latest clothes and with a touching ignorance of what effect our vanity and self-assurance might have on others, of how it might infuriate them.
With me Fiona had become bored and stifled, and had made up her mind to become daring. She went to bars and stayed out all night. Once, while I waited at home — and no one envies another their masturbation — she slept with two men at the same time. In a hurry, and more under the influence of Joe Orton than I would be again, I decided Phillip could touch me a little.
If it gave him pleasure, and it seemed to when I offered myself to him, he could kiss my hands, shoulders, neck. Then he would caress my head and back, and play with my arse. Several times he sucked me, while I rested on the sofa, somewhat awkwardly I suspect, like a child being felt, as he messed with me until he came. He didn’t excite me; I had no desire to touch him and never did. I just liked being desirable, and fancied the idea, for a time, of being in what I considered to be the ‘feminine’ position. It was the first time I’d had such power over anyone, the ability to make them crazy.
When Fiona was with us Phillip and I didn’t do this. Nor was she informed, though I considered her to have been the touch paper since, being more alert than I to subterranean feeling, she’d said one night, ‘Which of us do you think Phillip wants? Or could it be both of us? Would anyone have the balls to be that greedy?’
The next time we went round, both of us sat on Phillip’s knees giggling. She winked at me and said, ‘Dirk Bogarde in Death in Venice.’
He was fun to tease, but I respected Phillip. Not that he always respected himself. I’d sat in on some of his school classes, being invited to speak to his pupils about ‘my career’, where I saw he was capable of arousing enthusiasm in the young, of explaining why a certain figure or period should be paid attention to. As I myself had learned from him, I couldn’t grasp why his profession would make him feel inadequate or ashamed of himself.
My blithe view infuriated him. He began to say he was wasted at the school. He needed me to know he was more talented than most people were able to see. He said he needed to ‘shut himself away’. It turned out that rather than working on his thesis at the weekend, he had been producing plays and stories. It must have occurred to him that if I could do it, so could he. When he gave them to me to read I was kind, merely pointing out there were more pages than necessary.
Now, at least, I have understood that the longer you know a person, far from getting to know them, as you close in on their unconscious the unsettling delirium and violence of the human system will appear bewildering. So, while I returned Phillip’s literary efforts somewhat casually, their general effect didn’t quickly dissipate. Though of no aesthetic value, the work could only be a depiction of his mind, and the state he appeared to inhabit I recognised from my alarming but exhilarating experiences smoking dope. His inner self, unlike his outer, was disconnected, incoherent and peopled by many policemen, merchants of attempted order, presumably. Inside, I was shocked to learn, he was not at all like me. The nearly mad are among us everywhere, many of them disguised. Like blondes, they appear to have more fun, as well as more misery. But who, as an artist of some kind, would not welcome the weird as the truth? And who ever gets a straight look at the world?