1 see. "Only it doesn't work. Not for any good reason. But because of the-because-I have this vision of the white bed-" Maud put a little fan of apple curves onto a paper plate and handed it to him.
"I know. I had this thing with Fergus. I expect you heard."
"Yes."
"I expect he told you. I had a bad time, with Fergus. We tormented each other. I hate that, I hate the noise, the distraction. I remembered something, thinking about what you said-about the sea anemone and the gloves and Leonora on Venus Mount. Yes. I remember Fergus had a long patch of lecturing me on Penisneid. He's one of those men who argue by increments of noise-so that as you open your mouth he says another, cleverer, louder thing. He used to quote Freud at me at six in the morning.Analysis Terminable and Interminable. He got up very early. He used to prance around the flat-with nothing on-quoting Freud saying that 'at no point in one's analytic work does one suffer more from a suspicion that one has been preaching to the winds than when one is trying to persuade a woman to abandon her wish for a penis'-I don't think he-Freud-is right about that-but anyway-there was something intrinsically ridiculous about this silly shouting-before breakfast-letting it all hang out-I couldn't work. That was how it was. I-I felt battered. For no good reason."
Roland looked at Maud to see if she might laugh and saw that she was smiling, an embarrassed, fierce smile, but a smile. He laughed. Maud laughed. He said, "It's exhausting. When everything's a deliberate political stance. Even if it's interesting."
"Celibacy as the new volupté. The new indulgence."
"If it is you should relax into it. Tell me-why do you always cover your hair?"
He thought for a moment he might have offended her, but she only looked down, and then answered with a kind of academic accuracy.
"It's to do with Fergus. With Fergus and with its colour. I used to wear it very short-sheared short. It's the wrong colour, you see, no one believes it's natural. I once got hissed at a conference, for dyeing it to please men. And then Fergus said, the shaved style was a cop-out, a concession, it made me look like a skull, he said. I should simply have it. So I grew it. But now it's grown, I put it away."
"You shouldn't. You should let it out."
"Why do you say that?"
"Because if anyone can't see it they think and think about it, they wonder what it's like, so you attract attention to it. Also because, because…"
I see.
He waited. Maud untied the head-square. The segments of the plaits were like streaked and polished oval stones, celandine yellow, straw-yellow, silvery yellow, glossy with constricted life. Roland was moved-not exactly with desire, but with an obscure emotion that was partly pity, for the rigorous constriction all that mass had undergone, to be so structured into repeating patterns. If he closed his eyes and squinted, the head against the sea was crowned with knobby horns.
"Life is so short," said Roland. "It has a right to breathe."
And indeed his feeling was for the hair, a kind of captive creature. Maud pulled out a pin or two and the mass slipped, and then hung, still plaited, unbalanced on her neck.
"You are an odd man."
"I'm not making a pass. You know that. I just wanted to see it let out once. I know you will know I'm telling the truth."
"Yes, I do. That's what's so odd."
She began slowly to undo, with unweaving fingers, the long, thick braids. Roland watched, intently. There was a final moment when six thick strands, twice three, lay still and formed over her shoulders. And then she put down her head and shook it from side to side, and the heavy hair flew up, and the air got into it. Her long neck bowed, she shook her head faster and faster, and Roland saw the light rush towards it and glitter on it, the whirling mass, and Maud inside it saw a moving sea of gold lines, waving, and closed her eyes and saw scarlet blood.
Roland felt as though something had been loosed in himself, that had been gripping him.
He said, "That feels better."
Maud pushed aside her hair and looked out at him, a little flushed.
"All right. That feels better."
Chapter 15
And is love then more
Than the kick galvanic
Or the thundering roar
Of Ash volcanic
Belched from some crater
Of earth-fire within?
Are we automata
Or Angel-kin?
-R. H. ASH
The man and the woman sat opposite each other in the railway carriage. They had an appearance of quiet decorum; both had books open on their knees, to which they turned when the motion of the carriage permitted. He was indeed leaning lazily back into his corner, with crossed ankles, indicating a state of relaxation. She had her eyes for the most part cast demurely down at her book, though she would occasionally raise a pointed chin and look intently out at the changing countryside. An observer might have speculated for some time as to whether they were travelling together or separately, for their eyes rarely met, and when they did, remained guarded and expressionless. Such an observer might have concluded, after a considerable period of travelling, that the gentleman admired, or felt a considerable interest in, the lady. When she was most determinedly looking at her book, or the flashing fields and vanishing cattle, his eyes would rest on her, speculative or simply curious, it was very hard to tell.
He was a handsome man, with a flowing head of very dark brown hair, almost black but with russet lights in its waves, and a glossy beard, a little browner, the colour of horse-chestnuts. His brow was expansive, the organ of intellect well-developed, though he was equally well endowed with the bumps of compassion and fellow-feeling. He had black brows, a little rough and craggy, under which very large dark eyes looked out at the world steadily enough, fearless but with something held in reserve. The nose was clearcut and the mouth firm and settled-a face, one might think, that knew itself and had a decided way of taking in the world. His book was Sir Charles Lyell's Principlesof Geology, which he took in, when he applied himself, with concentrated speed. His clothes were elegant without ostentation. The hypothetical observer might have been unable to decide whether his subject pursued an active or a contemplative life: he looked accustomed to decision, and yet also one who "had thought long and deeply."
The lady was dressed elegantly if not in the first flight of fashion; she wore a grey-striped muslin dress over which she had cast an Indian shawl with marine-blue and peacock paisleys on a dove-grey ground; she had a small grey silk bonnet, under the brim of which appeared a few white silk rosebuds. She was very fair, pale-skinned, with eyes, not unduly large, of a strange green colour which transmuted itself as the light varied. She was not exactly beautiful-her face was too long for perfection, and not in the first flush of youth, though the bones were well-cut and the mouth an elegant curve, no pouting rosebud. Her teeth were a little large for an exacting taste, but they were strong and white. It was hard to tell whether she was a married làdy or a spinster, and hard too, to decide what her circumstances might be. Everything about her was both neat and tastefully chosen, breathing no hint of extravagance, but betraying no signs of poverty or skimping to the curious eye. Her white kid gloves were supple and showed no signs of wear. Her little feet, which appeared from time to time as the carriage movement displaced the large bell of her skirt, were encased in a gleaming pair of laced boots in emerald green leather. If she was aware of her travelling companion's interest, she showed no sign of it, unless it were that her eyes were studiously averted from his person, and that circumstance might have indicated only a proper modesty.