Deborah Levy
Swimming Home
To Sadie and Leila, so dear, always
INTRODUCTION
Entering the Whirlpooclass="underline" commerce, politics, marriage and hearth
If, as a young aspirant writer in the early to mid 1990s, you raised your head and took a look around the British literary landscape, one figure stood out from all the others: Deborah Levy. Read two pages of her work, and it was instantly apparent that she was a writer as much at home within the fields of visual and conceptual art, philosophy and performance as within that of the printed word. She’d read her Lacan and Deleuze, her Barthes, Marguerite Duras, Gertrude Stein, and Ballard, not to mention Kafka and Robbe-Grillet — and was putting all these characters to work in new, exhilarating ways. Like the emotional and cerebral choreographies of Pina Bausch, her fiction seemed less concerned about the stories it narrated than about the interzone (to borrow Burroughs’s term) it set up in which desire and speculation, fantasy and symbols circulated. Even commonplace objects took on eerie, intense dimensions, like Duchampian readymades or objects in dreams for Freud.
So And Other Stories couldn’t have landed a bigger catch to kick off their first year of publishing. If the setting and plot of Swimming Home are borrowed, almost ironically, from the staid English-middle-class-on-holiday novel, all similarities end there. The book’s real drama plays out through blue sugar mice who scuttle from candy stalls into nightmares; or stones with holes in that turn into voyeuristic (or myopic) telescopes, then lethal weights, then, simply, holes. What holds this kaleidoscopic narrative together, even as it tears its characters apart, is — in classical Freudian fashion — desire: desire and its inseparable flip side, the death drive. This comes embodied — nakedly, almost primordially, floating in the water to which it will return — in the figure of Kitty Finch, half doomed and daddy-obsessed Sylvia Plath, half post-breakdown Edie Sedgwick out of Ciao! Manhattan: volatile, imploding around a swimming pool. Lured towards her, and the vortex or whirlpool she mermaids at the side of, are the worlds of commerce, politics, marriage and hearth, and literature itself, as represented by two exotica traders, a war correspondent and a celebrated poet, all uneasily coupled. And, at the spectrum’s far end, the teenage girl who will emerge as the novel’s real protagonist, inheritor of its historical traumas.
Tom McCarthy
June 2011
SWIMMING HOME
‘Each morning in every family, men, women and children, if they have nothing better to do, tell each other their dreams. We are all at the mercy of the dream and we owe it to ourselves to submit its power to the waking state.’
ALPES-MARITIMES, FRANCE, July 1994
A Mountain Road. Midnight
When Kitty Finch took her hand off the steering wheel and told him she loved him, he no longer knew if she was threatening him or having a conversation. Her silk dress was falling off her shoulders as she bent over the steering wheel. A rabbit ran across the road and the car swerved. He heard himself say, ‘Why don’t you pack a rucksack and see the poppy fields in Pakistan like you said you wanted to?’
‘Yes,’ she said.
He could smell petrol. Her hands swooped over the steering wheel like the seagulls they had counted from their room in the Hotel Negresco two hours ago.
She asked him to open his window so she could hear the insects calling to each other in the forest. He wound down the window and asked her, gently, to keep her eyes on the road.
‘Yes,’ she said again, her eyes now back on the road. And then she told him the nights were always ‘soft’ in the French Riviera. The days were hard and smelt of money.
He leaned his head out of the window and felt the cold mountain air sting his lips. Early humans had once lived in this forest that was now a road. They knew the past lived in rocks and trees and they knew desire made them awkward, mad, mysterious, messed up.
To have been so intimate with Kitty Finch had been a pleasure, a pain, a shock, an experiment, but most of all it had been a mistake. He asked her again to please, please, please drive him safely home to his wife and daughter.
‘Yes,’ she said. ‘Life is only worth living because we hope it will get better and we’ll all get home safely.’
SATURDAY
Wild Life
The swimming pool in the grounds of the tourist villa was more like a pond than the languid blue pools in holiday brochures. A pond in the shape of a rectangle, carved from stone by a family of Italian stonecutters living in Antibes. The body was floating near the deep end, where a line of pine trees kept the water cool in their shade.
‘Is it a bear?’ Joe Jacobs waved his hand vaguely in the direction of the water. He could feel the sun burning into the shirt his Hindu tailor had made for him from a roll of raw silk. His back was on fire. Even the roads were melting in the July heatwave.
His daughter, Nina Jacobs, fourteen years old, standing at the edge of the pool in her new cherry-print bikini, glanced anxiously at her mother. Isabel Jacobs was unzipping her jeans as if she was about to dive in. At the same time she could see Mitchell and Laura, the two family friends sharing the villa with them for the summer, put down their mugs of tea and walk towards the stone steps that led to the shallow end. Laura, a slender giantess at six foot three, kicked off her sandals and waded in up to her knees. A battered yellow lilo knocked against the mossy sides, scattering the bees that were in various stages of dying in the water.
‘What do you think it is, Isabel?’
Nina could see from where she was standing that it was a woman swimming naked under the water. She was on her stomach, both arms stretched out like a starfish, her long hair floating like seaweed at the sides of her body.
‘Jozef thinks she’s a bear,’ Isabel Jacobs replied in her detached war-correspondent voice.
‘If it’s a bear I’m going to have to shoot it.’ Mitchell had recently purchased two antique Persian handguns at the flea market in Nice and shooting things was on his mind.
Yesterday they had all been discussing a newspaper article about a ninety-four-kilo bear that had walked down from the mountains in Los Angeles and taken a dip in a Hollywood actor’s pool. The bear was on heat, according to the Los Angeles Animal Services. The actor had called the authorities. The bear was shot with a tranquilliser gun and then released in the nearby mountains. Joe Jacobs had wondered out loud what it was like to be tranquillised and then have to stumble home. Did it ever get home? Did it get dizzy and forgetful and start to hallucinate? Perhaps the barbiturate inserted inside the dart, also known as ‘chemical capture’, had made the bear’s legs shake and jerk? Had the tranquilliser helped the bear cope with life’s stressful events, calming its agitated mind so that it now pleaded with the authorities to throw it small prey injected with barbiturate syrups? Joe had only stopped this riff when Mitchell stood on his toe. As far as Mitchell was concerned it was very, very hard to get the arsehole poet known to his readers as JHJ (Joe to every one else except his wife) to shut the fuck up.
Nina watched her mother dive into the murky green water and swim towards the woman. Saving the lives of bloated bodies floating in rivers was probably the sort of thing her mother did all the time. Apparently television ratings always went up when she was on the news. Her mother disappeared to Northern Ireland and Lebanon and Kuwait and then she came back as if she’d just nipped down the road to buy a pint of milk. Isabel Jacobs’ hand was about to clasp the ankle of whoever it was floating in the pool. A sudden violent splash made Nina run to her father, who grasped her sunburnt shoulder, making her scream out loud. When a head emerged from the water, its mouth open and gasping for breath, for one panicked second she thought it was roaring like a bear.