The Essential Works of George Orwell. George Orwell

appeared a moment later, hatless and pulling on a pair of gauntlet gloves. You could tell him at a glance for a rich young man. He wore the uniform of the moneyed intelligentsia; an old tweed coat—but it was one of those coats which have been made by a good tailor and grow more aristocratic as they grow older—very loose grey flannel bags, a grey pullover, much-worn brown shoes. He made a point of going everywhere, even to fashionable houses and expensive restaurants, in these clothes, just to show his contempt for upper-class conventions; he did not fully realise that it is only the upper classes who can do these things. Though he was a year older than Gordon he looked much younger. He was very tall, with a lean, wide-shouldered body and the typical lounging grace of the upper-class youth. But there was something curiously apologetic in his movements and in the expression of his face. He seemed always in the act of stepping out of somebody else's way. When expressing an opinion he would rub his nose with the back of his left forefinger. The truth was that in every moment of his life he was apologising, tacitly, for the largeness of his income. You could make him uncomfortable as easily by reminding him that he was rich as you could make Gordon by reminding him that he was poor.

      'You've had dinner, I gather?' said Ravelston, in his rather Bloomsbury voice.

      'Yes, ages ago. Haven't you?'

      'Oh, yes, certainly. Oh, quite!'

      It was twenty past eight and Gordon had had no food since midday. Neither had Ravelston. Gordon did not know that Ravelston was hungry, but Ravelston knew that Gordon was hungry, and Gordon knew that Ravelston knew it. Nevertheless, each saw good reason for pretending not to be hungry. They seldom or never had meals together. Gordon would not let Ravelston buy his meals for him, and for himself he could not afford to go to restaurants, not even to a Lyons or an ABC. This was Monday and he had five and ninepence left. He might afford a couple of pints at a pub, but not a proper meal. When he and Ravelston met it was always agreed, with silent manœuvrings, that they should do nothing that involved spending money, beyond the shilling or so one spends in a pub. In this way the fiction was kept up that there was no serious difference in their incomes.

      Gordon sidled closer to Ravelston as they started down the pavement. He would have taken his arm, only of course one can't do that kind of thing. Beside Ravelston's taller, comelier figure he looked frail, fretful and miserably shabby. He adored Ravelston and was never quite at ease in his presence. Ravelston had not merely a charm of manner, but also a kind of fundamental decency, a graceful attitude to life, which Gordon scarcely encountered elsewhere. Undoubtedly it was bound up with the fact that Ravelston was rich. For money buys all virtues. Money suffereth long and is kind, is not puffed up, doth not behave unseemly, seeketh not her own. But in some ways Ravelston was not even like a moneyed person. The fatty degeneration of the spirit which goes with wealth had missed him, or he had escaped it by a conscious effort. Indeed his whole life was a struggle to escape it. It was for this reason that he gave up his time and a large part of his income to editing an unpopular Socialist monthly. And apart from Antichrist, money flowed from him in all directions. A tribe of cadgers ranging from poets to pavement-artists browsed upon him unceasingly. For himself he lived upon eight hundred a year or thereabouts. Even of this income he was acutely ashamed. It was not, he realised, exactly a proletarian income; but he had never learned to get along on less. Eight hundred a year was a minimum living wage to him, as two pounds a week was to Gordon.

      'How is your work getting on?' said Ravelston presently.

      'Oh, as usual. It's a drowsy kind of job. Swapping backchat with old hens about Hugh Walpole. I don't object to it.'

      'I meant your own work—your writing. Is London Pleasures getting on all right?'

      'Oh, Christ! Don't speak of it. It's turning my hair grey.'

      'Isn't it going forward at all?'

      'My books don't go forward. They go backward.'

      Ravelston sighed. As editor of Antichrist, he was so used to encouraging despondent poets that it had become a second nature to him. He did not need telling why Gordon 'couldn't' write, and why all poets nowadays 'can't' write, and why when they do write it is something as arid as the rattling of a pea inside a big drum. He said with sympathetic gloom:

      'Of course I admit this isn't a hopeful age to write poetry in.'

      'You bet it isn't.'

      Gordon kicked his heel against the pavement. He wished that London Pleasures had not been mentioned. It brought back to him the memory of his mean, cold bedroom and the grimy papers littered under the aspidistra. He said abruptly:

      'This writing business! What b——s it all is! Sitting in a corner torturing a nerve which won't even respond any longer. And who wants poetry nowadays? Training performing fleas would be useful by comparison.'

      'Still, you oughtn't to let yourself be discouraged. After all, you do produce something, which is more than one can say for a lot of poets nowadays. There was Mice, for instance.'

      'Oh, Mice! It makes me spew to think of it.'

      He thought with loathing of that sneaky little foolscap octavo. Those forty or fifty drab, dead little poems, each like a little abortion in its labelled jar. 'Exceptional promise,' The Times Lit. Supp. had said. A hundred and fifty-three copies sold and the rest remaindered. He had one of those movements of contempt and even horror which every artist has at times when he thinks of his own work.

      'It's dead,' he said. 'Dead as a blasted fœtus in a bottle.'

      'Oh, well, I suppose that happens to most books. You can't expect an enormous sale for poetry nowadays. There's too much competition.'

      'I didn't mean that. I meant the poems themselves are dead. There's no life in them. Everything I write is like that. Lifeless, gutless. Not necessarily ugly or vulgar; but dead—just dead.' The word 'dead' re-echoed in his mind, setting up its own train of thought. He added: 'My poems are dead because I'm dead. You're dead. We're all dead. Dead people in a dead world.'

      Ravelston murmured agreement, with a curious air of guilt. And now they were off upon their favourite subject—Gordon's favourite subject, anyway; the futility, the bloodiness, the deathliness of modern life. They never met without talking for at least half an hour in this vein. But it always made Ravelston feel rather uncomfortable. In a way, of course, he knew—it was precisely this that Antichrist existed to point out—that life under a decaying capitalism is deathly and meaningless. But this knowledge was only theoretical. You can't really feel that kind of thing when your income is eight hundred a year. Most of the time, when he wasn't thinking of coal-miners, Chinese junk-coolies and the unemployed in Middlesbrough, he felt that life was pretty good fun. Moreover, he had the naïve belief that in a little while Socialism is going to put things right. Gordon always seemed to him to exaggerate. So there was subtle disagreement between them, which Ravelston was too good-mannered to press home.

      But with Gordon it was different. Gordon's income was two pounds a week. Therefore the hatred of modern life, the desire to see our money-civilisation blown to hell by bombs, was a thing he genuinely felt. They were walking southward, down a darkish, meanly decent residential street with a few shuttered shops. From a hoarding on the blank end of a house the yard-wide face of Roland Butta simpered, pallid in the lamplight. Gordon caught a glimpse of a withering aspidistra in a lower window. London! Mile after mile of mean lonely houses, let off in flats and single rooms; not homes, not communities, just clusters of meaningless lives drifting in a sort of drowsy chaos to the grave! He saw men as corpses walking. The thought that he was merely objectifying his own inner misery hardly troubled him. His mind went back to Wednesday afternoon, when he had desired to hear the enemy aeroplanes zooming over London. He caught Ravelston's arm and paused to gesticulate at the Roland Butta poster.

      'Look at that bloody thing up there! Look at it, just look at it! Doesn't it make you spew?'

      'It's æsthetically offensive, I grant. But I don't see that it matters very greatly.'

      'Of course it matters—having the town plastered with things like that.'

      'Oh, well, it's merely a temporary phenomenon. Capitalism in its last phase. I doubt whether it's worth worrying about.'

      'But