experienced-in a colony people have far more room to do as they like. Girls can do things there that I'd have to fight to do in England. My sophistication was literary and social. Compared with a girl like Maryrose, for all her apparent fragility and vulnerability, I was a baby. The photograph shows me standing on the Club steps, holding a racket. I look amused and critical; it's a sharp little face. I never acquired that admirable Colonial quality-good humour. (Why is it admirable? Yet I enjoy it.) But I can't remember what I felt, except that I repeated to myself every day, even after the war began, that now I must book my passage home. About then I met Willi Rodde and got involved with politics. Not for the first time. I was too young of course to have been involved with Spain, but friends had been; so communism and the left was nothing new to me. I did not like Willi. He did not like me. Yet we began to live together, or as much as is possible in a small town where everyone knows what you do. We had rooms in the same hotel and shared meals. We were together for nearly three years. Yet we neither liked nor understood each other. We did not even enjoy sleeping together. Of course then I was inexperienced, having slept only with Steven, and that briefly. But even then I knew, as Willi knew, that we were incompatible. Having learned about sex since, I know that the word incompatible means something very real. It doesn't mean, not being in love, or not being in sympathy, or not being patient, or being ignorant. Two people can be sexually incompatible who are perfectly happy in bed with other people, as if the very chemical structures of their bodies were hostile. Well, Willi and I understood this so well that our vanity wasn't involved. Our emotions were, about this point only. We had a kind of pity for each other; we were both afflicted permanently with a feeling of sad helplessness because we were unable to make each other happy in this way. But nothing stopped us from choosing other partners. We did not. That I did not isn't surprising, because of that quality in me I call lethargy, or curiosity, which always keeps me in the situation long after I should leave it. Weakness? Until I wrote that word I never thought of it as applying to me. But I suppose it does. Willi, however, was not weak. On the contrary he was the most ruthless person I have ever known. Having written that, I am astounded. What do I mean? He was capable of great kindness. And now I remember that all those years ago, I discovered that no matter what adjective I applied to Willi, I could always use the opposite. Yes. I have looked in my old papers. I find a list, headed Willi: Ruthless Kind Cold Warm Sentimental Realistic And so on, down the page; and underneath I wrote: 'From the process of writing these words about Willi I have discovered I know nothing about him. About someone one understands, one doesn't have to make lists of words.' But really what I discovered, though I didn't know it then, was that in describing any personality all these words are meaningless. To describe a person one says: 'Willi, sitting stiffly at the head of the table, allowed his round spectacles to glitter at the people watching him and said, formally, but with a gruff clumsy humour....' Something like that. But the point is, and it is the point that obsesses me (and how odd this obsession should be showing itself, so long ago, in helpless lists of opposing words, not knowing what it would develop into), once I say that words like good/bad, strong/ weak, are irrelevant, I am accepting amorality, and I do accept it the moment I start to write 'a story,' 'a novel,' because I simply don't care. All I care about is that I should describe Willi and Maryrose so that a reader can feel their reality. And after twenty years of living in and around the left, which means twenty years' preoccupation with this question of morality in art, that is all I am left with. So what I am saying is,
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