Under My Skin

2

YOU CANNOT SIT DOWN to write about yourself without rhetorical questions of the most tedious kind demanding attention. Our old friend, the Truth, is first. The truth … how much of it to tell, how little? It seems it is agreed this is the first problem of the self-chronicler, and obloquy lies in wait either way.

Telling the truth about yourself is one thing, if you can, but what about the other people? I may easily write about my life until the year I left Southern Rhodesia in 1949, because there are few people left who can be hurt by what I say; I have had to leave out, or change – mostly a name or two – very little. So Volume One is being written without snags and blocks of conscience. But Volume Two, that is, from the time I reached London, will be a different matter, even if I follow the example of Simone de Beauvoir who said that about some things she had no intention of telling the truth. (Then why bother? – the reader must be expected to ask.) I have known not a few of the famous, and even one or two of the great, but I do not believe it is the duty of friends, lovers, comrades, to tell all. The older I get the more secrets I have, never to be revealed and this, I know, is a common condition of people my age. And why all this emphasis on kissing and telling? Kisses are the least of it.

I read history with conditional respect. I have been involved in a small way with big events, and know how quickly accounts of them become like a cracked mirror. I read some biographies with admiration for people who have chosen to keep their mouths shut. It is, I have observed, a rule that people who have been on the periphery of events or a life are those who rush forward to claim first place: the people who do know often say nothing or little. Some of the most noisy, not to say noisome, scandals or affairs of our time, that have had a searchlight on them for years, are reflected wrongly in the public mind because the actual participants keep their counsel, and watch, ironically, from the shadows. And there is another thing, much harder to see. People who have been real movers and exciters get left out of histories, and it is because memory itself decides to reject them. These instigators are flamboyant, unscrupulous, hysterical, or even mad, certainly abrasive; but the real point is that they are apparently of a different substance from the smooth, reasonable and sane people who have been inspired by them, and who do not like to remember temporary submersions in lunacy. Often, reading histories, there are events which stick out, do not make enough sense, and one may deduce the existence of some lunatic, male or female, who was equipped with the fiery stuff of inspiration – but was quickly forgotten, since always and at all times the past gets tidied up and made safer. ‘A rough beast’ is usually the real begetter of events. There would have been no ‘communist party’ in Southern Rhodesia without such an inspirational character.

Women often get dropped from memory, and then history.

Telling the truth or not telling it, and how much, is a lesser problem than the one of shifting perspectives, for you see your life differently at different stages, like climbing a mountain while the landscape changes with every turn in the path. Had I written this when I was thirty, it would have been a pretty combative document. In my forties, a wail of despair and guilt: oh my God, how could I have done this or that? Now I look back at that child, that girl, that young woman, with a more and more detached curiosity. Old people may be observed peering into their pasts, Why? – they are asking themselves. How did that happen? I try to see my past selves as someone else might, and then put myself back inside one of them, and am at once submerged in a hot struggle of emotion, justified by thoughts and ideas I now judge wrong.

Besides, the landscape itself is a tricky thing. As you start to write at once the question begins to insist: Why do you remember this and not that? Why do you remember in every detail a whole week, month, more, of a long ago year, but then complete dark, a blank? How do you know that what you remember is more important than what you don’t?

Suppose there is no landscape at all? This can happen. I sat next to a man at dinner who said he could never write an autobiography because he didn’t remember anything. What, nothing? Only a little scene here and there. Like, so he said, those small washes and blobs of colour that stained-glass windows lay on the dark of a stone floor in a cathedral. It is hard for me to imagine such a darkening of the past. Once even to try would have plunged me into frightful insecurity, as if memory were Self, Identity – and I am sure that isn’t so. Now I can imagine myself arriving in some country with the past wiped clean out of my mind: I would do all right. It is after all only what we did when we were born, without memories, or so it seems to the adult: then we have to create our lives, create memory.

‘Besides’ – said this dinner companion – who seemed perfectly whole and present, despite his insufficient hold on his past, ‘the little blobs of colour move all the time, because the sun is moving outside.’

True. Move they do. You forget. You remember. As I brooded over the material for this book, faces and places emerged from the dark. ‘Good Lord! So there you are! Haven’t thought about you for years!’ Not only the perspective but what you are looking at changes.

When you write about anything – in a novel, an article – you learn a lot you did not know before. I learned a good deal writing this. Again and again I have had to say, ‘That was the reason was it? Why didn’t I think of that before?’ Or even, ‘Wait … it wasn’t like that.’ Memory is a careless and lazy organ, not only a self-flattering one. And not always self-flattering. More than once I have said: ‘No, I wasn’t as bad as I’ve been thinking,’ as well as discovering that I was worse.

And then – and perhaps this is the worst deceiver of all – we make up our pasts. You can actually watch your mind doing it, taking a little fragment of fact and then spinning a tale out of it. No, I do not think this is only the fault of story-tellers. A parent says, ‘We took you to the seaside, and you built a sandcastle, don’t you remember? – look, here is the photo.’ And at once the child builds from the words and the photograph a memory, which becomes hers. But there are moments, incidents, real memory, I do trust. This is partly because I spent a good part of my childhood ‘fixing’ moments in my mind. Clearly I had to fight to establish a reality of my own, against an insistence from the adults that I should accept theirs. Pressure had been put on me to admit that what I knew was true was not so. I am deducing this. Why else my preoccupation that went on for years: this is the truth, this is what happened, hold on to it, don’t let them talk you out of it.

Why an autobiography at all? Self-defence: biographies are being written. It is a jumpy business, as if you were walking along a flat and often tedious road in an agreeable half-dark but you know a searchlight may be switched on at any minute. Yes, indeed there are good biographers, nearly all of them in Britain now, for we are enjoying a golden age of biography. What is better than a really good biography? Not many novels.

In the year just finished, 1992, I heard of five American biographers writing about me. One I had never met or even heard of. Another, I was told by a friend in Zimbabwe, is ‘collecting material’ for a biography. From whom? Long dead people? A woman I met twice, once when she asked me carefully casual questions, has just informed me she has written a book about me which she is about to get published. Yet another can only be concocting a book out of supposedly autobiographical material in novels and from two short monographs about my parents. Probably interviews, too, and these are always full of misinformation. It is an astonishing fact that you may spend a couple of hours with an interviewer, who is recording every word you say, but the article or interview always has several major errors of fact. But less and less do facts matter, partly because writers are like pegs to hang people’s fantasies on. If writers do care that what is written about them should somewhere connect with the truth, does that mean we are childish? Perhaps it does, and certainly I feel every year more of an anachronism. Returning to Paris after a year’s interval, I was interviewed by a young woman who had done me before. I said her previous article had been a tissue of invention, and she replied, ‘But if you have to get an article in to a deadline, and you didn’t have enough material, wouldn’t you make it up?’ Clearly she would not have believed me if I had said no. And that brings me straight to the heart of the problem. Young people brought up in today’s literary climate cannot believe how things were. You get sceptical looks if you say something like this: ‘Once serious publishers tried to find serious biographers for their serious authors.’ Now everyone takes it for granted that all they are concerned about is to publish as many biographies as possible, no matter how second-rate, because biographies sell well. Writers may protest as much as they like: but our lives do not belong to us.

If you try and claim your own life by writing an autobiography, at once you have to ask, But is this the truth? There are aspects of my life I am always trying to understand better. One – what else? – my relations with my mother, but what interests me now is not the narrowly personal aspect. I was in nervous flight from her ever since I can remember anything, and from the age of fourteen I set myself obdurately against her in a kind of inner emigration from everything she represented. Girls do have to grow up, but has this battle always been so implacable? Now I see her as a tragic figure, living out her disappointing years with courage and with dignity. I saw her then as tragic, certainly, but was not able to be kind. Every day you may watch, hear of, some young person, usually a girl, giving parents, often a mother, such a bad time that it could be called cruelty. Later they will say, ‘I am afraid I was difficult when I was an adolescent.’ A quite extraordinary degree of malice and vindictiveness goes into the combat. Judging from histories and novels from the past, things were not always like this. So what has happened, why now? Why has it become a right to be unpleasant?

I have a woman friend who in the Second World War went to New York with her young child, having no support in Britain, her home. She earned her living precariously as a model for artists, and sometimes modelling clothes. She lived in a small town outside New York. She was poor, isolated, and being twenty years old, yearned for some fun. Once, just once, exactly once, she left the little boy with a friend, spent the evening in New York, and did not get home until dawn. I used to listen to this boy, now adolescent, accuse her most bitterly, ‘You left me alone night after night and went off to enjoy yourself.’ A small boy, the son of parents who did not approve of smacking, had his fingers smacked once when he persisted in putting them through the paper covering jam pots. This became, ‘And you used to hit me when I was small.’ These petty recollections are to the point.

For years I lived in a state of accusation against my mother, at first hot, then cold and hard, and the pain, not to say anguish, was deep and genuine. But now I ask myself, against what expectations, what promises, was I matching what actually happened? And this is the second area of my preoccupation, which has to be linked with the first.

Why is it I have lived my whole life with people who are automatically against authority, ‘agin the government’, who take it for granted that all authority is bad, ascribe doubtful or venal motives to government, the Establishment, the ruling class, the local town council, the headmaster or mistress? So deep-rooted is this set of mind that it is only when you begin to climb out of it you see how much of your life has been determined by it. This week I was with a group of people of mixed ages, all on the left (or who had been once), and someone happened to mention that the government was doing something – quite a good thing, but that isn’t the point – and at once every face put on a look of derision. Automatic. Push-button. This look is like a sneer or a jeer, a Well, what can one expect? It can only come out of some belief, one so deep it is well out of sight, that a promise of some kind has been made and then betrayed. Perhaps it was the French Revolution? Or the American Revolution, which made the pursuit of happiness a right with the implication that happiness is to be had as easily as taking cakes off a supermarket counter? Millions of people in our time behave as if they have been made a promise – by whom? when? – that life must get freer, more honest, more comfortable, always better. Has advertising only set our minds more firmly in this expectant mode? Yet nothing in history suggests that we may expect anything but wars, tyrants, sickness, bad times, calamities, while good times are always temporary. Above all, history tells us nothing stays the same for long. We expect gold at the foot of always renewable rainbows. I feel I have been part of some mass illusion or delusion. Certainly part of mass beliefs and convictions that now seem as lunatic as the fact that for centuries expeditions of God-lovers trekked across the Middle East to kill the infidel.

I have just read of a historian who claims that the distrust, even contempt, of government and authority is precisely because of the First World War, because of the stupidity and incompetence of its generals, because of the slaughter of Europe’s young men.

When journalists or historians come to ask about something in the past the hardest moment is when I see on their faces the look that means, But how could you have believed this, or done that? Facts are easy. It is the atmospheres that made them possible that are elusive. ‘You see, we believed …’ (You must have been pretty stupid then!) ‘No, you don’t understand, it was such a fevered time …’ (Fever you call it, do you!) ‘I know it’s hard to understand, without being immersed in the poisonous air of then.’

A subsidiary question, not without general relevance: how to account for the fact that all my life I’ve been the child who says the Emperor is naked, while my brother never, not once, doubted or criticized authority?

Mind you, a talent for seeing the Emperor’s nakedness can mean his other qualities are not noticed.

I am trying to write this book honestly. But were I to write it aged eighty-five, how different would it be?

3

A TINY THING AMONG TRAMPLING, knocking careless giants who smell, who lean down towards you with great ugly hairy faces, showing big dirty teeth. A foot you keep an eye on, while trying to watch all the other dangers as well, is almost as big as you are. The hands they use to grip you can squeeze the breath half out of you. The rooms you run about in, the furniture you move among, windows, doors, are vast, nothing is your size, but one day you will grow tall enough to reach the handle of the door, or the knob on a cupboard. These are the real childhood memories and any that have you level with grown-ups are later inventions. An intense physicality, that is the truth of childhood.

My first memory is before I was two, and it is of an enormous dangerous horse towering up, up, and on it my father still higher, his head and shoulders somewhere in the sky. There he sits with his wooden leg always there under his trousers, a big hard slippery hidden thing. I am trying not to cry, while being lifted up in tight squeezing hands, and put in front of my father’s body, told to grip the front of the saddle, a hard jutting edge I must stretch my fingers to hold. I am inside the heat of horse, the smell of horse, the smell of my father, all hot pungent smells. When the horse moves it is a jerking jolting motion and I lean back my head and shoulders into my father’s stomach and feel there the hard straps of the wooden-leg harness. My stomach is reeling because of the swoop up from the ground now so far below me. Now, that is a real memory, violent, smelly – physical.

‘Daddy used to put you in front of him on the horse when he rode to the Bank, and Marta waited at the gate to bring you back. You absolutely loved it.’ And perhaps I did, perhaps it was only the first ride, which I did not love, that has stayed in my memory. The gate is in a photograph, a graceful arch, and I have added it to the real memory. Of being lifted down into the hands of Marta, whom I disliked, there is nothing in my mind. Those rides had to be in Kermanshah, and I was two and a half when we left.

Sharp steep stone steps, like boulders on a mountainside; they are in a photograph, too, but the memory is of dangerous descent, threatened by sharp edges.

Another memory, a real one, not what was told me, or what is in the photograph album. A swimming bath, a large tank, full of great naked pallid people shouting and laughing and splashing me with hard slaps of cold water. The naked bodies were my mother, rowdy and noisy, enjoying herself, my father holding on to the edge of the tank, because that pitiful shrunken stump of a leg with its shrapnel scars, waving or jerking about in the water, made it hard for him to swim. And others, for the tank seems crowded with people. They are not naked, for they wear the serious swimming costumes of the time, but if adults are always dressed in the daytime, and then wear long-sleeved clothes in bed, when in bathing costumes they seem all pale flesh and unpleasant revelation. Loose bulging breasts. Whiskers of hair under arms, matting or streaming water like sweat. Sometimes snot on a face that is grinning and shouting with pleasure. Snot running into the water that already has dying or rotting leaves in it, as well as the broken reflections of clouds, down here, not up there in the sky. Small children are always trying to keep things in their proper places, their world is always coming apart, things in it move about, deceive, lie. ‘We used to swim every afternoon in the summer. And we had swimming parties at the weekend. Oh they were such fun. You always loved it when we had parties.’ Thus spoke my mother, mourning the best years of her life, in Persia. ‘We used to lift you in with us, but you screamed and had to be put back on the side. The water was so cold! It was mountain water. It came running down from the mountains in stone channels. You simply had to shout as you jumped in! There were beds of asters all around the tank. The Persian gardeners were wonderful, they grew everything.’ And so you imagine jumping in, all jolly and laughing, and being lifted out, you see the asters, in paintbox colours, and hear the scolding Persian gardeners, who would not let you pick the asters, mother said so. But the real memory, the authentic one, was of enormous pale bodies, like milk puddings, sloshing about in out-of-control water that smelled cold, the flailing large pale arms, the hard breath-stopping slap of water on your face. ‘Go on, be a sport, brave girls don’t cry about a silly little thing like that.’

Two memories, concocted ones, or induced, but probably true enough. In the 1960s, when we were experimenting with drugs, I tried one absolutely not to be recommended. You eat morning glory seeds, previously soaked in hot water to an acid jellyish state, but you have to eat a lot, in my case sixty or more. I felt sick, and as for the revelations I was doing as well using my novelist’s mind. I had been thinking, why had so little remained in me of that big stone house, with its big high stone rooms? I was born there. I learned to walk there. And imagined that I lay in a cot with bars, like a prison cell for size, and heard large feet clanging on stone. I knew the floors were stone and that there were few rugs, that the windows were large and showed mountains, that the house was cold in winter. The cot was bound to be something of the sort, and a small child hears every sound with new ears, nothing shut off, as adults shut off sound.

The other invited memory was useful, and has been ever since. I took mescalin – just once. Two friends monitored the dosage and then sat with me. They were concerned that I would jump out of a window or something of the kind, because someone they knew had done that a short time before. What I learned then was how strong in me was the personality I call the Hostess, for I was presenting my experience to them, chatting away, increasingly scatty, but in control, but all that was a protection for what went on within. This Hostess personality, bright, helpful, attentive, receptive to what is expected, is very strong indeed. It is a protection, a shield, for the private self. How useful it has been, is now, when being interviewed, photographed, a public person for public use. But behind all that friendly helpfulness was something else, the observer, and it is here I retreat to, take refuge, when I think that my life will be public property and there is nothing I can do about it. You will never get access here, you can’t, this is the ultimate and inviolable privacy. They call it loneliness, that here is this place unsharable with anyone at all, ever, but it is all we have to fall back on. Me, I, this feeling of me. The observer, never to be touched, tasted, felt, seen, by anyone else.

That day, chatting away, telling them this is happening, that is happening, I was protecting an experience I had induced. I was being born. In the 1960s this kind of ‘religious’ experience was common. I was giving myself ‘a good birth’ – in the jargon of the time. The actual birth was not only a bad one, but made worse by how it was reported to me, so the storyteller invented a birth as the sun rose with light and warmth coming fast into the enormous lamplit room. Why not? I was born early in the morning. Then I invented a chorus of pleasure that I was a girl, for my mother had been sure I was a boy and had a boy’s name ready. In this ‘game’ my girl’s name had been planned for months, instead of given me by the doctor. My father – well, where was he, in reality? He was ill because of his imaginative participation in the birth and had gone to sleep after being informed I was safely born.

Probably this ‘good’ birth was therapeutic, but it was the revelation of the different personalities at work in me I valued and value now. One had to be authentic and not invented, because it was unexpected. Before my eyes, through the whole experience that is, for hours, ran a picture show of beautiful and smart clothes, fashionable clothes, as if a fashion designer inside me was being given her head. They were not on me, but on fashion models: I have never worn this kind of garment. The other person, or personality, was a sobbing child. I wept, and wept, much to the concern of my companions, but I knew it was not important, my weeping. I do not cry enough; that has always been true, and to weep without constraint was a bonus and a bliss. I could easily have cradled that poor baby and comforted her, if I had not been so fascinated by the parallel picture gallery of wonderful clothes, and by the gracious protective chat of the hostess.