combustible, in a massive old-fashioned way. For some reason or other, television producers consider that there is nothing more photogenic and universally fascinating than a good fire. Armande, viewing the Italian telenews, had been upset or feigned to be upset (she was fond of making herself interesting) by one such calamity on the local screen—little flames like slalom flaglets, huge ones like sudden demons, water squirting in intersecting curves like so many rococo fountains, and fearless men in glistening oilskin who directed all sorts of muddled operations in a fantasy of smoke and destruction. That night at Stresa she insisted they rehearse (he in his sleeping shorts, she in a Chudo-Yudo pajama) an acrobatic escape in the stormy murk by climbing down the overdecorated face of their hotel, from their fourth story to the second one, and thence to the roof of a gallery amidst tossing remonstrative trees. Hugh vainly reasoned with her. The spirited girl affirmed that as an expert rock-climber she knew it could be done by using footholdswhich various applied ornaments, generous juttings and little railed balconies here and there provided for one’s careful descent. She ordered Hugh to follow her and train an electric torch on her from above. He was also supposed to keep close enough to help her if need be by holding her suspended, and thus increased in vertical length, while she probed the next step with a bare toe.
Hugh, despite forelimb strength, was a singularly inept anthropoid. He badly messed up the exploit. He got stuck on a ledge just under their balcony. His flashlight played erratically over a small part of the façade before slipping from his grasp. He called down from his perch entreating her to return. Underfoot a shutter opened abruptly. Hugh managed to scramble back onto his balcony, still roaring her name, though persuaded by now that she had perished. Eventually, however, she was located in a third-floor room where he found her wrapped up in a blanket smoking peacefully, supine on the bed of a stranger, who sat in a chair by the bed, reading a magazine.
Her sexual oddities perplexed and distressed Hugh. He put up with them during their trip. They became routine stuff when he returned with a difficult bride to his New York apartment. Armande decreed they regularly make love around teatime, in the living room, as upon an imaginary stage, to the steady accompaniment of casual small talk, with both performers decently clothed, he wearing his best business suit and a polka-dotted tie, she a smart black dress closed at the throat. In concession to nature, undergarments could be parted, or even undone, but only very, very discreetly, without the least break in the elegant chitchat: impatience was pronounced unseemly, exposure, monstrous. A newspaper or coffee-table book hid such preparations as he absolutely had to conduct, wretched Hugh, and woe to him if he winced or fumbled during the actual commerce; but far worse than the awful pull of longunderwear in the chaos of his pinched crotch or the crisp contact with her armor-smooth stockings was the prerequisite of light colloquy, about acquaintances, or politics, or zodiacal signs, or servants, and in the meantime, with visible hurry banned, the poignant work had to be brought surreptitiously to a convulsive end in a twisted half-sitting position on an uncomfortable little divan. Hugh’s mediocre potency might not have survived the ordeal had she concealed from him more completely than she thought the excitement derived from the contrast between the fictitious and the factual—a contrast which does, after all, have claims to artistic subtlety if we recall the customs of certain Far Eastern people, virtually halfwits in many other respects. But his chief support lay in the never deceived expectancy of the dazed ecstasy that gradually idiotized her dear features, notwithstanding her efforts to maintain the flippant patter. In a sense he preferred the parlor
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