Banquet for the Damned (13 page)

'There are rare moments of clarity, but on the whole, I am afraid . . .'

'What about his partner, Beth. Can't she help?'

Arthur closes his eyes for a second. 'Dante, perhaps we had better sit down.'

They sit on the other side of the hall, beside the refreshment tables. A short distance away from where they sit, Dante notices Tom. He holds a plate loaded with food and he speaks to a young blonde woman in a black dress. She stands close to him, smiling.

'Dante,' Arthur says, as soon as they are settled, 'Beth and Eliot have an unconventional arrangement. I am really not sure it is my place to divulge so much, but I think their days are numbered in this town. St Andrews is a quiet place. Young people come here to receive an excellent education, and there really is no room for the more unconventional aspects of academia. If you follow? A great risk was taken in inviting Eliot to lecture here. It was only his considerable knowledge of religion that encouraged the university to go out on a limb and invite a somewhat controversial figure here in the first place. Beth was a student of Eliot's, and their relationship did not befit his position. I am afraid he has let a great many people down. His students, his friends, and ultimately himself. I suppose I am trying to tell you that Eliot has been unethical. He lost his effectiveness a long time ago. Perhaps even in the fifties. Prison must have been hard for him.'

The words fall like axes. 'Prison?'

Arthur nods. 'Turkey. And Haiti.'

By looking at the floor, Dante attempts to conceal his shock.

'Over the last few years,' Arthur continues, 'Eliot began to drink again and suffer from certain lapses of memory. And, well, the rest has been a rather unfortunate mess. I am afraid he is incapable of taking lectures, and hasn't produced a credible paper in years. It is only through the generosity of another of our circle from Oxford, the Proctor, that he is still with us in a consultancy role.'

Dante sinks into his chair; the sounds of clinking glass and scraping cutlery amplify to a swirling clutter of noise in his ears, and his head feels unnaturally heavy. The voices in the hall are louder now, mocking, laughing at his impetuous journey and pitiful hopes of escape. If what this man says is true, he has driven four hundred miles to assist a man ridden with dementia. But what this Spencer says makes sense. It explains Janice's reaction when he first went to the school, as well as Eliot's cryptic dialogue, and the eyes of the staff tonight.

Arthur's voice seems to drift across to him from another dimension. 'So sorry, Dante. If there is anything we can do to help . . . Perhaps we can assist your interest in Eliot with our recollections. After all, we knew him in his prime. And what a prime. Captained his county, you know. One of the first to climb . . .' Arthur's voice trails off. His jowly face suddenly reddens.

'I believe I may command the best position to impart my résumé, Arthur.'

Dante sits stunned, bewildered by both Arthur's reaction and the unexpected sound of Eliot's voice. Arthur rises from out of his seat, wearing embarrassment on his face like clown paint. There is something else too, setting that grin fast and making his small eyes flick about. It appears as if he is frightened. Arthur Spencer looks down at Dante and mumbles something about a visit to his office on North Street.

'Sure,' Dante says.

'Bloody fool,' Eliot says, watching the Hebdomidar move away through the crowd on his journey back to Janice and the long-jawed man, who still watch with a keen interest. 'Over there, Dante, are three clever debunkers. You know what a debunker is? A person who lacks imagination, Dante. Who can only thrive in the material world. Their dull creed replaced spirituality with a new god of economics. But what has that achieved? People are dissatisfied, bored, unfulfilled. Those three can do nothing but mock the intuitive and the creative. Like us, Dante, who flee the everyday world and seek a meaning through our endeavours. We are the fortunate ones.' The words are bitter and come fast, Eliot's breath polluted by whisky, his eyes struggling to focus. But Dante finds the words exhilarating and far closer to what he loves about
Banquet
.

Eliot then slumps into the chair Arthur Spencer vacated. The speech appears to have exhausted him and, as he leans forward in his chair, he winces as if suffering from back pain. For a while he looks past Dante and glares at the trio across the hall, who finally turn their faces away. 'Forgive me, Dante.' His words are softer now. 'We were friends once. Good friends.'

Dante nods, inspired by Eliot's words and angry at himself for even daring to doubt the man. People like the Hebdomidar are clever orators, capable of playing with your emotions by feeding you lines. Every genius is despised in his own time, and he knows a thing or two about envy: the band scene at home is brutal. And, after all, what is a Hebdomidar? He has no idea, but the name conjures an association with administration. Maybe this Spencer is a money man. And Janice runs an office. How could they understand Eliot? 'I hear you,' Dante says.

'I know you would never doubt me, Dante. It is important that we trust each other. Am I right?'

'Absolutely.'

'Good. You would do well to steer clear of them. There is unfinished business and I do not want it interfering with our collaboration.'

'No. Not at all. I'm all yours, Eliot. You can trust me.'

'I know,' he replies, but looks away from Dante.

From where he is sitting, Dante can see that Eliot has closed his eyes. 'Are you all right?'

Eliot nods, but keeps his head bowed until the moment of pain has passed. 'Beth is here,' he says. 'She has plans this evening with –' he pauses, a struggle to remember the end of the sentence he's begun '– with friends, but would like to meet you before. You should meet her.

She looks marvellous tonight.'

'Sure.'

'But there is a slight problem, Dante. You see, she refuses to come inside. There is bad blood here, between Beth and certain members of staff. I can only apologise, but you must become accustomed to our habits. I suppose I have always been on the run from something. An outcast if you like. And Beth, somehow, became tangled in a little unpleasantness too. But don't worry, I have faced far greater perils than a trio of bureaucrats.' He pats Dante on the shoulder in a fatherly manner. 'Can I ask a favour, Dante?'

'Yeah. Of course.'

'Spend some time with Beth. You'll like her. Get to know each other. I suspect you may become close. I think it is important if so much is to be shared.'

He feels uneasy again. Surely Eliot's not suggesting anything amorous? He has to calm himself and stop being so malleable. 'You won't be there?' he asks, a touch of nerves registering in his voice. But Eliot is distracted again; his eyes wander about the hall. Dante is about to repeat the question when Eliot turns to face him. 'She won't bite you, Dante. Not unless you want her to.' The malicious grin is back.

In addition to feeling foolish, confused and now awkward, he struggles to dampen his suspicion. 'I'd love to meet her. We can get talking about the work.'

'Yes,' Eliot interrupts, his grin turning into a fragile smile, as if he were disappointed that Dante has failed to accept some voluptuous and tempting bait. 'I have something to take care of, but you should go to her. She's outside. Waiting for you.'

Rising to his feet, Eliot suddenly gasps. One tremulous hand reaches to his back. Dante scrabbles to assist him, but Eliot bids him sit with a waft of the hand. 'Wait until I'm gone,' he adds in a whisper, and then staggers from the hall, leaving Dante alone. Not being asked about his progress reading Eliot's books is fast becoming the evening's only salvation. He considers finding Tom, to discuss the alarming exchange, but notices his friend is still closing the gap with the blonde by the refreshment table.

Becoming almost psychotic for a nicotine fix, he leaves the hall after Eliot has gone. And the benefits of the night air, outside in the deserted quadrangle, are immediate. He sits upon the stone wall by the holly bushes and front steps, and finds his cigarettes in his denim jacket. It is darker now, the last vestige of twilight having deserted the sky to summon a greater silence and a legion of new shadows into the court. Leaning back, he takes several long drafts of cigarette smoke into his lungs and tries to get his thoughts straight. Nerves prevented him eating much of the salad Tom prepared for dinner, and the one glass of wine he's guzzled makes his head spin. A sudden influx of nicotine into his system turns his brain-judder into a dizzy spell. He looks around for Beth.

No sign of her, and where has Eliot gone? They've said virtually nothing to each other since his arrival, and now he won't even stay around to introduce him to Beth. Instead, he has to go outside and find her for himself. What is it all about? Can the man only tolerate his company for brief periods of time? And this Beth: what is Eliot trying to suggest about their working relationship? Looking at the sky, Dante dares to whisper, 'Don't let my hero be a fucked-up, alcoholic pervert.' Then he sniggers, looking forward to unloading it all on Tom. And thank God he has Tom with him. Here he is, sitting outside after being warned off by the university authorities and deserted by his host, while Tom closes in for the kill on a babe in a designer dress. There is little he can do but shake his head at another preposterous situation in his recent life.

And where is this Beth? Eliot said she was waiting outside, but there is no one in the Quad, just him with his visions of an early return to the Midlands. If things continue to get much worse, what other choice will he have? Trying to explain the whole improbable mess to Tom will be awful, before the packing of their bags and the journey back down the M6 to a greater uncertainty. And, if he is honest with himself, Birmingham is out of the question. They now have nowhere to stay, no parental support left to drain, and not even a friend they can bunk with. Everyone in their crowd is already living four to a damp house, on housing benefit and only crawling out of bed to sign on or to rehearse in a studio. Ill, drunk, crazy, unpopular: Dante has no choice other than to give Eliot the benefit of the doubt. He looks at his cigarette, to acknowledge an old friend, and reminds himself of his own creed: to distrust anyone like the Hebdomidar who wears a suit.

'Dante,' a far-off voice calls.

He starts at the distant sound of his name and looks up. Across the dark grass of the central court he sees a young woman. She stands between the wide arches of the chapel's cloisters. She is tall and dressed in black. Her hands are concealed in the deep pockets of a long winter coat that sweeps around her ankles. Her hair is dark and pulled back from her narrow features. The face, although indistinct, suggests refinement to him: pale, the eyes large, and the nose thin.

Peeling himself from off the stairs, he begins a slow walk across the lawn, puffing on his cigarette as if it were his last. As he approaches, she raises a hand, gloved in leather, and waves to him. On her distant face he senses a smile and he returns the wave, hesitantly.

From about fifteen feet away he is able to see her more clearly: her skin white and smooth across her high cheekbones, her mouth wide and lips generous. In her early twenties, he guesses, and at least six foot tall in her heels.

Smiling, he sidles toward her. Huddled within the confines of the coat, she seems reluctant to emerge any further into the quad. Her lips are painted a bright red and return his smile. Her teeth are perfect but dark, or so it seems. Must be the shadow. When he stands before her, she lowers her astonishing eyes, as if glancing down with embarrassment at the realisation that a blush has stained her cheeks.

'Hi, Beth,' he says.

Something pulls taut inside of Dante when she laughs. The sound hums from the top of her long nose, which wrinkles in a way he thinks delightful. She offers a gloved hand. 'Hello, Dante.' The sound of her soft Highland accent makes him go warm inside, and he remembers Tom mentioning the voice of the checkout girl. It was like honey, Tom said, and he understands the comparison: smooth, sweet.

He stops smoking and as he accepts her hand, he cradles her thin fingers, and only through a conscious act of resistance does he quell the urge to stroke the soft leather of her gloves. She smiles again and lowers her eyes to the ground, where the tips of her patent boots peek out from beneath the hem of the woollen coat. Dante struggles to find words, any words, and finds himself unable to do anything but stare at her with a mute wonder, while still holding onto her hand. Is she Eliot's lover? What did the Hebdomidar suggest about their relationship? And how can Eliot trust any man around her, let alone encourage them to meet her? Is it all a game?

He thinks back to
Banquet
and the descriptions of Eliot's free loving exploits in his exploration of Tantric rituals. Surely Eliot was not suggesting that anything intimate should pass between them?

Squeezing his fingers into his palms, he tries to defend himself against the unreal night, with its arboreal smells, old shadowy stones, and big fairy-tale globes on giant candlesticks.

Like someone who has watched him for years and never had the courage to speak, Beth continues to smile at him. She seems bashful, but eager for something too. A notion of love at first sight comes to him. Is this what it feels like when you see a stranger and know something significant and unspoken has happened that will never vanish? 'You must be cold out here,' he says, imagining words are unnecessary, as if communication could be telepathic between them.