The Swimming-Pool Library (9 page)

I had been waiting now at Holland Park for a long time. I was far too familiar with its typical social mix: girls with pearls and pink stockings, some arrogant-looking Italian youths and a grand, pouchy old couple were also waiting, though the train they would
get into would be quite heavily peopled with blacks and Indians coming in from Acton to the West End. That was the saving grace of the Central Line, the way that beyond Shepherd’s Bush and Liverpool Street, it veered off at either end to outlying towns to the north. I stood for a minute or more with my toes over the platform’s edge, looking down into the concrete gully where a whole family of nervous, sooty little mice shot back and forth as if themselves operated by electricity. Then, thinking again about the abolished stations at the British Museum and Wood Green, I wandered along and looked, tourist-like, at the Underground map. It was a clever piece of work, all the lines being made to run either up and down, from left to right, or at forty-five degrees, so that the whole thing became a set of dissolving and interpenetrating parallelograms. It was perhaps only of that very stretch of the Central Line which I always travelled that its fastidious rectilinearity gave a true picture: from Shepherd’s Bush to Liverpool Street the line had that Roman straightness which I so admired above ground and which below contributed to the great speed the trains sometimes got up. In rush-hour congestion though, the trains collected behind each other, and there would be long, numbing waits in the tunnels. Then I hated the Underground.

My fondness for it was anyway somewhat forced, and my concern with the smaller details of its history and performance had been worked up artificially to give it some faint aesthetic interest after I had been banned from driving. (Unhappily, I had had a few too many glasses of Pimm’s when I was caught by my blind spot, twitching out to overtake and smacking into a little old car that was trundling past me, invisible in either of my mirrors … My mother was now using my Lancia for her forays into Fordingbridge and for her occasional journeys up to London from the ranch in Hants.) So I made the best of the Tube, and found it often sexy and strange, like a gigantic game of chance, in which one got jammed up against many queer kinds of person. Or it was a sort of Edward Burra scene, all hats and buttocks and seaside postcard lewdery. Whatever, one always had to try and see the potential in it.

Before going to the Corry I cut down through Soho Square to a cinema in Frith Street. It wasn’t so much to see a film as to sit
in a dark, anonymous place and do dark, anonymous things. Arthur and I had got wrecked on tequila the night before, the bottled romance of Mexico, as it described itself. The evenings had been getting longer lately, in two senses, and we both needed a little help with our own bottled romance. As it was he had become brash and giggly and fallen into an open-mouthed, stertorous sleep during the first five minutes of the Royal Command Performance. Deeply drunk myself, I roamed off to bed, and the next morning, when I woke groaning and groping at nine, dimly remembered looking at myself with immense self-satisfaction in the hall mirror and giving a barely prophetic rendition of ‘Nessun dorma’ seven or eight times.

As always when I had a bad hangover I felt criminally randy, but Arthur, whom I found still lying on the sitting-room floor, his chin sticky with a dozer’s saliva, spent the morning alternately shitting and vomiting (which was painful for him) and walking very slowly from one item of furniture to another, his lower lip drooping and with a funny look about him which I realised was his equivalent of pallor.

Though it was not much fun, this hangover created a minor drama in our life and we reacted to it with disbelieving shakings of the head, exaggerated winces and a vocabulary honed down to ‘man’, ‘shit’ and ‘fuck’ produced in gasps or cracked whispers. Then Arthur, with a comical ungainliness, as if he were running a three-legged race with an invisible partner, would canter off to the lavatory once more. Later I got him to go to bed and went out, still quite speedy from the drink and in the mood for what sex-club owners call an experience.

The Brutus Cinema occupied the basement of one of those Soho houses which, above ground-floor level, maintain their beautiful Caroline fenestration, and seemed a kind of emblem of gay life (the
piano nobile
elegant above the squalid, jolly
soussol
) in the far-off spring of 1983. One entered from the street by pushing back the dirty red curtain in the doorway beside an unlettered shop window, painted over white but with a stencil of Michelangelo’s David stuck in the middle. This tussle with the curtain—one never knew whether to shoulder it aside to the right or the left, and often tangled with another punter coming out—seemed a symbolic act, done in the sight of passers-by, and always
gave me a little jab of pride. Inside was a small front room, the walls bearing porn-mags on racks, and the glossy boxes of videos for sale; and there were advertisements for clubs and cures. In a locked case by the counter leather underwear was displayed, with cock-rings, face masks, chains and the whole gamut of dildoes from pubertal pink fingers to mighty black jobs, two feet long and as thick as a fist.

As I entered, the spotty Glaswegian attendant was getting stuck into a helping of fish and chips, and the room stank of grease and vinegar. I idled for a minute and flicked through some mags. These were really dog-eared browsers, thumbed through time and again by those rent-boys who had the blessing of the management and waited there for pick-ups; curiously incredible stations of sexual intercourse, whose moving versions, or something similar, could be seen downstairs. I looked at the theatrical expressions of ecstasy without interest. The attendant had a small television behind the counter which was a monitor for the films being shown in the cinema; but as there was no one else in the shop he had broken the endless circuit of video sex and was watching a real TV programme instead. He sat there stuffing chips and oozing batter-covered sections of flaky white cod into his mouth, his short-sighted attention rapt by the screen, as if he had been a teenaged boy getting his first sight of a porn film. I sidled along and looked over his shoulder; it was a nature programme, and contained some virtuoso footage shot inside a termite colony. First we saw the long, questing snout of the ant-eater outside, and then its brutal, razor-sharp claws cutting their way in. Back inside, perched by a fibre-optic miracle at a junction of tunnels which looked like the triforium of some Gaudí church, we saw the freakishly extensile tongue of the ant-eater come flicking towards us, cleaning the fleeing termites off the wall.

It was one of the most astonishing pieces of film I had ever seen, and I felt a thrill at the violent intrusion as well as dismay at the smashing of something so strange and intricate; I was disappointed when the attendant, realising I was there and perhaps in need of encouragement, tapped a button and transformed the picture into the relative banality of American college boys sticking their cocks up each other’s assholes.

‘Cinema, sir?’ he said. ‘We’ve got some really hot-core hard
films …’ His heart wasn’t in it so I paid him my fiver and left him to the wonderful world of nature.

I went down the stairs, lit by one gloomy red-painted bulb. The cinema itself was a small cellar room, the squalor of which was only fully apparent at the desolating moment in the early hours when the show ended for the night and the lights were suddenly switched on, revealing the bare, damp-stained walls, the rubbish on the floor, and the remaining audience, either asleep or doing things best covered by darkness. It had perhaps ten tiers of seats, salvaged from the refurbishment of some bona fide picture house: some lacked arms, which helped patrons get to know each other, and one lacked a seat, and was the repeated cause of embarrassment to diffident people, blinded by the dark, who chose it as the first empty place to hand and sat down heavily on the floor instead.

I had not been there for months and was struck again by its character: pushing open the door I felt it weigh on sight, smell and hearing. The smell was smoke and sweat, a stale, male odour tartishly overlaid with a cheap lemon-scented air-freshener like a taxi and dusted from time to time with a trace of Trouble for Men. The sound was the laid-back aphrodisiac pop music which, as the films had no sound-track, played continuously and repetitively to enhance the mood and cover the quieter noises made by the customers. The look of the place changed in the first minute or so, as I waited just inside the door for my eyes to accustom themselves to the near dark. The only light came from the small screen, and from a dim yellow ‘Fire Exit’ sign. I had once taken this exit, which led to a fetid back staircase with a locked door at the top. Smoke thickened the air and hung in the projector’s beam.

It was important to sit near the back, where it was darker and more went on, but also essential to avoid the attentions of truly gruesome people. Slightly encumbered with my bag I moved into a row empty except for a heavy businessman at the far end. It was not a very good house, so I settled down to watch and wait. Occasionally cigarettes were lit and the men shifted in their seats and looked around; the mood faltered between tension and lethargy.

The college boys were followed by a brief, gloomy fragment
of film involving older, moustachioed types, one of them virtually bald. This broke off suddenly, and without preamble another film, very cheery and outdoors, was under way. As always with these films, though I relished the gross abundance of their later episodes, it was the introductory scenes, buoyant with expectation, the men on the street or the beach, killing time, pumping iron, still awaiting the transformation our fantasy would demand of them, that I found the most touching.

Now, for instance, we were in a farmyard. A golden-haired boy in old blue jeans and a white vest was leaning in the sun against a barn door, one foot raised behind him. A close-up admired him frowning against the sun, a straw jerking between his lips. Slowly we travelled down, lingering where his hand brushed across his nipples which showed hard through his vest, lingering again at his loose but promising crotch. On the other side of the yard, a second boy, also blond, was shifting bags of fertiliser. We watched his shirtless muscular torso straining as he lifted the bags on to his shoulder, traced the sweat running down his neck and back, got a load of his chunky denim-clad ass as he bent over. The eyes of the two boys met; one close-up and then another suggested curiosity and lust. In what seemed to be very slightly slow motion the shirtless boy ambled across to the other. They stood close together, both extremely beautiful, perhaps eighteen or nineteen years of age. Their lips moved, they spoke and smiled, but as the film had no sound-track, and we heard only the cinema’s throbbing, washing music, they communicated in a dreamlike silence, or as if watched from out of earshot through binoculars. The picture was irradiated with sunlight and, being fractionally out of focus, blurred the boys’ smooth outlines into a blond nimbus. The one in the vest appeared to put a question to the other, they turned aside and were swallowed up into the darkness of the barn.

Where did they get them from, I wondered, these boys more wonderful than almost everything one came across in real life? And I remembered reading somewhere that a Californian talentspotter had photographic records of three thousand or more of them ranging back over twenty or thirty years and that a youngster, after a session in the studio, mooching through the files, had found pictures of his own father, posed long before.

In the meantime there were other arrivals at the cinema, though it was difficult to make them out; while the sunlit introduction had brightened up the room and cast its aura over the scattered audience in the forward rows, the sex scenes within the barn were enacted in comparative gloom, allowing the viewers a secretive darkness. I tugged my half-hard cock out through my fly and stroked it casually.

One new entrant tottered to the deserted front row, which in this tiny space was only a few feet from the screen. There was a rustle of papers, and I could see him in silhouette remove his coat, fold it neatly and place it on the seat next to that in which he then sat down. The rustling recurred intermittently, and I guessed he must be a man I’d seen at the Brutus the very first time I went there, a spry little chap of sixty-five or so who, like a schoolgirl taken to a romantic U picture, sat entranced by the movies and worked his way through a bag of boiled sweets as the action unfolded. A fiver from his pension, perhaps, and 30p for the humbugs, might be set aside weekly for this little outing. How he must look forward to it! His was a complete and innocent absorption in the fantasy world on screen. Could he look back to a time when he had behaved like these glowing, thoughtless teenagers, who were now locked together sucking on each other’s cocks in the hay? Or was this the image of a new society we had made, where every desire could find its gratification?

The old man was happy with his cough-drops, but I wanted some other oral pleasure (the Winchester slang ‘suction’, meaning sweets, I realised was the comprehensive term). Not, however, from the person who came scouting up to the rear rows now, one of the plump, bespectacled Chinese youths who, with day-return businessmen and quite distinguished Oxbridge dons, made a haunt of places like this, hopping hopefully from row to row, so persistent that they were inevitably, from time to time, successful.

The man on the end of the row had to shift, and I realised I was to be the next recipient of Eastern approaches. The boy sat down next to me, and though I carried on looking at the screen and laid my hand across my cock, I was aware that he was staring at me intently to try and make out my face in the darkness, and
I felt his breath on my cheek. Then there was the pressure of his shoulder against mine. I gathered myself emphatically, and leant across into the empty place on the other side. He sprawled rather, with his legs wide apart, one of them straying into my space and pressing against my thigh.

‘Leave off, will you,’ I whispered, thinking that a matter-of-fact request would do the trick. At the same time I crossed my legs, squashing my balls uncomfortably, to emphasise that I was not available. The sack-lifting boy was now sliding his finger up the other one’s ass, spitting on his big, blunt cock and preparing for the inevitable penetration. As he pressed its head against the boy’s glistening sphincter, which virtually filled the screen in lurid close-up, I felt an arm go along the back of the seat and a moment later a hand descend unfalteringly on my dick. I didn’t move but, sensing the power that speech had in this cryptic gathering, I said loudly and firmly: ‘If you come anywhere near me again I’ll break your neck.’ A couple of people looked round, there was an ‘Oooh’ from the other side of the room, spoken in a uniquely homosexual tone of bored outrage, the tentacles withdrew, and after a few moments, compatible perhaps with some fantastic notion of the preservation of dignity, the advancer retreated, earning a curse from the man at the end of the row, who was forced to get up again, attempting to conceal his erection as he did so.