The Complete Works. George Orwell
an American stamp. And the Primrose had had his poem at least six weeks! Good God, supposing they'd accepted it!
He had forgotten Rosemary's existence. He said 'Thanks!', stuck the letter in his pocket and started up the stairs with outward calm, but no sooner was he out of Mrs Wisbeach's sight than he bounded up three steps at a time. He had got to be alone to open that letter. Even before he reached the door he was feeling for his matchbox, but his fingers were trembling so that in lighting the gas he chipped the mantle. He sat down, took the letter from his pocket, and then quailed. For a moment he could not nerve himself to open it. He held it up to the light and felt it to see how thick it was. His poem had been two sheets. Then, tailing himself a fool, he ripped the envelope open. Out tumbled his own poem, and with it a neat—oh, so neat!—little printed slip of imitation parchment:
The Editor regrets that he is unable to make use of the enclosed contribution.
The slip was decorated with a design of funereal laurel leaves.
Gordon gazed at the thing with wordless hatred. Perhaps no snub in the world is so deadly as this, because none is so unanswerable. Suddenly he loathed his own poem and was acutely ashamed of it. He felt it the weakest, silliest poem ever written. Without looking at it again he tore it into small bits and flung them into the wastepaper basket. He would put that poem out of mind for ever. The rejection slip, however, he did not tear up yet. He fingered it, feeling its loathly sleekness. Such an elegant little thing, printed in admirable type. You could tell at a glance that it came from a 'good' magazine—a snooty highbrow magazine with the money of a publishing house behind it. Money, money! Money and culture! It was a stupid thing that he had done. Fancy sending a poem to a paper like the Primrose! As though they'd accept poems from people like him. The mere fact that the poem wasn't typed would tell them what kind of person he was. He might as well have dropped a card on Buckingham Palace. He thought of the people who wrote for the Primrose; a coterie of moneyed highbrows—those sleek, refined young animals who suck in money and culture with their mother's milk. The idea of trying to horn in among that pansy crowd! But he cursed them all the same. The sods! The bloody sods! 'The Editor regrets!' Why be so bloody mealy-mouthed about it? Why not say outright, 'We don't want your bloody poems. We only take poems from chaps we were at Cambridge with. You proletarians keep your distance'? The bloody, hypocritical sods!
At last he crumpled up the rejection slip, threw it away and stood up. Better get to bed while he had the energy to undress. Bed was the only place that was warm. But wait. Wind the clock, set the alarm. He went through the familiar action with a sense of deadly staleness. His eye fell upon the aspidistra. Two years he had inhabited this vile room; two mortal years in which nothing had been accomplished. Seven hundred wasted days, all ending in the lonely bed. Snubs, failures, insults, all of them unavenged. Money, money, all is money! Because he had no money the Dorings snubbed him, because he had no money the Primrose had turned down his poem, because he had no money Rosemary wouldn't sleep with him. Social failure, artistic failure, sexual failure—they are all the same. And lack of money is at the bottom of them all.
He must hit back at somebody or something. He could not go to bed with that rejection slip as the last thing in his mind. He thought of Rosemary. It was five days now since she had written. If there had been a letter from her this evening even that rap over the knuckles from the Primrose Quarterly would have mattered less. She declared that she loved him, and she wouldn't sleep with him, wouldn't even write to him! She was the same as all the others. She despised him and forgot about him because he had no money and therefore didn't matter. He would write her an enormous letter, telling her what it felt like to be ignored and insulted, making her see how cruelly she had treated him.
He found a clean sheet of paper and wrote in the top right-hand corner:
31 Willowbed Road, NW, December 1st, 9.30 p.m.
But having written that much, he found that he could write no more. He was in the defeated mood when even the writing of a letter is too great an effort. Besides, what was the use? She would never understand. No woman ever understands. But he must write something. Something to wound her—that was what he most wanted, at this moment. He meditated for a long time, and at last wrote, exactly in the middle of the sheet:
You have broken my heart.
No address, no signature. Rather neat it looked, all by itself, there in the middle of the sheet, in his small 'scholarly' handwriting. Almost like a little poem in itself. This thought cheered him up a little.
He stuck the letter in an envelope and then went out and posted it at the post office on the corner, spending his last three halfpence on a penny stamp and a halfpenny stamp out of the slot machine.
V
'We're printing that poem of yours in next month's Antichrist,' said Ravelston from his first-floor window.
Gordon, on the pavement below, affected to have forgotten the poem Ravelston was speaking about; he remembered it intimately, of course, as he remembered all his poems.
'Which poem?' he said.
'The one about the dying prostitute. We thought it was rather successful.'
Gordon laughed a laugh of gratified conceit, and managed to pass it off as a laugh of sardonic amusement.
'Aha! A dying prostitute! That's rather what you might call one of my subjects. I'll do you one about an aspidistra next time.'
Ravelston's over-sensitive, boyish face, framed by nice dark-brown hair, drew back a little from the window.
'It's intolerably cold,' he said. 'You'd better come up and have some food, or something.'
'No, you come down. I've had dinner. Let's go to a pub and have some beer.'
'All right, then. Half a minute while I get my shoes on.'
They had been talking for some minutes, Gordon on the pavement, Ravelston leaning out of the window above. Gordon had announced his arrival not by knocking at the door but by throwing a pebble against the window pane. He never, if he could help it, set foot inside Ravelston's flat. There was something in the atmosphere of the flat that upset him and made him feel mean, dirty and out of place. It was so overwhelmingly, though unconsciously, upper-class. Only in the street or in a pub could he feel himself approximately Ravelston's equal. It would have astonished Ravelston to learn that his four-roomed flat, which he thought of as a poky little place, had this effect upon Gordon. To Ravelston, living in the wilds of Regent's Park was practically the same thing as living in the slums; he had chosen to live there, en bon socialiste, precisely as your social snob will live in a mews in Mayfair for the sake of the 'W1' on his notepaper. It was part of a lifelong attempt to escape from his own class and become, as it were, an honorary member of the proletariat. Like all such attempts, it was foredoomed to failure. No rich man ever succeeds in disguising himself as a poor man; for money, like murder, will out.
On the street door there was a brass plate inscribed:
P. W. H. Ravelston
ANTICHRIST
Ravelston lived on the first floor, and the editorial offices of Antichrist were downstairs. Antichrist was a middle- to highbrow monthly, Socialist in a vehement but ill-defined way. In general, it gave the impression of being edited by an ardent Nonconformist who had transferred his allegiance from God to Marx, and in doing so had got mixed up with a gang of vers libre poets. This was not really Ravelston's character; merely he was softer-hearted than an editor ought to be, and consequently was at the mercy of his contributors. Practically anything got printed in Antichrist if Ravelston suspected that its author was starving.
Ravelston appeared a moment later, hatless and pulling on a pair of gauntlet gloves. You could tell him at a glance for a rich young man. He wore the uniform of the moneyed intelligentsia; an old tweed coat—but it was one of those coats which have been made by a good tailor and grow more aristocratic as they grow older—very loose grey flannel bags, a grey pullover, much-worn brown