He did not trouble, or perhaps did not choose, to answer her question, but instead made the statement:
“She had been thrown off by some lover. In a moment of furious despair, thinking all was over for her for ever, she let everything go. And then she hadn’t the cheek to try to take any of it back. She hadn’t the toupet. But”—he flung a large hand stained with pigments out in an ugly, insolent gesture—“any one of these fleurs du mal would have jumped back from the white to the bronze age when the fit was passed, without caring a damn what anyone thought of them. All the moral bravery is in the underworld. That is why I paint it.”
“That is absolute truth,” said Jennings, who was sitting next to Dick Garstin and smoking an enormous pipe. “The lower you go the more truth you find.”
“Then I suppose the gutter is full of it,” said Miss Van Tuyn.
“The Cafe Royal is,” said Garstin. “There are free women here. Your women of society are for ever waiting on the opinion of what they call their set—God help them! Your Lady Sellingworth, for instance—would she dare, after showing herself as an old woman, to become a young woman again? Not she! Her precious set would laugh at her for it. But Cora, for instance—” He pointed to a table a little way off, at which a woman was sitting alone. “Do you suppose Cora cares one single damn what you, or I, or anyone else thinks of her? She knows we all know exactly what she is, and it makes not a particle of difference to her. She’ll tell you, or anyone else, what her nature is. If you don’t happen to like it, you can go to Hell—for her. That’s a free woman. Look at her face. Why, it’s great, because her life and what she is is written all over it. I’ve painted her, and I’ll paint her again. She’s a human document, not a sentimental Valentine. Waiter! Waiter!”
His sonorous bass rolled out, dominating the uproar around him. Miss Van Tuyn looked at the woman he had been speaking of. She was tall, emaciated, high shouldered. Her face was dead white, with brightly painted lips. She had dark and widely dilated eyes which looked hungry, observant and desperate. The steadiness of their miserable gaze was like that of an animal. She was dressed in a perfectly cut coat and skirt with a neat collar and a black tie. Both her elbows were on the table, and her sharp white chin was supported by her hands, on which she wore white gloves sewn with black. Her features were good, and the shape of her small head was beautiful. Her expression was intense, but abstracted. In front of her was a small tumbler half full of a liquid the colour of water.
A waiter brought Garstin a gin-and-soda. He mixed drinks in an almost stupefying way, as few men can without apparent ill-effects unless they are Russians.
“Cora—a free woman, by God!” he observed, lighting another of his small but deadly cigars.
Enid Blunt, who was sitting with Smith the sculptor and others at the adjoining table, began slowly, and with an insolent drawl, reciting a sonnet. She was black as the night. Even her hands looked swarthy. There were yellow lights in her eyes. Her voice was guttural, and she pronounced English with a strong German accent, although she had no German blood in her veins and had never been in Germany. The little Bolshevik, who had the face of a Russian peasant, candid eyes and a squat figure, listened with an air of profound and somehow innocent attention. She possessed neither morals nor manners, denied the existence of God, and wished to pull the whole fabric of European civilization to pieces. Her small brain was obsessed by a desire for anarchy. She hated all laws and was really a calmly ferocious little animal. But she looked like a creature of the fields, and had something of the shepherdess in her round grey eyes. Thapoulos, a Levantine, who had once been a courier in Athens, but who was now a rich banker with a taste for Bohemia, kept one thin yellow hand on her shoulder as he appeared to listen, with her, to the sonnet. Smith, with whom the little Bolshevik was allied for the time, and who did in clay very much what Garstin did on canvas, but more roughly and with less subtlety, looked at the Levantine’s hand with indifference. A large heavy man, with square shoulders and short bowed legs, he scarcely knew why he had anything to do with Anna, or remembered how they had come together. He did not understand her at all, but she cooked certain Russian dishes which he liked, and minded dirt as little as he did. Perhaps that lack of minding had thrown them together. He did not know; nobody knew or cared.
“Well, I’m a free woman,” said Miss Van Tuyn, in answer to Garstin’s exclamation about Cora. “But you’ve never bothered to paint me.”