“Have you had lunch yet, my dear?” he asked, as she opened the door to him. “I’ve brought you some strawberries.”
“I didn’t expect you, Sorbet. No, I’ve not had lunch. I was just going to get it.” (Sorbet, or in English, Sherbert, was his nom d’amour, a perversion of his name, Sorbert).
Bertha’s was the intellectually fostered Greek type of German handsomeness. It is that beauty that makes you wonder, when you meet it, if German mothers have replicas and photographs of the Venus of Milo in their rooms during the first three months of their pregnancy. It is also found in the pages of Prussian art periodicals, the arid, empty intellectualism of Münich. She had been a heavy baby. Her body now, a self-indulgent athlete’s, was strung to heavy motherhood.
A great believer in tepid “air-baths,” she would remain, for hours together, in a state of nudity about her rooms. She was wearing a pale green striped affair, tight at the waist. It looked as though meant for a smaller woman. It may have belonged to her sister. As a result, her ample form had left the fullness of a score of attitudes all over it, in flat creasings and pencillings—like the sanguine of an Italian master in which the leg is drawn in several positions, one on top of the other.
“What have you come for, Sorbet?”
“To see you. What did you suppose?”
“Oh, you have come to see me?”
“I brought these things. I thought you might be hungry.”
“Yes, I am rather.” She stopped in the passage, Dryad-like on one foot, and stared into the kitchen. Tarr did not kiss her. He put his hand on her hip—a way out of it—and led her into the room. His hand remarked that she was underneath in her favourite state of nakedness.
Bertha went into the kitchen with the provisions. She lived in two rooms on one side of the front door. Her friend, Fräulein Goenthner, to whom she sub-let, lived on the other side of it, the kitchen promiscuously existing between, and immediately facing the entrance.