never talked. We donât know what his problems were. We donât know what seemed absurd to him. We donât know where he and Rosemary were going.â âDo you remember when our sort of people didnât think life was silly?â asks Barbara, âwhen things were all wide open and free, and we were all doing something and the revolution was next week? And we were under thirty, and we could trust us?â âItâs still like that,â says Howard, âpeople always dropped in and out.â âIs it really like that?â asks Barbara, âDonât you think people have got tired? Found a curse in what they were doing?â Howard says: âA boy dies and you turn it into a metaphor for the times.â Barbara says: âHoward, you have always turned everything into a metaphor for the times. Youâve always said that the times are where we are; thereâs no other place. Youâve lived off the flavours and fashions of the mind. So has this boy, who came to one of our parties, and had a blue tattoo, and put a rope round his neck in a shed. Is he real, or isnât he?â âBarbara, youâre just feeling depressive,â says Howard, âtake a Valium.â âTake a Valium. Have a party. Go on a demo. Shoot a soldier. Make a, bang. Bed a friend. Thatâs your problem-solving system,â says Barbara. âAlways a bright, radical solution. Revolt as therapy. But havenât we tried all that? And donât you find a certain gloom in the record?â Howard turns and looks at Barbara, inspecting this heresy. He says: âThere may be a fashion for failure and negation now. But we donât have to go along with it.â âWhy not?â asks Barbara, âafter all, youâve gone along with every other fashion, Howard.â Howard takes the turn into the terrace; the bottles shake in the back of the van. He says: âI donât understand your sourness, Barbara. You just need some action.â âIâm sure youâll find a way of giving me that,â says Barbara, âthe trouble is, Iâve had most of the action I can take, from you.â Howard stops the van; he puts his hand on Barbaraâs thigh. He says: âYou just got switched off, kid. Everythingâs still happening. Youâll feel good again, once it all starts.â âI donât think you understand what Iâm telling you,â says Barbara, âIâm telling you that your gay belief in things happening doesnât make me feel better any more. Christ, Howard, how did we come to be like this?â âLike which?â asks Howard. âDepending on things happening, like this,â says Barbara, âputting on shows like this.â âI can explain,â says Howard. âIâm sure you can,â says Barbara, âbut donât. Are you going straight off to the university?â âI have to,â says Howard, âto start the term.â âTo start the trouble,â says Barbara. âTo start the term,â says Howard. âWell, I want you to help me unload all this stuff, before you go.â âOf course,â says Howard, âyou take the food in. Iâll bring the wine.â And so the Kirks get out, and go round to the back of the van, and unload what is there. They carry it, together, the bread, the cheese and the sausages, the glasses and the big red bottles in their cases, into the house, into the pine kitchen. They spread it on the table, an impressive array of commodities, ready and waiting for the party in the evening. âI want you back by four, to help me with all this fun weâre brewing,â says Barbara. âYes, Iâll try,â says Howard. He looks at the wine; he goes out back to the van. Then he gets in, and drives off, through the town, towards the university.
II
The Kirks are, indeed, new people. But where some new people are born new people,
Megan Hart, Sarah Morgan, Tiffany Reisz