Me And Kaminski Part 11

"I'm writing a book on Manuel," I said, "which is why we naturally have to . . ."

"I'm an admirer of your early work," said Quilling.

"Really," said Kaminski.

"I have some issues with the later things."

"Is that gra.s.s piece in the Tate one of yours?" asked Manz. "It blew me over."

"That's by Freud," said Kaminski.

"Freud?" asked Verena Mangold.

"Lucian Freud."

"My mistake," said Manz. "Mille pardons."

"I want to sit down," said Kaminski.

"The thing is," I said meaningfully, "the two of us are just pa.s.sing through. I can't say any more."

"Good evening," said a gray-haired man. It was August Walrat, one of the best artists in the country. The connoisseurs all valued him, but he'd never been a success; somehow it had never happened that one of the major magazines had done a piece on him. Now he was too old, and it was just impossible, he'd been around too long and the right moment had pa.s.sed. He was better than Quilling, everyone knew that. He knew it too, even Quilling knew it. All the same, he'd never get a solo exhibition in Hochgart's gallery.

"This is Manuel Kaminski," said Manz. The thin woman laid her hand on his shoulder and pressed herself against him. He smiled at her.

"But isn't he dead?" said Walrat. The talking head inhaled sharply. Manz let go of the woman. I looked at Kaminski, shocked.

"If I don't sit down soon, that's going to come true."

I took Kaminski by the elbow and led him to one of the chairs lined up against the wall. "I'm writing Manuel's life story!" I said loudly. "That's why we're here. Him and me. Us!"

"Please forgive me," said Walrat. "It's just that you're a cla.s.sic. Like Duchamp or Brancusi."

"Brancusi?" asked Verena Mangold.

"Marcel was a poseur," said Kaminski. "An imbecile and a showoff."

"Could I interview you some time?" said Manz.

"Yes," I said.

"No," said Kaminski.

I nodded to Manz and held out my hand to say: Just wait, and I'd sort it out. Manz looked baffled.

"Duchamp is important," said Walrat. "You can't just avoid him."

"Importance isn't important," said Kaminski. "Painting is important."

"Is Duchamp here too?" asked Verena Mangold.

Kaminski groaned and let himself down onto a folding chair, and I supported him while Manz bent over my shoulder inquisitively. "You know all about him, yes?" I said quietly.

He nodded. "I wrote his obituary."

"What?"

"Ten years ago, when I was culture editor of the Evening News. Evening News. Stocking up on obituaries was my main job. Thank G.o.d that time's over." Stocking up on obituaries was my main job. Thank G.o.d that time's over."

Kaminski pulled his stick close to him, his head was sagging and his jaws worked; if there had been less noise, the smacking noise he made would have been audible. Above him, one of Quilling's collages showed a TV set with a thick stream of blood pouring out of it, all spray-painted with the words Watch It! Watch It! Next to it were three of his Next to it were three of his Advertis.e.m.e.nt Papers: Advertis.e.m.e.nt Papers:posters from the soap manufacturers DEMOT, onto which Quilling had glued cutouts of figures by Tintoretto. For a time they'd been all the rage, but since DEMOT themselves had started using them as ads, n.o.body was so sure anymore what to make of them.

Hochgart pushed me aside. "Someone's just let on that you're Manuel Kaminski."

"I told you that already!" I cried.

"I didn't take it in." Hochgart squatted down so that his face was level with Kaminski's. "We must take some photos!"

"Perhaps he could have an exhibition here," the slender woman suggested. Up till now she hadn't uttered a single word. We all stared at her in surprise.

"No, seriously," said Manz, wrapping an arm around her hips. "We must seize the opportunity. Maybe a portrait. In the next edition. Are you still in town tomorrow?"

"I hope not," said Kaminski.

Professor Zabl came wobbling up and tripped over Hochgart, who was still squatting on the floor. "Whatizit?" he said, "whatizit? What?" He'd had too much to drink. He was white-haired, with a lamp tan and, as always, a screaming tie.

"I need a taxi," said Kaminski.

"That's really not necessary," I said, "we're about to leave." I smiled at everyone and explained, "Manuel is tired."

Hochgart got to his feet, dusted off his pants, and said, "This is Manuel Kaminski."

"We'll do an interview tomorrow," said Manz.

"Delighted, I'm sure," said Zabl, advancing shakily on Kaminski. "Zabl, professor of aesthetics." He squeezed between us and sat down on a vacant chair.

"Can we go?" said Kaminski.

A waitress came by with a tray, I took a gla.s.s of wine, drank it all in one go, and took another.

"I am, am I not, correctly informed," asked Zabl, "that you are the son of Richard Rieming?"

"Something of the sort," said Kaminski. "Forgive my question, but which paintings of mine are you familiar with?"

Zabl looked at us all, one after the other. His neck trembled. "Just right now . . . at this moment . . .I'll have to pa.s.s on that." He exposed his teeth in a grin. "Not basically my thing."

"It's late already," said Manz. "It's not fair to lean on the professor like that."

"Are you a friend of Quilling's?" asked Zabl.

"I wouldn't claim that," said Quilling, "but it's true that I will always see myself as Manuel's pupil."

"Well, you certainly pulled off that surprise," said Manz.

"No," I said, "he's here with me!"

"Mr. Kaminski," said Zabl, "may I invite you to attend my seminar next week?"

"I don't think he's here next week," said Quilling. "Manuel travels a lot."

"Is that a fact?" asked Manz.

"He manages incredibly well," said Quilling. "Sometimes his health worries us, but right now . . ." He touched the dark-stained frame of the Watch It! Watch It!collage. "Knock on wood!"

"Has anyone called for a taxi?" asked Kaminski.

"We're about to leave," I said. The woman with the tray came past again and I took another gla.s.s.

"Would ten o'clock tomorrow morning suit you?" said Manz.

"What for?" said Kaminski.

"Our interview."

"No," said Kaminski.

"I'll sort it out with him," I said. Zabl tried to get up, had to grab on to something, and collapsed back onto the chair. Hochgart suddenly had a camera in his hand, and clicked; the flash threw our shadows against the wall.

"Can I call you next week?" I said quietly to Manz. I had to act while he still had some vague memory of the evening.

"Next week's no good." He squeezed his eyes shut. "Week after."

"Great," I said. Across the other side of the room, under three of Quilling's neon tubes glued over with newspaper clippings, I could see Walrat and Verena Mangold standing. She was talking a mile a minute while he leaned against the wall and stared sadly into his gla.s.s. I took Kaminski's elbow and helped him to his feet; Quilling immediately did the same from the other side. We led him to the door.

"It's fine," I said, "you can let go!"

"No problem," said Quilling. "No problem."

Manz tapped me on the shoulder, and I let go of Kaminski for a moment. "Let's say the end of this week instead. Friday. Call my secretary."

"Friday," I said, "very good." Manz nodded absentmindedly, the thin lady laid her head on his shoulder. As I turned around, I saw Hochgart in the process of taking a photograph of Quilling and Kaminski. The conversation died away. I hastily grabbed Kaminski's other arm, but too late: Hochgart had finished already. We moved on, the floor felt uneven, and the air seemed to quiver faintly. I'd drunk too much.

We went down the stairs. "Careful, a step!" said Quilling with every tread. I looked at Kaminski's wild hair, his right hand gripped the stick tightly. We got out onto the street. It had stopped raining, and the streetlights were reflected in the puddles.

"Thanks!" I said. "I'm parked over there."

"I'm parked closer," said Quilling. "I can drive him. I also have a guesthouse."

"Don't you have to get back?"

"They can get along without me."

"It's your exhibition."

"This is more important."

"We don't need you anymore!"

"It would be easier my way."

I let go of Kaminski, walked around the pair of them, and said into Quilling's ear, "Let go of him, and get back inside!"

"And who do you think you are?"

"I'm a critic and you have exhibitions. We're the same age. I'm going to be there every time."

"I don't understand."

I went back around and took Kaminski's arm.

"But perhaps I really ought to get back."

"Perhaps."

"It's still my exhibition."

"It is," I said.

"Nothing to be done about it."

"Tough," I said.

"It was a great honor," he said, "a great honor, Manuel."

"And who are you?" asked Kaminski.

"He's just priceless!" cried Quilling. "Good-bye, Sebastian!"

"Good-bye, Alonzo!" For a few seconds we glared at each other furiously, then he turned and ran up the stairs. I led Kaminski across the street to Elke's car. A roomy Mercedes, fast and luxurious, almost as beautiful as the stolen BMW. Sometimes I had the feeling that everyone except me was earning money.

I had to concentrate to stay in the traffic lane, I was a little drunk. I opened the window, the cool air did me good, I needed to go to sleep soon because tomorrow I was going to need a clear head. The evening had been a real success, they'd all seen me with Kaminski, everything had gone well. Yet suddenly I felt sad.

"I know why you did it," said Kaminski. "I underestimated you."

"What are you talking about?"

"You wanted to show me that I'll be forgotten."

It took me a moment to grasp what he meant. He leaned his head back and let out a deep sigh. "n.o.body knew a single picture I'd painted."