The British-born novelist and screenwriter Alfred Hayes – a man who spent much of his working life in the US and Italy – is fast becoming one of those ‘experience everything’ writers for me. His slim, expertly-crafted novellas, with their piecing portrayals of the pain of ill-fated relationships, remain some of my favourites in recent years. (I read the superb My Face for the World to See (1958) before setting up this blog, but my thoughts on In Love (1953) and The Girl on the Via Flaminia (1949) – a book that made my 2018 highlights – can be found by clicking on the links.)
The End of Me (1968) is a later novella, and the passing of time is somewhat reflected in the book’s narrator, Asher, a fifty-one-year-old screenwriter whose career is on the rocks. Having observed his socially-ambitious second wife in flagrante with her tennis partner, Asher flees his home in L.A. for the relative anonymity of New York, a bruised and anguished man. It is a city that has healed Asher in the past — ‘her crowds, like enormous blotters’ possess the ability to absorb his life.
Once ready to reconnect with the world, Asher pays a visit to his elderly Aunt Dora, who views him as the successful one in the family – the one with a good job, a fine wife, and comfortable home in the eternal sunshine. Unwilling or unable to dispel this idyllic vision, Asher submits to the falsehood, assuring Aunt Dora that everything is relatively well in his world. In reality, he lacks a sense of purpose and is pondering what to do.
As a consequence of the visit, Asher agrees to meet Dora’s grandson, Michael, a young man with ambitions to be a poet; but when Michael comes to see Asher in his hotel suite, their meeting is a disaster. Asher is riled by Michael’s somewhat surly, disdainful manner, and his subsequent silence prompts Michael to leave.
The following day, Asher is ashamed of his behaviour; contrition sets in, and he calls Michael to invite him for cocktails at the hotel. When Michael arrives, he is accompanied by Aurora, a striking girl of southern European descent. The attraction for Asher is immediate and intense; Aurora intrigues him, and yet he knows she is part of Michael’s world.
She had immense dark eyes. The lids were whitened; the lips had been administered to with a pale lipstick. She wore her hair caught up in a rich, somewhat loose, coil that threatened if she laughed too hard (and she did, she always laughed too hard, she laughed, if I may amend Michael’s more graphic description of her laughter, vaginally) to come down in a disorderly mass. I wondered, then, how far it would reach: her hair. Down to where. Down to what. The skin was marvelous. And she was Michael’s girl. (p. 31)
In his keenness to reconnect with the past, Asher asks Michael to accompany him around NYC to revisit various places from his youth. Perhaps unsurprisingly, much of the city has now changed, neatly echoing the feelings of damage and loss that are central to the book. In return, Asher will read Michael’s poems – pieces that turn out to be rather crude and derivative, reflecting a poisonous, destructive form of love. However, Asher holds back from telling Michael what he really thinks of his poems, choosing instead to describe them as ‘interesting’ – a carefully-chosen word with an ambiguous meaning.
Despite all this, Asher finds himself drawn to Michael, seeing him as someone who might be able to learn something from Asher’s own experiences of life. There is an element of self-delusion on the part of Asher here – a sort of self-flattery, hinging on the belief that he can to pass into the world of the young, albeit temporarily.
Perhaps what I wished, not admitting it entirely to myself, was to attach the boy somehow to me. To establish between us (where the non sequitur existed) a connection of a kind. It wasn’t that I felt fatherly to Michael; I couldn’t even honestly say I liked him: it was simply that I felt he had a certain irritating importance for me. I might have been flattering myself, but I felt that, after all, something could be learned, that if I were rich in nothing else I was rich in experience, though perhaps not too rich in it. The generations touched somewhere. (p. 52)
In tandem to this, Asher begins to see Aurora – something he does with Michael’s permission. They meet in the park, chat together and go to the cinema. During these scenes, we learn more about Asher’s former loves, the relationships that have spoiled and soured. In contrast to these women, Asher finds Aurora intriguing and desirable. It is perhaps only with the benefit of hindsight that he appreciates quite how sly and calculating Aurora can be.
Oh, she acted. She played complicated games. As at the French film. Perhaps she even lied a little. Or teased me a little. Amused herself with me. But why not? I was the damaged one. Damaged by age, damaged by the profession I had chosen, damaged by marriage. She was whole, and young, and there wasn’t anything of value I could really offer her. I wasn’t going to fall in love with her; it would be absurd to expect her to fall in love with me. Besides, there was Michael: she was, in some way they accepted among themselves, by their definitions, his girl. Whatever being one’s girl at the moment meant. I wasn’t really too anxious to find out. I was being, by some consent, allowed to share her. (p. 95.)
With Michael pulling the strings, Aurora flirts wildly with Asher, twisting him round her little finger and manipulating him for the fun of it – lies, deceit and calculation are all part of the game. There is a form of ritual humiliation going on here, something designed to expose Asher for his past failings, reducing him to the status of washed-up hack with his productive, successful years far behind him. Michael, in particular, shows great contempt for Asher’s generation, the men who believe they were born into one of the great eras of historical truth, the time of America’s Depression. (The damaging impact of WW2 is part of the backdrop to much of Hayes’s work, and it remains in evidence here.)
There is a ruthless, fatalistic tone running through The End of Me, something that feels detectable from the outset. The impending sense of doom in the narrative is crystal clear; and yet there is something hugely compelling in the telling of it. Asher knows he is being played, but by quite how much only becomes apparent towards the end.
There is a brutal honesty to Hayes’s portrayal of various facets of human nature – perhaps most notably, desire, egotism, ruthlessness, vulnerability and cruelty. Once again, I find myself marvelling at this author’s ability to distil this degree of psychological insight into such an economical yet beautifully-written book.
In short, this is a bitter espresso-shot of a novel – a dark, concentrated gem of destruction and despair. Naturally, I adored it… (Annabel has also written about it here.)
The End of Me is published by NYRB Classics; my thanks to the publishers for kindly providing a review copy.