A Tree on Fire Read Free Page B

his skull in. But my life’s bloody-well plagued. I didn’t know how mean I was till I had money. But I’d be in the gutter again if I wasn’t. I’m thinking of buying a shotgun and mounting guard over my cheque-books. My wife’s all right, the angel in the house, so we could do twelve hours on and twelve off. As soon as the money started rolling in I began to really get into debt. There’s not a radio, furniture, books, clothes or food shop for miles around at which I don’t owe a few hundred pounds. My instinct told me this was right, for if ever the money stops rolling in I shan’t be the only one to suffer. The whole economy will go under with one terrible groan. I used to live by sending out begging letters, but nowadays it’s me that gets them, floods of them every morning. In fact if I get another begging letter I’ll do my nut, because I suffer when I read them. Not long after my money started to roll in all my relatives came up from Leicester to say hello, poured out of their cars and hinted how I ought to give them a few bungalows for holidays in summer. They didn’t notice the rural slum I was living in. I soon pushed that snipe-nosed lot off. They still drop in in ones and twos. One of the best begging letters I ever penned bounced back to me because Mandy had spent the stamp-money on sweets, so I had it mounted and framed, hung above the mantelpiece for all of them to see. Of course, then they said: “Aw, old Albert’s a bit of a lad! Likes a joke,” as they knock back some more of my whisky. Money is a bloody curse, when you think about it. They say that a fool and his money’s soon parted, but I wouldn’t regard him as a fool – though I’m learning to hang on to mine just the same. I used to think that what an indigent artist needed was money, until I’d got some, when I thought that all he wanted was to be indigent. But as long as he’s hard as iron it don’t matter what he wants nor what he gets. It’s being hard that’s made me an artist, nothing else, and it’s being hard that’ll keep me one. When I was poor a local bigwig who bought a picture now and again asked me if I was a catholic because I had so many kids. “You’re an artist, so you have plenty of other things to do besides that.” “Maybe,” I told him, “but it’s the Chinese you want to get at, not me. We can pack another fifty million into this country yet. Don’t talk to me about the population boom. I don’t mind sharing my dinner with you if you’ll share yours with me.” He got offended at that and humped off for good. I’m not saying they were fine days, but I was anybody’s equal and still am. Many’s the time I took off my watch before walking into the National Assistance Board. I was interviewed not long ago by some putty-faced pipe-smoking chubbyguts from that magazine Monthly Upchuck of the Arts and all he could do was try to needle me about “class”, wondering when the day was going to come when my “origins” – that’s his sickly word, not mine – were going to show more clearly in my work. So I asked him when his origins were going to stop showing in his stupid questions. I nearly puked over his snuff-coloured suit. The article never came out, thank God. Teddy Greensleaves was disappointed: “If you aren’t careful,” he said, “the critics will give you the kiss of death.” “As long as it’s a big kiss,” I said. “Why do you keep on acting the fool, Albert? It’s just that little bit passé , you know, to go on talking about money, and be forever ranting against the critics.” I didn’t answer, because that would be playing his game.’
    â€˜Why do you?’ Myra asked, drawn at last from the somnolence of his car and monologue.
    â€˜You know why? Because it’s a smoke-screen