The Fat Man in History aka Exotic Pleasures

  The Fat Man in History aka Exotic Pleasures

  Peter Carey

  The first collection of short stories published by Peter Carey, whose other books include "Bliss", "Illywhacker" and "Oscar and Lucinda", which was awarded the 1988 Booker Prize. The stories, set in an ominous near-future that has a feel of contemporary life, are by turn bizarre and funny.

  Peter Carey

  The Fat Man in History aka Exotic Pleasures

  Copyright © 1979 by Peter Carey.

  The Fat Man in History

  1.

  His feet are sore. The emporium seems endless as he shuffles an odd-legged shuffle with the double-bed sheets under his arm. It is like a nightmare-the exit door in sight but not coming any closer, the oppressive heat, the constant swarm of bodies flowing towards him like insects drawn towards, then repelled by, a speeding vehicle.

  He is sweating badly, attempting to look calm. The sheets are badly wrapped. He wrapped them himself, surprising himself with his own nerve. He took the sheets (double, because there were no singles in blue) and walked to the wrapping counter where he pulled out a length of brown paper and set to work. To an assistant looking at him queryingly he said, smiling meekly, “You don’t object?” The assistant looked away.

  His trousers are large, floppy, and old-fashioned. Fortunately they have very large pockets and the pockets now contain several tins of smoked oysters. The smoked oysters are easy, always in big tubs outside the entrance to the self-service section. He has often wondered why they do this, why put them outside? Is it to make them easier to steal, because they are difficult to sell? Is it their way of providing for him and his friends? Is there possibly a fat man who has retained his position in the emporium? He enjoys himself with these theories, he has a love of such constructions, building ideas like card-houses, extending them until he gets dizzy and trembles at their heights.

  Approaching the revolving door he hesitates, trying to judge the best way to enter the thing. The door is turning fast, spewing people into the store, last-minute shoppers. He chooses his space and moves forward, bustling to get there in time. Deidre, as tiny and bird-like as she always was, is thrown out of the revolving door, collides with him, hisses “slob” at him, and scurries into the store, leaving him with a sense of dull amazement, surprise that such a pretty face could express such fear and hatred so quickly.

  Of course it wasn’t Deidre. But Alexander Finch reflects that it could have been. As he sadly circles inside the revolving door and walks slowly along the street he thinks how strange it is that the revolution should have produced this one idea that would affect his life so drastically: to be fat is to be an oppressor, to be greedy, to be pre-revolutionary. It is impossible to say if it arose from the people or was fed to them by the propaganda of the revolution. Certainly in the years before the revolution most fat men were either Americans, stooges for the Americans, or wealthy supporters of the Americans. But in those years the people were of a more reasonable mind and could accept the idea of fat men like Alexander Finch being against the Americans and against the old Danko regime.

  Alexander Finch had always thought of himself as possessing a lovable face and figure. He had not thought this from any conceit. At school they had called him “Cuddles,” and on the paper everyone called him “Teddy” or “Teddy Bear”. He had signed his cartoons “Teddy” and when he included himself in a cartoon he was always a bewildered, rotund man with a large bum, looking on the antics of the world with smiling, fatherly eyes.

  But somehow, slowly, the way in which the world looked at Alexander Finch and, in consequence, the way Alexander Finch looked at himself, altered. He was forced to become a different cartoon, one of his own “Fat Americans”: grotesque, greedy, an enemy of the people.

  But in the early days after the revolution the change had not taken place. Or, if it had, Finch was too busy to notice it. As secretary of the Thirty-second District he took notes, recorded minutes, wrote weekly bulletins, drafted the ten-day reports to the Central Committee of Seventy-five, and still, somehow, found time to do a cartoon for his paper every day and to remember that General Kooper was spelt with a “K” and not a “C” (Miles Cooper being one of the infamous traitors of the revolution). In addition he was responsible for inspecting and reporting on the state of properties in the Thirty-second District and investigating cases of hardship and poverty wherever he found them. And if, during these early days, he occasionally became involved in unpleasant misunderstandings he regarded them as simply that, nothing more. People were accustomed to regarding all fat officials as either American or Danko men, because only the Americans and their friends had had enough food to become fat on. Occasionally Finch attempted to explain the nature of glandular fat and to point out that he wasn’t a real official but rather the cartoonist “Teddy” who had always been anti-Danko.

  Finch was occasionally embarrassed by his fatness in the early days when the people were hungry. But, paradoxically, it wasn’t until the situation improved, when production had reached and passed the pre-revolutionary figure and when the distribution problems had finally been more or less ironed out, that the fat question came to the fore. And then, of course, food was no problem at all. If anything there was a surfeit and there was talk of dumping grain on the world market. Instead it was dumped in the sea.

  Even then the district committees and the Committee of Seventy-five never passed any motions directly relating to fat men. Rather the word “fat” entered slyly into the language as a new adjective, as a synonym for greedy, ugly, sleazy, lazy, obscene, evil, dirty, dishonest, untrustworthy. It was unfair. It was not a good time to be a fat man.

  Alexander Finch, now secretary of the clandestine “Fat Men Against The Revolution,” carries his stolen double-bed sheets and his cans of smoked oysters northwards through the hot city streets. His narrow slanting eyes are almost shut and he looks out at the world through a comforting curtain of eyelashes. He moves slowly, a fat man with a white cotton shirt, baggy grey trousers, and a slight limp that could be interpreted as a waddle. His shirt shows large areas of sweat, like daubs, markings deliberately applied. No one bumps him. At the traffic lights he stands to one side, away from the crowds. It seems to be a mutual arrangement.

  The sheets under his arm feel heavy and soggy. He is not sure that he has gotten away with it. They may be following him still (he dares not look around), following him to the house, to discover what else he may have stolen. He smiles at the thought of all those empty cans of smoked oysters in the incinerator in the back yard, all those hundreds of cans they will find. And the beer keg Fantoni stole. And the little buddha he stole for Fantoni’s birthday but somehow kept for himself, he felt so sorry for (or was it fond of?) the little fat statue. He accuses himself of self-love but reflects that a little self-love is tonic for a fat man in these times.

  Two youths run past him, bumping him from either side. He assumes it was intentional but is uncertain. His whole situation is like that, a tyranny of subtlety. To be fired from his job with the only newspaper that had been continually sympathetic to Kooper and his ideas for “slovenliness” and “bad spelling”. He had laughed out loud. “Bad spelling.” It was almost a tradition that cartoonists were bad spellers. It was expected of them and his work was always checked carefully for literals. But now they said his spelling was a nuisance and wasteful of time, and anyway he was “generally slovenly in dress and attitude”. Did “slovenly” really mean “fat”? He didn’t ask them. He didn’t wish to embarrass them.

  2.

  Milligan’s taxi is parked in front of the house. The taxi is like Milligan: it is very bright and shiny and painted
in stripes of iridescent blue and yellow. Milligan spray-painted it himself. It looks like a dodgem car from Luna Park, right down to the random collection of pink stars stencilled on the driver’s door.

  Milligan is probably asleep.

  Behind Milligan’s taxi the house is very still and very drab, painted in the colours of railway stations and schools: hard green and dirty cream. Rust shows through the cream paint on the cast-iron balcony and two pairs of large baggy underpants hang limply from a line on the upstairs verandah.

  It is one of six such houses, all identical, surrounded by high blocks of concrete flats and areas of flat waste land where dry thistles grow. The road itself is a major one and still retains some of its pre-revolutionary grandeur: rows of large elms form an avenue leading into the city.

  The small front garden is full of weeds and Glino’s radishes. Finch opens the front door cautiously, hoping it will be cooler inside but knowing that it won’t be. In the half-dark he gropes around on the floor, feeling for letters. There are none-Fantoni must have taken them. He can still make out the dark blotches on the door where May sat and banged his head for three hours. No one has bothered to remove the blood.

  Finch stands in the dark passage and listens. The house has the feeling of a place where no one works, a sort of listlessness. May is upstairs playing his Sibelius record. It is very scratched and it makes May morose, but it is the only record he has and he plays it incessantly. The music filters through the heavy heat of the passage and Finch hopes that Fantoni is not in the kitchen reading his “correspondence”-he doesn’t wish Fantoni to see the sheets. He shuffles slowly down the passage, past the foot of the high, steep stairs, through the strange little cupboard where Glino cooks his vegetarian meals in two battered aluminium saucepans, and enters the kitchen where Fantoni, wearing a florid Hawaiian shirt and smoking a cigar, is reading his “correspondence” and tugging at the large moustache which partially obscures his small mouth. Finch has often thought it strange that such a large man should have such a small mouth. Fantoni’s hands are also small but his forearms are large and muscular. His head is almost clean shaven, having the shortest of bristles covering it, and the back of his head is divided by a number of strange creases. Fantoni is the youngest of the six fat men who live in the house. An ex-parking officer, aged about twenty-eight, he is the most accomplished thief of them all. Without Fantoni they would all come close to starving, eking out a living on their pensions. Only Milligan has any other income.

  Fantoni has connections everywhere. He can arrange food. He can arrange anything. He can arrange anything but the dynamite he needs to blow up the 16 October Statue. He has spent two months looking for the dynamite. Fantoni is the leader and driving force of the “Fat Men Against The Revolution”. The others are like a hired army, fighting for Fantoni’s cause which is to “teach the little monkeys a lesson”.

  Fantoni does not look up as Finch enters. He does not look up when Finch greets him. He does nothing to acknowledge Finch’s presence. Because he is occupied with “my correspondence,” the nature of which he has never revealed to anyone. Finch, for once, is happy that Fantoni doesn’t look up, and continues out on to the porch with the green fibreglass sunroof, past Fantoni’s brand new bicycle and Glino’s herbs, along the concrete path, past the kitchen window, and comes to what is known as “the new extensions”.

  “The new extensions” are two bedrooms that have been added on to the back of the house. Their outside walls are made from corrugated iron, painted a dark, rusty red. Inside they are a little more pleasant. One is empty. Finch has the other. Finch’s room is full of little pieces of bric-a-brac-books, papers, his buddha, a Rubens print, postcards from Italy with reproductions of Renaissance paintings. He has an early map of Iceland on the wall above the plywood bedhead, a grey goatskin rug covering the biggest holes in the maroon felt carpet, a Chinese paper lantern over the naked light globe.

  He opens the door, steps back a pace, and pulls a huge comic fatman’s face to register his disgust to some invisible observer.

  The room has no insulation. And with each day of heat it has become hotter and hotter. At 4 a.m. it becomes a little cooler and at 7 a.m. it begins to heat up again. The heat brings out the strange smells of previous inhabitants, strange sweats and hopes come oozing out in the heat, ghosts of dreams and spilt Pine-o-Cleen.

  The window does not open. There is no fly-wire screen on the door. He can choose between suffocation and mosquitoes.

  Only a year ago he did a series of cartoons about housing conditions. He had shown corrugated iron shacks, huge flies, fierce rats, and Danko himself pocketing the rent. Danko’s men had called on him after the fourth one had appeared. They threatened to jail him for treason, to beat him up, to torture him. He was very frightened, but they did nothing.

  And now he is living in a corrugated iron room with huge blow-flies and the occasional rat. In a strange way it pleases him that he is no longer an observer, but it is a very small pleasure, too small to overcome the sense of despair that the smells and the suffocating heat induce in him.

  He opens the roughly wrapped parcel of sheets and arranges them on the bed. The blue is cool. That is why he wanted the blue so badly because it is cooler than white, and because it doesn’t show the dirt so badly. The old sheets have turned a disgusting brown. If they were not listed in the inventory he would take them out and burn them. Instead he rolls them up and stuffs them under the bed.

  If Fantoni had seen the sheets there would have been a row. He would have been accused, again, of self-indulgence, of stealing luxuries instead of food. But Fantoni can always arrange sufficient food.

  He peels off the clinging, sweat-soaked clothes and throws them on to the goatskin rug. Bending over to remove his socks he catches sight of his body. He stands slowly, in amazement. He is Alexander Finch whose father was called Senti but who called himself Finch because he sold American cigarettes on the black market and thought the name Finch very American. He is Alexander Finch, thirty-five years old, very fat, very tired, and suddenly, hopelessly sad. He has four large rolls of fat descending like a flesh curtain suspended from his navel. His spare tyres. He holds the fat in his hand, clenching it, wishing to tear it away. He clenches it until it hurts, and then clenches harder. For all the Rubens prints, for all the little buddhas, he is no longer proud or even happy to be fat. He is no longer Teddy. But he is not yet Fantoni or Glino-he doesn’t hate the little monkeys. And, as much as he might pretend to, he is never completely convincing. They suspect him of mildness.

  He is Finch whose father was called Senti, whose father was not fat, whose mother was not fat, whose grandfather may well have been called Chong or Ching-how else to explain the narrow eyes and the springy black hair?

  3.

  There are six fat men in the house: Finch, Fantoni, May, Milligan, Glino, and one man who has never divulged his name. The-man-who-won’t-give-his-name has been here from the beginning. He is taller, heavier, and stronger than any of the others, Fantoni included. Finch has estimated his weight at twenty-two stone. The-man-who-won’t-give-his-name has a big tough face with a broken nose. Hair grows from him everywhere, it issues from his nose, his ears, flourishes in big bushy white eyebrows, on his hands, his fingers and, Finch has noticed, on his large rounded back. He is the only original tenant. It was because of him that Florence Nightingale suggested the place to Fantoni, thinking he would find a friend in another fat man. Fantoni offered accommodation to Milligan. A month or so later Finch and May were strolling along 16 October Avenue (once known as Royal Parade) when they saw three men talking on the upstairs balcony outside Fantoni’s room. Fantoni waved. May waved back, Milligan called to them to come up, and they did. Glino moved in a week later, having been sent with a letter of introduction from Florence Nightingale.

  It was Fantoni who devised the now legendary scheme for removing the other tenants. And although the-man-who-won’t-give-his-name never participated in the scheme, he never interfe
red or reported the matter to the authorities.

  The-man-who-won’t-give-his-name says little and keeps to himself. But he always says good morning and goodnight and once discussed Iceland with Finch on the day Finch brought home the map. Finch believes he was a sailor, but Fantoni claims that he is Calsen, an academic who was kicked out of the university for seducing one of “the little scrawnies”.

  Finch stands in front of the mirror, his hands digging into his stomach. He wonders what Fantoni would say if he knew that Finch had been engaged to two diminutive girls, Deidre and Anne, fragile girls with the slender arms of children who had both loved him with a total and unreasonable love, and he them, before the revolution.

  4.

  May turns his Sibelius record to side two and begins one more letter to his wife. He begins, Dear Iris, just a short note to say everything is all right.

  5.

  Finch is sitting in the kitchen leafing through the Botticelli book he has just bought. It took half the pension money. Everyone is out. He turns each page gently, loving the expensive paper as much as the reproductions.

  Behind him he hears the key in the front door. He puts the book in the cupboard under the sink, among the saucepans, and begins to wash up the milk bottles; there are dozens of them, all dirty, all stinking.

  There is cursing and panting in the passage. He can hear Fantoni saying, the little weed, the little fucker. Glino says something. There is an unusual sense of urgency in their voices. They both come into the kitchen at once. Their clothes are covered with dirt but Fantoni is wearing overalls.