Atdtda32: Me and Turner, 897-898

[Paul Nightingale]

Top of 897, Dally's perspective is introduced here in relation to Hunter's
"peculiar" paintings; she resists the pat answer he gives, but he has
located his work historically, "steal[ing] from the best". This is similar
to the example, earlier, of Vaughan Williams' music; in each case, then, the
artist/auteur is part of a tradition, rather than being 'unique'. Later, we
shall see Arturo 'breaking new ground' in his development of the AOD genre.

However, Dally's response to Hunter ("Not buying that one ...") indicates
that his excuse, claiming continuity from a recognised author, lacks
conviction. This in turn undermines his efforts as a painter, all of which
is related to the role played by Arturo in his interactions with Dally.

Ruperta is now absent, although Dally goes on to recall her own "latest
episode" with Arturo, the result, of course, of Ruperta's earlier plotting.
The action has moved on here: notice the tense at the top of the page ("When
[Hunter's] paintings had started to get peculiar ...") and he has had to get
used to being questioned "in this vein". Possibly Ruperta has succeeded in
creating a tension between them ("... you might want to come round and pose
for one of these empty spaces ..." etc); although he closes with an ironic
jibe ("These artistic types", 898) when her story ends.

Dally again offers a back story of sorts; in the telling, it seems the
finished work will leave little to the imagination, but that is to ignore
Arturo's transformation of the 'raw elements', ie his two models. Moreover,
there is Dally's observation of Karl's "presentable bottom", which she might
or might not edit out of the version she shares with Hunter (confirming the
reader's privileged status--this is not direct speech); and Hunter's own
final jealousy, unable to resist asking if she got it together with Karl. If
Dally has refused to accept Hunter's self-association with Turner and the
pantheon, he has taken at face value her account, perhaps because it
confirms any suspicions he might have of Arturo as an exploiter of young
women--which in turn would echo the suspicions Dally had on 893.

If indeed this is the result of Ruperta's efforts, it is worth commenting on
chronology. The line ("had started") that reintroduces Hunter on 897
indicates that the current scene might precede the visit to Gloucester
Cathedral, in which case the narrative opens up a gap between Ruperta's
"certain adjustment" (896) and the unravelling of a plot she has set in
motion by introducing Dally to Arturo.