Sweet Tooth

Max shows Serena his small new office. He provides her with paperwork for the Freedom International Foundation, a registered charity with the supposed aim of promoting “excellence and freedom of expression in the arts everywhere in the world” (76) by helping artists who live in countries with restrictive, authoritarian governments. Serena notices that Max is slowly beginning to follow her advice and looks better as a result. She asks him about Shirley, but he claims to know nothing about her dismissal. They talk about Sweet Tooth, an operation which will help MI5 to distinguish itself in the world of anti-communist propaganda and better the bloated, bureaucratic efforts of MI6 and other agencies. Max admits that the scheme essentially blackmails writers into not revealing the embarrassing source of their funding. Serena begins to feel as though Max is not entirely committed to the mission, and he confesses that he is of the opinion that Sweet Tooth should focus on non-fiction. At the same time, she realizes that any romantic relationship between them is no longer viable, at least in Max’s view.

Serena shows Max the scrap of paper she found in the safehouse. He seems to link the matter to Shirley’s firing, but he refuses to say any more. Though she is told that she cannot keep the piece of paper, Serena takes it anyway. They return to Sweet Tooth. Serena speaks effusively about Haley’s skill, and they discuss the irresistible sum which he will be offered per year to write a novel. Max reminds Serena to “play hard to get” (79), rather than immediately offering Haley everything. At the end of the meeting, Max reveals that he is engaged to a doctor named Ruth. Afterward, he admits that he does not like Haley’s work, though Serena suspects that he does not like Haley. As he tries to end the meeting, Serena tells him about her recent paranoia, including the bookmark and the feeling that she is being watched. He warns her to be careful, as people who feel paranoid about being followed can act so strangely that they merit being followed. Serena leaves the office, bristling with anger.

Serena drafts a letter to send to Haley, but it must pass through several levels of bureaucracy whereupon it receives many slight alterations. Eventually, the letter is posted and, when Haley returns from vacation, he responds with a short note suggesting that he and Serena meet in his office to discuss the Foundation’s proposal. Serena travels south from London to Brighton on a warm day in October. She crosses the university campus to Haley’s office and, as she arrives in front of his door, she wonders whether the real Haley will measure up to the version of the man she has constructed based on his writing. She has re-read his journalism pieces on the train, articles in which Haley criticizes oppressive communist regimes. She knocks and enters the office.

Serena is confused to find that Haley is a small, pale, slender man with long hair in a cramped, messy office. He welcomes her in, and she soon launches into an explanation of the Foundation’s supposed goals. Haley interrupts and begins to question Serena about her own life. She lies about certain details, though tells the truth about others. Aware that Haley has taken control of the conversation, she tries to assert herself. Haley asks for her opinion of his work. Serena confesses that the short stories are “utterly brilliant” (86) and Haley flinches, becoming lost for words. They discuss his work, and she notices that he craves praise. Serena outlines the terms of the proposal. Haley seems intrigued, but he suggests that the offer seems too good to be true. Serena pushes him to accept, and Haley proposes that he visit the Foundation’s offices in London. They share an unexpectedly sensual handshake before a loud knock at the door brings the meeting to an end.

Serena rides the train back to London and tries to assure herself that she has done well. Later, she re-reads one of his short stories. This story concerns a French teacher at an English school named Sebastian Morel, who is disillusioned by his work and struggling to keep his small family afloat. One evening, Sebastian is mugged in the street while carrying almost all the money he had saved to buy Christmas presents. The incident forces him to confront his typical left-wing beliefs about the causes and nature of crime and poverty. The fallout of the mugging destroys the marriage and deepens his loathing for his work. One day, Sebastian’s wife reports a break-in at their home. Their few valuable possessions have been taken and insurance covers only a fraction of the financial value and none of the sentimental value of the items. A police investigation eventually reveals that Sebastian’s wife sold all the supposedly stolen items. Rather than confronting his wife, Sebastian finds that the revelation invigorates him. His wife is almost a stranger, so their revitalized romance seems like an affair to him. Sebastian and his wife have sex, interrupted only by a plaintive cry from their daughter in the next room. The pause is only short, and they resume the pleasurable activity, a pleasure “so pointed it was a reminder of pain” (96).