This was just about the time that Jonas's success brought him many friends. Those friends turned up on the telephone or in impromptu visits. The telephone, which, after due deliberation, had been put in the studio, rang often and always to the detriment of the baby's sleep, who would then mingle his cries with the urgent ringing of the phone. If it so happened that Louise was busy caring for the other children, she strove to get to the telephone with them, but most of the time she would find Jonas holding the baby in one arm and in his other hand his brushes and the receiver, which was extending a friendly invitation to lunch. Jonas was always amazed that anyone was willing to lunch with him, for his conversation was dull, but he preferred going out in the evening in order to keep his workday unbroken. Most of the time, unfortunately, the friend would be free only for lunch, and just for this particular lunch; he would insist upon holding it for his dear Jonas. His dear Jonas would accept: "Just as you say!" and after hanging up would add: "Isn't he thoughtful!" while handing the baby to Louise. Then he would go back to work, soon interrupted by lunch or dinner. He had to move the canvases out of the way, unfold the special table, and sit down with the children. During the meal Jonas would keep an eye on the painting he was working on and occasionally, in the beginning at least, he would find his children rather slow in chewing and swallowing, so that each meal was excessively long. But he read in his newspaper that it was essential to eat slowly in order to [125] assimilate, and thenceforth each meal provided reasons for rejoicing at length.

On other occasions his new friends would drop in. Rateau, for one, never came until after dinner. He was at his office during the day and, besides, he knew that painters work during the daylight hours. But Jonas's new friends almost all belonged to the species of artists and critics. Some had painted, others were about to paint, and the remainder were concerned with what had been, or would be, painted. All, to be sure, held the labors of art in high esteem and complained of the organization of the modern world that makes so difficult the pursuit of those labors, as well as the exercise of meditation, indispensable to the artist. They complained of this for whole afternoons, begging Jonas to go on working, to behave as if they weren't there, to treat them cavalierly, for they weren't philistines and knew the value of an artist's time. Jonas, pleased to have friends capable of allowing one to go on working in their presence, would go back to his picture without ceasing to answer the questions asked him or to laugh at the anecdotes told him.

Such simplicity put his friends more and more at ease. Their good spirits were so genuine that they forgot the meal hour. But the children had a better memory. They would rush in, mingle with the guests, howl, be cuddled by the visitors, and pass from lap to lap. At last the light would dwindle in the square of sky outlined by the court, and Jonas would lay down his brushes. There was nothing to do but to invite the friends to share pot-luck and to go on talking, late into the night, about art of course, but especially about the untalented painters, plagiarists or self-advertisers, who weren't there. Jonas liked to get up early to take advantage of the first hours of daylight. He knew that this would be difficult, that breakfast wouldn't be ready on time and that he himself would be tired. But on the other hand he rejoiced to learn in an evening so many things that could not fail to be helpful to him, though in an invisible way, in his art. "In art, as in nature, nothing is ever wasted," he used to say.

That's true, what he said there

"This is a result of the star."

To the friends were sometimes added the disciples, for Jonas now had a following. At first he had been surprised, not seeing what anyone could learn from him who still had everything to discover. The artist in him was groping in the darkness; how could he have pointed out the right paths? But he readily realized that a disciple is not necessarily someone who longs to learn something. Most often, on the contrary, one became a disciple for the disinterested pleasure of teaching one's master. Thenceforth he could humbly accept such a surfeit of honors. Jonas's disciples explained to him at length what he had painted, and why. In this way Jonas discovered in his work many intentions that rather surprised him, and a host of things he hadn't put there. He had thought himself poor and, thanks to his pupils, suddenly found himself rich. At times, faced with such hitherto unsuspected wealth, Jonas would feel a tingle of pride. "Nonetheless it's true," he would say. "That face in the background stands out. I don't quite understand what they mean by indirect humanization. Yet, with that effect I've really gone somewhere." But very soon he would transfer that uncomfortable mastery to his star. "It's the star," he would say, "that's gone somewhere. I'm staying home with Louise and the children."

In addition, the disciples had another advantage: they forced Jonas to be more severe with himself. They ranked him so high in their conversations, and especially in regard to his conscientiousness and energy, that henceforth no weakness was permitted him. Thus he lost his old habit of nibbling a piece of sugar or chocolate when he had finished a difficult passage and before he went back to work. If he were alone, he would nevertheless have given in clandestinely to that weakness. But he was helped in his moral progress by the almost constant presence of his disciples and friends in whose sight he would have been embarrassed to nibble chocolate and whose interesting conversation he couldn't interrupt anyway for such a petty idiosyncrasy.

Like smoking maybe?

And their being there, treating him as a 'teacher' gave him confidence; encouragement.

Furthermore, his disciples insisted on his remaining faithful to his esthetic. Jonas, who labored at length only to get a very occasional fleeting flash in which reality would suddenly appear to him in a new light, had only a very vague idea of his own esthetic. His disciples, on the other hand, had several ideas, contradictory and categorical, and they would allow no joking on the subject. Jonas would have liked, at times, to resort to his whim, that humble friend of the artist. But his disciples' frowns in the face of certain pictures that strayed from their idea forced him to reflect a little more about his art, and this was all to his advantage.

Finally, the disciples helped Jonas in another way by obliging him to give his opinion about their own production. Not a day went by, in fact, without someone's bringing him a picture barely sketched in, which its author would set between Jonas and the canvas he was working on, in order to take advantage of the best light. An opinion was expected. Until then Jonas had always been secretly ashamed at his fundamental inability to judge a work of art. Except for a handful of pictures that carried him away, and for the obviously coarse daubs, everything seemed to him equally interesting and indifferent.

The more you work at something, the more you are able to appreciate the work of others.

His wife certainly makes a martyr of herself, I'd say

Consequently he was obliged to build up a stock of judgments, which had to be varied because his disciples, like all the artists of the capital, after all had a measure of talent and, when they were around, he had to draw rather fine lines of distinction to satisfy each. Hence that happy obligation forced him to amass a vocabulary and opinions about his art. Yet his natural kindness was not embittered by the effort. He soon realized that his disciples were not asking him for criticisms, for which they had no use, but only for encouragement and, if possible, praise. The praises merely had to be different. Jonas was not satisfied to be his usual agreeable self. He showed ingenuity in his ways of being so.

When critiquing someone else's work, it's wise to make sure you find something encouraging to say

Thus the time went by for Jonas, who painted amidst friends and pupils seated on chairs that were now arranged in concentric circles around his easel. Often, in addition, neighbors would appear at the windows across the way and swell his public. He would discuss, exchange views, examine the paintings submitted to him, smile as Louise went by, soothe the children, and enthusiastically answer telephone calls, without ever setting down his brushes with which he would from time to time add a stroke to a half-finished painting. In a way, his life was very full, not an hour was wasted, and he gave thanks to fate that spared him boredom. In another way, it took many brush-strokes to finish a picture and it occasionally occurred to him that boredom had the one advantage that it could be avoided through strenuous work. But Jonas's production slowed down in proportion to his friends' becoming more interesting. Even in the rare moments when he was altogether alone, he felt too tired to catch up. And at such moments he could but dream of a new regime that would reconcile the pleasures of friendship with the virtues of boredom.

He used up all his energy talking about art. I understand that. I think in writing this story, Camus might have been talking about his own work, as a writer.

He broached the subject to Louise, who was independently beginning to worry about the growth of the two older children and the smallness of their room. She suggested putting them in the big room with their bed hidden by a screen and moving the baby into the small room where he would not be wakened by the telephone. As the baby took up no room, Jonas could turn the little room into his studio. Then the big one would serve for the daytime gatherings, and Jonas could wander back and forth, either chat with his friends or work, since he was sure of being understood in his need for isolation. Furthermore, the necessity of putting the older children to bed would allow them to cut the evenings short. "Wonderful," Jonas said after a moment's reflection. "Besides," said Louise, "if your friends leave early, we'll see a little more of each other." Jonas looked at her. A suggestion of melancholy passed over Louise's face. Touched, he put his arms around her and kissed her in his most affectionate way. She surrendered to him and for a moment they were happy as they had been in the beginning of their marriage. But she shook herself free; the room was perhaps too small for Jonas. Louise got a folding rule and they discovered that because of the congestion caused by his canvases and those of his pupils, by far the more numerous, he generally worked in a space hardly any larger than the one that was about to be assigned to him. Jonas hastened to move the furniture.

Geesh! She's such a saint! Camus must have been dreaming, eh?

Luckily, the less he worked, the more his reputation grew. Each exhibit was eagerly awaited and extolled in advance. To be sure, a small number of critics, among whom were two regular visitors to the studio, tempered the warmth of their reviews with some reservations. But the disciples' indignation more than made up for this little misfortune. Of course, the latter would emphatically assert, they ranked the pictures of the first period above everything else, but the present experiments foreshadowed a real revolution. Jonas would rather reproach himself for the slight annoyance he felt every time his first works were glorified and would thank them effusively. Only Rateau would grumble: "Weird ones... They like you inert, like a statue. And they deny you the right to live!" But Jonas would defend his disciples: "You can't understand," he told Rateau, "because you like everything I do." Rateau laughed: "Of course! It's not your pictures I like; it's your painting."

I hope these exhibits were making some money

The pictures continued to be popular in any event and, after an exhibit that was enthusiastically received, the dealer suggested, on his own, an increase in the monthly remittance. Jonas accepted, declaring how grateful he was. "Anyone who heard you now," the dealer said, "would think money meant something to you." Such good-heartedness disarmed the painter. However, when he asked the dealer's permission to give a canvas to a charity sale, the dealer wanted to know whether or not it was a "paying charity." Jonas didn't know. The dealer therefore suggested sticking squarely to the terms of the contract which granted him the exclusive right of sale. "A contract's a contract," he said. In theirs, there was no provision for charity. "Just as you say," the painter said.

Like landlords, art dealers are in biz to make money.