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deserving. I glanced through it: very few of the names were familiar to me, and beside each one Ficker had written an appropriate sum of money. Two names, at the top of the list, were to receive by far the largest amounts.
    “I know of Rilke, of course,” I said, “and I’m delighted you chose him. But who’s he?” I pointed to the other. “Why should he get so much? What does he do?”
    “He’s a poet,” Ficker said. “I think … well, no man on this list will benefit more from your generosity. To be completely frank, I think it might just save his life.”
SCHUBERT
    My brother Hans drowned himself in Chesapeake Bay. He was a musical prodigy who gave his first concert in Vienna atthe age of nine. I never really knew him. My surviving brother Paul was also musically gifted, a brilliant pianist who was a pupil of Leschetizky and made his debut in 1913. I remember Paul saying to me once that of all musical tastes the love of Schubert required the least explanation. When one thinks of the huge misery of his life and sees in his work no trace of it at all—sees the complete absence in his music of all bitterness.
THE BANK
    I had arranged with Ficker that I would be in the Österreichische Nationalbank on Swarzspanierstrasse at three o’clock. I was there early and sat down at a writing desk in a far corner. It was quiet and peaceful: the afternoon rush had yet to begin and the occasional sound of heels on the marble floor as clients crossed from the entrance foyer to the rows of counters was soothing, like the background click of ivory dominoes or the ceramic kiss of billiard balls in the gaming room of my favorite café near the art schools …
    Ficker was on time and accompanied by our poet. Ficker caught my eye and I gave a slight nod and then bent my head over the spectral papers on my desk. Ficker went to a teller’s guichet to inquire about the banker’s draft, leaving the poet standing momentarily alone in the middle of the marble floor, gazing around him like a peasant at the high dim vaults of the ceiling and the play of afternoon sunshine on the ornamental brasswork of the chandeliers.
    Georg——, as I shall refer to him, was a young man, twenty-seven years old—two years older than me—small and quite sturdily built, and, like many small men, seemed to have been provided with a head designed for a bigger body altogether. His head was crude- and heavy-looking, its proportions exaggerated by his bristly, close-cropped hair. He was clean-shaven. He had a weak mouth, the upper lip overhung the bottom one slightly, and a thick triangular nose. Hehad low brows and slightly Oriental-looking, almond-shaped eyes. He was what my mother would have called “an ugly customer.”
    He stood now, looking expressionlessly about him, swaying slightly, as if buffeted by an invisible crowd. He appeared at once ill and strong—pale-faced, ugly, dark-eyed, but with something about the set of his shoulders, the way his feet were planted on the ground, that suggested reserves of strength. Indeed, the year before, Ficker had told me, he had almost died from an overdose of Veronal that would have killed an ordinary man in an hour or two. Since his school days, it transpired, he had been a compulsive user of narcotic drugs and was also an immoderate drinker. At school he used chloroform to intoxicate himself. He was now a qualified dispensing chemist, a career he had taken up, so Ficker informed me, solely because it gave him access to more effective drugs. I found this single-mindedness oddly impressive. To train for two years at the University of Vienna as a pharmacist, to pass the necessary exams to qualify, testified to an uncommon dedication. Ficker had given me some of his poems to read. I could not understand them at all; their images for me were strangely haunting and evocative but finally entirely opaque. But I liked their
tone;
their tone seemed to me to be quite remarkable.
    I watched him now, discreetly, as