“If he had lived in the world of his much-loved Somerset Maugham, he would have been one of those unmarried governors on a far-flung island who put on a tuxedo each evening for his solitary supper.”
The Last Weynfeldt from Martin Suter is the story of a wealthy middle-aged man named Adrian. While Adrian is the last of his family, he’s also the last of a certain kind of man, and that is evidenced by his very precise organized lifestyle, and his relationships. He believes that “regularity prolonged life.”
If you do the same things more often, go to the same places and meet the same people, the difference become subtler each time. And if the differences are subtler then time passes unnoticed. Someone you see every month instead of every year never appears to age. And you never appear to age to them.
Repetition slows down the passage of time.
So for this reason, Adrian patronizes the same tailor, visits the same restaurants and never changes his routine–this includes refusing to learn how to use a computer or a cell phone. Although he has no intimate relationships, he has two distinct sets of friends:
One was made up of people fifteen or more years younger than him. Among them he was seen as an exotic original, someone you could confide in, but also make fun of sometimes, who would discreetly pay the check in a restaurant, and help out occasionally when you had financial difficulties. They treated him with studied nonchalance as one of their own, but secretly basked in the glow of his name and money.
Adrian’s second set of friends “was composed of people who had known his parents, or at least moved in their circles.” These friends range in age from 60-80–in other words Adrian has no friends his own age.
Adrian’s set of younger friends mostly sponge off of him. My personal favourite of these parasites is filmmaker Agustoni who’s milking Adrian for 100s of thousands of francs for a film project which has taken him all over the globe while being fully supported by his rich patron’s money. Agustoni plays the role of temperamental, creative artist to the hilt, refusing to be pigeonholed into such a ridiculous thing as a script. In spite of the fact that Adrian continues to shell out money, he never complains, but in typical human fashion, Agustoni’s hostility rises as his gratitude plummets.
Adrian is an interesting character–like many people who are born into a very structured upper class environment, he has never developed his own separate life, and we already know that he’s a sap with a fat wallet for the ‘friends’ who use him. He lived with his mother until her death, and the same elderly retainer who worked for his mother still cooks his meals. He had one great love in his life, Daphne, a woman who left but would have probably stayed if he’d just made the right gesture.
Adrian didn’t have enough talent to become an artist but as an expert in Swiss art, he’s an art evaluator and works for a big auction house in Switzerland. He lives in a 5,000 sq. foot Zurich apartment which is composed on an entire floor of a nineteenth century building. The rest of the building is leased by a bank which works to Adrian’s advantage as the bank’s security is a protection for his art collection.
Adrian has a life with certain enviable aspects. He’s well-respected and wealthy, but then again, it’s easy to see that this is a sterile existence–comfortable yet empty. Secure yet boring. And we, of course, are all waiting for the catalyst who will disrupt and disturb Adrian’s peaceful life.
The catalyst is, of course, a woman. A femme fatale of sorts, Lorena, a model on the verge of middle age who picks up Adrian in a bar. ..
Lorena is, at first, a fascinating, damaged woman, neurotic as hell, and prone to grand, self-damaging gestures–definitely a Kamikaze, and Adrian cannot resist. She resembles his lost love Daphne, and since Lorena is always in trouble, he’s only too happy to keep bailing her out of various messes–no questions asked. As the tale continues Lorena becomes less interesting, an opinion I share with Gert.
This is a tale of blackmail, art forgery, second chances and deceit that seems plotted for cinema. I liked this, but didn’t love it.
My imaginary film version stars Andre Dussolier as Adrian and Isabelle Huppert as Lorena (the real film stars other names).
Translated by Steph Morris