In one of her letters to Van (written after Van left Ardis forever) Ada (the title character of a novel, 1969, by VN) mentions “the burning tip of Patagonia, Captain Grant’s Horn:”
[California? 1890]
I love only you, I’m happy only in dreams of you, you are my joy and my world, this is as certain and real as being aware of one’s being alive, but... oh, I don’t accuse you! — but, Van, you are responsible (or Fate through you is responsible, ce qui revient au même) of having let loose something mad in me when we were only children, a physical hankering, an insatiable itch. The fire you rubbed left its brand on the most vulnerable, most vicious and tender point of my body. Now I have to pay for your rasping the red rash too strongly, too soon, as charred wood has to pay for burning. When I remain without your caresses, I lose all control of my nerves, nothing exists any more than the ecstasy of friction, the abiding effect of your sting, of your delicious poison. I do not accuse you, but this is why I crave and cannot resist the impact of alien flesh; this is why our joint past radiates ripples of boundless betrayals. All this you are free to diagnose as a case of advanced erotomania, but there is more to it, because there exists a simple cure for all my maux and throes and that is an extract of scarlet aril, the flesh of yew, just only yew. Je réalise, as your sweet Cinderella de Torf (now Madame Trofim Fartukov) used to say, that I’m being coy and obscene. But it all leads up to an important, important suggestion! Van, je suis sur la verge (Blanche again) of a revolting amorous adventure. I could be instantly saved by you. Take the fastest flying machine you can rent straight to El Paso, your Ada will be waiting for you there, waving like mad, and we’ll continue, by the New World Express, in a suite I’ll obtain, to the burning tip of Patagonia, Captain Grant’s Horn, a Villa in Verna, my jewel, my agony. Send me an aerogram with one Russian word — the end of my name and wit.
Darkbloom (‘Notes to Ada’): Grant etc.: Jules Verne in Captain Grant’s Children has ‘agonie’ (in a discovered message) turn out to be part of ‘Patagonie.’
Captain Grant’s Horn also seems to hint at Robert Horn, a character (the cartoonist) in VN's novel Camera Obscura (1933) who becomes Axel Rex in Laughter in the Dark (1938), the novel's English version, and Horne, George Orwell's schoolmate who was expelled from St. Cyprian's (Orwell's expensive and snobbish English school):
Another boy, Beacham, whom I have mentioned already, was similarly overwhelmed with shame by the accusation that he ‘had black rings round his eyes’.
‘Have you looked in the glass lately, Beacham?’ said Flip. ‘Aren't you ashamed to go about with a face like that? Do you think everyone doesn't know what it means when a boy has black rings round his eyes?’
Once again the load of guilt and fear seemed to settle down upon me. Had I got black rings round my eyes? A couple of years later I realized that these were supposed to be a symptom by which masturbators could be detected. But already, without knowing this, I accepted the black rings as a sure sign of depravity, some kind of depravity. And many times, even before I grasped the supposed meaning, I have gazed anxiously into the glass, looking for the first hint of that dreaded stigma, the confession which the secret sinner writes upon his own face.
These terrors wore off, or became merely intermittent, without affecting what one might call my official beliefs. It was still true about the madhouse and the suicide's grave, but it was no longer acutely frightening. Some months later it happened that I once again saw Horne, the ringleader who had been flogged and expelled. Horne was one of the outcasts, the son of poor middle-class parents, which was no doubt part of the reason why Sambo had handled him so roughly. The term after his expulsion he went on to Eastbourne College, the small local public school, which was hideously despised at St Cyprian's and looked on as ‘not really’ a public school at all. Only a very few boys from St Cyprian's went there, and Sambo always spoke of them with a sort of contemptuous pity. You had no chance if you went to a school like that: at the best your destiny would be a clerkship. I thought of Horne as a person who at thirteen had already forfeited all hope of any decent future. Physically, morally and socially he was finished. Moreover I assumed that his parents had only sent him to Eastbourne College because after his disgrace no ‘good’ school would have him.
During the following term, when we were out for a walk, we passed Horne in the street. He looked completely normal. He was a strongly-built, rather good-looking boy with black hair. I immediately noticed that he looked better than when I had last seen him — his complexion, previously rather pale, was pinker — and that he did not seem embarrassed at meeting us. Apparently he was not ashamed either of having been expelled, or of being at Eastbourne College. If one could gather anything form the way he looked at us as we filed past, it was that he was glad to have escaped from St Cyprian's. But the encounter made very little impression on me. I drew no inference from the fact that Horne, ruined in body and soul, appeared to be happy and in good health. I still believed in the sexual mythology that had been taught me by Sambo and Flip. The mysterious, terrible dangers were still there. Any morning the black rings might appear round your eyes and you would know that you too were among the lost ones. Only it no longer seemed to matter very much. These contradictions can exist easily in the mind of a child, because of its own vitality. It accepts — how can it do otherwise? — the nonsense that its elders tell it, but its youthful body, and the sweetness of the physical world, tell it another story. It was the same with Hell, which up to the age of about fourteen I officially believed in. Almost certainly Hell existed, and there were occasions when a vivid sermon could scare you into fits. But somehow it never lasted. The fire that waited for you was real fire, it would hurt in the same way as when you burnt your finger, and for ever, but most of the time you could contemplate it without bothering. (Such, Such Were the Joys, IV)
As all bright children, Van and Ada are depraved:
‘Fine,’ said Van, ‘that’s certainly fascinating; but I was thinking of the first time you might have suspected I was also a sick pig or horse. I am recalling,’ he continued, ‘the round table in the round rosy glow and you kneeling next to me on a chair. I was perched on the chair’s swelling arm and you were building a house of cards, and your every movement was magnified, of course, as in a trance, dream-slow but also tremendously vigilant, and I positively reveled in the girl odor of your bare arm and in that of your hair which now is murdered by some popular perfume. I date the event around June 10 — a rainy evening less than a week after my first arrival at Ardis.’
‘I remember the cards,’ she said, ‘and the light and the noise of the rain, and your blue cashmere pullover — but nothing else, nothing odd or improper, that came later. Besides, only in French love stories les messieurs hument young ladies.’
‘Well, I did while you went on with your delicate work. Tactile magic. Infinite patience. Fingertips stalking gravity. Badly bitten nails, my sweet. Forgive these notes, I cannot really express the discomfort of bulky, sticky desire. You see I was hoping that when your castle toppled you would make a Russian splash gesture of surrender and sit down on my hand.’
‘It was not a castle. It was a Pompeian Villa with mosaics and paintings inside, because I used only court cards from Grandpa’s old gambling packs. Did I sit down on your hot hard hand?’
‘On my open palm, darling. A pucker of paradise. You remained still for a moment, fitting my cup. Then you rearranged your limbs and reknelt.’
‘Quick, quick, quick, collecting the flat shining cards again to build again, again slowly? We were abominably depraved, weren’t we?’
‘All bright kids are depraved. I see you do recollect —’
‘Not that particular occasion, but the apple tree, and when you kissed my neck, et tout le reste. And then — zdravstvuyte: apofeoz, the Night of the Burning Barn!’ (1.8)
Darkbloom (‘Notes to Ada’): tout le reste: all the rest.
zdravstvuyte etc.: Russ., lo and behold: the apotheosis.
The burning tip of Patagonia brings to mind the tip of Ada's paintbrush with which she annoints Van:
But nature is motion and growth. One afternoon he came up behind her in the music room more noiselessly than ever before because he happened to be barefooted — and, turning her head, little Ada shut her eyes and pressed her lips to his in a fresh-rose kiss that entranced and baffled Van.
‘Now run along,’ she said, ‘quick, quick, I’m busy,’ and as he lagged like an idiot, she anointed his flushed forehead with her paintbrush in the semblance of an ancient Estotian ‘sign of the cross.’ ‘I have to finish this,’ she added, pointing with her violet-purple-soaked thin brush at a blend of Ophrys scolopax and Ophrys veenae, ‘and in a minute we must dress up because Marina wants Kim to take our picture — holding hands and grinning’ (grinning, and then turning back to her hideous flower). (1.16)
Patagonia is a geographical region that includes parts of Argentina and Chile at the southern end of South America. Among Orwell's schoolmates were sons of Argentine beef barons:
St Cyprian's was an expensive and snobbish school which was in process of becoming more snobbish, and, I imagine, more expensive. The public school with which it had special connexions was Harrow, but during my time an increasing proportion of the boys went on to Eton. Most of them were the children of rich parents, but on the whole they were the un-aristocratic rich, the sort of people who live in huge shrubberied houses in Bournemouth or Richmond, and who have cars and butlers but not country estates. There were a few exotics among them — some South American boys, sons of Argentine beef barons, one or two Russians, and even a Siamese prince, or someone who was described as a prince. (Such, Such Were the Joys, II)
Eric Blair (George Orwell's real name) chose his pseudonym after the River Orwell that flows through the county of Suffolk in England from Ipswich to Felixstowe. The name of Van's prep-school is Riverlane. Describing his love-makings with Ada in “Ardis the Second,” Van mentions his Venus Villa sessions and earlier visits to the riverhouses of Ranta or Livida:
Amorously, now, in her otherwise dolorous and irresolute adolescence, Ada was even more aggressive and responsive than in her abnormally passionate childhood. A diligent student of case histories, Dr Van Veen never quite managed to match ardent twelve-year-old Ada with a non-delinquent, non-nymphomaniac, mentally highly developed, spiritually happy and normal English child in his files, although many similar little girls had bloomed — and run to seed — in the old châteaux of France and Estotiland as portrayed in extravagant romances and senile memoirs. His own passion for her Van found even harder to study and analyze. When he recollected caress by caress his Venus Villa sessions, or earlier visits to the riverhouses of Ranta or Livida, he satisfied himself that his reactions to Ada remained beyond all that, since the merest touch of her finger or mouth following a swollen vein produced not only a more potent but essentially different delicia than the slowest ‘winslow’ of the most sophisticated young harlot. What, then, was it that raised the animal act to a level higher than even that of the most exact arts or the wildest flights of pure science? It would not be sufficient to say that in his love-making with Ada he discovered the pang, the ogon’, the agony of supreme ‘reality.’ Reality, better say, lost the quotes it wore like claws — in a world where independent and original minds must cling to things or pull things apart in order to ward off madness or death (which is the master madness). For one spasm or two, he was safe. The new naked reality needed no tentacle or anchor; it lasted a moment, but could be repeated as often as he and she were physically able to make love. The color and fire of that instant reality depended solely on Ada’s identity as perceived by him. It had nothing to do with virtue or the vanity of virtue in a large sense — in fact it seemed to Van later that during the ardencies of that summer he knew all along that she had been, and still was, atrociously untrue to him — just as she knew long before he told her that he had used off and on, during their separation, the live mechanisms tense males could rent for a few minutes as described, with profuse woodcuts and photographs, in a three-volume History of Prostitution which she had read at the age of ten or eleven, between Hamlet and Captain Grant’s Microgalaxies. (1.35)
Darkbloom (‘Notes to Ada’): ogon’: Russ., fire.
Microgalaxies: known on Terra as Les Enfants du Capitaine Grant, by Jules Verne.