Jean had no doubts about who she was. Not only was she wrong to have written the forbidden prescriptions, she couldn’t even focus on her medical records. Nothing was working out the way she hoped. The fan in her life was definitely broken. Were I to focus

only on what was broken, I would be pulled into her suffering instead of pointing the way out. I wanted more uncertainty for Jean, more of that Zen doubt. Whatever conclusion she aggressively threw at me, I parried it back at her until we reached a truce. Surrender was Jean’s rhinoceros. It went against everything she thought.

When my father died she [Lucie] tried to kill herself. She had given up. I actually felt I could finally be with her because she lost interest in me,’ Lucian said. ‘I tried to be unavailable to her when I was young. She was very intelligent and highly observant. I felt oppressed by her because she was very instinctive and I’ve always been very secretive. It was hard to keep things from her. The idea of her knowing what I was doing or thinking bothered me a great deal. So it was a strained relationship.

D’Offay’s relationship with Freud had started in the 1960s through an introduction by a bright young art expert called James Kirkman, the son of a general, who worked for Marlborough Fine Art and looked after Lucian there. Marlborough, part-owned by the Duke of Beaufort, was the most prestigious British contemporary gallery, representing Francis Bacon, Henry Moore and Graham Sutherland, as well as Lucian. But Lucian felt ignored and sidelined compared to his friend Bacon, who in 1962 had a show at the Tate Gallery and was rapidly gaining a global reputation. ‘Lucian was by no means a star then. He was actually thought to be something of a has-been,’ said Kirkman. ‘No one was really interested in figurative art, especially what he did. Pop art and kinetic art was what modern art collectors desired. All that passed Lucian by, making him seem traditional, even old-fashioned, but still with an ability to shock with his raw nudes. He was doing pictures that were considered less attractive, that were not really appealing to anyone. It sounds strange now but that was the reality and how he was received and perceived.

There was one slight hitch. Lucian owed money to a Northern Irish bookie, and asked Acquavella to sort it out. He had often asked his dealers to sort out similar financial headaches in his life. Lucian said that the bookie’s name was Alfie McLean, and that he had bought many of his paintings. Acquavella duly arranged lunch with McLean, whom he recognised at once as ‘the Big Man’ in Lucian’s portrait of that name from the 1970s. ‘When I sat down with Alfie McLean at the end of the meal I asked what Lucian owed him. I was thinking of some preposterous figure like £100,000. When he spurted out £2.7 million I was blown away.

What began as an exchange between writers with mutual respect devolved rather quickly into a series of miscommunications. Initially, Morrison suggested to Jordan that she could get a contract rather quickly, In a matter of days. Weeks went by, however, with no word from Morrison. What Jordan did not know was that Morrison needed to find a way to respond to Silberman’s concerns about how well Jordan could perform as a novelist. There was, still, the matter of the Simon and Schuster contract; and Silberman was scheduled for a monthlong vacation.