Burning Your Boats: Collected Short Stories

by Angela Carter

  The flow continued for a few days, which seemed to her an endless time. She had, as yet, no direct notion of past, or of future, or of duration, only of a dimensionless, immediate moment. At night, she prowled the empty house looking for rags to sop the blood up; she had learned a little elementary hygiene in the convent, enough to know how to bury her excrement and cleanse herself of her natural juices, although the nuns had not the means to inform her how it should be, it was not fastidiousness but shame that made her do so.

  She found towels, sheets and pillowcases in closets that had not been opened since the Duke came shrieking into the world with all his teeth, to bite his mother’s nipple off and weep. She found once-worn ball dresses in cobwebbed wardrobes, and, heaped in the corner of his bloody chamber, shrouds, nightdresses and burial clothes that had wrapped items on the Duke’s menus. She tore strips of the most absorbent fabrics to clumsily diaper herself. In the course of these prowlings, she bumped against that mirror over whose surface the Duke passed like a wind on ice.

  First, she tried to nuzzle her reflection; then, nosing it industriously, she soon realised it gave out no smell. She bruised her muzzle on the cold glass and broke her claws trying to tussle with this stranger. She saw, with irritation, then amusement, how it mimicked every gesture of hers when she raised her forepaw to scratch herself or dragged her bum along the dusty carpet to rid herself of a slight discomfort in her hindquarters. She rubbed her head against her reflected face, to show that she felt friendly towards it, and felt a cold, solid, immovable surface between herself and she – some kind, possibly, of invisible cage? In spite of this barrier, she was lonely enough to ask this creature to try to play with her, baring her teeth and grinning: at once she received a reciprocal invitation. She rejoiced; she began to whirl round on herself, yapping exultantly, but, when she retreated from the mirror, she halted in the midst of her ecstasy, puzzled, to see how her new friend grew less in size.

  The moonlight spilled into the Duke’s motionless bedroom from behind a cloud and she saw how pale this wolf, not-wolf who played with her was. The moon and mirrors have this much in common: you cannot see behind them. Moonlit and white, Wolf-Alice looked at herself in the mirror and wondered whether there she saw the beast who came to bite her in the night. Then her sensitive ears pricked at the sound of a step in the hall; trotting at once back to her kitchen, she encountered the Duke with the leg of a man over his shoulder. Her toenails clicked against the stairs as she padded incuriously past, she, the serene, inviolable one in her absolute and verminous innocence.

  Soon the flow ceased. She forgot it. The moon vanished; but, little by little, reappeared. When it again visited her kitchen at full strength, Wolf-Alice was surprised into bleeding again and so it went on, with a punctuality that transformed her vague grip on time. She learned to expect these bleedings, to prepare her rags against them, and afterwards, neatly bury the dirtied things. Sequence asserted itself with custom and then she understood the circumambulatory principle of the clock perfectly, even if all clocks were banished from the den where she and the Duke inhabited their separate solitudes, so that you might say she discovered the very action of time by means of this returning cycle.

  When she curled up among the cinders, the colour, texture and warmth of them brought her foster mother’s belly out of the past and printed it on her flesh; her first conscious memory, painful as the first time the nuns combed her hair. She howled a little, in a firmer, deepening trajectory, to obtain the inscrutable consolation of the wolves’ response, for now the world around her was assuming form. She perceived an essential difference between herself and her surroundings that you might say she could not put her finger on – only, the trees and grass of the meadows outside no longer seemed the emanation of her questing nose and erect ears, and yet sufficient to itself, but a kind of backdrop for her, that waited for her arrivals to give it meaning. She saw herself upon it and her eyes, with their sombre clarity, took on a veiled, introspective look.

  She would spend hours examining the new skin that had been born, it seemed to her, of her bleeding, she would lick her soft upholstery with her long tongue and groom her hair with her fingernails. She examined her new breasts with curiosity; the white growths reminded her of nothing so much as the night-sprung puffballs she found, sometimes, on evening rambles in the woods, a natural if disconcerting apparition, but then, to her astonishment, she found a little diadem of fresh hairs tufting between her thighs. She showed it to her mirror littermate, who reassured her by showing her she shared it.

  The damned Duke haunts the graveyard; he believes himself to be both less and more than a man, as if his obscene difference were a sign of grace. During the day, he sleeps. His mirror faithfully reflects his bed but never the meagre shape within the disordered covers.

  Sometimes, on those white nights when she was left alone in the house, she dragged out his grandmother’s ball dress and rolled on suave velvet and abrasive lace because to do so delighted her adolescent skin. Her intimate in the mirror wound the old clothes around herself, wrinkling its nose in delight at the ancient yet still potent scents of musk and civet that woke up in the sleeves and bodices. This habitual, at last boring, fidelity to her very movement finally woke her up to the regretful possibility that her companion was, in fact, no more than a particularly ingenious variety of the shadow she cast on sunlit grass. Had not she and the rest of the litter tussled and romped with their shadows long ago? She poked her agile nose around the back of the mirror; she found only dust, a spider stuck in his web, a heap of rags. A little moisture leaked from the corners of her eyes, yet her relation with the mirror was now far more intimate since she knew she saw herself within it.

  She pawed and tumbled the dress the Duke had tucked away behind the mirror for a while. The dust was soon shaken out of it; she experimentally inserted her front legs in the sleeves. Although the dress was torn and crumpled, it was so white and of such a sinuous texture that she thought, before she put it on, she must thoroughly wash off her coat of ashes in the water from the pump in the yard, which she knew how to manipulate with her cunning forepaw. In the mirror, she saw how this white dress made her shine.

  Although she could not run so fast on two legs in petticoats, she trotted out in her new dress to investigate the odorous October hedgerows, like a débutante from the castle, delighted with herself but still, now and then, singing to the wolves with a kind of wistful triumph, because now she knew how to wear clothes and had put on the visible sign of her difference from them.

  Her footprints on damp earth are beautiful and menacing as those Man Friday left.

  The young husband of the dead bride spent a long time planning his revenge. He filled the church with an arsenal of bells, books and candles; a battery of silver bullets; they brought a ten gallon tub of holy water in a wagon from the city, where it had been blessed by the Archbishop himself, to drown the Duke, if the bullets bounced off him. They gathered in the church to chant a litany and wait for the one who would visit the first deaths of winter.

  She goes out at night more often now; the landscape assembles itself about her, she informs it with her presence. She is its significance.

  It seemed to her the congregation in the church was ineffectually attempting to imitate the wolves’ chorus. She lent them the assistance of her own, educated voice for a while, rocking contemplatively on her haunches by the graveyard gate; then her nostrils twitched to catch the rank stench of the dead that told her her co-habitor was at hand; raising her head, who did her new, keen eyes spy but the lord of cobweb castle intent on performing his cannibal rituals?

  And if her nostrils flare suspiciously at the choking reek of incense and his do not, that is because she is far more sentient than he. She will, therefore, run, run! when she hears the crack of bullets, because they killed her foster mother; so, with the self-same lilting lope, drenched with holy water, will he run, too, until the young widower fires the silver bullet that bites his shoulder and drags o
ff half his fictive pelt, so that he must rise up like any common forked biped and limp distressfully on as best he may.

  When they saw the white bride leap out of the tombstones and scamper off towards the castle with the werewolf stumbling after, the peasants thought the Duke’s dearest victim had come back to take matters into her own hands. They ran screaming from the presence of a ghostly vengeance on him.

  Poor, wounded thing . . . locked half and half between such strange states, an aborted transformation, an incomplete mystery now he lies writhing on his black bed in the room like a Mycenaean tomb, howls like a wolf with his foot in a trap or a woman in labour, and bleeds.

  First, she was fearful when she heard the sound of pain, in case it hurt her, as it had done before. She prowled round the bed, growling, snuffing at his wound that does not smell like her wound. Then, she was pitiful as her gaunt grey mother; she leapt upon his bed to lick, without hesitation, without disgust, with a quick, tender gravity, the blood and dirt from his cheek and forehead.

  The lucidity of the moonlight lit the mirror propped against the red wall; the rational glass, the master of the visible, impartially recorded the crooning girl.

  As she continued her ministrations, this glass, with infinite slowness, yielded to the reflexive strength of its own material construction. Little by little, there appeared within it, like the image on photographic paper that emerges, first, a formless web of tracery, the prey caught in its own fishing net, then a firmer yet still shadowed outline until at last as vivid as real life itself, as if brought into being by her soft, moist, gentle tongue, finally, the face of the Duke.

  BLACK VENUS

  Black Venus

  The Kiss

  Our Lady of the Massacre

  The Cabinet of Edgar Allan Poe

  Overture and Incidental Music for

  A Midsummer Night’s Dream

  Peter and the Wolf

  The Kitchen Child

  The Fall River Axe Murders

  Black Venus

  Sad; so sad, those smoky-rose, smoky-mauve evenings of late autumn, sad enough to pierce the heart. The sun departs the sky in winding sheets of gaudy cloud; anguish enters the city, a sense of the bitterest regret, a nostalgia for things we never knew, anguish of the turn of the year, the time of impotent yearning, the inconsolable season. In America, they call it ‘the Fall’, bringing to mind the Fall of Man, as if the fatal drama of the primal fruit-theft must recur again and again, with cyclic regularity, at the same time of every year that schoolboys set out to rob orchards, invoking, in the most everyday image, any child, every child, who, offered the choice between virtue and knowledge, will always choose knowledge, always the hard way. Although she does not know the meaning of the word, ‘regret’, the woman sighs, without any precise reason.

  Soft twists of mist invade the alleys, rise up from the slow river like exhalations of an exhausted spirit, seep in through the cracks in the window frames so that the contours of their high, lonely apartment waver and melt. On these evenings, you see everything as though your eyes are going to lapse to tears.

  She sighs.

  The custard-apple of her stinking Eden she, this forlorn Eve, bit – and was all at once transported here, as in a dream; and yet she is a tabula rasa, still. She never experienced her experience as experience, life never added to the sum of her knowledge; rather, subtracted from it. If you start out with nothing, they’ll take even that away from you, the Good Book says so.

  Indeed, I think she never bothered to bite any apple at all. She wouldn’t have known what knowledge was for, would she? She was in neither a state of innocence nor a state of grace. I will tell you what Jeanne was like.

  She was like a piano in a country were everybody has had their hands cut off.

  On these sad days, at those melancholy times, as the room sinks into dusk, he, instead of lighting the lamp, fixing drinks, making all cosy, will ramble on: ‘Baby, baby, let me take you back where you belong, back to your lovely, lazy island where the jewelled parrot rocks on the enamel tree and you can crunch sugar-cane between your strong, white teeth, like you did when you were little, baby. When we get there, among the lilting palm-trees, under the purple flowers, I’ll love you to death. We’ll go back and live together in a thatched house with a veranda overgrown with flowering vine and a little girl in a short white frock with a yellow satin bow in her kinky pigtail will wave a huge feather fan over us, stirring the languishing air as we sway in our hammock, this way and that way . . . the ship, the ship is waiting in the harbour, baby. My monkey, my pussy-cat, my pet . . . think how lovely it would be to live there . . .’

  But, on these days, nipped by frost and sulking, no pet nor pussy she; she looked more like an old crow with rusty feathers in a miserable huddle by the smoky fire which she pokes with spiteful sticks. She coughs and grumbles, she is always chilly, there is always a draught gnawing the back of her neck or pinching her ankles.

  Go, where? Not there! The glaring yellow shore and harsh blue sky daubed in crude, unblended colours squeezed directly from the tube, where the perspectives are abrupt as a child’s drawings, your eyes hurt to look. Fly-blown towns. All there is to eat is green bananas and yams and a brochette of rubber goat to chew. She puts on a theatrical shudder, enough to shake the affronted cat off her lap. She hates the cat, anyway. She can’t look at the cat without wanting to strangle it. She would like a drink. Rum will do. She twists a flute of discarded manuscript from the wastepaper basket into a spill for her small, foul, black cheroot.

  Night comes in on feet of fur and marvellous clouds drift past the windows, those spectral clouds of the night sky that are uncannily visible when no light is there. The whim of the master of the house has not let the windows alone; he had all the panes except the topmost ones replaced with frosted glass so that the inmates could pursue an uninterrupted view of the sky as if they were living in the gondola of a balloon such as the one in which his friend Nadar made triumphant ascents.

  At the inspiration of a gust of wind such as now rattles the tiles above us, this handsome apartment with its Persian rugs, its walnut table off which the Borgias served poisons, its carved armchairs from whose bulbous legs grin and grimace the cinquecento faces, the crust of fake Tintorettos on the walls (he’s an indefatigable connoisseur, if, as yet, too young to have the sixth sense that tells you when you’re being conned) – at the invitation of the mysterious currents of the heavens, this well-appointed cabin will loose its moorings in the street below and take off, depart, whisk across the dark vault of the night, tangling a stillborn, crescent moon in its ropes, nudging a star at lift-off, and will deposit us –

  ‘No!’ she said. ‘Not the bloody parrot forest! Don’t take me on the slavers’ route back to the West Indies, for godsake! And let the bloody cat out, before it craps on your precious Bokhara!’

  They have this in common, neither has a native land, although he likes to pretend she has a fabulous home in the bosom of the blue ocean, he will force a home on her whether she’s got one or not, he cannot believe she is as dispossessed as he . . . Yet they are only at home together when contemplating flight; they are both waiting for the wind to blow that will take them to a miraculous elsewhere, a happy land, far, far away, the land of delighted ease and pleasure.

  After she’s got a drink or two inside her, however, she stops coughing, grows a bit more friendly, will consent to unpin her hair and let him play with it, the way he likes to. And, if her native indolence does not prove too much for her – she is capable of sprawling, as in a vegetable trance, for hours, for days, in the dim room by the smoky fire – nevertheless, she will sometimes lob the butt of her cheroot in the fire and be persuaded to take off her clothes and dance for Daddy who, she will grudgingly admit when pressed, is a good Daddy, buys her pretties, allocates her the occasional lump of hashish, keeps her off the streets.

  Nights of October, of frail, sickle moons, when the earth conceals the shining accomplice of assassins in its shadow
, to make everything all the more mysterious – on such a night, you could say the moon was black.

  This dance, which he wanted her to perform so much and had especially devised for her, consisted of a series of voluptuous poses one following another; private-room-in-a-bordello stuff but tasteful, he preferred her to undulate rhythmically rather than jump about and shake a leg. He liked her to put on all her bangles and beads when she did her dance, she dressed up in the set of clanking jewellery he’d given her, paste, nothing she could sell or she’d have sold it. Meanwhile, she hummed a Creole melody, she liked the ones with ribald words about what the shoemaker’s wife did at Mardi Gras or the size of some fisherman’s legendary tool but Daddy paid no attention to what song his siren sang, he fixed his quick, bright, dark eyes upon her decorated skin as if, sucker, authentically entranced.

  ‘Sucker!’ she said, almost tenderly, but he did not hear her.

  She cast a long shadow in the firelight. She was a woman of immense height, the type of those beautiful giantesses who, a hundred years later, would grace the stages of the Crazy Horse or the Casino de Paris in sequin cache-sexe and tinsel pasties, divinely tall, the colour and texture of suede. Josephine Baker! But vivacity, exuberance were never Jeanne’s qualities. A slumbrous resentment of anything you could not eat, drink or smoke, i.e. burn, was her salient characteristic. Consumption, combustion, these were her vocations.