Fireworks

by Angela Carter

  The old man finished his mending. He rose and, with a click or two of his old bones, he went to put the forlorn garment neatly on its green room hanger beside the glowing, winey purple gown splashed with rosy peonies, sashed with carmine, that she wore for her appalling dance. He was about to lay her, naked, in her coffin-shaped case and carry her back to their chilly bedroom when he paused. He was seized with the childish desire to see her again in all her finery once more that night. He took her dress off its hanger and carried it to where she drifted, at nobody’s volition but that of the wind. As he put her clothes on her, he murmured to her as if she were a little girl for the vulnerable flaccidity of her arms and legs made a six-foot baby of her.

  ‘There, there, my pretty; this arm here, that’s right! Oops a daisy, easy does it…’

  Then he tenderly took off her penitential wig and clucked his tongue to see how defencelessly bald she was beneath it. His arms cracked under the weight of her immense chignon and he had to stretch up on tiptoe to set it in place because, since she was as large as life, she was rather taller than he. But then the ritual of apparelling was over and she was complete again.

  Now she was dressed and decorated, it seemed her dry wood had all at once put out an entire springtime of blossoms for the old man alone to enjoy. She could have acted as the model for the most beautiful of women, the image of that woman whom only memory and imagination can devise, for the lamplight fell too mildly to sustain her air of arrogance and so gently it made her long nails look as harmless as ten fallen petals. The Professor had a curious habit; he always used to kiss his doll good night.

  A child kisses its toy before he pretends it sleeps although, even though he is only a child, he knows its eyes are not constructed to close so it will always be a sleeping beauty no kiss will waken. A man wistfully kisses the cheek of a grown daughter whose mind has not grown with her, even if he knows the touch of his lips is to her only that of some kind of fly which has briefly settled on her cheek. One in the grip of savage loneliness might kiss the face he sees before him in the mirror for want of any other face to kiss. All these are kisses of the same kind; they are the most poignant of caresses, for they are too humble and too despairing to wish or seek for any response.

  Yet, in spite of the Professor’s sad humility, his chapped and withered mouth opened on hot, wet, palpitating flesh.

  The sleeping wood had wakened. Her pearl teeth crashed against his with the sound of cymbals and her warm, fragrant breath blew around him like an Italian gale. Across her suddenly moving face flashed a whole kaleidoscope of expression, as though she were running instantaneously through the entire repertory of human feeling, practising, in an endless moment of time, all the scales of emotion as if they were music. Crushing vines, her arms, curled about the Professor’s delicate apparatus of bone and skin with the insistent pressure of an actuality by far more authentically living than that of his own, time-desiccated flesh. Her kiss emanated from the dark country where desire is objectified and lives. She gained entry into the world by a mysterious loophole in its metaphysics and, during her kiss, she sucked his breath from his lungs so that her own bosom heaved with it.

  So, unaided, she began her next performance with an apparent improvisation which was, in reality, only a variation upon a theme. She sank her teeth into his throat and drained him. He did not have the time to make a sound. When he was empty, he slipped straight out of her embrace down to her feet with a dry rustle, as of a cast armful of dead leaves, and there he sprawled on the floorboards, as empty, useless and bereft of meaning as his own tumbled shawl.

  She tugged impatiently at the strings which moored him and out they came in bunches from her head, her arms and her legs. She stripped them off her fingertips and stretched out her long, white hands, flexing and unflexing them again and again. For the first time for years, or, perhaps, for ever, she closed her blood-stained teeth thankfully, for her cheeks still ached from the smile her maker had carved into the stuff of her former face. She stamped her elegant feet to make the new blood flow more freely there.

  Unfurling and unravelling itself, her hair leapt out of its confinements of combs, cords and lacquer to root itself back into her scalp like cut grass bounding out of the stack and back again into the ground. First, she shivered with pleasure to feel the cold, for she realized she was experiencing a physical sensation; then either she remembered or else she believed she remembered that the sensation of cold was not a pleasurable one so she knelt and, drawing off the old man’s shawl, wrapped it carefully about herself. Her every motion was instinct with a wonderful, reptilian liquidity. The mist outside now seemed to rush like a tide into the booth and broke against her in white breakers so that she looked like a baroque figurehead, lone survivor of a shipwreck, thrown up on a shore by the tide.

  But whether she was renewed or newly born, returning to life or becoming alive, awakening from a dream or coalescing into the form of a fantasy generated in her wooden skull by the mere repetition so many times of the same invariable actions, the brain beneath the reviving hair contained only the scantiest notion of the possibilities now open to it. All that had seeped into the wood was the notion that she might perform the forms of life not so much by the skill of another as by her own desire that she did so, and she did not possess enough equipment to comprehend the complex circularity of the logic which inspired her for she had only been a marionette. But, even if she could not perceive it, she could not escape the tautological paradox in which she was trapped; had the marionette all the time parodied the living or was she, now living, to parody her own performance as a marionette? Although she was now manifestly a woman, young and extravagantly beautiful, the leprous whiteness of her face gave her the appearance of a corpse animated solely by demonic will.

  Deliberately, she knocked the lamp down from its hook on the wall. A puddle of oil spread at once on the boards of the stage. A little flame leapt across the fuel and immediately began to eat the curtains. She went down the aisle between the benches to the little ticket booth. Already, the stage was an inferno and the corpse of the Professor tossed this way and that on an uneasy bed of fire. But she did not look behind her after she slipped out into the fairground although soon the theatre was burning like a paper lantern ignited by its own candle.

  Now it was so late that the sideshows, gingerbread stalls and liquor booths were locked and shuttered and only the moon, half obscured by drifting cloud, gave out a meagre, dirty light, which sullied and deformed the flimsy pasteboard façades, so the place, deserted with curds of vomit, the refuse of revelry, underfoot, looked utterly desolate.

  She walked rapidly past the silent roundabouts, accompanied only by the fluctuating mists, towards the town, making her way like a homing pigeon, out of logical necessity, to the single brothel it contained.

  THE SMILE OF WINTER

  BECAUSE THERE ARE no seagulls here, the only sound is the resonance of the sea. This coastal region is quite flat, so that an excess of sky bears down with an intolerable weight, pressing the essence out of everything beneath it for it imposes such a burden on us that we have all been forced inward on ourselves in an introspective sombreness intensified by the perpetual abrasive clamour of the sea. When the sun goes down, it is very cold and then I easily start crying because the winter moon pierces my heart. The winter moon is surrounded by an extraordinary darkness, the logical antithesis of the supernal clarity of the day; in this darkness, the dogs in every household howl together at the sight of a star, as if the stars were unnatural things. But, from morning until evening, a hallucinatory light floods the shore and a cool, glittering sun transfigures everything so brilliantly that the beach looks like a desert and the ocean like a mirage.

  But the beach is never deserted. Far from it. At times, there is even a silent crowd of people – women who come in groups to turn the fish they have laid out to dry on bamboo racks; Sunday trippers; solitary anglers, even. Sometimes trucks drive up and down the beach to and fro from the next h
eadland and after school is over children come to improvise games of baseball with sticks and a dead crab delivered to them by the tide. The children wear peaked, yellow caps; their heads are perfectly round. Their faces are perfectly bland, the colour as well as the shape of brown eggs. They giggle when they see me because I am white and pink while they themselves are such a serviceable, unanimous beige. Besides all these visitors, the motor-cyclists who come at night have left deep grooves behind them in the sand as if to say: ‘I have been here.’

  When the shadows of the evening lie so thickly on the beach it looks as though nobody has dusted it for years, the motor-cyclists come out. That is their favourite time. They have marked out a course among the dunes with red wooden pegs and ride round it at amazing speeds. They come when they please. Sometimes they come in the early morning but, most often, by owl-light. They announce their presence with a fanfare of opened throttles. They grow their hair long and it flies out behind them like black flags, for the Japanese are as beautiful as the outriders of death in the film Orphée. I wish they were not so beautiful; if they were not so beautiful and so inaccessible to me, then I should feel less lonely, although, after all, I came here in order to be lonely.

  The beach is full of the garbage of the ocean. The waves leave torn, translucent furls of polythene wrapping too tough for even this sea’s iron stomach; chipped jugs that once held rice wine; single sea-boots freighted with sand; broken beer bottles and, once, a brown dog stiff and dead washed up as far as the pine trees which, subtly warped by the weather, squat on their hunkers at the end of my garden, where the dry soil transforms itself to sand.

  Already the pines are budding this year’s cones. Each blunt, shaggy bough is tipped with a small, lightly furred growth just like the prick of a little puppy while the dry, brown cones of last year still cling to the rough stems though now these are so insecure a touch will bring them bounding down. But, all in all, the pines have a certain intransigence. They dig their roots into dry soil full of seashells and strain backwards in the wind that blows directly from Alaska. They are absolutely exposed to the weather and yet as indifferent as the weather. The indifference of this Decembral littoral suits my forlorn mood for I am a sad woman by nature, no doubt about that; how unhappy I should be in a happy world! This country has the most rigorous romanticism in the world and they think a woman who lives by herself should accentuate her melancholy with surroundings of sentimental dilapidation. I have read about all the abandoned lovers in their old books eating their hearts out like Mariana in so many moated granges; their gardens are over-grown with goosegrass and mugwort, their mud walls are falling to pieces and their carp pools scaled over with water-lily pads. Everything combines with the forlorn mood of the châtelaine to procure a moving image of poignant desolation. In this country you do not need to think, but only to look, and soon you think you understand everything.

  The old houses in the village are each one dedicated to seclusion and court an individual sequestered sadness behind the weather-stained, unpainted wooden shutters they usually keep closed. It is a gloomy, aridly aesthetic architecture based on the principle of perpetual regression. The houses are heavily shingled and the roofs are the shapes and colours of waves frozen on a grey day. In the mornings, they dismantle the outer screens to let fresh air blow through and, as you walk past, you can see that all the inner walls are also sliding screens, though this time of stiff paper, and you can glimpse endlessly receding perspectives of interiors in brownish tones, as if everything had been heavily varnished some time ago; and, though these perspeotives can be altered at will, the fresh rooms they make when they shift the screens about always look exactly the same as the old rooms. And all the matted interiors are the same, anyway.

  Through the gaping palings of certain fences, I sometimes see a garden so harmoniously in tune with the time of year it looks forsaken. But sometimes all these fragile habitations of unpainted wood; and the still-lives, or natures mortes, of rusting water-pumps and withered chrysanthemums in backyards; and the discarded fishing boats pulled up on the sand and left to rot away – sometimes the whole village looks forsaken. This is, after all, the season of abandonment, of the suspension of vitality, a long cessation of vigour in which we must cultivate our stoicism. Everything has put on the desolate smile of winter. Outside my shabby front door, I have a canal, like Mariana in a moated grange; beyond the skulking pines at the back, there is only the ocean. The winter moon pierces my heart. I weep.

  But when I went out on the beach this morning with the skin on my face starched with dried tears so I could feel my cheeks crackle in the wind, I found the sea had washed me up a nice present – two pieces of driftwood. One was a forked chunk like a pair of wooden trousers and the other was a larger, greyish, frayed root the shape of the paw of a ragged lion. I collect driftwood and set it up among the pine-trees in picturesque attitudes on the edge of the beach and then I strike a picturesque attitude myself beside them as I watch the constantly agitated waves, for here we all strike picturesque attitudes and that is why we are so beautiful. Sometimes I imagine that one night the riders will stop at the end of my garden and I will hear the heels of their boots crunch on the friable carpet of last year’s shed cones and then there will be a hesitant rattle of knuckles on the seaward-facing door and they will wait in ceremonious silence until I come, for their bodies are only images.

  My pockets always contain a rasping sediment of sand because I always fill them with shells when I go onto the beach. The vast majority of these shells are round, sculptural forms the colour of a brown egg, with warm, creamy insides. They have a classical simplicity. The scarcely perceptible indentations of their surfaces flow together to produce a texture as subtly matt as that of a petal which is as satisfying to touch as Japanese skin. But there are also pure white shells heavily ridged on the outside but within of a marmoreal smoothness and these come in hinged pairs.

  There is still a third kind of shell, though I find these less often. They are curlicued, shaped like turbans and dappled with pink, of a substance so thin the ocean easily grinds away the outer husk to lay bare their spiralline cores. They are often decorated with baroque, infinitesmal swags of calcified parasites. They are the smallest of all the shells but by far the most intricate. When I picked up one of those shells, I found it contained the bright pink, dried, detached limb of a tiny sea creature like a dehydrated memory. Sometimes a litter of dropped fish lies among the shells. Each fish reflects the sky with the absolute purity of a Taoist mirror.

  The fish have fallen off the racks on which they have been put out to dry. These bamboo racks spread with fish stand on trestles all along the beach as if a feast was laid for the entire prefecture but nobody had come to eat it. Close to the village, there are whole paddocks filled with bamboo racks. In one of these paddocks, a tethered goat crops grass. The fish are as shiny as fish of tin and the size of my little finger. Once dried, they are packed in plastic bags and sold to flavour soup.

  The women lay them out. They come every day to turn them and, when the fish are ready, they pile up the racks and carry them to the packing sheds. There are great numbers of these raucously silent, and well-muscled, intimidating women.

  The cruel wind burns port-wine whorls on their dour, inexpressive faces. All wear dark or drab-colour trousers pinched in at the ankle and either short rubber boots or split-toed socks on their feet. A layer of jacket sweaters and a loose, padded, cotton jacket gives them a squat, top-heavy look, as if they would not fall over, only rock malevolently to and fro if you pushed them. Over their jackets, they wear short, immaculate aprons trimmed with coarse lace and they tie white baboushkas round their heads or sometimes wind a kind of wimple over the ears and round the throat. They are truculent and aggressive. They stare at me with open curiosity tinged with hostility. When they laugh, they display treasuries of gold teeth and their hands are as hard as those of eighteenth-century prize-fighters, who also used to pickle their fists in brine. They make me feel
that either I or they are deficient in femininity and I suppose it must be I since most of them hump about an organic lump of baby on their backs, inside their coats. It seems that only women people the village because most of the men are out on the sea. Early in the morning, I go out to watch the winking and blinking of the fishing boats on the water, which, just before dawn, has turned a deep violet.

  The moist and misty mornings after a storm obscure the horizon for then the ocean has turned into the sky and the wind and waves have realigned the contours of the dunes. The wet sand is as dark and more yieldingly solid than fudge and walking across a panful is a promenade in the Kingdom of Sweets. The waves leave behind them glinting striations of salt and forcibly mould the foreshore into the curvilinear abstractions of cliffs, bays, inlets, curvilinear tumuli like the sculpture of Arp. But the storms themselves are a raucous music and turn my house into an Aeolian xylophone. All night long, the wind bangs and rattles away at every wooden surface; the house is a sounding box and even on the quietest nights the paper windows let through the wind that rattles softly in the pines.