Now begins the performance proper, which is an array of mesmeric stunts along with some magic. I place the somnambule’s hypnotically stiffened body horizontally between two chairs and ask some behemoth from the audience to come up and sit on her. The man is only too glad to do this. Then I command the somnambule to become inhumanly limp so that I may stuff her into an impossibly small box. But she’s only limber enough to fit halfway into the receptacle, I tell the audience. So I inform them that I must break her neck and other bones in order to push her whole body inside. All onlookers are on the edge of their seats, and I beg them to remain composed even though they may see some blood squeeze out the edges of the box as I close its lid. They love it when my assistant slowly rises up intact and unbloodied. (Nonetheless, like all crowds who attend events where there is, or seems to be, an element of hazard, they secretly wish to see something go wrong.) Next is the Human Voodoo Doll, wherein I stick long pins into her flesh and she doesn’t wince or make a sound. We perform quite a few other routines in defiance of death and pain, afterward moving on to the memory tricks. In one of them I have everybody in the audience call out in quick succession his or her full name and birth date. Then I instruct my somnambule to repeat this information when requested at random to do so by individual audience members. She gets all the names right—and of course everyone is bowled over—but invariably the dates she gives are not in the past but in the future. Some of the days and years she mechanically speaks are relatively distant in time and some disturbingly near. I express astonishment at my somnambule’s behavior, explaining to the audience that fortune-telling is not normally part of the show. I apologize for this woeful display of precognition and vow to make it up to them with a jaw-dropping finale so as to sidetrack their minds from any morbid introspection. A blare of heavenly horns would not be inappropriate at this point.
At my signal, my assistant moves to the precise center of the stage. Here she positions herself with legs outspread to form an upside-down V out of her lower body. Another signal and her arms elevate until they are stretched outward like two wings, both tensely straining to their limit. A final signal bids her nodding head to lift fully erect upon the muscle-knotted column of her neck, eyes glaring out at the audience. At the same time, the eyes out in the audience glare back at her with the same gaze. “Now,” I admonish them, “there must be total silence. This means no coughing, no sniffing, no yawning, and no clearing of throats.” An unreasonable directive, it would seem, but one with which they are compliant. They are silent as a grave full of buried confidences. “Ladies and gentlemen,” I continue, “you are about to see something that I need not tout with a verbose preamble. My assistant is now in the deepest possible trance and every particle of her being is extremely sensitive to my will. When instructed, she will begin an astounding metamorphosis that will reveal what some of you may have conceived but never dared hope to look upon. Nothing more need be said. My dear, you may commence your change of form, code name: Seraphim.”
There she stands—arms, legs, towering head—my five-pointed somnambule: a star. “Already you can see the glowing,” I tell the audience. “She begins to effloresce. She begins to incandesce. And now she approaches such radiance that she almost disappears into it—kindled to the very edge of worldly existence by a supernal blaze. But there is no pain, there is anything but eyesore.” No one in the audience is even squinting, of course, for the beams from her body—this labyrinth of light!—are dream beams without physical properties. “Keep watching,” I shout at them, pointing to my assistant, whose costume of foil sequins has turned to a gossamer veil floating about her form. “Can you see snow-white wings sprouting beyond the horizon of her shoulders? Has not her material casing lost all carnality and transmogrified into a celestial icon? Is she not the very essence of the ethereal—the angelic luminary beneath the human beast?”
But I cannot sustain the moment. The light fades in the eyes of the audience, growing dimmer by the second, and my assistant collapses back into an earthly incarnation. I am exhausted. What’s worse, all our efforts seem to have been wasted, for the audience answers this spectacle with only perfunctory applause. I can hardly believe it, but the finale fell flat. They don’t understand. They actually like all the mock-death and bogus-pain stuff better. These are what fascinate them. Bah. Double bah. Well, frolic while can, you dullards. The show isn’t over yet.
“Thank you, ladies and gentlemen,” I say when the lights go up and the meager applause dies entirely. “I hope my assistant and I have not induced you into somnolence this evening. You do look a little sleepy, as if you’ve been lulled into a trance yourselves. Which is not such a bad feeling, is it? Sinking deep into a downy darkness, resting your souls on pillows stuffed with soft shadows. But our host informs me that things will liven up very soon. Certainly you will awake when a little chime commands you to do so. Remember, it’s wake-up time when you hear the chime,” I repeat. “And now I believe we can prosecute this evening’s festivities.”
I help my assistant down from the platform and we mix with the rest of the partiers. Drinks are served and the noise level in the room increases by several decibels. The populace of the soirée begins to coagulate into groups here and there. I separate myself from a boisterous group surrounding my assistant and me, but nobody seems to notice. They are entranced by my sequined somnambule. She dazzles them—a sun at the center of a drab galaxy, her costume catching the light of that monstrous chandelier winking with a thousand eyes. Everyone seems to be trying to gain her regard. But she just smiles, so vacant and full of grace, not even sipping the drink someone has placed in her hand. They are transfixed like lady spiders during the mating ritual. After all, didn’t I tell them that my lanky hypnotizee was the perfection of beauty?
But I too have my admirers. One dark-suited bore asks me if I can help him stop smoking. Another inquires about possible ways that hypnosis could serve as a tool for his advertising business, though nothing illegal of course. I hand them each a business card with a cloud-gray pearl finish on which is printed a non-existent phone number and a phony address in a real city. As for the name: Cosimo Fanzago. What else would one expect from a performing mesmerist extraordinaire? I have other cards with names like Gaudenzio Ferrari and Johnny Tiepolo printed on them. Nobody’s caught on yet. But am I not as much an artist as they were?
And while I am being accosted by people who need cures or aids for their worldliness, I am watching you, dear somnambule. Watching you waltz about this magnificent room. It is not like the other rooms in this great house. Someone really let Fancy have its wild way in here. It harkens back to a time, centuries ago, when your somnambulating predecessors did their sleepwalking act for high society. You fit in so well with the company of this manor hall of riotous rococo. It’s a delight to see you make your way about the irregular circumference of this room, where the wall undulates in gentle waves and troughs, its surface sinewed with a maze of chinoiserie. This capacious chamber’s serpentine configuration makes it difficult to distinguish its recesses from its protrusions. Some of the guests shift their weight wallwards and find themselves leaning on air, stumbling sideways like comedians in an old movie. But you, my perfect sleepwalker, have no trouble. You lean at the right times and in the right places. And your eyes play beautifully to whatever camera focuses on you. Indeed, you take so many of your cues from others that one might suspect you of having no life of your own. Let’s sincerely hope not!
Now I watch as a stuffed shirt in a dinner jacket invites you to be seated in a chair of blinding brocade, its flowery fabric done up in all the soft colors of a woman’s cosmetics case and its dainty arms the texture of cartilage. Your high heels make subtle points in the carpet, puncturing its arabesque flights of imagination. Now I watch as our host draws you over to choose a libation from his well-stocked bar. He gestures with pride toward the many bottles on display, their shapes both normale and baroque. The baroquely shaped bottles are doing more interesting things with l
ight and shadow than their normal brothers, and you point to one of these with a robotic finesse. He pours two drinks while you watch, and while you watch I am watching you watch. Guiding you to another part of the room, he shows you a shelf of delicate figurines, each one caught in a paralyzed stance. He places one of them in your hand, and you angle it every which way before your unfocused eyes, as if trying to restore some memory that would cause you to awaken. But you never will, not without my help.
Now he directs you to a part of the room where there is soft music and dancing. But there are no windows in this room, only tall smoky mirrors, and as you pass from one end to the other you are caught between foggy looking-glasses facing their twins, creating endless files of somnambules in a false infinity beyond the walls. Then you dance with our host, though while he is gazing straightforwardly at you, you are gazing abstractly at the ceiling. Oh, that ceiling! In epic contrast to the capricious volutions of the rest of the room—designs tendriled to tenebrosity—the surface above is a plane of powder blue without a hint of flourish. In its purity it suggests a bottomless pool or a sky wiped clean of clouds. You are dancing in eternity, my darling. And the dance is indeed a long one, for another wants to cut in on our gracious host and become your partner. Then another. And another. They all want to embrace you. They are all taken in by your dispassionate elegance, your postures and poses like frozen roses. I am only waiting until everyone has had physical contact with your physique so full of animal magnetism.
And while I watch and wait, I notice that we have an unexpected spectator looking down on us from above. Beyond the wide archway at the end of the room is a staircase leading to the second floor. And up there he is sitting, trying to glimpse all the grown-ups, his pajama-clad legs dangling between the Doric posts of the balustrade. I can tell he prefers the classic decor elsewhere predominating in this house. With moderate stealth I leave the main floor audience behind and pay a visit to the balcony, which I quite ignored during my performance earlier.
After creeping up the triple-tiered stairway and sneaking down the white-carpeted hallway, I sit beside the child. “Did you see my little show with the lady?” I ask him. He shakes his head in the negative, his mouth as tight as an unopened tulip. “Can you see the lady now? You know the one I mean.” I take a shiny chrome-plated pen from the inside pocket of my coat and point down toward the room where the party is going on. At this distance the features of my sequined siren cannot be seen in any great detail. “Well, can you see her?” His head bobs in the affirmative. Then I whisper: “And what do you think?” His two lips open and casually reply: “She…she’s yucky.” I breathe easier now. From this height she does indeed appear merely “yucky,” but you can never know what the sharp sight of children may perceive. And it is certainly not my intention tonight to make any child’s eyes roll the wrong way.
“Listen closely to everything I say,” I tell him in a very soft but not condescending tone, making sure the child’s attention is held by my voice and by the gleaming pen on which his eyes are now focused. He is a good subject for a child, who ordinarily have wandering eyes and minds. He agrees with me that he is feeling rather tired now. “Now go back to your bed. You will fall asleep in seconds and have the most wonderful dreams. And you will not awaken until morning, no matter what sounds you hear outside your door. Understand?” He nods. “Very good. And for being such an agreeable young man, I’m going to make you a present of this beautiful pen of sterling silver which you will keep with you always as a reminder that nothing is what it seems to be. Do you know what I’m talking about?” His head moves up and down, and the expression on his face has the chilling appearance of deep wisdom. “All right, then. But before you return to your room, I want you to tell me if there’s a back stairway by which I may leave.” His finger points down the hall and to the left. “Thank you, my boy. Thank you very much. Now off to bed and to your sweet dreams.” He disappears into the Piranesian darkness at the end of the hallway.
For a moment I stand staring down into that merry room below, where the crass laughter and doltish dancing of my audience has reached a climax. My fickle somnambule herself seems to be caught up in the party’s web, and has forgotten all about her master. She’s left me on the sidelines, a mazy wallflower. But I’m not jealous. I can understand why they’ve taken you away from me. They simply can’t help themselves, now can they? I told them how beautiful, how perfect you were, and they can’t resist you, my love.
Unfortunately they failed to appreciate the best part of you, preferring to lose themselves in the beguilements of your grosser illusions. Didn’t I show our well-behaved audience an angelified version of you? And you saw their reaction. They were bored and just sat in their seats like a bunch of stiffs. Of course, what can you expect? They wanted the death stuff, the pain stuff. All that flashy junk. They wanted cartwheels of agony; somersaults through fires of doom; nosedives of vulnerable flesh into the meat grinder of life. They wanted to be thrilled.
And now that their merry pageant seems to have reached its peak, I think the time is right to awaken this mob from its hypnotic slumber and thrill the daylights out of them.
It is time for the chime.
There is indeed a back stairway just where the boy indicated, one which guides me to a back hallway, back rooms, and finally a back door. These backways lead me to a vast yard where a garden is silhouetted beneath the moon and a small wood sways in the distance. A thick lawn pads my footsteps as I work my way around to the fine façade of this house.
I am standing on the front porch now, between its tall columns and beneath a lamp hanging at the end of a long brazen chain. I pause for a moment, savoring each voluptuous second. The serene constellations above wink knowingly. But not even these eyes are deep enough to outgaze me, to deceive the deceiver, illude the illusionist. To tell the truth, I am a very bad mesmeric subject, unable to be drawn in by Hypnos’ Heaven. For I know how easily one can be led past those shimmering gates, only to have a trap door spring open once you are inside. Then down you go! I would rather be the attendant loitering outside Mesmer’s Maze than its deluded victim bumbling about within.
It is said that death is a great awakening, an emergence from the mystifications of life. Ha, I have to laugh. Death is the consummation of mortality and—to let out a big secret—only heightens mortal imperfections. Of course, it takes a great master to pry open a pair of post-mortem eyes once they are sewn tightly closed by Dr. Reaper. And even afterward there is so little these creatures are good for. As conversationalists they are incredibly feeble. The things they tell you are no more than sweet nullities. Nevertheless, they do have their uses, provided I can manage to get their awkward forms out of the mausoleum, hospital, morgue, medical school, or funeral emporium I have deviously insinuated my way into. When the mood strikes me, I recruit them for my show. Absent of any will of their own, they are exceptional at doing what they’re told. However, there is one great problem: you just can’t make them beautiful. One is not a sorcerer!
But perhaps one is a superlative mentalist, a preternaturally adept hypnotist. Then one may prompt an audience to perceive his departed subject as beautiful, to mistake her for a spellbinding, snake-eyed charmer. One can do this at least.
Even now I hear those high-society vulgarians still laughing, still dancing, still making a fuss over my charismatic doll of the dead. We showed them what you might be, Seraphita. Now let’s show them what you really are. I have only to press this little button of a doorbell to sound the chime which will awaken them, to send the toll rolling throughout the house. Then they’ll see the sepulchral wounds: your eyes recessed in their sockets, sunken into a rotting profundity—those labyrinthine depths! They’ll wake up and find their nice dancing clothes all clotted with putrescent goo. And wait’ll they get a sniff of that stiff. They will be amazed.
Eye of the Lynx
I had been on her psychic frequency for some time, but other matters delayed our meeting in the flesh. During the f
rigid months of the past year I was a busy boy, and a naughty one. The relevant agencies had finally fixed on the type of companion I preferred, and warnings went out by word of mouth, or rather lips painted so shiny in certain shades, mostly blood red but also pall-bearer black. The underground world in which I moved was on the alert: don’t talk to strangers and so on. That was not a problem, though. Such wariness just incited my impulses all the more and increased the number of “Missing Girls in Gothic Garb,” as one journalistic source fatuously described my activities. Thus my meeting with her had been belated due to unscheduled distractions, or so I thought at the time. But now I was standing on the sidewalk right outside her place of business. The doorway to the crummy cinder-block building was done up, rather ineptly, like a castle with toothy merlons. I looked over at the traffic light bobbing in the winter wind that howled through every corner of that desolate part of town. It was amber going on red. I looked back at the door. It actually creaked when I opened it.
Inside I was greeted by a reception committee of girls lounging in what looked like old church pews along the walls. The narrow vestibule in which I found myself scintillated with a reddish haze that seemed not so much light as electric vapor. In the far upper corner of this entranceway a closed circuit camera was bearing down on us all, and I wondered how the camera’s eye would translate that redly dyed room into the bluish hues of a security monitor. Not that it was any of my business. We might all be electronically meshed into a crazy purpurean tapestry, and that would have been just fine.
A fair-haired girl in denim slacks and leather jacket stood up and approached me. In the present light her blond locks looked more like tomato soup or greasy ketchup than fresh strawberry. She delivered a mechanical statement that began “Welcome to the House of Chains,” and went on and on, spelling out various services and specific terms and finally concluding with a legal disclaimer to make sure I wasn’t a member of the law enforcement community. “Definitely not,” I said. “I was just reading a local tabloid and saw your ad, the one set in spiky Gothic type like a page out of an old German bible. I’ve come to the right place, haven’t I?”
Songs of a Dead Dreamer Page 9
