In the moonlight the artist came to see that the mittens worn by this little man were actually something like the paws of an animal. It almost made sense to the artist to have thought that the little man’s hands were actually paws which had only appeared to be two black mittens. Then each of the paws separated into long thin fingers that wriggled wildly in the moonlight. But they could not have been the fingers of a hand, because there were too many of them. And the hands were not paws, nor were the paws really mittens. And all of this time the little man was becoming smaller and smaller in the moonlight of that alley, as if he were moving into the distance far away from the artist who was hypnotized by this vision. Finally a little voice spoke which the artist could barely hear, and it said to him: “I cannot keep them away from me anymore, I am becoming so small and weak.” These words suddenly made this whole winter-morning scenario into something that was too much even for the self-styled “visceral artist.”
In the pocket of his coat the artist had a tool which he used for cutting open boxes at the supermarket. He had cut into flesh in the past, and, with the moonlight glaring upon the snow of that alley, the artist made a few strokes which turned that white world red. Under the circumstances what he had done seemed perfectly justified to the artist, even an act of mercy. The man was becoming so small.
Afterward the artist ran through the alley without stopping until he reached the rented house where he lived with his roommate. It was she who telephoned the police, saying there was a body lying in the snow at such and such a place and then hanging up without giving her name. For days, weeks, the artist and his roommate searched the local newspapers for some word of the extraordinary thing the police must have found in that alley. But nothing ever appeared.
“You see how these incidents are hushed up,” the purple woman whispered to us. “The police know what is going on. There are even special police for dealing with such matters. But nothing is made public, no one is questioned. And yet, after that morning in the alley, my cousin and her roommate came under surveillance and were followed everywhere by unmarked cars. Because these special policemen know that it is artists, or highly artistic persons, who are approached by the Teatro. And they know whom to watch after something has happened. It is said that these police may be party to the deeds of that ‘company of nightmares’.”
But none of us believed a word of this Teatro anecdote told by the purple woman, just as none of us believed the purple woman’s friend, the filmmaker, when he denied all innuendos that connected him to the Teatro. On the one hand, our imaginations had sided with this woman when she asserted that her friend, the creator of the short movie Private Hell, was somehow in league with the Teatro; on the other hand, we were mockingly dubious of the story about her cousin’s roommate, the self-styled visceral artist, and his encounter in the snow-covered alley.
This divided reaction was not as natural as it seemed. Never mind that the case of the filmmaker was more credible than that of the visceral artist, if only because the first story was lacking the extravagant details which burdened the second. Until then we had uncritically relished all we had heard about the Teatro, no matter how bizarre these accounts may have been and no matter how much they opposed a verifiable truth or even a coherent portrayal of this phenomenon. As artists we suspected that it was in our interest to have our heads filled with all kinds of Teatro craziness. Even I, a writer of nihilistic prose works, savored the inconsistency and the flamboyant absurdity of what was told to me across a table in a quiet library or a noisy club. In a word, I delighted in the unreality of the Teatro stories. The truth they carried, if any, was immaterial. And we never questioned any of them until the purple woman related the episode of the visceral artist and the small man in the alley.
But this new disbelief was not in the least inspired by our sense of reason or reality. It was in fact based solely on fear; it was driven by the will to negate what one fears. No one gives up on something until it turns on them, whether or not that thing is real or unreal. In some way all of this Teatro business had finally worn upon our nerves; the balance had been tipped between a madness that intoxicated us and one that began to menace our minds. As for the woman who always dressed herself in shades of purple…we avoided her. It would have been typical of the Teatro, someone said, to use a person like that for their purposes.
Perhaps our judgment of the purple woman was unfair. No doubt her theories concerning the “approach of the Teatro” made us all uneasy. But was this reason enough to cast her out from that artistic underworld which was the only society available to her? Like many societies, of course, ours was founded on fearful superstition, and this is always reason enough for any kind of behavior. She had been permanently stigmatized by too closely associating herself with something unclean in its essence. Because even after her theories were discredited by a newly circulated Teatro tale, her status did not improve.
I am now referring to a story that was going around in which an artist was not approached by the Teatro but rather took the first step toward the Teatro, as if acting under the impulse of a sovereign will.
The artist in this case was a photographer of the I-am-a-camera type. He was a studiedly bloodless specimen who quite often, and for no apparent reason, would begin to stare at someone and to continue staring until that person reacted in some manner, usually by fleeing the scene but on occasion by assaulting the photographer, who invariably pressed charges. It was therefore not entirely surprising to learn that he tried to engage the services of the Teatro in the way he did, for it was his belief that this cruel troupe could be hired to, in the photographer’s words, “utterly destroy someone.” And the person he wished to destroy was his landlord, a small balding man with a mustache who, after the photographer had moved out of his apartment, refused to remit his security deposit, perhaps with good reason but perhaps not.
In any case, the photographer, whose name incidentally was Spence, made inquiries about the Teatro over a period of some months. Following up every scrap of information, no matter how obscure or suspect, the tenacious Spence ultimately arrived in the shopping district of an old suburb where there was a two-story building that rented space to various persons and businesses, including a small video store, a dentist, and, as it was spelled out on the building’s directory, the Theatre Grottesco. At the back of the first floor, directly below a studio for dancing instruction, was a small suite of offices whose glass door displayed some stenciled lettering that read: T G VENTURES. Seated at a desk in the reception area behind the glass door was a young woman with long black hair and black-rimmed eyeglasses. She was thoroughly engrossed in writing something on a small blank card, several more of which were spread across her desk. The way Spence told it, he was undeterred by all appearances that seemed to suggest the Teatro, or Theatre, was not what he assumed it was. He entered the reception area of the office, stood before the desk of the young woman, and introduced himself by name and occupation, believing it important to communicate as soon as possible his identity as an artist, or at least imply as best he could that he was a highly artistic photographer, which undoubtedly he was. When the young woman adjusted her eyeglasses and asked, “How can I help you?” the photographer Spence leaned toward her and whispered, “I would like to enlist the services of the Teatro, or Theatre if you like.” When the receptionist asked what he was planning, the photographer answered, “To utterly destroy someone.” The young woman was absolutely unflustered, according to Spence, by this declaration. She began calmly gathering the small blank cards that were spread across her desk and, while doing this, explained that T G Ventures was, in her words, an “entertainment service.” After placing the small blank cards to one side, she removed from her desk a folded brochure which outlined the nature of the business, which provided clowns, magicians, and novelty performances for a variety of occasions, their specialty being children’s parties.
As Spence studied the brochure, the receptionist placidly sat with her hands folded and gazed a
t him from within the black frames of her eyeglasses. The light in that suburban office suite was bright but not harsh; the pale walls were incredibly clean and the carpeting, in Spence’s description, was conspicuously new and displayed the exact shade of purple found in turnips. The photographer said that he felt as if he were standing in a mirage. “This is all a front,” Spence finally said, throwing the brochure on the receptionist’s desk. But the young woman only picked up the brochure and placed it back in the same drawer from which it had come. “What’s behind that door?” Spence demanded, pointing across the room. And just as he pointed at that door there was a sound on the other side of it, a brief rumbling as if something heavy had just fallen to the floor. “The dancing classes,” said the receptionist, her right index finger pointing up at the floor above. “Perhaps,” Spence allowed, but he claimed that this sound that he heard, which he described as having an “abysmal resonance,” caused a sudden rise of panic within him. He tried not to move from the place he was standing, but his body was overwhelmed by the impulse to leave that suite of offices. The photographer turned away from the receptionist and saw his reflection in the glass door. She was watching him from behind the lenses of black-framed eyeglasses, and the stenciled lettering on the glass door read backwards, as if in a mirror. A few seconds later Spence was outside the building in the old suburb. All the way home, he asserted, his heart was pounding.
The following day Spence paid a visit to his landlord’s place of business, which was a tiny office in a seedy downtown building. Having given up on the Teatro, he would have to deal in his own way with this man who would not return his security deposit. Spence’s strategy was to plant himself in his landlord’s office and stare him into submission with a photographer’s unnerving gaze. After he arrived at his landlord’s rented office on the sixth floor of what was a thoroughly depressing downtown building, Spence seated himself in a chair looking across a filthy desk at a small balding man with a mustache. But the man merely looked back at the photographer. To make things worse, the landlord (whose name was Herman Zick), would lean towards Spence every so often and in a quiet voice say, “It’s all perfectly legal, you know.” Then Spence would continue his staring, which he was frustrated to find ineffective against this man Zick, who of course was not an artist, or even a highly artistic person, as were the usual victims of the photographer. Thus the battle kept up for almost an hour, the landlord saying, “It’s all perfectly legal,” and Spence trying to hold a fixed gaze upon the man he wished to utterly destroy.
Ultimately Spence was the first to lose control. He jumped out of the chair in which he was sitting and began to shout incoherently at the landlord. Once Spence was on his feet, Zick swiftly maneuvered around the desk and physically evicted the photographer from the tiny office, locking him out in the hallway. Spence said that he was in the hallway for only a second or two when the doors opened to the elevator that was directly across from Zick’s sixth-floor office. Out of the elevator compartment stepped a middle-aged man in a dark suit and black-framed eyeglasses. He wore a full, well-groomed beard which, Spence observed, was slightly streaked with gray. In his left hand the gentleman was clutching a crumpled brown bag, holding it a few inches in front of him. He walked up to the door of the landlord’s office and with his right hand grasped the round black doorknob, jiggling it back and forth several times. There was a loud click that echoed down the hallway of that old downtown building. The gentleman turned his head and looked at Spence for the first time, smiling briefly before admitting himself to the office of Herman Zick.
Again the photographer experienced that surge of panic he had felt the day before when he visited the suburban offices of T G Ventures. He pushed the down button for the elevator, and while waiting he listened at the door of the landlord’s office. What he heard, Spence claimed, was that terrible sound that had sent him running out in the street from T G Ventures, that “abysmal resonance,” as he defined it. Suddenly the gentleman with the well-groomed beard and black-rimmed glasses emerged from the tiny office. The door to the elevator had just opened, and the man walked straight past Spence to board the empty compartment. Spence himself did not get on the elevator but stood outside, helplessly staring at the bearded gentleman, who was still holding that small crumpled bag. A split second before the elevator doors slid closed, the gentleman looked directly at Spence and winked at him. It was the assertion of the photographer that this wink, executed from behind a pair of black-framed eyeglasses, made a mechanical clicking sound which echoed down the dim hallway. Prior to his exit from the old downtown building, leaving by way of the stairs rather than the elevator, Spence tried the door to his landlord’s office. He found it unlocked and cautiously stepped inside. But there was no one on the other side of the door.
The conclusion to the photographer’s adventure took place a full week later. Delivered by regular post to his mail box was a small square envelope with no return address. Inside was a photograph. He brought this item to Des Esseintes’ Library, a bookstore where several of us were giving a late-night reading of our latest literary efforts. A number of persons belonging to the local artistic underworld, including myself, saw the photograph and heard Spence’s rather frantic account of the events surrounding it. The photo was of Spence himself staring stark-eyed into the camera, which apparently had taken the shot from inside an elevator, a panel of numbered buttons being partially visible along the righthand border of the picture. “I could see no camera,” Spence kept repeating. “But that wink he gave me…and what’s written on the reverse side of this thing.” Turning over the photo Spence read aloud the following handwritten inscription: “The little man is so much littler these days. Soon he will know about the soft black stars. And your payment is past due.” Someone then asked Spence what they had to say about all this at the offices of TG Ventures. The photographer’s head swiveled slowly in exasperated negation. “Not there anymore,” he said over and over. With the single exception of myself, that night at Des Esseintes’ Library was the last time anyone saw Mr. Spence.
After the photographer ceased to show up at the usual meeting places and special artistic events, there were no cute remarks about his having “gone with the Teatro.” We were all of us beyond that stage. I was perversely proud to note that a degree of philosophical maturity had now developed among those in the artistic underworld of which I was a part. There is nothing like fear to complicate one’s consciousness, inducing previously unknown levels of reflection. Under such mental stress I began to organize my own thoughts and observations about the Teatro, specifically as this phenomenon related to the artists who seemed to be its sole objects of attention.
Whether or not an artist was approached by the Teatro or took the initiative to approach the Teatro himself, it seemed the effect was the same: the end of an artist’s work. I myself verified this fact as thoroughly as I could. The filmmaker whose short movie Private Hell so many of us admired had, by all accounts, become a full-time dealer in pornographic videos, none of them his own productions. The self-named visceral artist had publicly called an end to those stunts of his which had gained him a modest underground reputation. According to his roommate, the purple woman’s cousin, he was now managing the supermarket where he had formerly labored as a stock clerk. As for the purple woman herself, who was never much praised as an artist and whose renown effectively began and ended with the “cigar box assemblage” phase of her career, she had gone into selling real estate, an occupation in which she became quite a success. This roster of ex-artists could be extended considerably, I am sure of that. But for the purposes of this report or confession (or whatever else you would like to call it) I must end my list of no-longer-artistic persons with myself, while attempting to offer some insights into the manner in which the Teatro Grottesco could transform a writer of nihilistic prose works into a non-artistic, more specifically a post-artistic being.
It was after the disappearance of the photographer Spence that my intuitions concerning
the Teatro began to crystalize and become explicit thoughts, a dubious process but one to which I am inescapably subject as a prose writer. Until that point in time, everyone tacitly assumed that there was an intimacy of kind between the Teatro and the artists who were either approached by the Teatro or who themselves approached this cruel troupe by means of some overture, as in the case of Spence, or perhaps by gestures more subtle, even purely noetic (I retreat from writing unconscious, although others might argue with my intellectual reserve). Many of us even spoke of the Teatro as a manifestation of super-art, a term which we always left conveniently nebulous. However, following the disappearance of the photographer, all knowledge I had acquired about the Teatro, fragmentary as it was, became configured in a completely new pattern. I mean to say that I no longer considered it possible that the Teatro was in any way related to a super-art, or to an art of any kind, quite the opposite in fact. To my mind the Teatro was, and is, a phenomenon intensely destructive of everything that I conceived of as art. Therefore, the Teatro was, and is, intensely destructive of all artists and even of highly artistic persons. Whether this destructive force is a matter of intention or is an epiphenomenon of some unrelated, perhaps greater design, or even if there exists anything like an intention or design on the part of the Teatro, I have no idea (at least none I can elaborate in comprehensible terms). Nonetheless, I feel certain that for an artist to encounter the Teatro there can be only one consequence: the end of that artist’s work. Strange, then, that knowing this fact I still acted as I did.
I cannot say if it was I who approached the Teatro or vice versa, as if any of that stupidness made a difference. The important thing is that from the moment I perceived the Teatro to be a profoundly anti-artistic phenomenon I conceived the ambition to make my form of art, by which I mean my nihilistic prose writings, into an anti-Teatro phenomenon. In order to do this, of course, I required a penetrating knowledge of the Teatro Grottesco, or of some significant aspect of that cruel troupe, an insight of a deeply subtle, even dreamlike variety into its nature and workings.
The Nightmare Factory Page 61
