by S. T. Joshi
I AWAKENED IN MY BED, BUT HOW I HAD GOTTEN THERE I could not recall. Whatever I had ingested from the withered gnome’s enigmatic weed, it had certainly had its effect. My throat still burned, as did my brain. Shades of eerie memory dimmed the recesses of my mind, specters that I could not mentally grasp. When I heard a peculiar sound from beyond my bedroom window, I pushed my numb body from the bed and staggered to peer out the windowpane. I saw the dark oaks of the distant grove, and thought that I could just make out a portion of the moonlit pool. I saw a dancing shadow. It was attired in some black flowing gown, but the naked arms and face seemed somehow to drink in the drenching moonlight. Cool air pushed against the pane, and so I opened the window and leaned my head out of it, toward the grove. Coldness brushed my new-made scar, and on that wind I thought that I could just detect the dancing figure’s lullaby. Was it Pera? Had she also partaken of the narcotic, and was she now out there in the chilly night, high and prancing recklessly in the growing storm? I felt drops of rain splash against my face, and so I found my jacket and went outside.
Crossing the quiet roadway, I walked into the grove and toward the dancing woman. At first I could not understand what was wrong with her face, and then I realized that she wore a mask, one that had been held by the woman in the photo I had seen based on Klimt’s drawing, Tragedy. Gold encircled her throat and arms, flesh that was semi-transparent. Beneath the sound of wind and rain I could hear her soft chanting to a tune that reminded me of Mahler, one of Mother’s favorite composers. Storm clouds occluded the earlier moonlight, and yet I could see amazingly well, and it struck me as odd that the woman’s clothing had not grown sopping wet, nor did water drip from the death-white mask. Seeming to sense that I was watching her, the figure stopped moving and stood very still, facing me, her hands now clutching at her crotch.
I advanced toward her, my eyes glued to her mask, which seemed the only substantial thing about her. I did not understand how I could vaguely see the trees and bushes that were behind her, could see through her. I was now very close to her, and I reached out to touch the mask, its bulging eyes and wide round mouth. A smooth limpid hand joined mine and seemed to blend its texture with my skin. Together, we touched the edge of the mask and lifted. I shut my eyes as something firm yet fleshy encased my face.
A violent force pulled the mask from my face. Jesus stood before me, frowning, the mask in his left hand. “Philippe,” I said, remembering his actual name, and then I looked about us. “Where’s Pera?”
“Inside, where you should be. We do not enter the wooded place at night.”
“Nonsense, she was just here, wearing that thing.”
“No.” He tossed the mask into the pool. It floated for a moment, and then was gone. “Come, take my hand.”
“Uh, that’s cool, dude.”
“My hand,” he commanded, holding it to me. I reached out and took hold of his hand, wincing as his fingers tightened like a clamp. I wanted to stop and look into the pool, but my captor forcefully yanked me after him, out of the grove, into rain, across the road and inside the old motel. We stood scowling at each other. “Go to bed, Henry.”
“Aren’t you going to go fetch Pera? She’ll catch her death out there. You must have seen her, she was standing right in front of me, beside the pool.”
“That was Alma. Now, to bed.”
“Fuck you, you’re not my mother. Who’s Alma?” Ignoring me, he turned and went into the parlor. I followed. “Who is Alma? I want to meet her.”
“She’s faded. Now, go to bed.”
“What do you mean, faded? Like her photograph?” I stomped to the table and picked up the photo album. Turning to the image that copied Klimt, I studied the girl pictured, that very young creature. “Are you telling me that I saw a ghost? Is that your game, freak boy? I didn’t imagine that stupid mask. Take me to her room.”
Philippe sighed. “You grow tedious.”
“Yeah? Well, I don’t like your little game. Okay, don’t show me. I’ll find it myself.” Again he sighed, then held out his hand. “Forget it, Mary. Just show me the way.”
Did he slightly smile? He shut his eyes for one moment, then turned and walked to the door that led to the hallway. I followed him to the end of the hallway, where he stopped before two doors, opened one of them, and entered a tiny room. I walked to the small bed and looked at the wall behind it. “There’s no picture. Come on, I’ve figured a few things out. Every room I’ve been in has had a picture above the bed. Except this one. Where is Alma’s picture, the copy of Klimt?”
“It’s been taken to the catacombs, of course.”
“Show me.”
Again, his subtle smile. We exited the room and he opened the neighboring door. Crossing the threshold, we came to a flight of small stone steps. Philippe reached for a lantern that sat in a cavity cut into the wall, took a lighter from his pocket, and nonchalantly lit the wick. Saying nothing, he descended. The place to which he led me was like some ancient religious grotto, but here it was art that was divine. Framed pictures hung on walls like objects of adoration. As Philippe began to light various candles, I went to a stone pillar on which there sat a small framed copy of Klimt’s piece, beautifully copied in full color.
I looked around me, and the place seemed to contract, as if eaten by spreading shadow. My breathing became labored, and I cringed as blackness seemed to seep hungrily toward me. Gasping, I hurried to the steps and scrambled up them. Philippe eventually joined me and shut the door behind him. Removing a handkerchief from a pocket, he patted at the perspiration on my brow. Annoyed, I took the piece of cloth from him and roughly wiped my face.
“Tight places,” I explained. He nodded, with such a smug expression on his face that I wanted to hit him. Instead, I strode across the hallway, past Pera’s room and into the sitting room. Oskar was sitting on the sofa, placing a photograph into the leather album. Sitting next to him, I examined the photo, which was of him posed as the Count in Kokoschka’s painting. I took the photograph, with which he was having difficulty, from his clumsy hands and slid it into one of the album’s vacant sleeves. Then I took hold of the man’s hand and examined its sulfur-yellow pigment. His face had also grown more discolored, and his sad hazel eyes had submerged within dark hollows.
“What the hell has happened to you?”
“The elder ones have worked their alchemy.”
I was about to ask him more questions when he lifted his crippled hand and touched it to the scar on my face. My nostrils drank the sickened scent of his polluted flesh, the skin that reeked of death. Taking hold of that hand with both of mine, I pressed its fingers against my nose, my mouth. Something in its stench beguiled me.
“You look awful,” he whispered as I touched his hand with my tongue. He took his hand from me. “Not sleeping well?”
Bitterly, I laughed. “Too many weird things are going on. Or so I imagine, although it could just be the freaky stuff that Eblis offered me last night. Or was it tonight? What day is it?”
He could not answer, for he suddenly jerked away, convulsed with hoarse coughing. Producing a piece of yellow cloth, he covered his mouth with it until the attack subsided. When he removed the rag from his mouth I saw that it had been sprinkled with beads of blood. “What the hell is wrong with you?”
Oskar waved away my inquiry. “You need not bother about me—take care of yourself.” He stared into space, frowning, and I sensed that he was deciding whether or not to confide in me, to let me into his world. But then he stood and smiled down on me. “Get some sleep, Hank. You look half-dead.”
“Not so fast,” I yelled, grabbing his arm. “Damn it, explain what’s going on in this godforsaken place. Look, I’m not an idiot. I can see the connections, the paintings in the rooms and the stills in that album. Now, I’ve just had a really freaky experience with Jesus.” Oskar threw me an odd look. “With Philippe,” I corrected myself. “I need to understand what I’ve stumbled on. Explain.”
“Explanations are tedi
ous. Understanding comes with the passage of time, but it won’t really explicate anything. I’ll tell you only this, that we have blurred the barrier betwixt art and nature, reality and dream. The outside world, the wretchedly bogus here and now, has no pertinence for us here. ‘That bloody tyrant, Time,’ scarcely touches us, and abhorrent modernity is utterly rejected. What was Pound’s dull dictum concerning art, ‘make it new’? Our aesthetic axiom is far more fascinating: ‘Make it you’!” The reprehension that I felt deep within me must have been evident on my face, for Oskar began to laugh and shake his head. “Get some sleep, Hank.”
I watched him leave the room. His coaxing seemed to have had an effect, for my eyelids were suddenly heavy. I stretched out on the sofa and closed my eyes. The man was clearly ill. TB was often regarded a quaint disease largely conquered by modern medicine, but I remembered having read of recent epidemics in various regions of the globe. It was an old contagion, for traces of tubercles had been discovered in mummies dating to 2000 B.C. Wanting to observe his photograph one more time, I reached for the album, propped it against my raised knees, and turned to Oskar’s image. The original painting had been inspired by Kokoschka’s stay at an institute in Switzerland, where the artist had painted the portraits of some tubercular patients. Although my eyes grew heavier and my mind hazy, I tried to study the photograph, to understand its connection to the original painting, to discern the relationship with Oskar’s condition. My new friend had just hinted of a link, but what it was and how it existed was a mystery that I could not fathom.
I closed my eyes and began to sink toward slumber. As consciousness slipped from me, I remembered the sickly sweet aroma of Oskar’s tainted skin, his delicious smell of moribund mortality. I felt the drool that lightly gathered in my mouth, that began to drip as wakefulness evaporated.
I AWAKENED IN DARKNESS AND STRETCHED ON THE comfortable sofa, and then I noticed movement in the room. Looking up, I whispered her name. “Pera.” She lit a candle that leaned within a sconce, and then picked up the flaming thing and held it before her veiled face.
“You’re not sleeping in your bed. You need to do so. That’s the way it works.”
Rising, I went to her and took the candlestick from her gloved hand. “The way what works?” I listened to her hiss of laughter, a sound that was not sane. Lightly, I touched her hair. “Why do you hide your face?”
She began to rock slightly, and I put a gentle hand to her waist. “It shields me from the world, the bright reality. The envious dark drifts to kiss my drab face, and I’ll be wedded to a death’s-head, with a bone in my mouth.”
“This is crazy talk,” I mumbled.
She stopped rocking and leaned her body against mine. I could smell the cool breath that washed my face. “You name me mad? Is this lunacy?” She slid her hand toward the candle’s flame and pinched the fire out, then knocked the holder to the floor. Funny, even without light I could see her clearly. The fabric of the veil tickled my face as she lifted it and smoothed it over her dark hair. I gazed at her face, with its skin that radiated like burnished porcelain. The unnatural pallor made me suspect that Pera was an arsenic eater, as society ladies were wont to be in distant eras. I had heard of dwellers in the mountains of southern Austria who consumed arsenic as a tonic, building up a tolerance for ingested amounts that would normally prove fatal. The world was filled with freaks, and I had stumbled into a realm of mutation, physical and mental. What worried me was that I was feeling more and more at home.
I pressed my nostrils against her temple and took in her mortal fragrance, never having smelled someone who aroused such odd longings within me. Her sudden deep laughter chilled me. “Pickman is a potent warlock. You’re already altered.” Ignoring her senseless prattle, I moved my face to her throat and raised my hands so as to fondle her breasts. Her sheathed hands took hold of my face and raised it to her own. Oh, how ghostly pale she was, so much so that I fancied I could vaguely see beneath her lucent hide to the bone of her delicate cranium. Her hands wound into my hair and tightened. Her mouth exhaled into my eyes, and vision fogged. I let her go and rubbed my face with hands that trembled. When again I looked at her, the veil had been dropped. Her hands took hold of mine. “To bed, to bed. Come, come, come, give me your hands. What’s done cannot be undone. To bed.”
I raised her hands to my mouth and kissed them. “Not yet. Show me some other rooms.”
“Whatever for?” she asked, with an inflection that hinted of regained sanity. “Most of the rooms are vacant.”
“Because their dwellers are faded?”
“Ah,” she purred. She wouldn’t move, and I suddenly began to feel like a cat’s-paw. Disconnecting our hands, I walked into the foyer and up the stairs, the silent woman following me like some shadow. Reaching my floor, I went to try one of the many doors, but found it locked. The next door I tried yielded to my violence, and I entered an untenanted chamber. The painting over the bedstead was dimly lit by the rays of moonlight that drifted through the window. I went to it and touched the canvas. The dashingly handsome figure was familiar, and after a moment I remembered the original work that it copied, a Titian showing a young man in black, one hand naked, the other gloved and holding the glove that had been removed.
Pera stood beside me, then she quietly climbed onto the bed and placed her hand to the necklace worn by the painted figure. “They wanted to put him down in the catacombs, but I said nay. He’ll not dwell in that darkened crypt, that place of death. Isn’t he beautiful? So young.” She reached for a varnished box that sat upon a stand. Opening it, she took out a red necklace identical to that worn by the lad in the painting. Kissing it, Pera clutched it to her chest as she lowered into the bed and curled into a fetal position.
Silently, I slipped out of the room and went to my own. I undressed and got into bed, kneeling on the mattress and studying the Pickman. The fellow’s green canine eyes absurdly seemed to return my gaze. When at last I reclined, I saw those eyes in my dreams.
When my eyes opened to the glare of daylight streaming through the window, I heard from outside that window the song of laughter. Pushing the covers from me, I sat in bed and saw the plate of covered food on my bedside stand. I removed the cover and found some slices of the odd webbed meat that Pieter had offered me earlier. I wasn’t very hungry, but I picked up a slice and began to eat. Standing, I wobbled to the window and looked out toward the oak grove, which was filled with moving figures. Were the freaks having a picnic? I found the idea slightly sinister, and that rather attracted me, for I was feeling bored. I dressed and went to join in the fun.
The light of day stung my eyes, and everything was thus a bit out of focus as I sauntered across the road toward the wooded place. Most of the faces were familiar, but there were three persons to whom I had not yet been introduced. The youngest, dressed in rather dandified Victorian garb, leaned against a tree, and something in her pose and the style in which she wore her flame red hair was familiar. A few yards from her, standing at an easel, a box of brushes and tubes of paint on the ground beside him, was Pieter. I went to study his canvas and saw pinned to its top left corner a small black and white picture.
“Isn’t that Swinburne?” I ventured, watching the old guy copying the wee image in watercolor, blending the poet’s facial features with those of the ascetic girl beside the tree. It was she who, frowning at me, spoke.
“Who hath known the ways of time
Or trodden behind his feet?”
“Whatever, babe,” I threw at her, disliking her haughty attitude. “So, you’re copying, um, Burne-Jones...?”
“Nope. Rossetti, painter and poet. Interesting, isn’t it, how many artists have also been rhymers?” He worked his brush with dexterity and aptitude, and suddenly an idea flashed in my brain.
“Hey, those paintings above the beds...”
Mocking meekness, he bowed his head. “Most of them are mine own. The Pickman in your room is an original. I’ve touched it up a little, to bring out the
beast.”
“That explains it,” I cheerfully replied. “I was wondering why the ones I was familiar with didn’t look quite right. You’ve blended the original sitters with models of your own, as you’re doing now. That’s kind of cool.” I did not mention that I thought it a dubious practice to “touch up” another artist’s work.
Leaving him to his labor, I went to join Pera, who sat beside the pool of water, a petite parasol protecting her from sunlight.
Absentmindedly, she dipped her hand into the bunch of pretty flowers in her lap. “Playing her part to the full,” I thought, although when I saw the expression in her eyes beneath their veil I reconsidered. She gazed at me with eyes that were wide and lunatic, but also so sad that I grew quite melancholy. Tenderly, I took up a bloom and tossed it into the murky water.
Oskar came to join us, sitting next to the pool and staring into its depths with an odd expression shifting the features of his yellow face. When I asked if he was feeling well, he merely smiled and shrugged, then dipped his hand into the pool and raised a handful of cupped water to his crown. I watched the water dribble down his features. Pera reached out to his wet face and began to dry it with her glove. Oskar took her hand and kissed it, then turned to watch an approaching figure.
“The Mistress approaches,” Oskar whispered.
I studied the crone as she stalked toward us, then smiled as she held a boxlike contraption and pointed its covered lens to us. Pera turned away, but Oskar stared, transfixed, as the witch removed the brass covering from the lens. I heard the squawking of crows in the trees above us and imagined that the light of day subtly subdued. Quickly, the cover was snapped back into place. The old hag’s mirthless laughter unnerved me. I did not like the way she investigated my facial features as she placed her camera or whatever it was on the ground and untied the piece of black fabric that encircled her throat.
