Jacobs shook his head. “Hate the cities, big cities like that. C’n’t stand to live in them at all.” He ran a hand through his hair. “I lived in New York for a while, seven-eight yeahs back, ’fore settling in Skowhegan again. It was terrible theah, even back then, and it’s worse now. People down theah dying on their feet, walking around dead without anybody to tell ’em to lie down and get buried decent.”
“We’re dying here too, Ben,” Everett said. “We’re just doing it slower, is all.”
Jacobs shrugged. “Mebbe so,” he said. “’Scuse me.” He walked back to the kitchen, began to scrape the dishes and stack them in the sink. His hands had started to tremble again.
When he returned to the parlor, after putting Chris to bed, he found that conversation had almost died. Everett and Sussmann were arguing halfheartedly about the Factory, each knowing that he’d never convince the other. It was a pointless discussion, and Jacobs did not join it. He poured himself a glass of beer and sat down. Amy hardly noticed him; her usually pleasant face was stern and angry. Carol found an opportunity to throw him a sympathetic wink while tossing her long hair back over her shoulder, but her face was flushed too, and her lips were thin. The evening had started off well, but it had soured somehow; everyone felt it. Jacobs began to clean his pipe, using a tiny knife to scrape the bowl. A siren went by outside, wailing eerily away into distance. An ambulance, it sounded like, or the fire-rescue truck again—more melancholy and mournful, less predatory than the siren of a police cruiser. “. . . brew viruses . . .” Everett was saying, and then Jacobs lost him, as if Everett were being pulled further and further away by some odd, local perversion of gravity, his voice thinning into inaudibility. Jacobs couldn’t hear him at all now. Which was strange, as the parlor was only a few yards wide. Another siren. There were a lot of them tonight; they sounded like the souls of the dead, looking for home in the darkness, unable to find light and life. Jacobs found himself thinking about the time he’d toured Vienna, during “recuperative leave” in Europe, after hospitalization in ’Nam. There was a tour of the catacombs under the Cathedral, and he’d taken it, limping painfully along on his crutch, the wet, porous stone of the tunnel roof closing down until it almost touched the top of his head. They came to a place where an opening had been cut through the hard, gray rock, enabling the tourists to come up one by one and look into the burial pit on the other side, while the guide lectured calmly in alternating English and German. When you stuck your head through the opening, you looked out at a solid wall of human bones. Skulls, arm and leg bones, rib cages, pelvises, all mixed in helter-skelter and packed solid, layer after uncountable layer of them. The wall of bones rose up sheer out of the darkness, passed through the fan of light cast by a naked bulb at eye-level, and continued to rise—it was impossible to see the top, no matter how you craned your neck and squinted. This wall had been built by the Black Death, a haphazard but grandiose architect. The Black Death had eaten these people up and spat out their remains, as casual and careless as a picnicker gnawing chicken bones. When the meal was over, the people who were still alive had dug a huge pit under the Cathedral and shoveled the victims in by the hundreds of thousands. Strangers in life, they mingled in death, cheek by jowl, belly to backbone, except that after a while there were no cheeks or jowls. The backbones remained: yellow, ancient and brittle. So did the skulls—upright, upside down, on their sides, all grinning blankly at the tourists.
The doorbell rang.
It was Dave Lucas. He looked like one of the skulls Jacobs had been thinking about—his face was gray and gaunt, the skin drawn tightly across his bones; it looked as if he’d been dusted with powdered lime. Shocked, Jacobs stepped aside. Lucas nodded to him shortly and walked by into the parlor without speaking. “. . . stuff about the Factory is news,” Sussmann was saying, doggedly, “and more interesting than anything else that happens up here. It sells papers—” He stopped talking abruptly when Lucas entered the room. All conversation stopped. Everyone gaped at the old game warden, horrified. Unsteadily Lucas let himself down into a stuffed chair, and gave them a thin attempt at a smile. “Can I have a beah?” he said. “Or a drink?”
“Scotch?”
“That’ll be fine,” Lucas said mechanically.
Jacobs went to get it for him. When he returned with the drink, Lucas was determinedly making small talk and flashing his new dead smile. It was obvious that he wasn’t going to say anything about what had happened to him. Lucas was an old-fashioned Yankee gentleman to the core, and Jacobs—who had a strong touch of that in his own upbringing—suspected why he was keeping silent. So did Amy. After the requisite few minutes of polite conversation, Amy asked if she could see the new paintings that Carol was working on. Carol exchanged a quick, comprehending glance with her, and nodded. Grim-faced, both women left the room—they knew that this was going to be bad. When the women were out of sight, Lucas said, “Can I have another drink, Ben?” and held out his empty glass. Jacobs refilled it wordlessly. Lucas had never been a drinking man.
“Give,” Jacobs said, handing Lucas his glass. “What happened?”
Lucas sipped his drink. He still looked ghastly, but a little color was seeping back into his face. “A’n’t felt this shaky since I was in the a’my, back in Korea,” he said. He shook his head heavily. “I swear to Christ, I don’t understand what’s got into people in these pa’ts. Used t’be decent folk out heah, Christian folk.” He set his drink aside, and braced himself up visibly. His face hardened. “Never mind that. Things change, I guess, c’n’t stop ’em no way.” He turned toward Jacobs. “Remember that nighthunter I was after. Well we got ’im, went out with Steve Girard, Rick Barlow, few other boys, and nabbed him real neat—city boy, no woods sense at all. Well, we were coming back around the end of the pond, down the lumber road, when we heard this big commotion coming from the Gibson place, shouts, a woman screaming her head off, like that. So we cut across the back of their field and went over to see what was going on. House was wide open, and what we walked into—” He stopped; little sickly beads of sweat had appeared all over his face. “You remember the McInerney case down in Boston four-five yeahs back? The one there was such a stink about? Well, it was like that. They had a whatchamacallit there, a coven—the Gibsons, the Sewells, the Bradshaws, about seven others, all local people, all hopped out of their minds, all dressed up in black robes, and—blood, painted all over their faces. God, I—No, never mind. They had a baby there, and a kind of an altar they’d dummied up, and a pentagram. Somebody’d killed the baby, slit its throat, and they’d hung it up to bleed like a hog. Into cups. When we got there, they’d just cut its heart out, and they were starting in on dismembering it. Hell—they were tearing it apart, never mind that ‘dismembering’ shit. They were so frenzied-blind they hardly noticed us come in. Mrs. Bradshaw hadn’t been able to take it, she’d cracked completely and was sitting in a corner screaming her lungs out, with Mr. Sewell trying to shut her up. They were the only two that even tried to run. The boys hung Gibson and Bradshaw and Sewell, and stomped Ed Patterson to death—I just couldn’t stop ’em. It was all I could do to keep ’em from killing the other ones. I shot Steve Girard in the arm, trying to stop ’em, but they took the gun away, and almost strung me up too. My God, Ben, I’ve known Steve Girard a’most ten yeahs. I’ve known Gibson and Sewell all my life.” He stared at them appealingly, blind with despair. “What’s happened to people up heah?”
No one said a word.
Not in these pa’ts, Jacobs mimicked himself bitterly. There are decent limits.
Jacobs found that he was holding the pipe-cleaning knife like a weapon. He’d cut his finger on it, and a drop of blood was oozing slowly along the blade. This kind of thing—the Satanism, the ritual murders, the sadism—was what had driven him away from the city. He’d thought it was different in the country, that people were better. But it wasn’t, and they weren’t. It was bottled up better out here, was all. But it had been coming for years, and they ha
d blinded themselves to it and done nothing, and now it was too late. He could feel it in himself, something long repressed and denied, the reaction to years of frustration and ugliness and fear, to watching the world dying without hope. That part of him had listened to Lucas’ story with appreciation, almost with glee. It stirred strongly in him, a monster turning over in ancient mud, down inside, thousands of feet down, thousands of years down. He could see it spreading through the faces of the others in the room, a stain, a spider shadow of contamination. Its presence was suffocating: the chalky, musty smell of old brittle death, somehow leaking through from the burial pit in Vienna. Bone dust—he almost choked on it, it was so thick here in his pleasant parlor in the country.
And then the room was filled with sound and flashing, bloody light.
Jacobs floundered for a moment, unable to understand what was happening. He swam up from his chair, baffled, moving with dreamlike slowness. He stared in helpless confusion at the leaping red shadows. His head hurt.
“An ambulance!” Carol shouted, appearing in the parlor archway with Amy. “We saw it from the upstairs window—”
“It’s right out front,” Sussmann said.
They ran for the door. Jacobs followed them more slowly. Then the cold outside air slapped him, and he woke up a little. The ambulance was parked across the street, in front of the senior citizens’ complex. The corpsmen were hurrying up the stairs of one of the institutional, cinderblock buildings, carrying a stretcher. They disappeared inside. Amy slapped her bare arms to keep off the cold. “Heart attack, mebbe,” she said. Everett shrugged. Another siren slashed through the night, getting closer. While they watched, a police cruiser pulled up next to the ambulance, and Riddick got out. Riddick saw the group in front of Jacobs’ house, and stared at them with undisguised hatred, as if he would like to arrest them and hold them responsible for whatever had happened in the retirement village. Then he went inside too. He looked haggard as he turned to go, exhausted, hagridden by the suspicion that he’d finally been handed something he couldn’t settle with a session in the soundproofed back room at the sheriff’s office.
They waited. Jacobs slowly became aware that Sussmann was talking to him, but he couldn’t hear what he was saying. Sussmann’s mouth opened and closed. It wasn’t important anyway. He’d never noticed before how unpleasant Sussmann’s voice was, how rasping and shrill. Sussmann was ugly too, shockingly ugly. He boiled with contamination and decay—he was a sack of putrescence. He was an abomination.
Dave Lucas was standing off to one side, his hands in his pockets, shoulders slumped, his face blank. He watched the excitement next door without expression, without interest. Everett turned and said something that Jacobs could not hear. Like Sussmann’s, Everett’s lips moved without sound. He had moved closer to Amy. They glanced uneasily around. They were abominations too.
Jacobs stood with his arm around Carol; he didn’t remember putting it there—it was seeking company on its own. He felt her shiver, and clutched her more tightly in response, directed by some small, distanced, horrified part of himself that was still rational—he knew it would do no good. There was a thing in the air tonight that was impossible to warm yourself against. It hated warmth, it swallowed it and buried it in ice. It was a wedge, driving them apart, isolating them all. He curled his hand around the back of Carol’s neck. Something was pulsing through him in waves, building higher and stronger. He could feel Carol’s pulse beating under her skin, under his fingers, so very close to the surface.
Across the street, a group of old people had gathered around the ambulance. They shuffled in the cold, hawking and spitting, clutching overcoats and nightgowns more tightly around them. The corpsmen reappeared, edging carefully down the stairs with the stretcher. The sheet was pulled up all the way, but it looked curiously flat and caved-in—if there was a body under there, it must have collapsed, crumbled like dust or ash. The crowd of old people parted to let the stretcher crew pass, then re-formed again, flowing like a heavy, sluggish liquid. Their faces were like leather or horn: hard, dead, dry, worn smooth. And tired. Intolerably, burdensomely tired. Their eyes glittered in their shriveled faces as they watched the stretcher go by. They looked uneasy and afraid, and yet there was an anticipation in their faces, an impatience, almost an envy, as they looked on death. Silence blossomed from a tiny seed in each of them, a total, primordial silence, from the time before there were words. It grew, consumed them, and merged to form a greater silence that spread out through the night in widening ripples.
The ambulance left.
In the hush that followed, they could hear sirens begin to wail all over town.
Horse of Air
SOMETIMES WHEN THE weather is good I sit and look out over the city, fingers hooked through the mesh.
—The mesh is weather-stained, beginning to rust. As his fingers scrabble at it, chips of rust flake off, staining his hands the color of crusted blood. The heavy wire is hot and smooth under his fingers, turning rougher and drier at a rust spot. If he presses his tongue against the wire, it tastes slightly of lemons. He doesn’t do that very often—
The city is quieter now. You seldom see motion, mostly birds if you do. As I watch, two pigeons strut along the roof ledge of the low building several stories below my balcony, stopping every now and then to pick at each other’s feathers. They look fatter than ever. I wonder what they eat these days? Probably it is better not to know. They have learned to keep away from me anyway, although the mesh that encloses my small balcony floor to ceiling makes it difficult to get at them if they do land nearby. I’m not really hungry, of course, but they are noisy and leave droppings. I don’t really bear any malice toward them. It’s not a personal thing; I do it for the upkeep of the place.
(I hate birds. I will kill any of them I can reach. I do it with my belt buckle, snapping it between the hoops of wire.)
—He hates birds because they have freedom of movement, because they can fly, because they can shift their viewpoint from spot to spot in linear space, while he can do so only in time and memory, and that imperfectly. They can fly here and look at him and then fly away, while he has no volition: if he wants to look at them, he must wait until they decide to come to him. He flicks a piece of plaster at them, between the hoops—
Startled by something; the pigeons explode upward with a whir of feathers. I watch them fly away: skimming along the side of a building, dipping with an air current. They are soon lost in the maze of low roofs that thrust up below at all angles and heights, staggering toward the Apartment Towers in the middle distance. The Towers stand untouched by the sea of brownstones that break around their flanks, like aloof monoliths wading in a surf of scummy brown brick. Other Towers march off in curving lines toward the horizon, becoming progressively smaller until they vanish at the place where a misty sky merges with a line of low hills. If I press myself against the mesh at the far right side of the balcony, I can see the nearest Tower to my own, perhaps six hundred yards away, all of steel and concrete with a vertical line of windows running down the middle and rows of identical balconies on either side.
Nearest to me on the left is a building that rises about a quarter of the way up my Tower’s flank: patterns of dark brown and light red bricks, interlaced with fingers of mortar; weathered gray roof shingles, a few missing here and there in a manner reminiscent of broken teeth; a web of black chimney and sewage pipes crawling up and across the walls like metallic creepers. All covered with the pale splotches of bird droppings. The Towers are much cleaner; not so many horizontal surfaces. Windows are broken in the disintegrating buildings down there; the dying sunlight glints from fangs of shattered glass. Curtains hang in limp shreds that snap and drum when a wind comes up. If you squint, you can see that the wind has scattered broken twigs and rubbish all over the floors inside. No, I am much happier in one of the Towers.
(I hate the Towers. I would rather live anywhere than here.)
—He hates the Towers. As the sun starts to di
p below the horizon, settling down into the concrete labyrinth like a hog into a wallow, he shakes his head blindly and makes a low noise at the back of his throat. The shadows of buildings are longer now, stretching in toward him from the horizon like accusing fingers. A deep gray gloom is gathering in the corners and angles of walls, shot with crimson sparks from the foundering sun, now dragged under and wrapped in chill masonry. His hands go up and out, curling again around the hoops of the mesh. He shakes the mesh violently, throwing his weight against it. The mesh groans in metallic agony but remains solid. A few chips of concrete puff from the places where the ends of the mesh are anchored to the walls. He continues to tear at the mesh until his hands bleed, half-healed scabs torn open again. Tiny blood droplets spatter the heavy wire. The blood holds the deeper color of rust—
If you have enough maturity to keep emotionalism out of it, the view from here can even be fascinating. The sky is clear now, an electric, saturated blue, and the air is as sharp as a jeweler’s glass. Not like the old days. Without factories and cars to keep it fed, even the eternal smog has dissipated. The sky reminds me now of an expensive aquarium filled with crystal tropical water, me at the bottom: I almost expect to see huge eyes peering in from the horizon, maybe a monstrous nose pressed against the glass. On a sunny day you can see for miles.
But it is even more beautiful when it rains. The rain invests the still landscape with an element of motion: long fingers of it brushing across the rooftops or marching down in zigzag sheets, the droplets stirring and rippling the puddles that form in depressions, drumming against the flat concrete surfaces, running down along the edges of the shingles, foaming and sputtering from downspouts. The Towers stand like lords, swirling rain mists around them as a fine gentleman swirls his jeweled cloak. Pregnant gray clouds scurry by behind the Towers, lashed by wind. The constant stream of horizontals past the fixed vertical fingers of the Towers creates contrast, gives the eye something to follow, increases the relief of motion. Motion is heresy when the world has become a still-life. But it soothes, the old-time religion. There are no atheists in foxholes, nor abstainers when the world begins to flow. But does that prove the desirability of God or the weakness of men? I drink when the world flows, but unwillingly, because I know the price. I have to drink, but I also have to pay. I will pay later when the motion stops and the world returns to lethargy, the doldrums made more unbearable by the contrast known a moment before. That is another cross that I am forced to bear.
The Visible Man and Other Stories Page 7
