I signal my assistant to move 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 from me, and her arms rise slowly until they are stretched outward to their furthest limit, fingertips tensely straining for that extra millimeter or so. A final signal commands her nodding head to lift fully erect upon the muscle-knotted column of her neck, eyes glaring out at the audience. The eyes beyond the edge of the stage glare back at her with the same gaze. "Now," I admonish them with poised palm, "there must be total silence. This means no coughs, no sniffs, no clearing of throats." And they obey this unreasonable command; their bodies are silent, for I am their master. They are a noiseless maze of flesh. "Ladies and Gentlemen," I continue, "you are about to see something that I need not tout with tawdry preliminaries. My assistant is nova in the deepest possible trance. The particles of her being are obeisant to forces beyond mundane existence, beyond life, death, and so on and so forth. At my instruction she will begin an astounding metamorphosis—entirely through the power of hypnotic energy-which will reveal to you one of the multitudinous unseen facets of the human diamond. Nothing more need be said. My dear, you may commence your change of form, code name: Sarah McFinn."
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 luminesce; she beginsto effloresce; and now she approaches such radiance that up here on stage. I am nearly blinded. But there is no pain, there is anything but eyesore." No one in the audience is even squinting, I notice, for the beams from her body—this labyrinth of light!—are dream beams without physical properties. "Keep watching," I shout at them, pointing to the human luminary. "Are those snow-white wings you see sprouting beyond the horizon of her shoulders? Have the slender lengths of her arms, her legs, her neck all turned to a quivering, angelified alabaster? Is she not the very image of celestiality discarnate?"
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 fascinates them. Bah. Double bah.
"Thank you, Ladies and Gentlemen," I say when the lights come back on and the meager applause dies entirely. "I hope my beautiful assistant and I haven't bored you too much 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 rises several decibels. The party's populus begins to coagulate into groups here and there. I separate myself from a boisterous congregation surrounding my assistant and me, but nobody seems to notice. They are entranced with 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 command her attention; but she just smiles, so vacant and full of grace, not even sipping the drink some lucky person was allowed to place in her slender hand. They are transfixed, just like lady spiders during the mating ritual. After all, didn't I tell them that my lanky hypnotizee was their very own vision of fleshly perfection? And perfection is master! Or at least one's idea of it.
But I too have my admirers. One dark-suited bore asks me if hypnosis can help him stop drinking; another inquires if I can show him and his partners the way to undiscovered realms of wealth. 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 remarkable 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 this room of leftover rococo. It's a delight to see you make your way about the irregular circumference of this room, where the wall undulates in gentle peaks and hollows, its surface sinewed with a maze of chinoiserie. The serpentine pattern makes it difficult to distinguish the wall's recesses from its protusions. Some of the guests shift their weight wallwards and find themselves leaning on air, stumbling sideways like comedians from 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 you are encouraged to be seated in an elegant chair of blinding brocade, its delicate arms the texture of cartilage and its color like some powdery disc in a woman's cosmetics case. Your high heels make subtle points in the intricate scheme of the carpet, puncturing its arabesque flights of imagination. Now I watch as our host draws you over to the bait he has hospitably set up in this cornerless room. He waves his hand and indicates to you the many bottleshapes to choose from, shapes both normals? and baroque. The baroquely shaped bottles are doing more interesting things with light and shadow than their normal brothers, and you select one of these with a gesture of 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 tableful of delicate figurines, each one caught in a paralyzed stance of some ancient dance. He places one of them in your hand, and you pass it back and forth before your unfocused eyes, as if trying to awaken yourself with this distraction of movement. 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. 0, that ceiling! In epic contrast to the capricious volutions of the rest of the room —designs tendriled to tenebrosity—the ceiling is a dark, chalky blue without a hint of flourish. In its purity it suggests a bottomless pool or an infinite sky wiped clean of stars. You are dancing in eternity, my quadrillioning manniquin. 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 frigid elegance, your postures and poses like frozen roses. I am only waiting until everyone has had bodily contact with your powers 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.
Creeping up the triple-tiered and white-carpeted stairway, I sit down on the floor beside the child. "Did you see my little show with the lady?" I ask him. He shakes his head horizontally, 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 on the vertical. 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.
"Now listen closely to everything I say," I say 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 usually have wandering eyes and minds. He agrees with me that he is feeling rather sleepy now, that bedtime is imminent. "And when you go back to your room, you will fall tight to sleep and have wonderful dreams. You will not awaken until morning, no matter what sounds you hear outside your door. Understand?" He nods; he is a great nodder, this one. "Very good. And for being such an agreeable subject, 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 slowly and gently up and down with the chilling appearance of deep wisdom. "All right, then. But before you go back 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, young man. Thank you very much. Now off to bed and to your wonderful 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 laughing and the dancing have reached their zenith. 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 many-tendriled, 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 and 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 labyrinth of your grosser illusions. Didn't I show our well-behaved audience an angelized 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 agonized passion; somersaults into fires of doom; nosedives, if you will, into the frenzied pageant of vulnerable flesh. They wanted a tangible thrill.
And now that their own miniature 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 leads me to a back hallway, back rooms, and finally a back door. And all 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 facade of this house.
I am standing on the front porch now, just behind 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 trance of life. Ha, I have to laugh. Death is the consummation of mortality and—to let out a big secret—only heightens mortal susceptibilities. Of course, it takes a great master to pry open a pair of post-mortem eyes once they are sewn tightly closed by Mr. D. And even afterward there is so little these creatures are good for. As conversationalists they are incredibly vacant; the things they tell you. are no more than sweet nullities. But there is not much else you can do with them, they are so hideous and smell to high heaven. So mostly we just talk. Sometimes, however, I recruit them for my show, if 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. But there is one great problem: You just can't make them beautiful. One is not a sorcerer!
But perhaps one is a mental prestidigitator, an unusually adept whammy artist. One may make an audience think them beautiful, mistake them for spellbinding, snake-eyed charmers. One can do this at least, and loves to.
Even now I hear them still laughing, still dancing, still making a fuss over my charismatic doll of the dead. We showed them what you might be, O Seraphita, now let's show them what you really are. I have only to press this glowing 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. They'll see the sepulchral wounds: your eyes recessed in their sockets, sunken into mouths—those labyrinthine pits! 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.
One Thousand Painful Variations Performed Upon Divers Creatures Undergoing The Treatment of Dr. Moreau, Humanist (1982)
First published in Grimoire #1, 1982
Dr. Moreau is examining the manwolf strapped to the operating table. He has worked very hard on this one, tearing him by slow and torturous degrees away from his bestial origins.
Today Dr. Moreau is curious. He sees the manwolf gazing at his pretty assistant. He first tries to read the truth in the manwolf's eyes but cannot. Now he must resort to an empirical test.
Very casually Dr. Moreau loosens the straps binding the wrists and ankles of the manwolf and then, quietly, leaves the room. He waits a few moments in the hallway, anxious to allow them enough time. Finally, opening a thin crack in the door, he peeks inside with one eye.
Well so much for that, he thinks, and suddenly steps into the room to confront his two subjects—the assistant; standing rigid with terror; the manwolf: down on one knee like a delirious knight before the manaced lady he would gladly save.
"Idiot," screams Dr. Moreau, knocking the manwolf's head a good forty-five degrees to one side with the back of his hand. "We've got a long way to go with these beasts," he tells his assistant. "It's for their own good!"
Then, with disgust, he takes a little gold key from his vest pocket and walks toward a huge door, behind which is a perplexing array of powerful drugs and instruments of unimaginable pain.
Ghost Stories For The Dead (1982)
First published in Grimoire #2, 1982.
This version taken from: Crypt Of Cthulhu.
That faint light in each of use which dates back to before our birth, to before all births, is what must be protected if we want to rejoint that remote glory from which we shall never know why we were separated.—E. M. Cioran.
The New Blackness
It isn't like that of an incessant night, the kind poked into only now and then by a few abandoned lights on a lonely street; nor is it like that of the drab trousers and matching jacked filled out by a stranger met on such a night. It isn't even what remains after a tricky wind snuffs the tiny hysteria of a match-flame which, on request, is offered by this
stranger. Not like the stranger's face grinning in the flamelight; not like the sudden emptiness his weapon-weighted hand inflicts. The double negative night-within-night of the stranger's car trunk is not remotely like it.
It is absolutely, when all is considered, not anything like the dimness of the basement where the stranger detains his first victim, nor like the blindness with which he slowly and with regrettable invention afflicts this victim. Not like it too is the gloom of an attic where a second victim, starving for days, feasts upon decomposing birds, which the stranger stealthily traps and laboriously defeathers before the eyes of his famished victim. Bound to a chair within the shuttered shed behind ruined apartments, a third victim ultimately discovers that twelve dense nights of radical, though very amateur, surgery does not even come close to it. And other victims, far too numerous to mention, experience various shades and types of lightlessness that are equally unlike the new blackness of their future.
For the new blackness keeps no secrets, and the new blackness touches without pain. In it there is nothing to know or remember about who you once might have been. Which of the strangers victims were you? Fortunately such troubling issues cannot raise themselves when their is no one left to care one way or another. Perhaps you were even that shabby madman himself, who saved his worst and most reliable torments to propel his own life into the mercies of the new blackness.
Is he there with you? You with him?
The Collected Short Fiction Page 7
