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 photographer Spence had made a great visionary advance when he intuited that it was in the nature of the Teatro to act on his request to utterly destroy someone (although the exact meaning of the statement “he will know about the soft black stars,” in reference to Spence’s landlord, became known to both of us only sometime later). I realized that I would need to make a similar leap of insight in my own mind. While I had already perceived the Teatro to be a profoundly anti-artistic phenomenon, I was not yet sure what in the world would constitute an anti-Teatro phenomenon, as well as how in the world I could turn my own prose writings to such a purpose.
Thus, for several days I meditated on these questions. As usual, the psychic demands of this meditation severely taxed my bodily processes, and in my weakened state I contracted a virus, specifically an intestinal virus, which confined me to my small apartment for a period of one week. Nonetheless, it was during this time that things fell into place regarding the Teatro and the insights I required to oppose this company of nightmares in a more or less efficacious manner.
Suffering through the days and nights of an illness, especially an intestinal virus, one becomes highly conscious of certain realities, as well as highly sensitive to the functions of these realities, which otherwise are not generally subject to prolonged attention or meditation. Upon recovery from such a virus, the consciousness of these realities and their functions necessarily fades, so that the once-stricken person may resume his life’s activities and not be driven to insanity or suicide by the acute awareness of these most unpleasant facts of existence. Through the illumination of analogy, I came to understand that the Teatro operated in much the same manner as the illness from which I recently suffered, with the consequence that the person exposed to the Teatro-disease becomes highly conscious of certain realities and their functions, ones quite different of course from the realities and functions of an intestinal virus. However, an intestinal virus ultimately succumbs, in a reasonably healthy individual, to the formation of antibodies (or something of that sort). But the disease of the Teatro, I now understood, was a disease for which no counteracting agents, or antibodies, had ever been created by the systems of the individuals—that is, the artists—it attacked. An encounter with any disease, including an intestinal virus, serves to alter a person’s mind, making it intensely aware of certain realities, but this mind cannot remain altered once this encounter has ended or else that person will never be able to go on living in the same way as before. In contrast, an encounter with the Teatro appears to remain within one’s system and to alter a person’s mind permanently. For the artist the result is not to be driven into insanity or suicide (as might be the case if one assumed a permanent mindfulness of an intestinal virus) but the absolute termination of that artist’s work. The simple reason for this effect is that there are no antibodies for the disease of the Teatro, and therefore no relief from the consciousness of the realities which an encounter with the Teatro has forced upon an artist.
Having progressed this far in my contemplation of the Teatro—so that I might discover its nature or essence and thereby make my prose writings into an anti-Teatro phenomenon—I found that I could go no further. No matter how much thought and meditation I devoted to the subject I did not gain a definite sense of having revealed to myself the true realities and functions that the Teatro communicated to an artist and how this communication put an end to that artist’s work. Of course I could vaguely imagine the species of awareness that might render an artist thenceforth incapable of producing any type of artistic efforts. I actually arrived at a fairly detailed and disturbing idea of such an awareness—a world-awareness, as I conceived it. Yet I did not feel I had penetrated the mystery of “Teatro-stuff.” And the only way to know about the Teatro, it seemed, was to have an encounter with it. Such an encounter between myself and the Teatro would have occurred in any event as a result of the discovery that my prose writings had been turned into an anti-Teatro phenomenon: This would constitute an approach of the most outrageous sort to that company of nightmares, forcing an encounter with all its realities and functions. Thus it was not necessary, at this point in my plan, to have actually succeeded in making my prose writings into an anti-Teatro phenomenon. I simply had to make it known, falsely, that I had done so.
As soon as I had sufficiently recovered from my intestinal virus I began to spread the word. Every time I found myself among others who belonged to the so-called artistic underworld of this city I bragged that I had gained the most intense awareness of the Teatro’s realities and functions, and that, far from finishing me off as an artist, I had actually used this awareness as inspiration for a series of short prose works. I explained to my colleagues that merely to exist—let alone create artistic works—we had to keep certain things from overwhelming our minds. However, I continued, in order to keep these things, such as the realities of an intestinal virus, from overwhelming our minds we attempted to deny them any voice whatever, neither a voice in our minds and certainly not a precise and clear voice in works of art. The voice of madness, for instance, is barely a whisper in the babbling history of art because its realities are themselves too maddening to speak of for very long . . . and those of the Teatro have no voice at all, given their imponderably grotesque nature. Furthermore, I said, the Teatro not only propagated an intense awareness of these things, these realities and functionings of realities, it was identical with them. And I, I boasted, had allowed my mind to be overwhelmed by all manner of Teatro stuff, while also managing to use this experience as material for my prose writings. “This,” I practically shouted one day at Des Esseintes’ Library, “is the super-art.” Then I promised that in two days time I would give a reading of my series of short prose pieces.
Nevertheless, as we sat around on some old furniture in a corner of Des Esseintes’ Library, several of t
he others challenged my statements and assertions regarding the Teatro. One fellow writer, a poet, spoke hoarsely through a cloud of cigarette smoke, saying to me: “No one knows what this Teatro stuff is all about. I’m not sure I believe it myself.” But I answered that Spence knew what it was all about, thinking that very soon I too would know what he knew. “Spence!” said a woman in a tone of exaggerated disgust (she once lived with the photographer and was a photographer herself). “He’s not telling us about anything these days, never mind the Teatro.” But I answered that, like the purple woman and the others, Spence had been overwhelmed by his encounter with the Teatro, and his artistic impulse had been thereby utterly destroyed. “And your artistic impulse is still intact,” she said snidely. I answered that, yes, it was, and in two days I would prove it by reading a series of prose works that exhibited an intimacy with the most overwhelmingly grotesque experiences and gave voice to them. “That’s because you have no idea what you’re talking about,” said someone else, and almost everyone supported this remark. I told them to be patient, wait and see what my prose writings revealed to them. “Reveal?” asked the poet. “Hell, no one even knows why it’s called the Teatro Grottesco.” I did not have an answer for that, but I repeated that they would understand much more about the Teatro in a few days, thinking to myself that within this period of time I would have either succeeded or failed in my attempt to provoke an encounter with the Teatro and the matter of my nonexistent anti-Teatro prose writing would be immaterial.
On the very next day, however, I collapsed in Des Esseintes’ Library during a conversation with a different congregation of artists and highly artistic persons. Although the symptoms of my intestinal virus had never entirely disappeared, I had not expected to collapse the way I did and ultimately to discover that what I thought was an intestinal virus was in fact something far more serious. As a consequence of my collapse, my unconscious body ended up in the emergency room of a nearby hospital, the kind of place where borderline indigents like myself always end up—a backstreet hospital with dated fixtures and a staff of sleepwalkers.
When I next opened my eyes it was night. The bed in which they had put my body was beside a tall paned window that reflected the dim fluorescent light fixed to the wall behind me, creating a black glare in the windowpanes that allowed no view of anything beyond them but only a broken image of myself and the room where I had been assigned for treatment. There was a long row of these tall paned windows and several other beds in the ward, each of them supporting a sleeping body that, like mine, was damaged in some way and therefore had been committed to that backstreet hospital.
I felt none of the extraordinary pain that had caused me to collapse in Des Esseintes’ Library. At that moment, in fact, I could feel nothing of the experiences of my past life: it seemed I had always been an occupant of that dark hospital ward and always would be. This sense of estrangement from both myself and everything else made it terribly difficult to remain in the hospital bed where I had been placed. At the same time I felt uneasy about any movement away from that bed, especially any movement that would cause me to approach the open doorway which led into a half-lighted backstreet hospital corridor. Compromising between my impulse to get out of my bed and my fear of moving away from the bed and approaching that corridor, I positioned myself so that I was sitting on the edge of the mattress with my bare feet grazing the cold linoleum floor. I had been sitting on the edge of that mattress for quite a while before I heard the voice out in the corridor.
The voice came over the public address system, but it was not a particularly loud voice. In fact I had to strain my attention for several minutes simply to discern the peculiar qualities of the voice and to decipher what it said. It sounded like a child’s voice, a sing-song voice full of taunts and mischief. Over and over it repeated the same phrase—paging Dr. Groddeck, paging Dr. Groddeck. The voice sounded incredibly hollow and distant, garbled by all kinds of interference. Paging Dr. Groddeck, it giggled from the other side of the world.
I stood up and slowly approached the doorway leading out into the corridor. But even after I had crossed the room in my bare feet and was standing in the open doorway, that child’s voice did not become any louder or any clearer. Even when I actually moved out into that long dim corridor with its dated lighting fixtures, the voice that was calling Dr. Groddeck sounded just as hollow and distant. And now it was as if I were in a dream in which I was walking in my bare feet down a backstreet hospital corridor, hearing a crazy voice that seemed to be eluding me as I moved past the open doorways of innumerable wards full of damaged bodies. But then the voice died away, calling to Dr. Groddeck one last time before fading like the final echo in a deep well. At the same moment that the voice ended its hollow outcrying, I paused somewhere toward the end of that shadowy corridor. In the absence of the mischievous voice I was able to hear something else, a sound like quiet, wheezing laughter. It was coming from the room just ahead of me along the right hand side of the corridor. As I approached this room I saw a metal plaque mounted at eye-level on the wall, and the words displayed on this plaque were these: Dr. T. Groddeck.
A strangely glowing light emanated from the room where I heard that quiet and continuous wheezing laughter. I peered around the edge of the doorway and saw that the source of the laughter was an old gentleman seated behind a desk, while the strangely glowing light was coming from a large globular object positioned on top of the desk directly in front of him. The light from this object—a globe of solid glass, it seemed—shone on the old gentleman’s face, which was a crazy-looking face with a neatly clipped beard that was pure white and a pair of spectacles with slim rectangular lenses resting on a slender nose. When I moved to stand in the doorway of that office, the eyes of Dr. Groddeck did not gaze up at me but continued to stare into the strange, shining globe and at the things that were inside it.
What were these things inside the globe that Dr. Groddeck was looking at? To me they appeared to be tiny star-shaped flowers evenly scattered throughout the glass, just the thing to lend a mock-artistic appearance to a common paperweight. Except that these flowers, these spidery chrysanthemums, were pure black. And they did not seem to be firmly fixed within the shining sphere, as one would expect, but looked as if they were floating in position, their starburst of petals wavering slightly like tentacles. Dr. Groddeck appeared to delight in the subtle movements of those black appendages. Behind rectangular spectacles his eyes rolled about as they tried to take in each of the hovering shapes inside the radiant globe on the desk before him.
Then the doctor slowly reached down into one of the deep pockets of the lab coat he was wearing, and his wheezing laughter grew more intense. From the open doorway I watched as he carefully removed a small paper bag from his pocket, but he never even glanced at me. With one hand he was now holding the crumpled bag directly over the globe. When he gave the bag a little shake, the things inside the globe responded with an increased agitation of their thin black arms. He used both hands to open the top of the bag and quickly turned it upside down.
From out of the bag something tumbled onto the globe, where it seemed to stick to the surface. It was not actually adhering to the surface of the globe, however, but was sinking into the interior of the glass. It squirmed as those soft black stars inside the globe gathered to pull it down to themselves. Before I could see what it was that they had captured, the show was over. Afterward they returned to their places, floating slightly once again within the glowing sphere.
I looked at Dr. Groddeck and saw that he was finally looking back at me. He had stopped his asthmatic laughter, and his eyes were staring frigidly into mine, completely devoid of any readable meaning. Yet somehow these eyes provoked me. As I stood in the open doorway of that hideous office in a backstreet hospital, Dr. Groddeck’s eyes aroused in me an intense outrage, an astronomical resentment of the position I had been placed in. Even as I had consummated my plan to encounter the Teatro and experience its most devastating realities and f
unctions (in order to turn my prose works into an anti-Teatro phenomenon) I was outraged to be standing where I was standing and resentful of the staring eyes of Dr. Groddeck. It no longer mattered if I had approached the Teatro, the Teatro had approached me, or we both approached each other. I realized that there is such a thing as being approached in order to force one’s hand into making what only appears to be an approach, which is actually a non-Teatro approach that negates the whole concept of approaching. It was all a fix from the start because I belonged to an artistic underworld, because I was an artist whose work would be brought to an end by an encounter with the Teatro Grottesco. And so I was outraged by the eyes of Dr. Groddeck, which were the eyes of the Teatro, and I was resentful of all the insane realities and the excruciating functions of the Teatro. Although I knew that the persecutions of the Teatro were not exclusively focused on the artists and highly artistic persons of the world, I was nevertheless outraged and resentful to be singled out for special treatment. I wanted to punish those persons in this world who are not the object of such special treatment. Thus, at the top of my voice, I called out in the dim corridor—I cried out the summons for others to join me before the stage of the Teatro. Strange that I should think it necessary to compound the nightmare of all those damaged bodies in that backstreet hospital, as well as its staff of sleepwalkers who moved within a world of outdated fixtures. But by the time anyone arrived Dr. Groddeck was gone, and his office became nothing more than a room full of dirty laundry.
My escapade that night notwithstanding, I was soon released from the hospital, even though the results of several tests I had been administered were still pending. I was feeling as well as ever, and the hospital, like any hospital, always needed bedspace for more damaged bodies. They said I would be contacted in the next few days.
It was in fact the following day that I was informed of the outcome of my stay in the hospital. “Hello again,” began the letter, which was typed on a plain, though water-stained sheet of paper. “I was so pleased to finally meet you in person. I thought your performance during our interview at the hospital was really first rate, and I am authorized to offer you a position with us. There is an opening in our organization for someone with your resourcefulness and imagination. I’m afraid things didn’t work out with Mr. Spence. But he certainly did have a camera’s eye, and we have gotten some wonderful pictures from him. I would especially like to share with you his last shots of the soft black stars, or S.B.S., as we sometimes refer to them. Veritable super-art, if there ever was such a thing!
In Heaven, Everything Is Fine: Fiction Inspired by David Lynch Page 36
