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 ‘Teatrostuff.’ 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 whatsoever, neither a voice in our minds nor, certainly, 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 the 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, 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 wards 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 ward 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 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. Even as I stood in the open doorway of that hideous office in a backstreet hospital, Dr Groddeck’s eyes provoked 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 functions (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 whether I had approached the Teatro, the Teatro had approached me, or we had 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-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 bed space for more damaged bodies. They said I would be contacted in the next few days.
It was in fact on 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 waterstained 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!
‘By the way, the results of your tests – some of which you have yet to be subjected to – are going to come back positive. If you think an intestinal virus is misery, just wait a few more months. So think fast, sir. We will arrange another meeting with you in any case. And remember – you approached us. Or was it the other way around?
‘As you might have noticed by now, all this artistic business can only keep you going so long before you’re left speechlessly gaping at the realities and functions of . . . well, I think you know what I’m trying to say. I was forced into this realization myself, and I’m quite mindful of what a blow this can be. Indeed, it was I who invented the appellative for our organization as it is currently known. Not that I put any stock in names, nor should you. Our company is so much older than its own name, or any other name for that matter. (And how many it’s had over the years – The Ten Thousand Things, Anima Mundi, Nethescurial.) You should be proud that we have a special part for you to play, such a talented artist. In time you will forget yourself entirely in your work, as we all do eventually. Myself, I go around with a trunkful of aliases, but do you think I can say who I once was really? A man of the theater, that seems plausible. Possibly I was the father of Faust or Hamlet – or merely Peter Pan.
‘In closing, I do hope you will seriously consider our offer to join us. We can do something about your medical predicament. We can do just about anything. Otherwise, I’m afraid that all I can do is welcome you to your own private hell, which will be as unspeakable as any on earth.’
The letter was signed Dr Theodore Groddeck, and its prognostication of my physical health was accurate: I have taken more tests at the backstreet hospital and the results are somewhat grim. For several days and sleepless nights I have considered the alternatives the doctor proposed to me, as well as others of my own devising, and have yet to reach a decision on what course to follow. The one conclusion that keeps forcing itself upon me is that it makes no difference what choice I make or do not make. You can never anticipate the Teatro – or anything else. You can never know what you are approaching or what is approaching you. Soon enough my thoughts will lose all clarity, and I will no longer be aware that there was ever a decision to be made. The soft black stars have already begun to fill the sky.
GAS STATION CARNIVALS
Outside the walls of the Crimson Cabaret was a world of rain and darkness. At intervals, whenever someone entered or exited through the front door of the club, one could actually see the steady rain and was allowed a brief glimpse of the darkness. Inside it was all amber light, tobacco smoke,
and the sound of the raindrops hitting the windows, which were all painted black. On such nights, as I sat at one of the tables in that drab little place, I was always filled with an infernal merriment, as if I were waiting out the apocalypse and could not care less about it. I also liked to imagine that I was in the cabin of an old ship during a really vicious storm at sea or in the club car of a luxury passenger train that was being rocked on its rails by ferocious winds and hammered by a demonic rain. Sometimes, when I was sitting in the Crimson Cabaret on a rainy night, I thought of myself as occupying a waiting room for the abyss (which of course was exactly what I was doing) and between sips from my glass of wine or cup of coffee I smiled sadly and touched the front pocket of my coat where I kept my imaginary ticket to oblivion.
However, on that particular rainy November night I was not feeling very well. My stomach was slightly queasy, as if signalling the onset of a virus or even food poisoning. Another source for my malaise, I thought to myself, might well have been my longstanding nervous condition, which fluctuated from day to day but was always with me in some form and manifested itself in a variety of symptoms both physical and psychic. I was in fact experiencing a faint sensation of panic, although this in no way ruled out the possibility that the queasiness of my stomach was due to a strictly physical cause, either viral or toxic. Neither did it rule out a third possibility which I was trying to ignore at that point in the evening. Whatever the etiology of my stomach disorder, I felt the need to be in a public place that night, so that if I should collapse – an eventuality I often feared – there would be people around who might attend to me, or at least shuttle my body off to the hospital. At the same time I was not seeking close contact with any of these people, and I would have been bad company in any case, sitting there in the corner of the club drinking mint tea and smoking mild cigarettes out of respect for my ailing stomach. For all these reasons I had brought my notebook with me that night and had it lying open on the table before me, as if to say that I wanted to be left alone to mull over some literary matters. But when Stuart Quisser entered the club at approximately ten o’clock, the sight of me sitting at a corner table with my open notebook, drinking mint tea and smoking mild cigarettes so that I might stay on top of the situation with my queasy stomach, did not in the least discourage him from walking directly to my table and taking the seat across from me. A waitress came over to us. Quisser ordered some kind of white wine, while I asked for another cup of mint tea.
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