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 antiTeatro 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—abackstreet 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 above my bed, 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 around me. 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 awhile 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-songy 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 laughter was coming from 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 the bridge of a slender nose.
When I stood 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 and surrounded, 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 abackstreet 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 antiTeatro phenomenon) I was outraged to be standing where I was standing and resentful of the staring eyes of Dr. Groddeck. No matter 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-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 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 n
evertheless 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 pending the results of several tests I had been administered. I was feeling as well as ever, and the hospital, like any hospital, always needed the 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 aplain, though waterstained sheet of paper. “I was so pleased to finally meet you in person. I thought your performance in 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 superart, 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.
The Red Tower
The ruined factory stood three stories high in an otherwise featureless landscape. Although somewhat imposing on its own terms, it occupied only the most unobtrusive place within the gray emptiness of its surroundings, its presence serving as a mere accent upon a desolate horizon. No road led to the factory, nor were there any traces of one that might have led to it at some time in the distant past. If there had ever been such a road it would have been rendered useless as soon as it arrived at one of the four, red-bricked sides of the factory, even in the days when the facility was in full operation. The reason for this was simple: no doors had been built into the factory, no loading docks or entranceways allowed penetration of the outer walls of the structure, which was solid brick on all four sides without even a single window below the level of the second floor. The phenomenon of a large factory so closed off from the outside world was a point of extreme fascination to me. It was almost with regret that I ultimately learned about the factory’s subterranean access. But of course that revelation in its turn also became a source for my truly degenerate sense of amazement, my decayed fascination.
The factory had long been in ruins, its innumerable bricks worn and crumbling, its many windows shattered. Each of the three enormous stories that stood above the ground level was vacant of all but dust and silence. The machinery, which densely occupied the three floors of the factory as well as considerable space beneath it, is said to have evaporated, I repeat, evaporated, soon after the factory ceased operation, leaving behind it only a few spectral outlines of deep vats and tanks, twisting tubes and funnels, harshly grinding gears and levers, giant belts and wheels that could be most clearly seen at twilight—and later, not at all. According to these strictly hallucinatory accounts, the whole of the Red Tower, as the factory was known, had always been subject to fadings at certain times. This phenomenon, in the delirious or dying words of several witnesses, was due to a profound hostility between the clamorous and malodorous operations of the factory and the desolate purity of the landscape surrounding it, the conflict occasionally resulting in temporary erasures, or fadings, of the former by the latter.
Despite their ostensibly mad or credulous origins, these testimonies, it seemed to me, deserved more than a cursory hearing. The legendary conflict between the factory and the grayish territory surrounding it may very well have been a fabrication of individuals who were lost in the advanced stages of either physical or psychic deterioration. Nonetheless, it was my theory, and remains so, that the Red Tower was not always that peculiar color for which it ultimately earned its fame. Thus the encrimsoning of the factory was a betrayal, a breaking-off, for it is my postulation that this ancient structure was in long-forgotten days the same pale hue as the world which encompassed it.
Furthermore, with an insight born of dispassion to the point of total despair, I envisioned that the Red Tower was never solely devoted to the lowly functions of an ordinary factory.
Beneath the three soaring stories of the Red Tower were two, possibly three, other levels. The one immediately below the first floor of the factory was the nexus of a unique distribution system for the goods which were manufactured on all three of the floors above. This first subterranean level in many ways resembled, and functioned in the manner of, an old-fashioned underground mine.
Elevator compartments enclosed by a heavy wire mesh, twisted and corroded, descended far below the surface into an expansive chamber which had been crudely dug out of the rocky earth and was haphazardly perpetuated by a dense structure of supports, a crisscrossing network of posts and pillars, beams and rafters, that included a variety of materials—wood, metal, concrete, bone, and a fine sinewy webbing that was fibrous and quite firm. From this central chamber radiated a system of tunnels that honeycombed the land beneath the gray and desolate country surrounding the Red Tower. Through these tunnels the goods manufactured by the factory could be carried, sometimes literally by hand, but more often by means of small wagons and carts, reaching near and far into the most obscure and unlikely delivery points.
The trade t
hat was originally produced by the Red Tower was in some sense remarkable, but not, at first, of an extraordinary or especially ambitious nature. These were a gruesome array of goods, perhaps best described as novelty items. In the beginning there was a chaotic quality to the objects and constructions produced by the machinery at the Red Tower, a randomness that yielded formless things of no consistent shape or size or apparent design.
Occasionally there might appear a particular ashen lump that betrayed some semblance of a face or clawing fingers, or perhaps an assemblage that looked like a casket with tiny irregular wheels, but for the most part the early productions seemed relatively innocuous. After a time, however, things began to fall into place, as they always do, rejecting a harmless and uninteresting disorder—never an enduring state of affairs—and taking on the more usual plans and purposes of a viciously intent creation.
So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava which had set into their rough igneous forms a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual’s death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling “hands” were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.
The Shadow at the Bottom of the World Page 28
