Mad Night Of Atonement (1989).

First published in Grue Magazine #9, 1989.

Also published in: Noctuary, The Nightmare Factory.

A Future Tale.

Once more from the beginning; once more until the end. You know who Dr Francis Haxhausen was and how his disappearance affected the scientific world. There was dismay and confusion when one of the leading scientists on earth withdrew from an active life of research. And there was doubt, even anxiety, when he could no longer be reached for consultation on this or that question of urgent relevance to his former colleagues, if not to the vast body of the human race. Ah, the human race. Pacing the floors of gleaming labs, the geniuses in their long white smocks fretted about the missing man of science: they bore the stigmata of worry upon their faces and their voices grew quiet, like voices heard in the shadows of a lonely church. Rumors multiplied, panicky speculations were the order of the day. But however troubled certain people had become in the absence of Dr Haxhausen, they were no less bothered by his sudden return from a strange retirement.

He was now quite a different man, shaking the hands of old friends and smiling with a warmth that was entirely out of character. "I've been travelling here and there," he explained, though he avoided elaborating on this statement. For a time everyone kept an eye on Dr Haxhausen, eager to witness a revelation of some kind, or at least some clue to suggest what had happened to him. And how nerve-wracking vigilance can be. It was not long, however, before the inevitable conclusion had to be drawn: the unfortunate man had lost his reason, gone mad from years of overwork in the service of his calling. But perhaps there still remained some pretext for hoping that the scientist would recover. After all, he managed to avoid the constraints, which some, including members of his own family, attempted to place upon his movements. And certainly this was an achievement that hinted at the survival of some measure of his old genius. Indeed, Dr Haxhausen fought to preserve his freedom with very good reason, for he required a great deal of it-freedom, not reason-to pursue his plans for the future.

For almost a year he worked secretly, and alone, in an old, empty factory building located in an open field many miles from the nearest city. And into this building he brought a motley array of equipment-objects, devices, and machinery that belonged to quite different times and places, diverse worlds of human creation. There were of course the most modern machines and instruments of science, some of which had only come into being since Dr Haxhausen's disappearance. But there were also items of far earlier historical periods- and a few imported from cultures that would not be considered very far along the path of technological progress. Thus, Dr Haxhausen unpacked several oddly shaped vessels decorated with strange glyphs and primitive images. And these clumsy vessels he rested upon a table among elegant containers of nearly invisible gla.s.s. Then he pieced together something that resembled a dirty drainspout or an old stovepipe. And he placed it, for the moment, upon the immaculate metal surface of a computer, which was the color and texture of an eggsh.e.l.l.

More exotic or antiquated paraphernalia were revealed slumbering in crates and boxes: cauldrons, retorts, masks with wide-open mouths, alembics, bellows of different sizes, crusted bells that rang with dead voices, and rusted tongs that squeaked when manipulated; a large hourgla.s.s, a small telescope, shining swords and dull knives, a long wooden pitchfork with two hornlike p.r.o.ngs, and a tall staff with marvelously embellished headpiece; miniature bottles of very thick gla.s.s plugged with stoppers in the shape of human or animal heads, candles in ivory holders with curious carvings, bright beads, beautiful convex mirrors of perfect silver, golden chalices engraved with intricate designs and powerful phrases; huge books with brittle pages, a skull and some bones; doll-like figures made of dried vegetables, puppet-like figures made of wax and wood, and various little dummies composed of obscure materials. Finally, there was a shallow crate from which Dr Haxhausen removed a vaguely circular object that seemed to be a flat stone, but a stone that was translucent and mottled like an opal with a spectrum of soft hues. And all these things the scientist brought together within his dim and drafty laboratory: each, in his mind, would play its part in his design. Clearly his ideas about the practice of science had taken an incredible leap, though whether the direction was forward or backward remained to be seen.

For months he worked with a mechanical industriousness and without worry or doubt, as though following some foreordained plan of a.s.sured success. Slowly his invention began to take form out of the chaos of materials he had united in his experiment, a miscegenation that would give birth to a revolutionary artifact, a cross-bred a.s.semblage of freakish novelty. And the result of his labors at last stood before him upon the cold and dusty floor of that factory, and he was pleased by the sight of it.

To the average eye, granted, Dr Haxhausen's invention might have appeared as no more than a bizarre sc.r.a.pheap, a hybrid of some inscrutable fancy. Dense and unbeautiful, it branched out wildly in every direction, a mad foliage of ragged metal. And it seemed just barely, or not all, integrated into a whole. Through dark hollows within the chaotic tangle of the apparatus, the faces of dolls and puppets peeked out like malicious children in hiding. Incorporated into the body of the invention, their dwarfish forms mingled with its circuitry; these figures alone, by their very presence, might have bred doubts as to the validity of the scientist's creation. And, as must already be apparent, the eccentricities of the machine did not end with a few idiotic faces.

Nevertheless, there was a certain feature of the invention that did appear to suggest some definite purpose. This was the long black tube projecting from the midst of the debris, rising from it in the manner of a cobra set for the attack. But in place of the cobra's pair of fascinating eyes, this artificial serpent was equipped with a single cyclopean socket in which was fixed a smooth disc of beautifully blended colors. When Dr Haxhausen turned a dial on the remote control unit resting in his palm, the dark metallic beast reared back its head and, with a sinister grinding sound, directed its gaze up toward a grimy skylight. For years this window on the heavens had remained sealed. But that night, through the efforts of the inexhaustible scientist, it was opened. And the spectral light of a full moon shone down into the old factory, pouring its beams into the opalescent eye of Dr Haxhausen's machine. Later, when it seemed the beast was sated with its lunar nourishment, Dr Haxhausen confidently flicked a switch on the remote control unit. And the moonlight, which had been digested and trans.m.u.ted in the bowels of the beast, was now given back to its source, spewing forth as a stream of lurid colors into the blackness, a harsh spectrum which one witness later described to authorities as an "awful rainbow quivering across the night." In the doctor's own description, this was called his Sacred Ray.

With the first stage of his project successfully completed, Dr Haxhausen moved out of his secluded laboratory. His machine, along with other things, was loaded on a truck by some hired laborers. Thus, it could easily be transported from one place to another, to be exhibited before the eyes of any who would come to see it. And this is exactly what the scientist had in mind. Abandoning obscurity and breaking his silence, he once again allowed himself to be known to the world. Naturally there was a great deal of publicity, none of which was complimentary to the worth of the scientist's revelations, though some of which paid sad homage to the former glory of his delicate mind. But public reaction was of no concern to him. His task would in any case be carried out: the world was to be given notice, the annunciation made. So he continued to travel here and there: in rented halls and auditoriums of many cities, he demonstrated the powers of his machine and spread the word to those who would hear it.

"Good evening, ladies and gentlemen," he began a typical performance in a typically out-of-date movie theater in a typical town. Standing alone on stage, Dr Haxhausen was wearing an old dark suit; as if to simulate formal attire, he added a new bow tie. His hair was greased and combed but had been allowed to grow far too long to convey a well-groomed image. And his black-framed eyegla.s.ses now seemed far too large on the face of a man who had lost so much weight in the past year or so. Their thick lenses glinted in the glare of the footlights, which cast Dr Haxhausen's gigantic and twisted shadow upon the threadbare curtain behind him.

"Some of you," he continued, "are perhaps aware of who I am and may have an idea of why I am here tonight. Others of you may be curious to discover the meaning of those handbills which have lately appeared around your town or possibly were intrigued by the marquee outside this theater which touts the 'World Famous Dr Haxhausen.' Like many important events in human history, my exhibition has been somewhat accurately reported as far as its superficial aspects are concerned, yet remains sadly misrepresented in its substance. Allow me at this point to disabuse you of a few false conceptions which may have affected your powers of judgment.

"First, I do not claim to be either the Almighty Himself or His incarnation come down to earth; nor, in fact, am I one or the other of these things. Second, I nevertheless do claim that in the course of my recent travels, what the world has called my 'disappearance' I was granted certain revelations directly from the Creator and in no uncertain terms received an itinerary of action from this same source. Third, and last, I am indeed the scientist known as Francis Henry Haxhausen and not, as can be conclusively proved, an imposter. As an appendix to my previous statements, I should say that my exhibition is not the absurd extravaganza of scientific farce some have portrayed it to be, but a simple agenda consisting of a brief lecture followed by a practical demonstration of a device I have recently constructed. At no point do I attempt, either as an illusion or in fact, to work permanent damage on the body or soul of any member of my audience. That would be contrary to the Creator's law and the truth of His nature. And that is all I have to state in the way of a preamble to what I hope you will find an entertaining and enlightening attraction.

"I would like to open my lecture with the following anecdote. There is a legend, and I hasten to underline the word legend, that I learned while I was travelling here and there. It seems there was a sorcerer, or an alchemist or something along those lines, who dreamed of transforming the world through the creation of an artificial man. This man, the sorcerer dreamed, would not be subject to the flaws and limitations of the former type, but would instead live through many lifetimes, acc.u.mulating the knowledge and wisdom it would one day use to serve and improve the human race. The sorcerer, like all dreamers of this kind, was intent upon his vision and not particularly concerned with its ramifications in a larger scheme of things. Thus, he set about employing all his thaumaturgical arts in the creation of his 'new man.' First, a physical form was made out of the simple materials of wood and wax, resulting in a grotesque thing rather like a gigantic ventriloquist's dummy. Next, the sorcerer practiced a secret chemistry and a hermetic linguistics to elevate this lifeless effigy into a rather admirable semblance of human life-fatefully admirable, I might add. Without wasting a moment glorying in his own achievement, uttering not a single word of self-praise, the sorcerer engaged his creature in a course of learning that would enable it to function and evolve toward its destiny after the sorcerer's death. However, it was not long after this regimen had begun that the Omnipotent One realized what the sorcerer was intending to do. And so it happened that the creature, strong and well-coordinated but still a child in its mind, was awakened in the dead of night by a voice that cursed it as a blasphemy and an abomination. The voice bid the creature to go to its foul maker in the attic where he had sequestered himself among evil books and impure devices. Confused and terrified, the creature ascended several stairways and entered the attic. And there he found the sorcerer, motionless and hung upon the wall like something in a puppet-maker's workshop, his dark robe grazing the dusty floor and his head drooping down. Acting on a mechanical impulse beyond dread or despair, the creature raised up his master's head and saw that it was now no more than wood and wax. The sight was a maddening one, and it did not take long for the creature to find the rope with which it hung itself from the rafters of the attic. Thus was concluded the judgment pa.s.sed upon the house of the sorcerer."

There was a pause in the scientist's flow of words. Calmly, he pulled a handkerchief from the inner pocket of his coat and wiped his face, which was perspiring in the heat of the footlights. Then he briefly scanned the faces of his audience, many of which bore dumbfounded expressions, before resuming his lecture.

"Who can know the intentions of the Creator? That which is suited to human designs may not suit His. With these rather unquestionable premises in mind, what conclusions might be drawn from the example of the sorcerer? By way of exegesis, I would say that the sorcerer, in conceiving a creature of limitless promise for good and none for evil, had violated a mysterious law, transgressed against a secret truth. And how had he strayed from this law and this truth? Simply in this manner: he had failed to provide for the corruption of his creation, not merely as a possibility but as a fate. And it was precisely by this oversight that the sorcerer fell out of step with the Creator's own design. It is the vision of this Great Design that I have been privileged to see, and that is why I am here tonight. As a footnote, however, I should state that even before I was granted certain divine insights, I had already been travelling toward them, approaching their truth in the "unconscious or accidental manner of great scientific discoveries. And I thus found myself somewhat in readiness to receive and accept the proffered vision.

"Let me explain that I have spent nearly all my life as a scientist in a methodically frantic pursuit of perfection, driven by the dream of Utopia, by the idea that I indeed contributed to an earthly paradise in the making. But slowly, very slowly, I began to notice certain things. I noticed that there were mechanisms built into the system of reality that nullified all our advancements in this world, that rerouted them into a hidden laboratory where these so-called blessings were cancelled out altogether, if not converted into formulas for our collapse. I noticed that there were higher forces working against us and working through us at the same time. On the one hand, our vision has always been of creating a world of perpetual vitality, despite our grudging recognition of death's 'necessity.' On the other hand, all we have constructed is an elaborate facade to conceal our immortal traumas - a false front that hides the perennial ordeals of the human race. Oh, the human race. And I began to see that perfection has never been the point, that both the lost paradise of the past and the one sought in the future were merely convenient pretexts for our true destiny of... disintegration.

"As a scientist I have had the opportunity to observe the workings of the world at close quarters and over a relatively extended stretch of time, not to mention s.p.a.ce. And after careful observation and painstaking verification I was forced to this conclusion: the world thrives on its faults and strives, by every possible means, to aggravate them, while at the same time to mask them like a congenital deformity. The signs are everywhere, though I could not always read them.

"But if vitality and perfection are not the aim of this world, what in heaven's name is? That, my dear ladies and gentlemen, is the thrust of the second part of my exhibition, consisting of more comments by myself, a demonstration of my machine, and an entertaining display of what I might describe as a tableau mort. While I prepare things backstage, there will be a brief intermission. Thank you."

Dr Haxhausen walked off the stage with sluggish dignity and, as soon as he was out of sight, the audience began chattering all at once, as if they had been simultaneously revived from a hypnotic trance. Most of them, in outrage, left the theater; some, however, stayed for the finale. And both reactions, as well as these relative proportions, were typical at each exhibition that Dr Haxhausen held. Those who prematurely left the performance were content to believe they had been witnesses to nothing more than the interior theater of a madman. The others, intellectuals or neurotic voyeurs, had convinced themselves that the former genius deserved a full hearing before the inevitable condemnation, while secretly dreading that something he had to show them would reverberate, however faintly, with truth.

"Ladies and gentlemen," said Dr Haxhausen, who seemed to reappear on stage out of nowhere. "Ladies and gentlemen," he repeated more quietly, and then fell silent for a rather extended moment. And no one was whispering in the audience; no one said a word.

"There are holy places in this world, and I have been to some of them. Places where the presence of something sacred can be felt like an invisible meteorology. Always these places are quiet, and often they are in ruins. The ones that are not already at some stage of dilapidation nonetheless display the signs and symptoms, the promise of coming decay. We feel a sense of divinity in ruined places, abandoned places - shattered temples on mountaintops, crumbling catacombs, islands where a stone idol stands almost faceless. We never have such feelings in our cities or even in natural settings where the flora and fauna are overly evident. This is why so much is atoned for in wintertime, when a numinous death descends on those chosen lands of our globe. Indeed, winter is not so much the holiest time as it is the holiest place, the visible locus of the divine. And after winter, spring; thus turns the carousel of our planet, and all the others. But need it turn forever? I think not. For the ultimate winter draws near, ladies and gentlemen: the cycle of seasons, so the Creator has told me, is about to stop.

"He first spoke to me on a night which I had spent wandering the tattered fringes of a city. It might have been a city like this one, or any city. What matters is the mute decrepitude I found there among a few condemned buildings and vacant lots gone wild. I had all but forgotten my own name, who I was and what world I belonged to. And they are not wrong who say that my reason perished in the radiant face of unattainable dreams for the future. False dreams, nightmares! And then, in that same place where I had travelled to hang myself, I heard a voice among the shadows and moonlight. It was not a peaceful voice or a consoling voice, but something like an articulate sigh, a fabulously eloquent moan. There was also a man-like shape slumped down in a corner of that sad room which I had chosen for my ultimate refuge. The legs of the figure lay bent like a cripple's upon the broken floor, the moonlight cutting across them and leaving the rest of the body in darkness-all except two eyes that shone like colored gla.s.s in the moonlight. And although the voice seemed to emanate from everything around me, I knew that it was the voice of that sad thing before me, which was the Creator's earthly form: a simple department store mannikin.

"I was the chosen one, It said. I would carry the message which, like every annunciation from on high, would be despised or ignored by mankind. Because I, at that moment, could clearly read the signs which had been present everywhere in the world since the beginning. I had already noted many of the hints and foreshadowings, the prophecies, and knew them as inspired clues the Creator had planted, prematurely revealing the nature of His world and its true destiny. And I felt the sacred aura radiated by the crumpled figure in the corner, and I understood the scripture of the Great Design.

"It was written in the hieroglyphics of humble things, things humble to the point of mockery. All the lonesome pathetic things, all the desolate dusty things, all the misbegotten things, ruined things, failed things, all the imperfect semblances and deteriorating remnants of what we arrogantly deign to call the Real, to call... Life. In brief, the entire realm of the unreal-wherein He abides-is what He loves like nothing in this world. And haven't we ourselves at some time come face to face with this blessed realm? Can you recall ever having travelled down a deserted road and coming upon something like an old fairground: a desolate a.s.semblage of broken booths and sagging tents, all of which you glimpsed through a high arcing entranceway with colors like a rusted rainbow? Didn't it seem as if some great catastrophe had struck, leaving only lifeless matter to molder in silent anonymity? And were you sad to see a place of former gaiety lying in its grave? Did you attempt to revive it in your imagination, start up the dead machinery, and fill the midway once again with fresh colors and laughing faces? We have all done this, all attempted to resurrect the defunct. And this is precisely where we have separated ourselves from the law and the truth of the Creator. Were we in harmony with Him, our gaze would fall upon a thriving scene and perceive nothing there but ruins and the ghosts of puppets. These, ladies and gentlemen, are what delight His heart. This much He has confided to me.

"But the Creator's taste for the unreal has required something to be real in the first place, and then to wither into ruins, to fail gloriously. Hence-the World. Extend this premise to its logical conclusion and you have-curtain!-the Creator's Great Design." And as the curtain slowly began to rise, the scientist backed away and said in a giddy voice: "But please don't think that when everything caves in there won't still be muuusic."

The auditorium went black, and in the blackness arose a hollow and tuneless melody which wandered to the wheezing accompaniment of a concertina, a pathetic duet belonging to a world of low cabarets or second-rate carnivals. Then, on either side of the stage, a tall gla.s.s case lit up to reveal that the two atrocious musicians were in fact life-size automatons, one of which pumped and pulled the snaking bellows of a concertina with a rigid motion of his arms, while the other sc.r.a.ped back and forth across the strings of a violin. The concertina player had his head thrown back in a wooden howl of merriment; the violin player stared down in empty-eyed concentration at his instrument. And both appeared lost in a kind of mechanical rapture.

The rest of the stage area, both above and below, also seemed to be occupied entirely by imitations of the human image: puppets and marionettes were strung-up at various elevations, relieved of their weight by fragile glistening threads; mannikins posed in a paralyzed leisure which looked at once grotesque and idyllic; other dummies and an odd a.s.sortment of dolls sat in miniature chairs here and there, or simply sprawled about the floorboards, sometimes propping each other back to back. But among these mock-people, as became evident the longer one gazed at the stage, were hidden real ones who, rather ably, imitated the imitations. (These were persons whom Dr Haxhausen recruited, at fair recompense, whenever he entered a new town.) And forming the only scenery beyond both the artificial and the genuine figures of life was a gigantic luminescent mural in shades of black and white. With photographic accuracy, the mural portrayed a desolate room which might have been an attic or an old studio, and which contained some pieces of nondescript debris strewn about. A single, frameless window set into the torn wall at the rear of the room "looked out upon a landscape that was still more desolate than the room itself: earth and sky had merged into a gray and jagged scene.

"You see how things are, ladies and gentlemen. Whereas we have been dreaming so long of creating perfect life in the laboratory, the Creator holds sacred only the crude facsimile, which best echoes or expresses His own will. He has always been far ahead of us, envisioning a completed work at the end of history. And He has no more time to linger over the vital stage of universal evolution. Because no truth or life can exist in us as we are, for truth and life can only exist in the mind, the will of the Creator-and we have stubbornly made it our business to do nothing but oppose that mind, that will. We are simply the raw material for His beloved puppets, which reflect to perfection the truth of the Creator and are the ideal dwellers in His paradise of ruins. And after His chosen ones are triumphantly installed in that good place, the Creator has some wonderful stories to tell as a way to pa.s.s the hours of eternity.

"And we may be among those in paradise, this is the great news I bring to you tonight. We may take our place among the puppets, as the tableau you see before you will serve to demonstrate. For at the moment there are certain faces insinuated within this elect company that do not... belong, that stand out in an unpleasant way. How to bring them into the fold is the question. And the answer, if you will turn for a moment and direct your eyes toward the balcony, the answer-spotlight!-is the puppet machine."

Turning their heads as instructed, the audience saw the object which, under the sharp spotlight, seemed to be resting on nothing, as if secured to the darkness itself. Some of the more observant members of the audience noticed the shining waxen faces whose eyes looked back at them from within the bizarre contraption. Set in motion by the remote control device in Dr Haxhausen's coat pocket, the machine noisily elevated its stovepipe neck and pointed its single, iridescent eye at the figures upon the stage.

"Ladies and gentlemen, I mentioned earlier that winter is the sacred state of things, the season of the soul. But that is not to say that the definitive winter we are approaching will be without all the colors of the rainbow. For it is the frigid aurora of the Sacred Ray, the very eye of the Creator, that will bring about the wondrous conversion of all things. As you can see, the design is His own. And, by means of modern a.s.sembly techniques, a sufficient quant.i.ty may be produced to serve the world, bathing every one of us in the garish radiance of our destiny. The effects? If you just keep watching your fellows upon this stage.

"There. See how the shafts of color pour down upon this stark scene, overlaying surfaces with an uncanny kaleidoscopic tint. It is the old surfaces that must be stripped away and disposed of. Time to leap from that summit of illusion our world has achieved, a glorious plummet after so many centuries in which we erred on the side of excellence. When all the Creator had in mind was a third-rate sideshow of beatific puppetry. But our strainings for progress were not useless; they were simply mistaken as to their ultimate aim. For it is modern science itself which will enable us to realize the Creator's dream, and to unrealize all the rest. See for yourselves. Look what is happening to the flesh of these future puppets, and to their eyes: wax and wood and shining gla.s.s to replace the sad and c.u.mbersome structures of biology."

In the audience a few low sounds propagated into a network of obscure whispers and murmurings. Faces leaned toward the spectacle of crazy puppets painted with light, Dr Haxhausen's tableau mort. Some persons betrayed their cautious temperaments by dropping down in their seats, expanding the distance between themselves and the stream of colors that flowed over their heads on its way to the stage. Dr Haxhausen continued to preach above the shapeless, droning music.

"Please do not concern yourselves that any lasting conversion is being worked upon the people in this exhibition. I told you earlier that I would do no such thing. In the absence of a willing heart, the conversion you have witnessed would be the greatest sin in the universe, the unpardonable sin. There. The Sacred Ray has been extinguished. Your friends are again as they once were. And I thank you for coming to see me. Good night."

When the curtain descended and the house lights came on, an elderly woman in the audience stood up and called out to Dr Haxhausen: "The Lord saith, 'And if the prophet be deceived when he has spoken a thing, I the Lord have deceived that prophet, and I will stretch out my hand upon him, and will destroy him from the midst of my people Israel." Others simply laughed or shook their heads in disgust. But Dr Haxhausen remained silent, smiling placidly as the congregation filed out of the theater. The scientist, it seemed, was truly mad.

A few remarks by way of an epilogue. Although certain people will attach themselves to virtually any innovation of a mystical nature, the prophecies of Dr Haxhausen never found a following. Soon the scientist himself lapsed in notoriety, save for an occasional blurb in some newspaper, a pa.s.sing mention which often implied that Dr Haxhausen's later role as a crank doomsayer had, in the public mind, entirely eclipsed his former renown as a man of science. Finally, on a particular evening in December, as a spa.r.s.e audience populated for the most part by boozy derelicts and noisy adolescents awaited the notorious exhibition in a dreary banquet hall, it seemed that another visionary's career was destined for oblivion. When the world famous hallucinator did not appear at the publicized time, someone took it upon himself to pull back the makeshift curtain of a makeshift stage. And there, gently swinging from the long sooty gibbet of his fantastic machine, hung Dr Haxhausen. Whether the cause of death should have been deemed murder or the more apparent one of suicide was never discovered. For something else happened that same winter night that threw all other events into the background.

But of course you know, ladies and gentlemen, what it was that happened. I can see by the glitter in your eyes, the flush on your waxen faces, that you remember well how the colors appeared in the sky that night, a fabulous aurora sent by the sun and reflected by the moon, so that all the world would be baptized at once by the spectral light of truth. Willing or not, your hearts had heard the voice of the creature you thought mad. But they would not listen; they never have. Why did you force this transgression of divine law? And why do you still gaze with your wooden hate from the ends of the earth? It was for you that I committed this last and greatest sin, all for you. When have you ever appreciated these gestures from on high! And for this act I must now exist in eternal banishment from the paradise in which you exalt. How beautiful is your everlasting ruin.

Oh, blessed puppets, receive My prayer, and teach Me to make Myself in thy image.

The Strange Design Of Master Rignolo (1989).

First published in Grue Magazine #10, 1989.

Also published in: Noctuary, The Nightmare Factory, The Shadow At The Bottom Of The World.

It was well into evening and for some time Nolon had been been seated at a small table in a kind of park. This was a long, thin stretch of land-vaguely triangular in shape, like a piece of broken gla.s.s-bordered by three streets of varying breadth, varying evenness of surface, and of varying stages of disintegration as each thoroughfare succ.u.mbed in its own way and in its own time to the subtle but continuous movements of the slumbering earth below. From the far end of the park a figure in a dark overcoat was approaching Nolon's table, and it appeared there was going to be a meeting of some sort.

There were other tables here and there, all of them unoccupied, but most of the park was unused ground covered with a plush, fuzzy kind of turf. In the moonlight this densely woven pile of vegetation turned a soft shade of aquamarine, almost radiant. Beyond the thinning trees, stars were bright but without l.u.s.ter, as if they were made of luminous paper. Around the park, a jagged line of high roofs, black and featureless, crossed the sky like the uneven teeth of an old saw.

Nolon was resting his hands at the edge of the small, nearly circular table. In the middle of the table a piece of candle flickered inside a misshapen bubble of green gla.s.s, and Nolon's face was bathed in a restless green glare. He too was wearing a dark overcoat, unb.u.t.toned at the top to reveal a scarf of lighter shade stuffed inside it. The scarf was wrapped about Nolon's neck right to the base of his chin. Every so often Nolon glanced up, not to look at Grissul as he proceeded across the park, but to try and catch sight of something in that lighted window across the street: a silhouette which at irregular intervals slipped in and out of view. Above the window was a long, low roof surmounted by a board which appeared to be a sign or marquee. The lettering on this board was entirely unreadable, perhaps corroded by the elements or even deliberately effaced. But the image of two tall, thin bottles could still be seen, their slender necks angled festively this way and that.

Grissul sat down, facing Nolon at eye level.

"Have you been here long?" he asked.

Nolon calmly pulled out a watch from deep inside his coat. He stared at it for a few moments, tapped the gla.s.s once or twice, then gently pushed it back inside his coat.

"Someone must have known I was thinking about seeing you," Grissul continued, "because I've got a little story I could tell."

Nolon again glanced toward the lighted window across the street. Grissul noticed this and twisted his head around, saying, "Well, someone's there after all. Do you think tonight we could get, you know, a little service of some kind?"

"Maybe you could go over there yourself and see what our chances are," Nolon replied.

"All the same to me," Grissul insisted, twisting his head back to face Nolon. "I've still got my news."

"Is that specifically why this meeting is taking place?"

To this query Grissul returned a blank expression. "Not that I know of," he a.s.serted. "As far as I'm concerned, we just met by chance."

"Of course," Nolon agreed, smiling a little. Grissul smiled back but with much less subtlety.

"So I was going to tell you," Grissul began, "that I was out in that field, the one behind those empty buildings at the edge of town where everything just slides away and goes off in all directions. And there's a marsh by there, makes the ground a little, I don't know, stringy or something. No trees, though, only a lot of wild gra.s.s, reeds, you know where I mean?"

"I now have a good idea," Nolon replied, a trifle bored or at least pretending to be.

"This was a little before dark that I was there. A little before the stars began to come out. I really wasn't planning to do anything, let me say that. I just walked some ways out onto the field, changed direction a few times, walked a ways more. Then I saw something through a blind of huge stalks of some kind, skinny as your finger but with these great spiky heads on top. And really very stiff, not bending at all, just sort of wobbling in the breeze. They might well have creaked, I don't know, when I pushed my way through to see beyond them. Then I knelt down to get a better look at what was there on the ground. I'm telling you, Mr Nolon, it was right in the ground. It appeared to be a part of it, like-"

"Mr Grissul, what appeared?"

Grissul remembered himself and found a tone of voice not so exhausting of his own strength, nor so wearing on his listener's patience.

"The face," he said, leaning back in his chair. "It was right there, about the size of, I don't know, a window or a picture hanging on a wall, except that it was in the ground and it was a big oval, not rectangular in any way. Just as if someone had partly buried a giant, or better yet, a giant's mask. Only the edges of the face seemed not so much buried as, well, woven I guess you would say, right into the ground. The eyes were closed, not shut closed-it didn't seem to be dead-but relaxed. The same with the lips, very heavy lips rubbing up against each other. Even complexion, ashy gray, and soft cheeks. They looked soft, I mean, because I didn't actually touch them in any way. I think it was asleep."

Nolon shifted slightly in his chair and looked straight into Grissul's eyes.

"Then come and see for yourself," Grissul insisted. "The moon's bright enough."

"That's not the problem. I'm perfectly willing to go along with you, whatever might be there. But for once I have other plans."

"Oh, other plans," repeated Grissul as if some deeply hidden secret had been revealed. "And what other plans would those be, Mr Nolon?"

"Plans of relatively long standing and not altered since made, if you can conceive of such a thing these days. Are you listening? Oh, I thought you nodded off. Well, Rignolo, that mysterious little creature, has made a rare move. He's asked if I would like to have a look around his studio. No one's ever been there that I know of. And no one's actually seen what he paints."

"No one that you know of," added Grissul.

"Of course. Until tonight, that is, a little while from now unless a change of plans is necessary. Otherwise I shall be the first to see what all that talk of his is about. It should really be worth the trouble, and I could invite you to come along."

Grissul's lower lip pushed forward a little. "Thank you, Mr Nolon," he said, "but that's more in your line. I thought when I told you about my observation this evening-"

"Of course, your observation is very interesting, extraordinary, Mr Grissul. But I think that that sort of thing can wait, don't you? Besides, I haven't told you anything of Rignolo's work."

"You can tell me."

"Landscapes, Mr Grissul. Nothing but landscapes. Exclusively his subject, a point he even brags about."

"That's very interesting, too."

"I thought you would say something like that. And you might be even more interested if you had ever heard Rignolo discourse on his canva.s.ses. But... well, you can see and hear for yourself. What do you say, then? First Rignolo's studio and then straight out to see if we can find that old field again?"

They agreed that these activities, in this sequence, would not be the worst way to fill an evening.

As they got up from the table, Nolon had a last look at the window across the street. The light that once brightened it must have been put out during his conversation with Grissul. So there was no way of knowing whether or not someone was now observing them. b.u.t.toning their overcoats as far as their scarfed necks, the two men walked in silence across the park upon which countless stars stared down like the dead eyes of sculptured faces.

"Don't just walk stepping everywhere," Rignolo told his visitors as they all entered the studio. He was a little out of breath from the climb up the stairs, wheezing his words, quietly muttering to himself, "This place, oh, this place." There was hardly a patch of floor that was not in some way cluttered over, so he need not have warned Nolon, or even Grissul. Rignolo was of lesser stature than his guests, virtually a dwarf, and so moved with greater freedom through that cramped s.p.a.ce. "You see," he said, "how this isn't really a room up here, just a little closet that tried to grow into one, bulging out every which way and making all these odd niches and alcoves surrounding us, this shapeless gallery of nooks. There's a window around here, I suppose, under some of these canva.s.ses. But those are what you're here for, not to look out some window that who knows where it is. Nothing to see out there, even so."

Rignolo then ushered his visitors through the shrunken maze composed of recesses of one sort or another, indicating to them a canva.s.s here or there. Each somehow held itself to a wall or was leaning against one, as if with exhaustion. Having brought their attention to this or that picture, he would step a little to the side and allow them to admire his work, standing there like a polite but slightly bored curator of some seldom-visited museum, a pathetic figure attired in over-sized clothes of woven... dust. His small ovoid face was as lifeless as a mask: his skin had the same faded complexion as his clothes and was just as slack, flabby; his lips were the same color as his skin but more full and taut; his hair shot out in tufts from his head, uncontrolled, weedy; and his eyes showed too much white, having to all appearances rolled up halfway into his forehead, as if they were trying to peek under it.

While Nolon was gazing at one of Rignolo's landscapes, Grissul seemed unable to shake off a preoccupation with the artist himself, though he was obviously making the effort. But the more he tried to turn his attention away from Rignolo, the more easily it was drawn back to the flabby skin, the faded complexion, the undisciplined shocks of hair. Finally, Grissul gave a little nudge to Nolon and began to whisper something. Nolon looked at Grissul in a way that might have said, "Yes, I know, but have some sense of decorum in any case," then resumed his contemplation of Rignolo's excellent landscapes.

They were all very similar to one another. Given such t.i.tles as "Glistening Marsh", "The Tract of Three Shadows", and "The Stars, the Hills", they were not intended to resemble as much as suggest the promised scenes. A vague hint of material forms might emerge here and there, some familiar effect of color or outline, but for the most part they could be described as extremely remote in their perspective on tangible reality. Grissul, who was no stranger to some of the locales purportedly depicted in these canva.s.ses, could very well have expressed the objection that these conglomerations of fractured ma.s.s, these whirlpools of distorted light, simply did not achieve their purpose, did not in fact deserve connection with the geographical subjects from which they took their t.i.tles. Perhaps it was Rignolo's intuition that just such a protest might be forthcoming that inspired-in the rapid, frantic voice of a startled sleeper-the following outburst.

"Think anything you like about these scenes, it's all the same to me. Whisper to each other, my hearing is wonderfully bad. Say that my landscapes do not invite one's eyes to pa.s.s into them and wander, let alone linger for the briefest moment. Nevertheless, that is exactly their purpose, and as far as I am concerned they are quite adequate to it, meticulously efficient.

"I have spent extraordinary lengths of time within the borders of each canva.s.s, both as maker and as casual inhabitant, until the borders no longer exist for me and neither does... that other thing. Understand that when I say inhabitant, I do not in any way mean that I take my clumsy feet tromping up and down staircases of color, or that I stand this stunted body of mine upon some lofty ledge where I can play the master of all I see. There are no masters of these scenes and no seers, because bodies and their organs cannot function there-no place for them to go, nothing to survey with ordinary eyes, no thoughts to think for the mighty brain. And my thoroughfares will not take you from the doorstep of one weariness to the backdoor of another, and they cannot crumble, because they are burdened with nothing to convey-their travelers are already there, continuously arriving at infinite sites of the perpetually astonishing. Yet these sites are also a homeland, and nothing there will ever threaten to become strange. What I mean to say is that to inhabit my landscapes one must, in no figurative sense, grow into them. At best they are a paradise for sleepwalkers, but only those sleepwalkers who never rise to their feet, who forget their destination, and who may thus never reach that ultimate darkness beyond dreams, but may loiter in perpetuity in these lands of mine, which neighbor on nothingness and stand next door to endlessness. So you see, my critics, what we have in these little pictures is a living communion with the void, a vital annihilation and a thoroughly decorative eternity of-"

"All the same," Grissul interjected, "it does sound unpleasant."

"You're interfering," Nolon said under his breath.

"The old bag of wind," Grissul said under his.

"And just where do you see the unpleasantness? Where, show me. Nowhere, in my view. One cannot be unpleasant to one's self, one cannot be strange to oneself. I claim that all will be different when one is joined with the landscape. We need not go the way of doom when such a hideaway is so near at hand-a land of escape. For the initiated, each of those little swirls is a cove which one may enter into and become; each line-jagged or merely jittery-is a cartographer's sh.o.r.eline which may be explored at all points at once; each crinkled wad of radiance is a star basking in its own light, and in yours. This, gentlemen, is a case of making the most of one's talent for pro-jec-tion. There indeed exist actual locales on which my pictures are based, I admit that. But these places keep their distance from the spectator: whereas my new landscapes make you feel at home, those old ones put you off, hold you at arm's length, and in the end throw you right out of the picture. That's the way it is out there-everything looks at you with strange eyes. But you can get around this intolerable situation, jump the fence, so to speak, and trespa.s.s into a world where you belong for a change. If my landscapes look unfamiliar to you, it is only because everything looks different from the other side. All this will be understood much more clearly when you have seen my masterwork. Step this way, please."

Nolon and Grissul glanced blankly at each other and then followed the artist up to a narrow door. Opening the door with a tiny key, Rignolo ushered his guests inside. It was a tight squeeze through the doorway.

"Now this place really is a closet," Grissul whispered to Nolon. "I don't think I can turn around."

"Then we'll just have to walk out of here backwards, as if there were something wrong with that."