Also published in: The Nightmare Factory.

Father Sevich's Visit.

In whatever corner of our old house I happened to find myself, I could always sense the arrival of a priest. Even in the most distant rooms of the upper floors, those rooms which had been closed up and which were forbidden to me, I would suddenly experience a very certain feeling. The climate of my surroundings then became inexplicably altered in a manner at first vaguely troublesome and afterward rather attractive. It was as if a new presence had invaded the very echoes of the air and had entered into the mellow afternoon sunlight which fell in stripes and squares across the dark wooden floors and upon the pale contortions of the ancient wallpaper. All around me invisible games had begun. My earliest philosophy regarding the great priestly tribe was therefore not a simple one by any means; rather, it comprised a thick maze of propositions, a labyrinthine layering of systems in which abstract dread and a bizarre sort of indebtedness were forever confronting each other.

In retrospect, the prelude to Fr. Sevich's visit seems to me as crucial, and as introductory to later events, as the visit itself; so I have no qualms about lingering upon these lonely moments. For much of that day I had been secluded in my room, intently pursuing a typical activity of my early life and in the process badly ravaging what previously had been a well-made bed. Having sharpened my pencil innumerable times, and having worn down a thick gray eraser into a stub, I was ready to give myself up as a relentless failure. The paper itself seemed to defy me, laying snares within its coa.r.s.e texture to thwart my every aim. Yet this rebellious mood was a quite recent manifestation: I had been allowed to fill in nearly the entire scene before this breakdown in relations between myself and my materials.

The completed portion of my drawing was an intense impression of a monastic fantasy, evoking the cloistral tunnels and the vaulted penetralia without attempting a guide-book representation of them. Nevertheless, the absolute precision of two specific elements in the picture was very much on my mind. The first of these was a single row of columns receding in sharp perspective, a diminishing file of rigid sentinels starkly etched into the surrounding gloom. The second element was a figure who had hidden himself behind one of these columns and was peering out of the shadows at something frightful beyond the immediate scene. Only the figure's face and a single column-clutching hand were to be rendered. The hand I executed well enough, but when it came to the necessary features of fear which needed to be implanted on that countenance there was simply no way to capture the desired effect. My wish was to have every detail of the unseen horror clearly readable in the facial expression of the seer himself, a maddening task and, at the time, a futile one. Every manipulation of my soft-pointed pencil betrayed me, masking my victim with a series of completely irrelevant expressions. First it was misty-eyed wonder, and then a kind of cretinous bafflement. At one point the gentleman appeared to be smiling in an almost amiable way at his imminent doom.

Thus, one may comprehend how easily I succ.u.mbed to the distraction of Fr. Sevich's visit. My pencil stopped dead on the paper, my eyes began to wander about, checking the curtains, the corners, and the open closet for something that had come to play hide-and-seek with me. I heard footsteps methodically treading down the long hallway and stopping at my bedroom door. My father's voice, m.u.f.fled by solid wood, instructed me to make an appearance downstairs. There was a visitor.

My frustrations of that afternoon must have disadvantaged me somewhat, because I completely fell into the trap of expectation: that is, I believed our caller was only Fr. Orne, who often dropped by and who served as a kind of ecclesiastical familiar of our family. But when I descended the stairs and saw that strange black cloak drooping down from the many-pegged rack beside the front door, and when I saw the wide-brimmed hat of the same color hanging beside it like an age-old companion, I realized my error.

From the parlor came the sound of soft conversation, the softest part of which was supplied by Fr. Sevich himself, whose speaking voice was no more than a sleepy whisper. He was seated, quite fairly, in one of our most expansive armchairs, toward which destination my mother maneuvered me as soon as I entered the room. During the presentation I was silent, and for a few suspenseful moments afterward continued to remain so. Fr. Sevich thought that I was fascinated into muteness by his fancy walking stick, and he said as much. At that moment the priest's voice was infiltrated, to my amazement, by a foreign accent I had not previously noticed. He handed his cane over to me for examination, and I hefted the formidable length of wood a few times. However, the real source of my fascination lay not in his personal accessories, but in the priest's own person, specifically in the chalky-looking texture of his very round face.

Invited to join the afternoon gathering, I was seated in a chair identical to the one supporting Fr. Sevich's bulk, and angled slightly toward it. But my alliance to this group was in body only: I contributed not a word to the ensuing conversation, nor did I understand those words that now filled the parlor with their drowsy music. My concentration on the priest's face had wholly exiled me from the world of good manners and polite talk. It was not just the pale and powdery cast of his complexion, but also a certain emptiness, a look of incompleteness that made me think of some unfinished effigy in a toymaker's workshop. The priest smiled and squinted and performed several other common manipulations, none of which resulted in a true facial expression. Something vital to expression was missing, some essential spirit in which all expressions are born and evolve toward their unique destiny. And, to put it graphically, his flesh simply did not have the appearance of flesh.

At some point my mother and father found an excuse to leave me alone with Fr. Sevich, presumably to allow his influence to have a free reign over me, so that his sacerdotal presence might not be adulterated by the profanity of theirs. This development was in no way surprising, since it was my parents' secret hope that someday my life would take me at least as far as seminary school, if not beyond that into the purple-robed mysteries of priesthood.

In the first few seconds after my parents had abandoned the scene, Fr. Sevich and I looked each other over, almost as if our previous introduction had counted for naught. And soon a very interesting thing happened: Fr. Sevich's face underwent a change, one in favor of the soul which had formerly been interred within his most obscure depths. Now, from out of that chalky tomb emerged a face of true expression, a masterly composition of animated eyes, living mouth, and newly flushed cheeks. This transformation, however, must have been achieved at a certain cost; for what his face gained in vitality, the priest's voice lost in volume. His words now sounded like those of a hopeless invalid, withered things reeking of medicines and prayers. What their exact topic of discourse was I'm not completely sure, but I do recall that my drawings were touched upon. Fr. Orne, of course, was already familiar with these fledgling works, and it seemed that something in their pictorial nature had caused him to mention them to his colleague who was visiting us from the old country. Something had caused Fr. Orne to single my pictures out, as it were, among the sights of his parish. Fr. Sevich spoke of those scribblings of mine in a highly circuitous and rarefied fashion, as if they were a painfully delicate subject which threatened a breach in our acquaintanceship. I did not grasp what const.i.tuted his tortuous and subtle interest in my pictures, but this issue was somewhat clarified when he showed me something: a little book he was carrying within the intricate folds of his clerical frock.

The covering of the book had the appearance of varnished wood, all darkish and embellished with undulating grains. At first I thought that this object would feel every bit as brittle as it looked, until Fr. Sevich actually placed it in my hands and allowed me to discover that its deceptive binding was in fact extremely supple, even slippery. There were no words on the front of the book, only two thin black lines which intersected to create a cross. On closer examination, I observed that the horizontal beam of the cross had, on either end, squiggly little extensions resembling tiny hands. And the vertical beam appeared to widen at its vertex into something like a little bulb, so that the black decoration formed a sort of stickman.

At Fr. Sevich's instruction, I randomly opened the book and thumbed over several of its incredibly thin pages, which were more like layers of living tissue than dead pulp. There seemed to be an infinite number of them, with no possibility of ever reaching the beginning or the end of the volume merely by turning over the pages one by one. The priest warned me to be careful and not to harm any of these delicate leaves, for the book was very old, very fragile, and unusually precious.

The language in which the book was written resisted all but imaginary identifications by one who was as limited in years and learning as I was then. Even now, memory will not permit me to improve upon my initial speculation that the book was composed in some exotic tongue of antiquity. But its profusion of pictures alleviated many frustrations and illuminated the darkness of the book's secret symbols. In these examples of the art of the woodcut, I could almost read that collection of sermons, of prayers and homilies, every one of which devoted itself with a single-minded insistence to wearing away at a single theme: salvation through suffering.

It was this chamber of sacred horrors that Fr. Sevich believed would catch my eye and my interest. How few of us, he explained, really understood the holy purpose of such images of torment, the divine destiny toward which the paths of anguish have always led. The production, and even the mere contemplation, of these missals of blessed agony was one of the great lost arts, he openly lamented. Then he began to tell me about a certain library in the old country, but my attention was already wandering along its own paths, and my eye was inextricably caught by the dense landscape of these old woodcuts. One scene in particular appeared exemplary of the book's soul.

The central figure in this ill.u.s.tration was bearded and emaciated, with his head bowed, hands folded, and knees bent. Contracted in an att.i.tude of prayerful pleading, he seemed to be suspended in mid-air. All around this bony ascetic were torturing demons, surprisingly effective owing to, or perhaps despite, the artist's brutal technique and the spa.r.s.eness of precise detail. An exception to this general rule of style was a single squatting devil whose single eye had cl.u.s.ters of perfect little eyes growing out of it; and each of the smaller eyes had its own bristling lashes that sprouted like weeds, an explosion of minute grotesquerie. (And now that I reflect on the matter, all of the ill.u.s.trations that I saw contained at least one such exception.) The ascetic's own eyes were the focus of his particular form: stark white openings in an otherwise dark face, with two tiny pupils rolling deliriously heavenward. But what was it about the transports written on this face which inspired in me the sense of things other than fear, or pain, or even piety? In any event, I did find inspiration in this terrible scene, and tried to make an imprint of it upon the photographic plates of my memory. With a tight grip of my index finger and thumb, I was holding the page on which this woodcut was reproduced when Fr. Sevich unexpectedly s.n.a.t.c.hed the book out of my hands. I looked up, not at the priest but at my mother and father now returning to the parlor after their brief and calculated absence. "Fr. Sevich was gazing in the same direction, while blindly stashing the little book back in its place; so he must not have noticed the thin leaf which was loosely draped over my fingers and which I immediately concealed between my legs. At any rate, he said nothing about the mishap. And at the time I could not imagine that any power on earth could perceive the loss of a single page from the monstrously dense and prodigious layers of that book. Certainly I was safe from the eyes of Fr. Sevich, which had once again become as dull and expressionless as the plaster complexion of his face.

Shortly thereafter the priest had to be on his way. With fascination I watched as he a.s.sembled himself in our foyer, donning his cloak, his huge hat, propping himself with his walking stick. Before leaving, he invited us all to visit him in the old country, and we promised to do so should our travels ever take us to that part of the world. While my mother held me close to her side, my father opened the door for the priest. And the sunny afternoon, now grown windy and overcast, received him.

Father Sevich's Return The stolen woodcut from the priest's prayerbook was not the solution I thought it would be. Although I suspected that it possessed certain inspirational powers, a modest fund of moral energy, I soon found that the macabre icon withheld its blessings from outsiders. Perhaps I should have been more deeply acquainted with the secretive nature of sacred objects, but I was too infatuated with all the marvelous lessons I believed it could teach-above all, how I might provide my faceless man in the monastery with a countenance of true terror. However, I learned no such lessons and was forced to leave my figure in an unfinished state, a ridiculously empty slate which I remained unable to embellish with the absolute horror of an off-stage atrocity. But the picture, I mean the one in the prayerbook, did have another and unsuspected value for me. Since I had already established a spiritual rapport with Fr. Sevich, I could not obstruct a certain awareness of his own mysteries. He soon became connected in my mind with unarticulated narratives of a certain kind, stories in the rough, and ones potentially epic, even cosmic, in scope. Without a doubt there was an aura of legend about him, a cycle of mute, incredible lore; and I resolved that his future movements merited my closest possible attention. Such a difficult undertaking was made infinitely easier due to my possession of that single and very thin page torn from his prayerbook.

I kept it with me at all times, protectively enclosed in some wrapping tissue I borrowed from my mother. The initial results were soon in coming, but at the same time they were not entirely successful, considering the expense of this rather prodigal burst of psychic effort. Hence, the early scenes were highly imperfect, visions easily dispersed, fragmentary, some quite near to nonsense. Among them was a visit Fr. Sevich paid another family, a morose vignette in which the anemic priest seemed to have grown pale to the point of translucency.

And the others involved were even worse: some of them had barely materialized or were visible only as a sort of anthropomorphic mist. There was considerable improvement when Fr. Sevich was alone or in the presence of only one other person. A lengthy conversation with Fr. Orne, for example, was projected in its totality; but, as in an improperly lighted photographic scene, the substance of every shape had been watered down into an eerie lividity. Also, given the nature of these visionary endeavors, the entire meeting transpired in dead silence, as if the two clergymen were merely pantomiming their parts.

And in all phases of activity, Fr. Sevich remained the model visitor from a foreign diocese, laying no new ground for scandal since his brief, though infinitely promising, visit with my parents and me. Perhaps the only occasions on which he threatened to live up to this promise, this pledge to incarnate some of those abstract myths that his character suggested to my imagination, took place during his intervals of absolute privacy. In the most unconscious hours of darkness, when the rest of the rectory's population was in slumber, Fr. Sevich would leave the austere comforts of his bed and, seating himself at a window-facing desk, would pour over the contents of a certain book, turning page after page and stopping every so often to mouth some of the strange words inscribed upon them. Somehow these were the sentences of his own mysterious biography, a chronicle of truly unspeakable things. In the formation of the priest's lips as he mimed the incantations of a dead language, in the darting movements of his tongue between rows of immaculate teeth, one could almost chart the convoluted chronology of this foreign man. How alien is the deepest life of another: the unbelievable beginnings, the unimaginably elaborate developments; and the incalculable eons which prepare, which foretell, the multiform phenomena of a few score years! Much of what Fr. Sevich had endured in his allotted span could already be read on his face. But something still remained to be revealed in his features, something which the glowing lamp resting upon the desk, joined by the light of every constellation in the visible universe, was struggling to illuminate.

When Fr. Sevich returned to his homeland, I lost all touch with his life's whereabouts, and soon my own life collapsed back into established routine. After that weary and fruitless summer had pa.s.sed, it was time for me to begin another year of school, to encounter once again the oppressive mysteries of the autumn season. But I had not entirely forgotten my adventure with Fr. Sevich. At the height of the fall semester we began to draw pumpkins with thick orange crayons whose points were awkwardly blunt, and with dull scissors we shaped black cats from the formless depths of black paper. Succ.u.mbing to a hopeless urge for innovation, I created a man-shaped silhouette with my paper and scissors. The just proportions of my handiwork even received compliments from the nun who served as our art instructor. But when I trimmed the figure with a tiny white collar and gave it a crudely screaming mouth-there was outrage and there was punishment. Without arguing a happy sequence of cause and effect between this incident and what followed, it was not long afterward that the school season, for me, became eventful with illness. And it was during this time of shattered routine, as I lay three days and nights dripping with fever, that I regained my hold, with a visionary grasp that reached across the ocean between us, on the curious itinerary of Fr. Sevich.

With hat and cloak and walking stick, the old priest was hobbling along rather briskly, and alone, down the narrow, nocturnal streets of some very old town in the old country.

It was a fairy-tale vision to which not even the most loving ill.u.s.trator of medieval legends could do justice. Fortunately, the town itself-the serpentine lanes, the distorted glow of streetlamps, the superimposed confusion of pointed roofs, the thinnest blade of moon which seemed to belong to this town as it belonged to no other place on earth-does not require any protracted emphasis in this memoir. Although it did not give away its ident.i.ty, either in name or location, the town still demanded a designation of some kind, some official t.i.tle, however much in error it might be. And of all the names that had ever been attached to places of this world, the only one which seemed proper, in its delirious way, was an ancient name which, after all these years, seems no less fitting and no less ludicrous now than it did then. Unmentionably ludicrous, so I will not mention it.

Now Fr. Sevich was disappearing into a narrow niche between two dark houses, which led him to an unpaved lane bordered by low walls, along which he travelled in almost total blackness until the pathway opened into a small courtyard surrounded by high walls and lit by a single dull lamp at its center. He paused a moment to catch his breath, and when he gazed up at the night, as if to reconcile his course with the stars above, one could see his face sweating and shining in the jaundiced lamplight. Somewhere in the shadows that were draped and fluttering upon those high walls was an opening; pa.s.sing through this doubtful gate, the old priest continued his incredible rambling about the darkest and most remote quarters of the old town.

Now he was descending a stairway of cut stone which led below the level of the town's streets; then a brief tunnel brought him to another stairway which burrowed in a spiral down into the earth and absolute blackness. Knowing his way, the priest ultimately emerged from this nowhere of blackness when he suddenly entered a vast circular chamber. The place appeared to be a tower sunken beneath the town and soaring to a great and paradoxical height. In the upper reaches of the tower, tiny lights glimmered like stars and threw down their illumination in a patternless weave of criss-crossing strands.

The subterranean structure, at whose center Fr. Sevich now stood, ascended in a series of terraces, each bordered by a shining bal.u.s.trade made of some golden metal and each travelling the circ.u.mference of the inner chamber. These terraces multiplied into the upward distance, contracting in perspective in to smaller and thinner circles, blurring together at some point and becoming lost in clouds of shadows that hovered far above. Each level was furthermore provided with numerous and regularly s.p.a.ced portals, all of them dark, hinting at nothing of what lay beyond their unguarded thresholds. But one might surmise that if this was the library of which the priest spoke, if this was a true repository of such books as the one he had just removed from under his cloak, then those slender openings must have led to the archives of this fantastic athenaeum, suggesting nothing less than a bibliographic honeycomb of unknown expanse and complexity. Scanning the shadows about him, the priest seemed to be antic.i.p.ating the appearance of someone in charge, someone entrusted with care of this inst.i.tution. Then one of the shadows, one of the most sizeable shadows and the one closest to the priest, turned around... and three such caretakers now stood before him.

This triumvirate of figures seemed to share the same face, which was almost a caricature of serenity. They were attired very much like the priest himself, and their eyes were large and calm. When the priest held out the book to the one in the middle, a hand moved forward to take it, a hand as white as the whitest glove. The central figure then rested its other hand flat upon the front of the book, and then the figure to the left extended a hand which laid itself upon the first; then a third hand, belonging to the third figure, covered them both with its soft white palm and long fingers, uniting the three. The hands remained thus placed for some time, as if an invisible transference of fabulously subtle powers was occurring, something being given or received. The heads of the three figures slowly turned toward one another, and simultaneously there was a change in the atmosphere of the chamber streaked with the chaotic rays of underworld starlight. And if forced to name this new quality and point to its outward sign, one might draw attention to a certain look in the large eyes of the three caretakers, a certain expression of rarefied scorn or disgust.

They removed their hands from the book and placed them once again out of view. Then the caretakers turned their eyes upon the priest, who had already moved a few steps away from these indignant shadows. But as the priest began to turn his back on them, almost precisely at the mid-point of his pivot, he seemed to freeze abruptly in position, like someone who has just heard his name called out to him in some strange place far from home. However, he did not remain thus transfixed for very long, this statue poised to take a step which is forbidden to it, with its face as rigid and pale as a monument's stone. Soon his black, ankle-high shoes began to kick about as they left the solid ground. And when the priest had risen a little higher, well into the absolute insecurity of empty air, he lost hold of his walking stick; and it fell to the great empty expanse of the tower's floor, where it looked as small as a twig or a pencil. His wide-brimmed hat soon followed, settling crown-up beside the cane, as the priest began tossing and turning in the air like a restless sleeper, wrapping himself up in the dark coc.o.o.n of his cloak. Then the cloak was torn away, but not by the thrashing priest. Something else was up there with him, ascending the uncountable tiers of the tower, or perhaps many unseen things which tore at his clothes, at the spa.r.s.e locks of his hair, at the interlocking fingers of his hands which were now folded and pressed to his forehead, as though in desperate pra:yer. And finally at his face.

Now the priest was no more than a dark speck agitating in the greater heights of the dark tower. Soon he was nothing at all. Below, the three figures had absconded to their refuge of shadows, and the vast chamber appeared empty once more. Then everything went black.

My fever grew worse over the course of several more days, and then late one night it suddenly, quite unexpectedly, broke. Exhausted by the ordeals of my delirium, I lay buried in my bed beneath heavy blankets, whose usually numerous layers had been supplemented according to the ministrations of my mother. Just a few moments before, or a few millenia, she had gone out of my room, believing that I was at last asleep. But I had not even come near to sleeping, no more than I approached a normal state of wakefulness. The only illumination in my room was the natural nightlight of the moon shining through the windows. Through half-closed eyes I focused on this light, suspecting strange things about it, until I finally noticed that all the curtains in my room had been tightly drawn, that the pale glow at the foot of my bed was an unnatural phosph.o.r.escence, an infernal aura or angelic halo beaming about the form of Fr. Sevich himself.

In my confusion I greeted him, trying to lift my head from its pillow but falling back in weakness. He showed no awareness of my presence, and for a second I thought-in the h.e.l.lish wanderings of my fever-that I was the revenant, not he. Attempting to take a clearer account of things, I forced open my leaden eyelids with all the strength I could muster. As a reward for this effort, I witnessed with all possible acuity of my inward and outward vision the incorporeal grandeur of the specter's face. And in a moment unmeasurable by earthly increments of time, I grasped every detail, every datum and nuance of this visitor's life-history, the fantastic destiny which had culminated in the creation of this infinitely gruesome... visage: a visage grown rigid at the sight of unimaginable horrors, a visage petrified into spectral stone. And in that same moment, I felt that I too could see what this lost soul had seen.

Now, with all the force of a planet revolving its unspeakable tonnage in the blackness of s.p.a.ce, the face turned on its terrible axis and, while it still appeared to have no apprehension of my existence, it spoke, as if to itself alone and to its solitary doom: Not given back as it had been given, the law of the book is broken. The law... of the book... is broken.

The spectre had barely spoken the last resounding syllables of its strange p.r.o.nouncement, when it underwent a change: before my eyes it began to shrivel like something thrown into a fire; without the least expression of anguish it crinkled into nothing, as if some invisible power had suddenly decided to dispose of its work, to crumple up an aborted exercise and toss it into oblivion. And it was then that I felt my own purposes at an intersection, a fortuitous crossroads, with that savage and unseen hand. But I would not scorn what I had seen. My health miraculously restored, I gathered together my drawing materials and stayed up the rest of that night recording the vision. At last I had the face I was seeking.

Postscriptum Not long after that night, I paid a visit to our parish church. As this gesture was entirely self-initiated, my parents were free to interpret it as a sign of things to come, and no doubt they did so. The purpose of this act, however, was merely to collect a small bottle of holy water from the handsome metal cistern which dispensed this liquid to the public and which stood in the vestibule of the church. With apologies to my mother and father, I did not on this occasion actually enter the church itself. Gaining the priest-blessed solution, I hurried home, where I immediately unearthed-from the bottom of my dresser drawer-the folio torn from Fr. Sevich's book. Both items, prayerbook page and bottle of holy water, I took into the upstairs bathroom. I locked the door and placed the delicate little leaf in the bathroom sink, staring for a few moments at that wonderful woodcut. I wondered if one day I might make amends for my act of vandalism, perhaps by offering something of my own to a certain repository for such treasures in the old country. But then I recalled the fate of Fr. Sevich, which helped to chase the whole matter from my mind. From the uncorked bottle, I sprinkled the holy water over the precious page spread out at the bottom of the sink. For a few moments it sizzled, exactly as if I had poured a powerful acid on it, and gave off a not unpleasant vapor, an incense reeking of secret denial and privilege. Finally, it dissolved altogether. Then I knew that the game was over, the dream at an end. In the mirror above the sink I saw my own face smiling a smile of deep contentment.

The Tsalal (1994).

First published in Best New Horror 5, 1994.

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

1 Moxton's leavetaking.

None of them could say how it was they had returned to the skeleton town. Some had reached the central cross streets, where a single traffic light, long dead, hung down like a dark lantern. There they paused and stood dumbstruck, scarecrows standing out of place, their clothes lying loose and worn about scrawny bodies. Others slowly joined them, drifting in from the outskirts or disembarking from vehicles weighted down with transportable possessions. Then all of them gathered silently together on that vast, gray afternoon.

They seemed too exhausted to speak and for some time appeared not to recognize their location among the surrounding forms and s.p.a.ces. Their eyes were fixed with an insomniac's stare, the stigma of both monumental fatigue and painful attentiveness to everything in sight. Their faces were narrow and ashen, a few specks mingling with the dusty surface of that day and seeking to hide themselves within its pale hours. Opposing them was the place they had abandoned and to which they had somehow returned. Only one had not gone with them. He had stayed in the skeleton town, and now they had come back to it, though none of them could say how or why this had happened.

A tall, bearded man who wore a flat-brimmed hat looked up at the sky. Within the clouds was a great seeping darkness, the overflow of the coming night and of a blackness no one had ever seen. After a moment the man said, "It will be dark soon." His words were almost whispered and the effort of speaking appeared to take the last of his strength. But it was not simply a depleted vigor that kept him and the others from turning about and making a second exodus from the town.

No one could say how far they had gone before they reversed their course and turned back toward the place which they believed themselves to have abandoned forever. They could not remember what juncture or dead end they had reached that aborted the evacuation. Part of that day was lost to them, certain images and experiences hidden away. They could feel these things closeted somewhere in their minds, even if they could not call them to memory. They were sure they had seen something they should not remember. And so no one suggested that they set out again on the road that would take them from the town. Yet they could not accept staying in that place.

A paralysis had seized them, that state of soul known to those who dwell on the highest plane of madness, aristocrats of insanity whose nightmares confront them on either side of sleep. Soon enough the wrenching effect of this psychic immobility became far less tolerable than the prospect of simply giving up and staying in the town. Such was the case with at least one of these cataleptic puppets, a sticklike woman who said, "We have no choice. He has stayed in his house." Then another voice among them shouted, "He has stayed too long."

A sudden wind moved through the streets, flapping the garments of the weary homecomers and swinging the traffic light that hung over their heads. For a moment all the signals lit up in every direction, disturbing the deep gray twilight. The colors drenched the bricks of buildings and reflected in windows with a strange intensity. Then the traffic light was dark once more, its fit of transformation done.

The man wearing a flat-brimmed hat spoke again, straining his whispery voice. "We must meet together after we have rested."

As the crowd of thin bodies sluggishly dispersed there was almost nothing spoken among them. An old woman shuffling along the sidewalk did not address anyone in particular when she said, "Blessed is the seed that is planted forever in darkness."

Someone who had heard these words looked at the old woman and asked, "Missus, what did you say?" But the old woman appeared genuinely confused to learn she had said anything at all.

2-The one who stayed behind In the house where a man named Ray Starns and a succession of others before him once resided, Andrew Maness ascended the stairway leading to the uppermost floor, and there entered a small room that he had converted to a study and a chamber of meditation. The window in this room looked out over the rooftops in the neighborhood to offer a fair view of Moxton's main street. He watched as everyone abandoned the town, and he watched them when they returned. Now far into the night, he was still watching after they had all retreated to their homes. And every one of these homes was brightly illuminated throughout the night, while Main Street was in darkness. Even the traffic light was extinguished.

He looked away from the window and fixed his eyes on a large book that lay open on his desk a few steps across the room. The pages of the book were brown and brittle as fallen leaves. "Your wild words were true," he said to the book. "My friends did not go far before they were sent trudging back. You know what made them come home, but I can only guess.

So many things you have devoutly embellished, yet you offer nothing on this point. As you say, The last vision dies with him who beholds it. Blessed is the seed that is planted forever in darkness.' But the seed that has been planted still grows." Andrew Maness closed the book. Written in dark ink upon its cover was the word TSALAL.

3-The power of a place Before long everyone in Moxton had shut themselves in their houses, and the streets at the center of town were deserted. A few streetlights shone on the dull facades of buildings: small shops, a modest restaurant, a church of indefinite denomination, and even a movie theater, which no one had patronized for some weeks. Surrounding this area were cl.u.s.ters of houses that in the usual manner collect about the periphery of skeleton towns. These were structures of serene desolation that had settled into the orbit of a dead star. They were simple pinewood coffins, full of stillness, leaning upright against a silent sky. Yet it was this silence that allowed sounds from a fantastic distance to be carried into it. And the stillness of these houses and their narrow streets led the eye to places astonishingly remote. There were even moments when the entire veil of desolate serenity began to tremble with the tumbling colors of chaos.

Everything seems so unusual in the plainness of these neighborhoods that clutter the margins of a skeleton town. Often no mention is made of the peculiar virtues of such places by their residents. Even so, there may be a house that does not stand along one of those narrow streets but at its end. This house may even be somewhat different from the others in the neighborhood. Possibly it is taller than the other houses or displays a weathervane that spins in the wind of storms. Perhaps its sole distinguishing quality is that it has been long unoccupied, making it available as an empty vessel in which much of that magical desolation of narrow streets and coffin-shaped houses comes to settle and distill like an essence of the old alchemists. It seems part of a design-some great inevitability-that this house should exist among the other houses that clutch at the edges of a skeleton town. And the sense of this vast, all-encompa.s.sing design in fact arises within the spindly residents of the area when one day, unexpectedly, there arrives a red-headed man with the key to this particular house.

4-Memories of a Moxton childhood Andrew Maness closed the book named TSALAL. His eyes then looked around the room, which had not seemed so small to him in the days when he and his father occupied the house, days too long ago for anyone else to recall with clarity. He alone was able to review those times with a sure memory, and he summoned the image of a small bed in the far corner of the room.

As a child he would lie awake deep into the night, his eyes wandering about the moonlit room that seemed so great to his doll-like self. How the shadows enlarged that room, opening certain sections of it to the black abyss beyond the house and beyond the blackness of night, reaching into a blackness no one had ever seen. During these moments things seemed to be changing all around him, and it felt as if he had something to do with this changing. The shadows on the pale walls began to curl about like smoke, creating a swirling murkiness that at times approached sensible shapes-the imperfect zoology of cloud-forms-but soon drifted into hazy nonsense. Smoky shadows gathered everywhere in the room.

It appeared to him that he could see what was making these shadows which moved so slowly and smoothly. He could see that simple objects around him were changing their shapes and making strange shadows. In the moonlight he could see the candle in its tarnished holder resting on the bedstand. The candle had burned quite low when he blew out its flame hours before. Now it was shooting upwards like a flower growing too fast, and it sprouted outward with tallowy vines and blossoms, waxy wings and limbs, pale hands with wriggling fingers and other parts he could not name. When he looked across the room he saw that something was moving back and forth upon the windowsill with a staggered motion. This was a wooden soldier which suddenly stretched out the claws of a crab and began clicking them against the windowpanes. Other things that he could barely see were also changing in the room; he saw shadows twisting about in strange ways. Everything was changing, and he knew that he was doing something to make things change. But this time he could not stop the changes. It seemed the end of everything, the infernal apocalypse...

Only when he felt his father shaking him did he become aware that he had been screaming. Soon he grew quiet. The candle on his bedstand now burned brightly and was not as it had been a few moments before. He quickly surveyed the room to verify that nothing else remained changed. The wooden soldier was lying on the floor, and its two arms were fixed by its sides.

He looked at his father, who was sitting on the bed and still had on the same dark clothes he had worn when he held church services earlier that day. Sometimes he would see his father asleep in one of the chairs in the parlor or nodding at his desk where he was working on his next sermon. But he had never known his father to sleep during the night.

The Reverend Maness spoke his son's name, and the younger Andrew Maness focused on his father's narrow face, recognizing the crown of white hair, which yet retained a hint of red, and the oval-shaped spectacles reflecting the candle flame. The old man whispered to the boy, as if they were not alone in the house or were engaged in some conspiracy.

"Has it happened again, Andrew?" he asked.

"I did not want to make it happen," Andrew protested. "I was not by myself."

The Reverend Maness held up an open hand of silence and understanding. The glare of the candlelight on his spectacles concealed his eyes, which now turned toward the window beside his sons's bed. "The mystery of lawlessness doth already work," he said.

"The Epistles," Andrew swiftly responded, as if the quote had been a question.

"Can you finish the pa.s.sage?"

"Yes, I think I can," answered Andrew, who then a.s.sumed a solemn voice and recited: "Now there is one that restraineth, until he be taken out of the way; and then shall be revealed the lawless one, whom the Lord will slay and bring to nought."

"You know it well, that book."

"The Holy Bible," said Andrew, for it sounded strange to him not to name the book in the proper way.

"Yes, the Holy Bible. You should know its words better than you know anything else on earth. You should always have its words in mind like a magical formula."

"I do, Father. You have always told me that I should."

The Reverend Maness suddenly stood up from the bed and towering over his son shouted: "Liar! You did not have the words in your mind on this night. You could not have. You allowed the lawless one to do its work. You are the lawless one, but you must not be. You must become the other one, the katechon, the one who restrains."

"I'm sorry, Father," Andrew cried out. "Please don't be angry with me."

The Reverend Maness recovered his temper and again held up his open hand, the fingers of which interlocked and separated several times in what appeared to be a deliberate sequence of subtle gesticulations. He turned away from his son and slowly walked the length of the room. When he reached the window on the opposite side he stared out at the blackness that covered the town of Moxton, where he and his son had first arrived some years before. On the main street of the town the reverend had built a church; nearby, he had built a house. The silhouette of the church bell-tower was outlined against moonlit clouds. From across the room the Reverend Maness said to his son, "I built the church in town so that it would be seen. I made the church of brick so that it would endure."

Now he paced the floor in an att.i.tude of meditation while his son looked on in silence. After some time he stood at the foot of his son's bed, glaring down as though he stood at the pulpit of his church. "In the Bible there is a beast," he said. "You know this, Andrew. But did you know that the beast is also within you? It lives in a place that can never see light. Yes, it is housed here, inside the skull, the habitation of the Great Beast. It is a thing so wonderful in form that its existence might be attributed to the fantastic conjurings of a sorcerer or to a visitation from a far, dark place which no one has ever seen. It is a nightmare that would stop our hearts should we ever behold it gleaming in some shadowy corner of our home, or should we ever-by terrible mischance-lay our hands upon the slime of its flesh. This must never happen, the beast must be kept within its lair. But the beast is a great power that reaches out into the world, a great maker of worlds that are as nothing we can know. And it may work changes on this world. Darkness and light, shape and color, the heavens and the earth-all may be changed by the beast, the great reviser of things seen and unseen, known and unknown. For all that we see and know are but empty vessels in which the beast shall pour a new tincture, therewith changing the aspect of the land, altering the shadows themselves, giving a strange color to our days and our nights, making the day into night, so that we dream while awake and can never sleep again. There is nothing more awful and nothing more sinful than such changes in things. Nothing is more grotesque than these changes. All changes in things are grotesque. The very possibility of changes in things is grotesque. And the beast is the author of all changes. You must never again consort with the beast!"

"Don't say that, Father!" Andrew screamed, the palms of his hands pressed to his ears in order to obstruct further words of judgment. Yet he heard them all the same.

"You are repentant, but still you do not read the book."

"I do read the book."

"But you do not have the words of the book always in your mind, because you are always reading other books that are forbidden to you. I have seen you looking at my books, and I know that you take them from my shelves like a thief. Those are books that should not be read."

"Then why do you keep them?" Andrew shouted back, knowing that it was evil to question his father and feeling a great joy in having done so. The Reverend Maness stepped around to the side of the bed, his spectacles flashing in the candlelight.

"I keep them," he said, "so that you may learn by your own will to renounce what is forbidden in whatever shape it may appear."

But how wonderful he found those books that were forbidden to him. He remembered seeing them for the first time cloistered on high shelves in his father's library, that small and windowless room at the very heart of the house the Reverend Maness had built. Andrew knew these books on sight, not only by the t.i.tles which had such words in them as Mystery, Haunted, Secret, and Shadow, but also by the characters that formed these words-a jagged script closely resembling the letters of his own Bible-and by the shades of their cloth bindings, the faded vestments of autumn twilights. He somehow knew these books were forbidden to him, even before the reverend had made this fact explicit to his son and caused the boy to feel ashamed of his desire to hold these books and to know their matter. He became bound to the worlds he imagined were revealed in the books, obsessed with what he conceived to be a cosmology of nightmares. And after he had wrongfully admitted himself to his father's library, he began to plot in detail the map of a mysterious universe-a place where the sun had pa.s.sed from view, where towns were cold and dark, where mountains trembled with the monstrosities they concealed, woods rattled with secret winds, and all the seas were horribly calm. In his dreams of this universe, which far surpa.s.sed the darkest visions of any of the books he had read, a neverending night had fallen upon every imaginable landscape.

In sleep he might thus find himself standing at the rim of a great gorge filled with pointed evergreens, and in the distance were the peaks of hills appearing in black silhouette under a sky chaotic with stars. Sublime scenery of this type often recurred in those books forbidden to him, sometimes providing the subject for one of the engraved ill.u.s.trations accompanying a narrative. But he had never read in any book what his dream showed him in the sky above the gorge and above the hills. For each of the bright, bristling stars would begin to loosen in the places where the blackness held them. They wobbled at first, and then they rolled over in their bed of night. Now it was the other side of the stars that he saw, which was unlike anything ever displayed to the eyes of the earth. What he could see resembled not stars but something more like the underside of large stones one might overturn deep in damp woods. They had changed in the strangest way, changed because everything in the universe was changing and could no longer be protected from the changes being worked upon them by something that had been awakened in the blackness, something that desired to remold everything it could see... and had the power to see all things. Now the faces of the stars were crawling with things that made them gleam in a way that stars had never gleamed before. And then these things he saw in his dream began to drip from the stars toward the earth, streaking the night with their gleaming trails.

In those nights of dreaming, all things were subject to forces that knew nothing of law or reason, and nothing possessed its own nature or essence but was only a mask upon the face of absolute darkness, a blackness no one had ever seen.

Even as a child he realized that his dreams did not follow the creation taught to him by his father and by that book. It was another creation he pursued, a counter-creation, and the books on the shelves of his father's library could not reveal to him what he desired to know of this other genesis. While denying it to his father, and often to himself, he dreamed of reading the book that was truly forbidden, the scripture of a deadly creation, one that would tell the tale of the universe in its purest sense.

But where could he find such a book? On what shelf of what library would it appear before his eyes? Would he recognize it when fortune allowed it to fall into his hands? Over time he became certain he would know the book, so often did he dream of it. For in the most unlikely visions he found himself in possession of the book, as though it belonged to him as a legacy. But while he held the book in dreams, and even saw its words with miraculous clarity, he could not comprehend the substance of a script whose meaning seemed to dissolve into nonsense. Never was he granted in these dreams an understanding of what the book had to tell him. Only as the most obscure and strangest sensations did it communicate with his mind, only as a kind of presence that invaded and possessed his sleep. On waking, all that remained was a euphoric terror. And it was then that objects around him would begin their transformations, for his soul had been made lawless by dreams and his mind was filled with the words of the wrong book.

5-The author of the book "You knew it was hopeless," said Andrew Maness as he stood over the book that lay on the desk, glaring at the pages of old handwriting in black ink. "You told me to always read the right words and to always have them in my mind, but you knew I would read the wrong words. You knew what I was. You knew that such a being existed only to read the wrong words and to want to see those words written across the sky in a black script. Because you yourself were the author of the book. And you brought your son to the place where he would read your words. This town was the wrong place, and you knew it was the wrong place. But you told yourself it was the only place where what you had done... might be undone. Because you became afraid of what you and those others had done. For years you were intrigued by the greatest madness, the most atrocious secrets and schemes, and then you became afraid. What did you discover that could make you so afraid, you and the others who were always intrigued by the monstrous things you told of, that you sang of, in the book? You preached to me that all change is grotesque, that the very possibility of change is evil. Yet in the book you declare 'transformation as the only truth'-the only truth of the Tsalal, that one who is without law or reason. 'There is no nature to things you wrote in the book. 'There are no faces except masks held tight against the pitching chaos behind them.' You wrote that there is not true growth or evolution in the life of this world but only transformations of appearance, an incessant melting and molding of surfaces without underlying essence. Above all you p.r.o.nounced that there is no salvation of any being because no beings exist as such, nothing exists to be saved-everything, everyone exists only to be drawn into the slow and endless swirling of mutations that we may see every second of our lives if we simply gaze through the eyes of the Tsalal.

"Yet these truths of yours that you kept writing in your book cannot be the reason you became afraid, for even while your voice is somber or trembling to speak of these things, your phrases are burdened with fascination and you are always marvelling at the grand mockery of the universal masquerade, the 'hallucination of lies that obscures the vision of all but the elect of the Tsalal.' It is something of which you will not speak or cannot speak that caused you to become afraid. What did you discover that you could not face without renouncing what you and those others had done, without running to this town to hide yourself in the doctrines of a church that you did not truly uphold? Did this knowledge, this discovery remain within you, at once alive and annihilated to your memory? Was it this that allowed you to prophesy that the people of Moxton would return to their town, yet prevented you from telling what phenomenon could be more terrible than the nightmare they had fled, those grotesque changes which had overtaken the streets and houses of this place?

"You knew this was the wrong place when you brought me here as a child. And I knew that this was the wrong place when I came home to this town and stayed here until everyone knew that I had stayed too long in this place."

6-The white-haired woman Not long after Andrew Maness moved back to the town of Moxton, an old woman came up to him late one afternoon on the street. He was staring into the window of a repair shop that closed early. Corroded pieces of machinery were strewn before him, as if on display: the guts and bones of a defunct motor of some kind. His reverie was disturbed when the old woman said, "I've seen you before."

"That is possible, ma'am," he replied. "I moved into a house on Oakman a few weeks ago."

"No, I mean that I've seen you before that."

He smiled very slightly at the old woman and said, "I lived here for a time, but I didn't think anyone would remember."

"I remember the hair. It's red but kind of greenish too, yellow maybe."

"Discolored through the years," he explained.