There is another world, but it is in this one.

Paul Eluard. Œuvres complètes, vol. 1, Gallimard, 1968.

Sunday, July 21, 2019

Dorian Gray and The New Aestheticism

CHAPTER XII

The Age of Dorian
Oscar Wilde by Richard Ellmann (1988)


Excerpts:



The New Aestheticism

The nineties began in 1889 and ended in 1895. At least the Wildean nineties did so, and without Wilde the decade could not have found its character. These were the years in which aestheticism was revised and perfected. During the eighties, Wilde's extremist sponsorship had helped to discredit it and provoked extravagant scorn. Now he conferred a new complexity upon the movement. Without surrendering the contempt for morality, or for nature, that had alarmed and annoyed his critics, Wilde now allowed for 'a higher ethics' in which artistic freedom and full expression of personality were possible, along with a curious brand of individualistic sympathy or narcissistic socialism. He also made it clear that nature might mirror, through art, what Shelley called 'the gigantic shadows which futurity casts upon the present.' To these he added another feature of aestheticism, the invasion of forbidden areas of thought and behavior. Decorum became merely a formal attribute of works of art, not a question of morality.

Aestheticism in its new guise modified the relationship between reader and writer. If matter once the exclusive preserve of pornography could be broached, then the reader's calm and sense of unthreatened distance were violable. Many young men and women learned of the existence of uncelebrated forms of love through the hints in The Picture of Dorian Gray. (Unofficially, Wilde took note of what he officially denied, and
told young Graham Robertson the artist, 'Graham, the book was not written for you, and I hope you will not read it.') People also learned from Wilde how to shape a sentence and live in style. In the eighties, aestheticism suffered for lack of example: Dorian Gray filled the need. With its irreverent maxims, its catch phrases, its conversational gambits, its insouciance and contrariness, it announced the age of Dorian.

In the eighties, aestheticism had been less a movement than an expostulation with the lack of one. Yet its influence, and the influence of the movement of which it was a part—that propaganda for art and artist against 'factification' and 'getting-on'—grew stronger. The claims of action over art were challenged by the
idea that artistic creation, related to that contemplative life celebrated by Plato, was the highest form of action. Wilde summed up ideas that were only implicit in England, but expressed in the poems of Mallarmé and Verlaine and in the novels of Flaubert and D'Annunzio. These writers propounded their positions more carefully than Wilde, but he vied with them in one respect: he was spectacular always.

He was the more spectacular because his views, which agitated among the roots of literature and life, were presented with nonchalance. The use of dialogue lent undogmatic informality to his expression. He said, 'I can invent an imaginary antagonist and convert him when I choose by some absurdly sophistical argument.' 1

Even when he relinquished that form, as in 'The Soul of Man Under Socialism,' he seemed to allow for debate with his position. It was as essential to disturb complacencies as to convince, or possibly more. In a diary for 21 July 1890 Katharine Bradley (of the 'Michael Field' collaboration) recorded how Wilde affirmed his role of lounge lizard:

We agreed—the whole problem of life turns on pleasure—Pater shows that the hedonist—the perfected hedonist—is the saint. 'One is not always happy when one is good; but one is always good when one is happy.' He is writing two articles at present in the Nineteenth Century on the Art of Doing Nothing. He is at his best when he is lying on a sofa thinking. He does not want to do anything; overcome by the 'maladie du style'—the effort to bring in delicate cadences to express exactly what he wants to express—he is prostrate. But to think, to contemplate … 2

Wilde was referring to his articles on 'The True Function and Value of Criticism: With Some Remarks on the Importance of Doing Nothing: A Dialogue,' published in the Nineteenth Century in July and September 1890. In Dorian Gray, first published in Lippincott's on 20 June 1890, Lord Henry Wotton speaks 'languidly' three times and 'languorously' once. He gave a new sanction to these words, as Verlaine had given it to ' langueur ' in French seven years before. Wilde was not indolent: he read voraciously, he devised and tried out conversational gambits, and touched them up in accordance with the shock, amusement, acquiescence, or delight that they aroused. He attributed the same interest in speech to the Greeks: 'Their test was always the spoken word in its musical and metrical relations. The voice was the medium, and the ear the critic.' He radiated, in Katharine Bradley's words, ' bien être ' with his 'mossy voice.' Most of his writing, Pater noted half in dispraise, had the air of 'an excellent talker.' 3 Yet in 1891, his annus mirabilis, he published four books (two volumes of stories, one of critical essays, and a novel) and a long political essay ('The Soul of Man Under Socialism') and wrote his first successful play, Lady Windermere's Fan, as well as most of Salome. Languor was the mask of industry....

....A more total convert to Wilde than Johnson or Barlas was Max Beerbohm, who met him first in 1888, while still at school at Charterhouse, and became a friend in the early 1890s when his brother, Herbert Beerbohm Tree, produced a Wilde play. Beerbohm was quick and clever: Wilde taught him to be languid and preposterous. Beerbohm referred to Wilde as 'the Divinity'; Wilde said that Beerbohm had 'the gift of perpetual old age.' If Wilde celebrated the mask, Beerbohm in his first essays would celebrate maquillage; if Wilde wrote Dorian Gray about a man and his portrait, Beerbohm would write The Happy Hypocrite about a man and his mask. To some extent the disciple went beyond the master; Wilde complained to Ada Leverson, 'He plays with words as one plays with what one loves. When you are alone with him, Sphinx, does he take off his face and reveal his mask?' 10 The exquisite triviality of Zuleika Dobson tried to match The Importance of Being Earnest. Its discussion of peacocks and presents came straight from Salome. Beerbohm admired, learned, and resisted; aware that Wilde was homosexual, and anxious not to follow him in that direction, he drew back from intimacy. He was to caricature Wilde savagely; this was ungrateful, but it was a form of ingratitude, and of intimacy, into which other followers of Wilde lapsed....

....For Wilde, aestheticism was not a creed but a problem. Exploring its ramifications provided him with his subject, and he responded to it with a mixture of serious espousal and mockery—an attitude that Beerbohm found it fruitful to copy. Gautier had preached an icy aestheticism—Wilde did not subscribe, but sometimes enjoyed pretending that he did. The slogan of 'art for art's sake' he had long since disavowed. But he saw his story of a man and his portrait as containing most of the ingredients that he wanted to exploit. 'To become a work of art is the object of living,' he wrote. 12 Dorian was one of two portraits he would write of a man in decay, the other being the professed self-portrait in De Profundis. Wilde's novel connects somewhat with other narratives. In Henry James's The Tragic Muse, published in 1890, the aesthete Gabriel Nash bears traces of Wilde, including the aesthetic cosmopolitanism which James found so annoying in 1882. When Nick Dormer asks Nash, 'Don't we both live in London, after all, and in the Nineteenth Century?,' Nash replies, 'Ah, my dear Dormer, excuse me. I don't live in the Nineteenth Century. Jamais de la vie! ' 'Nor in London either?' 'Yes—when I'm not in Samarcand.' Nash sits for a portrait, but disappears: no one knows where he has gone, and his unfinished image on the canvas fades away as impalpably as the original. James's theme was that aestheticism, being indifferent to concrete detail, could confer upon its followers only an illusory existence. But if James was hard on aestheticism, Wilde would be hard on it too, at least in his novel.

Wilde liked telling stories about portraits. Charles Ricketts remembered someone speaking to Wilde of the excellence of Holbein's portrait of Anne of Cleves. Her ugliness had overwhelmed Henry VIII. 'You believe she was really ugly?' said Wilde. 'No, my dear boy, she was exquisite as we see her in the Louvre. But in the escort, sent to bring her to England, travelled also a beautiful young nobleman of whom she became passionately enamoured, and on the ship they became lovers. What could be done? Discovery meant death. So she stained her face, and put uncouth clothing upon her body, till she seemed the monster Henry thought her. Now, do you know what happened? Years passed, and one day, when the king went hawking, he heard a woman singing in an orchard close, and rising in his stirrups to see who, with lovely voice, had entranced him, he beheld Anne of Cleves, young and beautiful, singing in the arms of her lover.' 13

Among the many sources that have been offered for The Picture of Dorian Gray are Balzac's La Peau de chagrin, Stevenson's Dr Jekyll and Mr Hyde, Goethe's Faust, Meinhold's Sidonia. The list could be multiplied indefinitely. As Yeats says, 'Works of art beget works of art.' No specific work is exactly comparable. Wilde had hit upon a myth for aestheticism, the myth of the vindictive image, an art that turns upon its original as son against father or man against God. He began with a familiar theme: 'I first conceived the idea of a young man selling his soul in exchange for eternal youth—an idea that is old in the history of literature, but to which I have given new form,' he said in a letter to an editor about the book. The new form came from localizing this theme in the contemporary controversy of art versus life. That the story was as old as Salome's did not distress him. He wanted to make Dorian a figure to vie with Marius and Des Esseintes, not to mention Balzac's Lucien de Rubempré—and succeeded.

....No wonder he spoke often about poses and masks. 'The first duty in life is to assume a pose,' he said; 'what the second duty is no one yet has found out.' As Yeats would insist after him, the imaginative creation of oneself goes on almost from birth. He was moved by the attempt of Des Esseintes in A Rebours to construct an artistic world in which to live artistically, and he spoke approvingly in 'Pen, Pencil and Poison' of life as art. He disagreed with those who called him artificial. He thought of the self as having multiple possibilities, and of his life as manifesting each of these in turn.

Portraits, and mirrors, were therefore subjects for his dialectic. Mirrors may be naturalistic, as in 'The Birthday of the Infanta,' where the dwarf dies at the sight of his own image, or in Dorian's favorite book, in which the hero has 'a grotesque dread of mirrors and polished steel surfaces and still water' because they will disclose his fading beauty. But they may also be symbolic. In Wilde's fable, Narcissus looks at his image in the water, but does not know that the water sees only its own image in his eyes. In 'The Decay of Lying,' instead of art mirroring nature, nature mirrors art. The preface to Dorian Gray declares, 'It is the spectator, and not Life, that art really mirrors,' yet in the novel the portrait ceases to mirror Dorian's external beauty and mirrors only his internal ugliness.

He also had in mind his controversy with Whistler, when he had argued, in his 1885 review of 'Mr Whistler's Ten o'Clock,' that the supreme artist was the poet (not, as Whistler maintained, the painter), because the poet could make use of all experience rather than a part. He knew Lessing's theory that painting was spatial and literature temporal, and 'The Critic as Artist,' written at the same time as Dorian Gray, insists that the time world is superior, since it involves a psychic response to one's own history:

The statue is concentrated in one moment of perfection. The image stained upon the canvas possesses no spiritual element of growth or change. If they know nothing of death, it is because they know little of life, for the secrets of life belong to those, and those only, whom the sequence of time affects, and who possess not merely the present but the future, and can rise or fall from a past of glory or of shame. Movement, that problem of the visible arts, can be truly realised by Literature alone.

For his novel he dreamed of transcending these generic limits. It had to be written in words, but with the words he could describe a painting with the attributes Lessing had denied to pictorial art: once the portrait had transfigured its object—the sitter—by concentrating him in one moment of perfection, it would disfigure its achievement as though it would claim time rather than space. That literature and painting could not exchange their roles was the idea which Dorian Gray would alter; in the end each art would revert to its norm, but literature would show itself capable of doing what painting could not do, exist temporally rather than eternally, and yet enshrine a portrait of its beautiful and monstrous hero. Though he had removed all traces of Whistler from the book, the novel carries on their old dispute about the relative merits of their two arts. Wilde wins by bringing together, as Whistler could not, the exalted moment and its disintegration.

This concern with time reflected Wilde's sense of his own changes. Now that he was firmly homosexual, he wondered if he had always been so. Dorian moves from innocence to guilt. Wilde did not feel particularly guilty, but he could wonder if he had ever been innocent. Had his youthful love life been only a pretense? Such questions led him to the two Dorians....

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....The subversiveness of Wilde's views is matched by the grace of their expression. In the dialogue, two characters talk to entertain and persuade each other, the author keeping a little apart from both sides, even that which he obviously favors. The delight in debate is greater than the desire for conviction. Wilde went further than Pater, who had dared only to hint at the overthrow of an old world by new art. Pater did not speak of art's indifference to life, since for him life was composed of feelings, and art provided the most intense of them. Wilde's infusion of irony into aesthetics was adroit; he found a way of saying that art should please and instruct without making it obsequious or didactic. Yeats spoke of 'our more profound Pre-Raphaelitism,' but it was Wilde's more profound postaestheticism which set him going. Still, he was not entirely dazzled. He thought Wilde by nature 'a man of action,' and was surprised to learn that he had turned down a safe seat in Parliament. As a writer, Wilde seemed to Yeats 'unfinished,' a man who, 'by sheer vehemence of nature, all but saw the Grail.' 28

Wilde's form of greatness was different from Yeats's. But with 'The Decay of Lying' he gave his theories a voice. His paradoxes danced, his wit gleamed. His language resounded with self-mockery, amusement, and extravagance. 'The Decay of Lying' became the locus classicus for the expression of the converging aesthetic ideas of writers everywhere. Art was not to be put down by politics, economics, ethics, or religion. Its pride and power could no longer be challenged as frivolous or futile. Degeneration was regeneration. By cunning and eloquence Wilde restored art to the power that the romantic poets had claimed for it, able once again to legislate for the world....



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....Both in its magazine form and in its form as a separate novel, Dorian Gray has faults. Parts of it are wooden, padded, self-indulgent. No one could mistake it for a workmanlike job: our hacks can do that for us. But its continual fascination teaches us to judge it by new standards. Wilde made it elegantly casual, as if writing a novel were a diversion rather than 'a painful duty' (as he characterized Henry James's manner). The underlying legend, of trying to elicit more from life than life can give, arouses deep and criminal yearnings. These contrast with the polish of English civilization at its verbal peak, and create a tension beyond what the plot appears to hold. Wilde put into the book a negative version of what he had been brooding about for fourteen years and, under a veil, what he had been doing sexually for four. He could have taken a positive view of reconsidered aestheticism, as he would in 'The Critic as Artist' and 'The Soul of Man Under Socialism,' as he had already done in 'The Decay of Lying.' Instead, Dorian Gray is the aesthetic novel par excellence, not in espousing the doctrine, but in exhibiting its dangers. Pater's refurbishing of aestheticism in the late 1860s and early 1870s had been followed by a series of attacks upon it: by James in Roderick Hudson, 1876; by Mallock in The New Republic, 1877; by Gilbert and Sullivan in Patience, 1881; and by Punch and many others. In 1890 it would have been old hat for Wilde to offer an unequivocal defense. What he did instead was to write the tragedy of aestheticism. It was also premonitory of his own tragedy, for Dorian has, like Wilde, experimented with two forms of sexuality, love of women and of men. Through his hero Wilde was able to open a window into his own recent experience. The life of mere sensation is uncovered as anarchic and self-destructive. Dorian Gray is a test case. He fails. Life cannot be lived on such terms. Self-indulgence leads him to vandalize his own portrait, but this act is a reversal of what he intends and he discloses his better self, though only in death. Wilde's hero has pushed through to the point where extremes meet. By unintentional suicide, Dorian becomes aestheticism's first martyr. The text:

Drift beautifully on the surface, and you will die unbeautifully in the depths. In response to critical abuse, Wilde added the preface, which flaunted the aestheticism that the book would indict. Dorian Gray is reflexive in the most cunning way, like its central image.

Dorian progresses, or regresses, to art and back to life. Everything in the book has an aesthetic and a clandestine quotient, in terms of which it can eventually be measured. The portrait of Dorian is executed by Basil Hallward just at the moment when Lord Henry is fishing for Dorian's soul. Although Wilde states in the book's preface, 'To reveal art and conceal the artist is art's aim,' Hallward fears that the portrait is too revealing of his love for Dorian, as Dorian later fears that it is too revealing of himself. Wilde the preface-writer and Wilde the novelist deconstruct each other. Dorian offers a Faustian pact (with no visible devil) that he will exchange places with his portrait, to preserve himself as a work of art.

But he is not to achieve timelessness easily. His role of invulnerable and detached profligate is challenged by love. His attachment to Sibyl Vane is an experiment in the aesthetic laboratory. The affair ends as badly as Faust's with Gretchen, but Sibyl Vane differs from Gretchen in being an actress. She plays Shakespearean heroines, so Dorian is able to aestheticize her in his imagination. 'I have been right,' he congratulates himself, 'to take my love out of poetry and to find my wife in Shakespeare's plays.' Put to the test, however, Sibyl is no mere performer; her fatal weakness in his eyes is that she values life above art. She loses her capacity to act because, instead of preferring shadows to reality as she once did, she is drawn by love to prefer reality. She voices the heresy that 'all art is but a reflection' of that reality, and Dorian excommunicates her with the cruel words 'Without your art you are nothing.' Like Faust's Gretchen, she poisons herself in despair. And even her death is rendered aesthetic, first by Lord Henry and then by Dorian. Lord Henry finds that she has played out her part, 'a strange lurid fragment from some Jacobean tragedy,' and that 'The girl never really lived, and so she has never really died.' Dorian agrees with the same glibness, 'She passed again into the sphere of art.' Only her brother, and the reader, are left to mourn, and to judge. Sibyl is the opposite of Dorian. She gives up the pretense of art so as to live entirely artlessly in this world, only to commit suicide. Dorian tries to give up the causality of life and to live in the deathless (and lifeless) world of art, only to commit suicide too.

Dorian commits the primal sin against love, and it leads to his second crime. Basil Hallward discovers the secret of the portrait, and urges him to accept the consequences. For this insistence upon the moral causality of life, Basil too has to die. Dorian manages the murder, and the disposal of the body, as if De Quincey were right about murder's being one of the fine arts. After the murder he sleeps insouciantly; next morning he chooses his tie and rings with special care, and reads Gautier's Emaux et camées, finding in its chiseled quatrains some of the reassuring impersonality that Pound and Eliot were to derive from the same book during the First World War. The friend who helps to dispose of the body commits suicide, like Sibyl. What few twinges Dorian feels he obliterates in an opium den.

The first chapters deal with Dorian's infection by Lord Henry, the later ones with his poisoning by a book. Wilde does not name the book, but at his trial he conceded that it was, or almost was, Huysmans's A Rebours. Of course he also had in mind a book which preceded Huysmans's, Pater's Studies in the History of the Renaissance. In the first draft he gave the mysterious book a name, Le Secret de Raoul by Catulle Sarrazin. This author was a blend of Catulle Mendès, whom he had known for some years, and Gabriel Sarrazin, whom he met in September 1888, and the name of 'Raoul' came from Rachilde's Monsieur Vénus. To a correspondent he wrote that he had played 'a fantastic variation' upon A Rebours, and some day must write it down. The references in Dorian Gray to specific chapters of the unnamed book are deliberately inaccurate. Dorian is said to relish especially the seventh chapter, in which the hero fancies himself as Tiberius, Caligula, Domitian, and Elagabalus, and the eighth and ninth chapters, in which Renaissance crimes are described.

Huysmans's book has none of these: Des Esseintes shows no interest in imperial power, and Wilde borrowed the Renaissance scenes not from Huysmans but from his friend John Addington Symonds's Renaissance in Italy. 17 In fact, the mythical book which so affects Dorian, the pseudo— A Rebours, reads as if it had been plagiarized from Wilde. The hero is said to be alarmed 'by the sudden decay of a beauty that had once, apparently, been so remarkable.' Huysmans never describes Des Esseintes as beautiful, nor as concerned about no longer being so. Dorian says the hero has a dread of mirrors; Des Esseintes has none, though he does read a passage in Mallarmé's 'Hérodiade' where this dread is expressed by her. The more genuine points of comparison are the cultivation of artificial pleasures and the alternations of exaltation and abasement. Though Wilde borrowed the idea for artificial-sensation seeking from Huysmans, he gives Dorian a more specialized interest in jewelry, for which, it appears, no French source was required. He borrowed all the details from South Kensington Museum pamphlets on musical instruments, precious stones, embroidery and lace, and textile fabrics. 18

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....If Dorian Gray presented aestheticism in an almost negative way, his essays 'The Critic as Artist' and 'The Soul of Man Under Socialism' gave it affirmation. The
first was published in July and September 1890 in the Nineteenth Century, and retouched for the volume Intentions (1891); the second in The Fortnightly Review in February 1891. To a considerable extent the first essay was a resolution of the conflict with Whistler. That difficult man had raised a fuss early in 1890, on the by-now well-worn theme of Wilde's putative borrowings from him. The immediate cause was that Herbert Vivian, a young acquaintance of both men, had begun to publish a series of Reminiscences in the Sun. In the first, on 17 November 1889, he recounted how, after lecturing to the art students in 1883, Wilde was asked by Whistler what he had said, and had to suffer the bow of acknowledged ownership as each idea was enumerated. Vivian had also noticed that in 'The Decay of Lying' Wilde had thoughtlessly used Whistler's joke, which went back to his letter to The World of 17 November 1888, that 'Oscar has the courage of the opinion of … others.' He had borrowed his own scalp, Whistler chortled. Wilde was extremely annoyed at Vivian, as well as at Whistler. He curtly refused Vivian's request for his promised introduction to the Reminiscences in a book, and forbade him to use any private letters or conversation. He replied with acerbity to Whistler's charge, though not until 9 January 1890, when his letter to Truth began: 'It is a trouble for any gentleman to have to notice the lucubrations of so ill-bred and ignorant a person as Mr Whistler, but your publication of his insolent letter has left me no option in the matter.' The joke which Whistler said had been stolen was too old for even Whistler to claim it. This defense was weak. Wilde was on solider ground in declaring that Whistler was ignorant of the history of criticism. The week after, on 16 January, Whistler replied that Wilde was now 'his own "gentleman." ' 'In all humility, therefore, I admit that the outcome of my "silly vanity and incompetent mediocrity" must be the incarnation—Oscar Wilde.' Wilde's more adroit reply was reserved for 'The Critic as Artist,' where he said, such accusations proceed either from the thin colourless lips of impotence, or from the grotesque mouths of those who, possessing nothing of their own, fancy that they can gain a reputation for wealth by crying out that they have been robbed.

The whole essay was Wilde's declaration of freedom from Whistler's theories. Gautier had said in his preface to Mademoiselle de Maupin, 'There was no art criticism under Julius II,' and Whistler had embraced this view without acknowledgment. Wilde has Ernest, the straight man in his dialogue, say, 'In the best days of art there were no art critics,' to have Gilbert reply, 'I seem to have heard that observation before, Ernest. It has all the vitality of error and all the tediousness of an old friend. On the contrary,' he proceeds, echoing Symonds and Pater, 'the Greeks were a nation of art critics.' He repudiates the romantic idea of art as a spontaneous overflow of powerful feelings, and insists that it is a highly self-conscious process. 'All bad poetry comes from genuine feeling,' he says, as Auden would say after him. 'The great poet sings because he chooses to sing,' and sings not in his own person but in one he has assumed: 'Man is least himself when he talks in his own person. Give him a mask and he will tell you the truth.' Most of Yeats's speculations about the mask derive encouragement from this essay. Wilde finds that what keeps creation from being repetitive is the critical faculty, which generates fresh forms.

Just what criticism is, Wilde explained by direct and oblique references to his Oxford predecessors. Matthew Arnold as the Oxford Professor of Poetry had lectured in 1864 on 'The Function of Criticism at the Present Time,' a title which Wilde had echoed in his original title for 'The Critic as Artist,' which was 'The True Function and Value of Criticism.' Arnold memorably declared that 'the aim of criticism is to see the object in itself as it really is.' The definition went with his demand for 'disinterested curiosity' from the critic. Its effect was to put the critic on his knees before the work he was discussing. Not everyone enjoyed this position. Nine years later Pater wrote his preface to the Renaissance. Pretending to agree with Arnold's definition of the aim of criticism, he quoted it and added, 'the first step towards seeing one's object as it really is, is to know one's impression as it really is, to discriminate it, to realise it distinctly.' Pater's corollary subtly altered the original proposition, shifting the center of attention from the rock of the object to the rivulets of the perception. It made the critic's own work more important as well as more subjective. If 'observation' is still the word, the critic looks in on himself as often as out to the object.

Wilde outdid Pater. He proposed in 'The Critic as Artist' that the aim of criticism is to see the object as it really is not. This aim might seem to justify the highly personal criticism of individual works which Arnold and Pater wrote, and Wilde uses them as examples. But his contention goes beyond their practice. He wants to free critics from subordination, to grant them a larger share in the production of literature. Although he does not forbid them to explain a book, they might prefer—he says—to deepen its mystery. (The suggestion is amusing but dated: who could deepen the mystery of Finnegans Wake? ) At any rate, the critic's context would be different from that of the artist whom he was judging. For, just as the artist claimed independence of experience (Picasso tells us that art is 'what nature is not'), so the critic claims independence of the books he is writing about. 'The highest criticism,' according to Wilde, 'is the record of one's own soul.' The critic must have all literature in his mind and not see particular works in isolation. So he, and we, 'shall be able to realise, not merely our own lives, but the collective spirit of the race, and so to make ourselves absolutely modern in the true meaning of the word modernity. To realise the nineteenth century, one must realise every century that has preceded it and that has contributed to its making.'

Wilde's essay moves smoothly from classical examples—Homer, Plato, and Aristotle—to Dante. He demonstrates the power of the modern critic to control both Greek and medieval dispensations. He also extends the innovative function of the critic by comparing it with that of the criminal. Transvaluating language in the way of Nietzsche and Genet, Wilde finds that critics grow 'less and less interested in actual life, and will seek to gain their impressions almost entirely from what art has touched.' Life is a failure, incapable of repeating the same emotion, and bringing us to action when beauty lies, rather, in These sentiments particularly impressed one reader, the influential editor of The Fortnightly Review, Frank Harris. He wrote to Wilde that 'Plato might have been proud to sign pages 128–9,' those dealing with sin and virtue. 'I've done you wrong in my thoughts these many years, of course, ignorantly, but now, at last, I'll try to atone. You're certain, I think, to be a chef-de-file (if I may use Balzac's coinage without offence) of the generation now growing to manhood in England.' 33 From now on Harris was an important friend and advocate. One day he would write his biography of Wilde, which suffered from Harris's deficiencies as a listener, and was based on improvisation rather than memory. But he published Ten, Pencil and Poison' in his review, as well as the more subversive essay, 'The Soul of Man Under Socialism.' The second of these broadens and sharpens the argument in 'The Critic as Artist,' and where that essay dwells upon past and present, 'The Soul of Man Under Socialism' dwells upon the future. Wilde saw that his reconsideration of aestheticism must deal with social and political ideas in a more concerted fashion than in the earlier days, when he had discussed man to diet. To speak of the dignity of manual labor is wrong when everyone knows that manual labor is degrading.

As for the type of socialism, Wilde is opposed to authoritarianism, for that would mean the enslavement of the whole society instead of the part that is at present enslaved. He foresees with approval the annihilation of property, family life, marriage, and jealousy. His model for the artist is Christ, in the style of Blake and D. H. Lawrence, a Christ who teaches the importance of being oneself. Art is a disturbing force. Like criticism, it prevents mere repetition; people must not live one another's lives over and over again. For the artist the best government is none at all, and here Wilde seems to be advocating anarchism rather than socialism. 'I am something of an anarchist,' he told an interviewer in 1894.

'There are three kinds of despots,' he says in a passage that impressed James Joyce. 'There is the despot who tyrannises over the body. There is the despot who tyrannises over the soul. There is the despot who tyrannises over the soul and body alike. The first is called the Prince. The second is called the Pope. The third is called the People.' In Ulysses Stephen Dedalus remarks, 'I am the servant of two masters, an English and an Italian.… And a third … there is who wants me for odd jobs.' They are, he explains, 'the Imperial British State … and the holy Roman catholic and apostolic church,' and his compatriots, the Irish. He too would like to be rid of the three despotisms. Christ serves as Wilde's example because he protests against them. But Christ has one limitation: he dwells upon pain. The ultimate purpose shared by life and art is joy. Such joy is to be found in the new Hellenism, in which the best of Greek culture and Christian culture can be synthesized.

Wilde is determined to find a justification for sin. Like criticism, like art, 'What is termed Sin is an essential element of progress.' Without it, the world would grow old and colorless. 'By its curiosity [Arnold's word with Wilde's meaning] Sin increases the experience of the race. Through its intensified individualism it saves us from monotony of type. In its rejection of the current notions about morality, it is one with the highest ethics.' Sin is more useful to society than martyrdom, since it is self-expressive not self-repressive. The goal is the liberation of personality. When the day of true culture comes, sin will be impossible because the soul will transform 'into elements of richer experience, or a finer susceptibility, or a newer mode of thought, acts or passions that with the common would be commonplace, or with the uneducated ignoble, or with the shameful vile. Is this dangerous? Yes; it is dangerous—all ideas, as I told you, are so.'

With these essays Wilde clarified the meaning of Dorian Gray. Dorian was right to seek escape from the repetitious daily round, wrong in expressing only parts—the ungenerous parts—of his nature. Wilde balances here two ideas from his dialogues which look contradictory: one is that art is disengaged from life, the other that it is deeply incriminated with it. That art is sterile, and that art is infectious, are attitudes not beyond reconciliation. Wilde never formulated their union, but he implied something like this: by its creation of beauty, art reproaches the world, calling attention to the world's faults by disregarding them, so the sterility of art is an affront or a parable. Art may also outrage the world by flouting its laws or by indulgently positing their violation. Or art may seduce the world by making it follow an example which seems bad but is really salutary. In these ways the artist moves the world towards self-recognition, with at least a tinge of self-redemption, as he compels himself towards the same end.

By exposing the defects of orthodox aestheticism in Dorian Gray, and the virtues of reconsidered aestheticism in 'The Critic as Artist' and 'The Soul of Man Under Socialism,' Wilde presented the case as fully as he could. However gracefully he expresses himself, there is no doubt that he attacks Victorian assumptions about society. That that society was beginning to disintegrate did not make it more amenable to what Wilde was proposing; if anything, less so. He asked it to tolerate aberrations from the norm, such as homosexuality, to give up its hypocrisy both by recognizing social facts and by acknowledging that its principles were based upon hatred rather than love, leading to privation of personality as of art. Art is the truest individualism the world has known. The threat of Bow Street that Jeyes had made in the St James's Gazette office was not idle, but Wilde meant what he said, and thought that not to take risks was not to live. Like Jean Genet after him, he proposed an analogy between the criminal and the artist, though for him the artist, not needing to act, occupies a superior place. § Rebelliousness and extravagance are needed if society's molds are to be broken, as broken they must be. Art is by nature dissident….

__





Thursday, July 18, 2019

On Holidays from Hell by Reggie Oliver (2017, Tartarus Press)


Holidays from Hell by Reggie Oliver
2017: Tartarus Press

Oliver's skill, competence, and fecundity are a source of unalloyed pleasure for readers in the genre of strange/weird literature. There are no cliches here. This is craftsmanship on a very high level, every page displaying the author's seemingly effortless style.

Holiday from Hell
Seven unspeakable retirees from a nursing home in Diss descend upon Brightsea, where our young narrator is a tyro with the local theater company.

The Silken Drum


....Yuki was standing up and Justin was sitting or kneeling in front of her, I could not tell which. Yuki's face was almost entirely obscured from me by her long black hair. I could see her figure down to just below the thigh and she was naked. Though half turned away from me I saw the contour of her breast and its raspberry coloured nipple. Justin's face was clearly visible and his expression gave me a shock. He was gazing up at her and his look was one of perplexity
and terror. I could not help approaching for a closer look.
    Yuki lifted up one arm and from a cup began to pour a liquid over Justin's head. His expression turned from one of fear to acute agony and he covered his face with his hands. I heard her laugh. It was a terrible laugh, high pitched, like an animal's shriek, a laugh of pure vicious mockery without a trace of humour or humanity in it.



The Green Hour
C. Auguste Dupin and the great mystery of the Paris Exhibition Murders of 1867.

The Perfect Author
At a mystery writing con, one popular writer finds out just how powerful she is at creating believable villains.

Absalom
A tale of supernatural revenge, checking many Jamesian boxes. Brilliant achievement in historical verisimilitude.

The Druid's Rest
Anne and Sheila, on a Welsh cycling holiday, take shelter from a thunderstorm at The Druid's Rest.

The Rooms Are High
Another strange story of uncanny accomodations and the weird habits they call forth from visitors.

The Prince of Darkness.    

    'What was he like?'

    'Well . . . Have you got a week to spare perchance? You know they used to call him the Prince of Darkness?'



The Book and the Ring
A brilliantly executed story of witchcraft and damnation.

....not caring to see further I pressed on and found many pages on which were written strange devices, and some words which were in the Latin tongue, and some in Greek and Hebrew, and some in what I took to be the Moorish script of the Heathen Mahometans, and some in a language I knew not but took to be, from some indicacions, to be the Saxon tongue of those in Britain before the coming of the Norman Kings into our island.



The Maze at Huntsmere
Ash trees and a maze? And at the maze's center, a marble statue of Pan?

Trouble at Botathan
A sleek, perfect tale (like so many in this collection), featuring some excerpts from a young woman's blue notebook diary.

....It was strange, wild, choppy countryside. We were not far from Bodmin Moor and the small fields were ringed by irregular dry stone walls, mostly inhabited by sheep. I tried to follow the designated track but the heat and the sheer wild beauty of the place halted me. At last, when it became obvious that I would never catch up with the others, I decided to make my own way back to the house where we were staying, The Place, as it was called.



A Day with the Delusionists

        'Talking of which, do you remember the Delusionists? And the Delusionists' dinner?'
    'Do I? Of course I do! How could I forget?'
    It was a strange business, that one dinner of the Delusionists, with its shocking and sinister aftermath.



Rapture

....The sky had that leprous orange light that you get in London on cloudy nights when a million street lamps send up their illumination to the foggy atmosphere above. Against it some creatures seemed to be swarming, like a flock of starlings settling for the night across a tranquil water meadow. But these were not starlings: they were larger, less compactly shaped with batlike wings and long spidery legs. He heard their cries, high and almost inaccessible to the ear, calling in challenge to the senseless air they
inhabited.
    'Do you see them now?' asked Tim.        
    'What are they?'
    'Do I need to tell you?'
    'Demons,' said Alan.



Love at Second Sight
A harrowing, sublime story of regret. Like the Edith Wharton protagonist in "Afterward," Oliver's narrator only realizes the kind of puzzle he is dealing with when the action ceases.



Jay
18 July 2019






Wednesday, July 17, 2019

Rereading Dark Gods by T. E. D. Klein (1985)

Dark Gods came out in 1985, when I was just out of high school. I was an avid buyer of Rod Serling's Twilight Zone Magazine during Klein's editorial reign, and read his editorials and articles over and over again. I got a better horror education from Klein than anywhere else. Had I not - unbeknownst to me - been wrestling with undiagnosed autism, I probably would have gleaned just as much from his fiction as non-fiction. But novels and stories were up against my cherished habits of procrastination, intellectual distraction, and lack of intestinal fortitude.

I had the Dark Gods paperback for some time before I got down to reading it, and The Ceremonies is still my white whale.


Yesterday was Klein's birthday, which motivated me to revisit Dark Gods and reread a few stories.


(Notes from my reading of "Petey" two years ago this week can be found here.)


Reading notes on "Children of the Kingdom"

Previous familiarity with Machen's "The Red Hand," "The Shining Pyramid," and  "Novel of the Black Seal" will enrich any reading of "Children of the Kingdom," but they are not a requirement. Klein builds a beautifully articulated fictional superstructure for his tale, flexible and confident, completely free of the aesthetic immaturities that so often beset works of horror fiction.

When I picture Klein's 1977 New York City, it has the mise en scène of a film like The Out-of-Towners or The Taking of Pelham 123: a city constantly provoking its inhabitants, perpetually on the edge of breakdown, almost at the point of the Cities on the Plain in the John Marin painting.  

Rereading "Children of the Kingdom" last night and this morning, I underscored quite a few lines, trying to get a feel for how Klein shaped and presented as effortless what is a complicated and multifaceted narrative gem. It is not a condensation of the story.



....Different worlds can co-exist side by side....

....the people of each group will live their lives without acknowledging the other's existence.

....They are rough-looking and impetuous, these men; but they will seldom leave their kingdom for the alien world next door.

....Me, I think it was los ninos. Kids."

"Kids?" said my wife and I in unison, with Calzone half a beat behind.

"You mean children from the neighborhood?" asked Karen. She had just been reading a series about the revival of youth gangs on the West Side, after more than a decade of peace. "What would they want in a place like this? How could they get in?"

He shrugged. "I don' know, lady. I don' see them. I only know is hard to keep them out. They all the time looking for money...."


Wednesday, June 8, 1977

....I've never found the old to be wiser than anyone else. They've never told me anything I didn't know already.

But Father Pistachio… Well, maybe he was different. Maybe he was onto something after all.

At first, though, he seemed no more than an agreeable old humbug. I met him on June 8, when I went to visit Grandfather....


Saturday, June 11

...."My cousin's step-sister up on 97th, she say things just as bad up there. Say they's a prowler in the neighborhood." The metal chair sagged noticeably as Coralette shifted her weight. "Some kinda pervert, she say. Lady downstairs from her—Mrs. Jackson, down in 1-B—she hear her little girl just a cryin' out the other night, and see the light go on. Real late it was, and the chile only seven years old. She get up and go into the chile's room to see what happened. Window's wide open to let in the breeze, but she ain't worried, 'cause they's bars across it, like you got to have when you's on the groun' floor. But that chile, she shakin' fit to die. Say she wake up and they's a boy standin' right by her bed, just a lookin' down at her and doin' somethin' evil to hisself. She give a holler and reach for the light, and he take off. Wiggle his-self right out the window, she say. Mrs. Jackson, she look, but she don't see nothin', and she think the chile be havin' bad dreams, 'cause ain't nobody slippery enough to get through them bars… But then she look at the wall above the window, and they's some kinda picture drew up there, higher than the little girl could reach. So Mrs. Jackson know that what the chile say is true. Chile say she seen that boy standin' there, even in the dark. Say it was a white boy, that's what she say, and mother-naked, too, 'cept for somethin' he had on over his head, some-thin' real ugly like. I tell you, from now on that chile gwin' be sleepin' wid the light on!"

....According to his theory, the first men had evolved in the warm volcanic uplands of Central America, somewhere in the vicinity of Paraiso, Costa Rica—which was, by sheer coincidence, his own home town. For eons they had dwelled there in a city now gone but for the legends, one great happy tribe beneath a wise and all-powerful queen. Then, hundreds of millennia ago, threatened by invaders from the surrounding jungle—apparently some rival tribe, though I found his account here confusing—they had suddenly abandoned their city and fled northward. What's more, they hadn't paused for rest; as if still in the grip of some feverish need to escape, the tribe had kept on moving, streaming up through the Nicaraguan rain forests, spreading eastward as the land widened before them, but also pressing northward, ever northward, through what was now the United States, Canada, and Alaska, until the more adventurous pushed past the edge of the continent, crossing into Asia and beyond.

....On the wall someone had scratched a crude five-pointed shape halfway between a holly leaf and a hand....


Wednesday, June 15

....We had reached the Barberia/Barbershop, where an advertising placard in the window, faded by the sun, showed a beefy Mark Spitz look-alike, hair aglisten with Vitalis, attempting to guess the identity of a sinuous young woman who had just crept up behind him. Covering his eyes with two pale, finely manicured hands, she was whispering, "Guess who?" That unwarranted question mark annoyed me....

...."But our great-great-granddaddies don't seem to have gone in for it much, at least according to you. They sound pretty cowardly, in fact—pulling up stakes when another tribe showed up, running off like a bunch of kids, leaving the city behind… Sounds to me like they gave up without a fight."

I suppose I was needling him a bit, but it didn't seem to faze him.

"I think you do not understand," he said. "I never say it is another tribe. Is another raza, maybe, another people. One cannot be sure. No one knows where they are from. No one knows their name. Maybe they are what God make before He make a man. Legend say that they are soft, like God's first clay, but that they love to fight. Quick like the piranha, and impossible to kill. No use to hit them in the head."

We had reached the Barberia/Barbershop, where an advertising placard in the window, faded by the sun, showed a beefy Mark Spitz look-alike, hair aglisten with Vitalis, attempting to guess the identity of a sinuous young woman who had just crept up behind him. Covering his eyes with two pale, finely manicured hands, she was whispering, "Guess who?" That unwarranted question mark annoyed me.

"Is hard to say. Many different stories. In one the Chibcha tell, is because they have something on the face. Flat places, ridges, things like little hooks. Back of head, she is like the front; all look much the same. Me, I think this mean they wear a special thing to cover the head in war." He made a kind of helmet with his hands. "See? This way you cannot hurt them, cannot keep them out. They go where they want, take what they want. Break into the city, steal the food, carry many captives to their king. The lucky ones they kill."

"They don't sound like very nice people."

He gave a short, unmerry laugh. "Some Indians say that they are devils. Chibcha say they are the children of God, but children He make wrong. Is no pity inside them, no love for God or man. When God see that they will not change, He try to get rid of them. They are so strong He have to try one, two, three times! Chibcha call them Xo Tl'mi-go, 'The Thrice Accursed.'"


Wednesday, June 29

...."Is a present," he said, placing it reverently in my hand. "For you, also for your wife. I inscribe it to you both."

On the flyleaf, in trembly, old-fashioned script, he had written, "To my dear American friends: With your help I will spread the truth to all readers of your country," and, beneath it, "'We wander blind as children through a cave; yet though the way be lost, we journey from the darkness to the light.' —Thomas xv:i."

I read it out loud to Karen after dinner that night whileshe was in the kitchen washing up. "Gee," she said, "he's really got his heart set on getting that thing published. Sounds to me like a bit of a fanatic."

"He's just old." I flipped through the pages searching for illustrations, since my Spanish was rusty and I didn't feel like struggling through the text. Two Aztecs with a cornstalk flashed past me, then drawings of an arrowhead, a woolly mammoth, and a thing that resembled a swim-fin. "El guante de un usurpador," the latter's caption said. The glove of a usurper. It looked somehow familiar; maybe I'd seen one at the YMCA pool. I turned past it and came to a map. "See this?" I said, holding up the book. "A map of where your ancestors came from. Right on up through Nicaragua."

"Mmm."

"And here's a map of that long-lost city—"

"Looks like something out of Flash Gordon." She went back to the dishes.

"—and a cutaway view of the main temple."

She peered at it skeptically. "Honey, are you sure that old man's not putting you on? I'd swear that's nothing but a blueprint of the Pyramid at Giza. You can find it in any textbook, I've seen it dozens of times. He must have gotten hold of a Xerox machine and— Good God, what's that?"

She was pointing toward a small line drawing on the opposite page. I puzzled out the caption. "That's, um, let me see, 'La cabeza de un usurpador,' the head of a usurper… Oh, I know, it must be one of the helmets the invaders wore. A sort of battle mask, I guess."

"Really? Looks more like the head of a tapeworm. I'll bet he cribbed it from an old bio book."

"Oh, don't be silly. He wouldn't stoop to that." Frowning, I drifted back to the living room, still staring at the page. From the page the thing stared blankly back. She was right, I had to admit. It certainly didn't look like any helmet I'd ever seen: the alien proportions of the face, with great blank indentations where the eyes should be (unless those two tiny spots were meant for eyes), the round, puckered "mouth" area with rows of hooklike "teeth…"

Shutting the book, I strolled to the window and gazed out through the latticework of bars. Darkness had fallen on the street only half an hour before, yet already the world out there seemed totally transformed.

By day the neighborhood was pleasant enough; we had what was considered a "nice" building, fairly well maintained, and a "nice" block, at least our half of it. The sidewalk lay just outside our windows, level with the floor on which I stood. Living on the bottom meant a savings on the rent, and over the years I'd come to know the area rather well. I knew where the garbage cans were grouped like sentries at the curbside, and how the large brass knocker gleamed on the reconverted brownstone across the street. I knew which of the spindly little sidewalk trees had failed to bud this spring, and where a Mercedes was parked, and what the people looked like in the windows facing mine.

But it suddenly occurred to me, as I stood there watching the night, that a neighborhood can change in half an hour as assuredly as it can change in half a block. After dark it becomes a different place: another neighborhood entirely, coexisting with the first and separated by only a few minutes in time, the first a place where everything is known, the other a place of uncertainty, the first a place of safety, the other one of—

It was time to draw the curtains, but for some reason I hesitated. Instead, I reached over and switched off the noisy little air conditioner, which had been rattling metallically in the next window. As it ground into silence, the noise outside seemed to rise and fill the room. I could hear crickets, and traffic, and the throb of distant drums. Somewhere out there in the darkness they were snapping their fingers, bobbing their heads, maybe even dancing; yet, for all that, the sound struck me as curiously ominous. My eyes kept darting back and forth, from the shadows of the lampposts to the line of strange dark trees—and to that menacing stretch of unfamiliar sidewalk down which, at any moment, anything might walk on any errand.

Stepping back to adjust the curtains, I was startled by the movement of my own pale reflection in the glass, and I had a sudden vision, decidedly unscientific, no doubt inspired by that picture in the book: a vision of a band of huge white tapeworms, with bodies big as men, inching blindly northward toward New York.


Wednesday, July 6

...."We'll call you if there's anything we need," said the cop, practically shutting the door in my face. As it swung closed I saw, for the first time, that there were four strips of masking tape near the top, around a foot square, enclosing a familiar-looking shape.

"Wait a second," I said. "What's that?"

The door swung back. He saw where I was pointing. "Don't touch it," he said. "We found it there on the door. That tape's for the photographer and the fingerprint guys."

Standing on tiptoe, I took a closer look. Yes, I had seen it before—the outline of a crude, five-pointed holly leaf scratched lightly into the wood. The scratch marks extended outward from the shape in messy profusion, but none penetrated inside.

"You know," I said, "I saw the same thing a few weeks ago on the wall of the laundry room."

"Yeah, the super already told us. Anything else?"

I shook my head. It wasn't till hours later, back in the solitude of my apartment, that I realized I had seen the shape in still another place.

They say the night remembers what the day forgets. Pulling out the crudely bound orange book, I opened it to one of the drawings. There it was, that shape again, in the outline of the flipper-like gauntlets which Pistachio claimed his usurpadores had worn.

I got up and made myself some tea, then returned to the living room. Karen was still at her Wednesday-evening class, and would not be back till nearly ten. For a long time I sat very still, with the book open on my lap, listening to the comforting rattle of the air conditioner as it blotted out the night. One memory kept intruding: how, as a child, I liked to take a pencil and trace around the edges of my hand. This shape, I knew, is one that every child learns to draw.

I wondered what it would look like if the child's hands were webbed....


Wednesday, July 13

....Certain things are not supposed to happen before midnight. There's a certain category of events—certain freak encounters and discoveries, certain crimes—for which mere nighttime doesn't seem quite dark enough. Only after midnight, after most of the world is asleep and the laws of the commonplace suspended, only then are we prepared for a touch, however brief, of the impossible.

But that night the impossible didn't wait....

....Blindly I groped for the door. I could hear someone on the other side, scrabbling to get out. At last my fingers found the knob. "It's okay," I said, turning it, "I'm here—"

The door exploded in my face. I went down beneath a mob of twisting bodies pouring through the doorway, tumbling out upon me like a wave. I was kicked, tripped over, stepped on; I struggled to rise, and felt, in the darkness, the touch of naked limbs, smooth, rubbery flesh, hands that scuttled over me like starfish. In seconds the mob had swept past me and was gone; I heard them padding lightly up the hall, heading toward the stairs.

Then silence.

I lay back on the floor, exhausted, unable to believe it was over. I knew that, in a little while, I would not be able to believe it had happpened at all. Though they'd left the stench of sewage in my nostrils, the gang—whatever they were, wherever they had gone—already seemed a crazy dream born of the darkness and the heat.

....amid the statistics and postmortems, the newspaper stories and police reports, there were other reports —"unsubstantiated rumors," the Times called them—of roaming whites glimpsed here and there in the darker corners of the city, whites dressed "oddly," or undressed, or "emaciated" looking, or "masked," terrorizing the women of the neighborhood and hiding from the light. A woman in Crown Heights said she'd come upon a "white boy" thrusting his hand between her infant daughter's legs, but that he'd run away before she got a look at him. A Hunts Point girl swore that, minutes after the blackout began, a pack of "skinny old men" had come swarming up from the basement of an abandoned building and had chased her up the block. At the Astoria Boulevard subway stop near Hell Gate, an electrical worker had heard someone—a woman or a child—sobbing on the tracks where, hours before, a stalled train had been evacuated, and had seen, in his flashlight's beam, a group of distant figures fleeing through the tunnel. Hours later a man with a Spanish accent had telephoned the police to complain, in broken English, that his wife had been molested by "kids" living in the subway. He had rung off without giving his name. A certain shopping-bag lady, subject of a humorous feature in the Enquirer, even claimed to have had sexual relations with a "Martian" who, after rubbing his naked groin, had groped blindly beneath her dress; she had a long history of alcoholism, though, and her account was treated as a joke. The following September the News and the Post ran indignant reports on the sudden hike in abortions among the city's poor—but then, such stories, like those of climbing birth rates nine months later, are part and parcel of every blackout.

If I seem to credit these stories unduly—to dwell on them, even—it's because of what had happened to me in the basement, at the start of the blackout, and because of another incident, far more terrible, which occurred later that night. Since then some years have elapsed; and now, with Karen's permission, I can speak of it.

I had been nodding off, lulled by the rhythm of Grandfather's snoring, when the telephone jerked me awake. For a moment I forgot where I was, but then I heard Karen's voice.

"Well," she said, "here I am, safe and sound, and absolutely exhausted. One thing's good, at least I won't have to go to work tomorrow. I feel like I could use a good twelve hours' sleep, though it'll probably be pretty unbearable in here tonight without the air conditioner. There's a funny smell, too. I just took a peek in the refrigerator, and all that meat you bought's going to spoil unless—Oh God, what's that?"

I heard her scream. She screamed several times. Then there was a thud, and then a jarring succession of bangs as the phone was dropped and left dangling from the edge of the table.

And then, in the background, I heard it: a sound so similar to the one coming from the bed behind me that for one horrifying second I'd confused the two.

It was the sound of snoring....

....I was impressed by how well she was bearing up. Even though she'd awakened alone in the dark, she had managed to keep herself busy: after relighting the candle and replacing the telephone, she had methodically gone about locking all the windows and had carefully washed the stickiness from her legs. In fact, by the time I got there she seemed remarkably composed, at least for the moment—composed enough to tell me, in a fairly level voice, about the thing she'd seen drop soundlessly into the room, through the open window, just as another one leaped toward her from the hall and a third, crouched gaunt and pale behind the bed, rose up and, reaching forward, pinched the candle out.

Her composure slipped a bit—and so did mine—when, six hours later, the morning sunlight revealed a certain shape scratched like a marker in the brick outside our bedroom window.

Six weeks later, while we were still living at her mother's house in Westchester, the morning bouts of queasiness began. The tests came back negative, negative again, then positive. Whatever was inside her might well have been mine—we had, ironically, decided some time before to let nature take its course—but we took no chances. The abortion cost only $150, and we got a free lecture from a Right to Life group picketing in front. We never asked the doctor what the wretched little thing inside her looked like, and he never showed the least inclination to tell us....



Wednesday, February 14, 1979

....Father Pistachio—he, too, is gone now, gone even before my grandfather. Although he has never been listed as such, he remains, as far as I'm concerned, the only likely fatality of the Great 1977 Blackout. It appears that, at the moment the power failed, he'd been on his way to visit Grandfather and me in the Manor, a short walk up the street. Beyond that it's impossible to say, for no one saw what happened to him. Maybe, in the darkness, he got frightened and ran off, maybe he had a run-in with the same gang that attacked me, maybe he simply fell down a rabbit hole and disappeared. I have one or two suspicions of my own—suspicions about the blackout itself, in fact, and whether it was really Con Ed's fault—but such speculations only get my wife upset. All we really know is that the old man vanished without a trace, though Grandfather later claimed to have seen a white paper bag lying crumpled and torn near the stoop of Pistachio's house....

....The light changed. I took one step off the curb, and heard something crackle underfoot. That was why I happened to look down. I saw that I had stepped upon a little mound of pistachio shells, red against the snow, piled by the opening to a sewer.

And I froze—for there was something in the opening, just beside my shoe: something watching intently, its face pressed up against the metal grating, its pale hands clinging tightly to the bars. I saw, dimly in the streetlight, the empty craters where its eyes had been—empty but for two red dots, like tiny beads—and the gaping red ring of its mouth, like the sucker of some undersea creature. The face was alien and cold, without human expression, yet I swear that those eyes regarded me with utter malevolence—and that they recognized me.

It must have realized that I'd seen it—surely it heard me cry out—for at that moment, like two exploding white stars, the hands flashed open and the figure dropped back into the earth, back to that kingdom, older than ours, that calls the dark its home.





Reading notes on "Black Man With A Horn"

The elegiac tone of "Black Man With A Horn" somehow matches its narrative strategy: several years worth of personal experiences and research results collaged-together into a fitting peroration.

The narrator is one of life and art's also-rans, a once a youthful member of "Lovecraft's Circle," now left to measure out his 70s with a coffee spoon, much like Grandfather Lauterbach in "Children of the Kingdom."

That is, until his paths cross with a missionary fleeing members of a Malaysian tribe like Pollock fled before the Porroh man.

Klein does a fine job constantly deflating the dignity of his narrator. A cultured and intellectual writer, he gradually realizes he is saddled with a fate akin to one of Lovecraft's own protagonists. And that his epitaph will be a typo.

Again, my underlinings from today's rereading are not meant as a plot precis, but as a way of following turnings and allusions in the narrative.




....I'd suspected it for years, of course, but only with the past week's conference had I been forced to acknowledge the fact: that what mattered to the present generation was not my own body of work, but rather my association with Lovecraft. And even this was demeaned: after years of friendship and support, to be labeled— simply because I'd been younger—a mere "disciple." It seemed too cruel a joke.

Every joke must have a punchline. This one's was still in my pocket, printed in italics on the folded yellow conference schedule. I didn't need to look at it again: there I was, characterized for all time as "a member of the Lovecraft circle, New York educator, and author of the celebrated collection Beyond the Garve."

That was it, the crowning indignity: to be immortalized by a misprint! You'd have appreciated this, Howard. I can almost hear you chuckling from—where else?—beyond the garve...

...."Well, I've been away." His fingers drummed nervously—impatiently?—on the arm of his chair.

"Malaya?"

He sat up, and the color left his face. "How did you know?"

I nodded toward the green flight-bag at his feet. "I saw you carrying that when you came aboard. You, uh—you seemed to be in a little bit of a hurry, to say the least. In fact, I'm afraid you almost knocked me down."

"Hey." His voice was controlled now, his
gaze level and assured. "Hey, I'm really sorry about that, old fella. The fact is, I thought someone might be following me."

Oddly enough, I believed him; he looked sincere—or as sincere as anyone can be behind a phony black beard. "You're in disguise, aren't you?" I asked.

"You mean the whiskers? They're just something I picked up in Singapore. Shucks, I knew they wouldn't fool anyone for long, at least not a friend. But an enemy, well... maybe." He made no move to take them off.

"You're—let me guess—you're in the service, right?" The foreign service, I meant; frankly, I took him for an aging spy.

"In the service?" He looked significantly to the left and right, then dropped his voice. "Well, yeah, you might say that. In His service." He pointed toward the roof of the plane.

"You mean—?"

He nodded. "I'm a missionary. Or was until yesterday."

...."They called themselves the Chauchas, near as I could make out. Some French colonial influence, maybe, but they looked Asiatic to me, with just a touch of black. Little people. Harmless looking."

He gave a small shudder. "But they were nothing like what they seemed. You couldn't get to the bottom of them. They'd been living way up in those hills I don't know how many centuries, and whatever it is they were doing, they weren't going to let a stranger in on it. They called themselves Moslems, just like the lowlanders, but I'm sure there must have been a few bush-gods mixed in. I thought they were primitive, at first. I mean, some of their rituals— you wouldn't believe it. But now I think they weren't primitive at all. They just kept those rituals because they enjoyed them!" He tried to smile; it just accentuated the lines in his face.

"Oh, they seemed friendly enough in the beginning," he said. "You could approach them, do a bit of trading, watch them breed their animals. You could even talk to them about Salvation. And they'd just keep smiling, smiling all the time. As if they really liked you."

I could hear the disappointment in his voice, and something else.

"You know," he confided, suddenly leaning closer, "down in the lowlands, in the pastures, there's an animal, a kind of snail, the Malays kill on sight. A little yellow thing, but it scares them silly: they believe that if it passes over the shadow of their cattle, it'll suck out the cattle's life-force. They used to call it a 'Chaucha snail.' Now I know why."

"Why?" I asked.

He looked around the plane, and seemed to sigh. "You understand, at this stage we were still living in tents. We had yet to build anything. Well, the weather got bad, the mosquitoes got worse, and after the grounds keeper disappeared the others took off. I think the guide persuaded them to go. Of course, this left me—"

"Wait. You say your grounds keeper disappeared?"

"Yes, before the first week was out. It was late afternoon. We'd been pacing out one of the fields less than a hundred yards from the tents, and I was pushing through the long grass thinking he was behind me, and I turned around and he wasn't."

He was speaking all in a rush now. I had visions out of 1940s movies, frightened natives sneaking off with the supplies, and I wondered how much of this was true.

"So with the others gone, too," he said, "I had no way of communicating with the Chauchas, except through a kind of pidgin language, a mixture of Malay and their tongue. But I knew what was going on. All that week they kept laughing about something. Openly. And I got the impression that they were somehow
responsible. I mean, for the man's disappearance. You understand? He'd been the one I trusted." His expression was pained. "A week later, when they showed him to me, he was still alive. But he couldn't speak. I think they wanted it that way. You see, they'd— they'd grown something in him." He shuddered....

....He turned away and stared at the approaching clouds. We were passing over Maine. Suddenly the earth seemed a very small place. "I'd heard some of the Chaucha women singing it," he said at last. "It was a sort of farming song. It's supposed to make things grow."

....he began flipping through the albums in the bin, snapping each one forward in an impatient staccato. Soon, the assortment scanned, he moved to the bin on the left and started on that.

....he gave a little cry, and I saw him shrink back. He stood immobile for a moment, staring down at something in the bin; then he whirled and walked quickly from the store, pushing past a family about to enter.

"Late for his plane," I said to the astonished salesgirl, and strolled over to the albums. One of them lay faceup in the pile—a jazz record featuring John
Coltrane on saxophone. Confused, I turned to look for my erstwhile companion, but he had vanished in the crowd hurrying past the doorway.

Something about the album had apparently set him off; I studied it more carefully. Coltrane stood silhouetted against a tropical sunset, his features obscured, head tilted back, saxophone blaring silently beneath the crimson sky. The pose was dramatic but trite, and I could see in it no special significance: it looked like any other black man with a horn....

....We passed through another doorway—Man in Asia— and moved quickly past the Chinese statuary. "I saw that in school." He nodded at a stumpy figure in a glass case, wrapped in ceremonial robes. Something about it was familiar to me,
too; I paused to stare at it. The outer robe, slightly tattered, was spun of some shiny green material and displayed tall, twisted-looking trees on one side, a kind of stylized river on the other. Across the front ran five yellow-brown shapes in loincloth and headdress, presumably fleeing toward the robe's frayed edges; behind them stood a larger one, all black. In its mouth was a pendulous horn. The figure was crudely woven—little more than a stick figure, in fact—but it bore an unsettling resemblance, in both pose and proportion, to the one on the album cover.

Terry returned to my side, curious to see what I'd found. "Tribal garment," he read, peering at the white plastic notice below the case. "Malay Peninsula, Federation of Malaysia, early nineteenth century." He fell silent....

.......The model next to it wears a green silk ceremonial robe from Negri Sembilan, most rugged of the Malayan provinces. Note central motif of native man blowing ceremonial horn, and the graceful curve of his instrument; the figure is believed to be a representation of "Death's Herald," possibly warning villagers of approaching calamity. Gift of an anonymous donor, the robe is probably Tcho-tcho in origin, and dates from the early 19th century....

....I wanted time to think. The Tcho-Tcho People, I knew, had figured in a number of tales by Lovecraft and his disciples—Howard himself had called them "the wholly abominable Tcho-Tchos"—but I couldn't remember much about them except that they were said to worship one of his imaginary deities. For some reason I associated them with Burma...

But whatever their attributes, I'd been certain of one thing: the Tcho-Tchos were completely fictitious.

Obviously I'd been wrong. Barring the unlikely possibility that the pamphlet itself was a hoax, I was forced to conclude that the malign beings of the stories were in fact based upon an actual
race inhabiting the Southeast Asian subcontinent—a race whose name the missionary had mistranslated as "the Chauchas."

It was a rather troublesome discovery. I had hoped to turn some of Mortimer's recollections, authentic or not, into fiction; he'd unwittingly given me the material for three or four good plots. Yet I'd now discovered that my friend Howard had beaten me to it, and that I was put in the uncomfortable position of living out another man's horror stories....

....Whether Ambrose Mortimer still lived I didn't know, but I felt certain now that, having fled one peninsula, he had strayed onto another just as dangerous, a finger thrust into the void. And the void had swallowed him up....

....The newspaper story was headed wanted for questioning. Like the Mortimer piece, it was little more than a photo with an extended caption:

Thurs.) A Malaysian citizen is being sought for questioning in connection with the disappearance of an American clergyman, Miami police say. Records indicate that the Malaysian, Mr. D. A. Djaktu-tchow, had occupied furnished rooms at the Barkleigh Hotella, 2401 Culebra Ave., possibly with an unnamed
companion. He is believed still in the greater Miami area, but since August 22 his movements cannot be traced. State Dept, officials report Djaktu-tchow's visa expired August 31; charges are pending.

The clergyman, Rev. Ambrose B. Mortimer, has been missing since September 6.

The photo above the article was evidently a recent one, no doubt reproduced from the visa in question. I recognized the smiling moon-wide face, although it took me a moment to place him as the man whose dinner I'd stumbled over on the plane. Without the moustache, he looked less like Charlie Chan....

....Apparently the poor man must have been deathly ill, maybe even tubercular—I intended to get a patch test next week, just to play safe, and I recommend that you get one too—because it seems that, in the reverend's bedroom, they found something very odd: pieces of lung tissue. Human lung tissue."

....one of her bridge partners had had it on the authority of "a friend in the police force" that the search for Mr. Djaktu was being widened to include his presumed companion—"a Negro child," or so my sister reported. Although there was every possibility that this information was false, or that it concerned an entirely different case, I could tell she regarded it as very sinister indeed....

....On the field of rippling green fled the small brown shapes, still pursued by some unseen doom. In the center stood the black man, black horn to his lips, man and horn a single line of unbroken black.

"Are the Tcho-Tchos a superstitious people?" I asked.

"They were," he said pointedly. "Superstitious and not very pleasant. They're extinct as dinosaurs now. Supposedly wiped out by the Japanese or something."

"That's rather odd," I said. "A friend of mine claims to have met up with them earlier this year."

Richmond was smoothing out the robe; the branches of the snake-trees snapped futilely at the brown shapes. "I suppose
it's possible," he said, after a pause. "But I haven't read anything about them since grad school. They're certainly not listed in the textbooks anymore. I've looked, and there's nothing on them. This robe's over a hundred years old."

I pointed to the figure in the center. "What can you tell me about this fellow?"

"Death's Herald," he said, as if it were a quiz. "At least that's what the literature says. Supposed to warn of some approaching calamity."

I nodded without looking up; he was merely repeating what I'd read in the pamphlet. "But isn't it strange," I said, "that these others are in such a panic? See? They aren't even waiting around to listen." "Would you?" He snorted impatiently.

"But if the black one's just a messenger of some sort, why's he so much bigger
than the others?"

Richmond began folding the cloth. "Look, mister," he said, "I don't pretend to be an expert on every tribe in Asia. But if a character's important, they'd sometimes make him larger. Anyway, that's what the Mayans did. But listen, I've really got to get this put away now. I've got a meeting to go to."

While he was gone I sat thinking about what I'd just seen. The small brown shapes, crude as they were, had expressed a terror no mere messenger could inspire. And that great black figure standing triumphant in the center, horn twisting from its mouth—that was no messenger either, I was sure of it. That was no Death's Herald. That was Death itself....

....I found no mention of the Tcho-Tcho, and nothing on their gods.

This in itself was surprising. We are living in a day when there are no more secrets, when my twelve-year-old nephew can buy his own grimoire and books with titles like The Encyclopaedia of Ancient and Forbidden Knowledge are remaindered at every discount store. Though my friends from the twenties would have hated to admit it, the notion of stumbling across some moldering old "black book" in the attic of a deserted house—some lexicon of spells and chants and hidden lore—is merely a quaint fantasy. If theNecronomicon actually existed, it would be out in Bantam paperback with a preface by Lin Carter.

It's appropriate, then, that when I finally came upon a reference to what I sought, it was in that most unromantic
of forms, a mimeographed film-script.

"Transcript" would perhaps be closer to the truth, for it was based upon a film shot in 1937 and that was now presumably crumbling in some forgotten vault. I discovered the item inside one of those brown cardboard packets, held together with ribbons, which libraries use to protect books whose bindings have worn away. The book itself, Malay Memories, by a Reverend Morton, had proved a disappointment despite the author's rather suggestive name. The transcript lay beneath it, apparently slipped there by mistake, but though it appeared unpromising—only ninety-six pages long, badly typed, and held together by a single rusty staple—it more than repaid the reading. There was no title page, nor do I think there'd ever been one; the first page simply identified the film as "Documentary—Malaya Today," and noted that it had been financed, in part, by a U.S. government grant. The filmmaker or makers were not listed.

I soon saw why the government may have been willing to lend the venture some support, for there were a great many scenes in which the proprietors of rubber plantations expressed the sort of opinions Americans might want to hear. To an unidentified interviewer's query, "What other signs of prosperity do you see around you?" a planter named Mr. Pierce had obligingly replied, "Why, look at the living standard—better schools for the natives and a new lorry for me. It's from Detroit, you know. May even have my own rubber in it."

INT: And how about the Japanese? Are they one of today's better markets?

PIERCE: Oh, see, they buy our crop al! right, but we don't really trust 'em, understand? (Smiles) We don't like 'em half so much as the Yanks.

The final section of the transcript was considerably more interesting, however; it recorded a number of brief scenes that must never have appeared in the finished film. I quote one of them in its entirety:

PLAYROOM, CHURCH SCHOOL—LATE AFTERNOON.

(DELETED)

INT: This Malay youth has sketched a picture of a demon he calls Shoo Goron. (To Boy) I wonder if you can tell me something about the instrument he's blowing out of. It looks like the Jewish shofar, or ram's horn. (Again to Boy) That's all right. No need to be frightened.

BOY: He no blow out. Blow in.

INT: I see—he draws air in through the horn, is that right?

BOY: No horn. Is no horn. (Weeps) Is him....

...."She says you spelled it wrong," Ellen announced.

"Who's she?"

"Just one of the flight attendants," said Ellen. "A young girl, in her early twenties. None of the others were Malayan. At first she didn't recognize the name, until she read it out loud a few times. Apparently it's some kind of fish, am I right? Like a suckerfish, only bigger. Anyway, that's what she said. Her mother used to scare her with it when she was bad."

Obviously Ellen—or, more likely, the other woman—had misunderstood. "Sort of a bogeyman figure?" I asked. "Well, I suppose that's possible. But a fish, you say?"

Ellen nodded. "I don't think she knew that much about it, though. She acted a little embarrassed, in fact. Like I'd asked her something dirty." From across the room a loudspeaker issued the final call for passengers. Ellen helped me to my feet, still talking. "She said she was just a Malay, from somewhere on the coast— Malacca? I forget—and that it's a shame I didn!t drop by three or four months ago, because her summer replacement was part Chocha—Chocho?—something like that."

....While we waited by a hatchway in the basement for my luggage to be disgorged, she told me the sequel to the San Marino incident: the boy's body found washed up on a distant beach, lungs in mouth and throat. "Inside out," she said. "Can you imagine? It's been on the radio all morning. With tapes of some ghastly doctor talking about smoker's cough and the way people drown. I couldn't even listen after a while." The porter heaved my bags onto the cart and we followed him to the taxi stand, Maude using her cane to gesticulate. If I hadn't seen how aged she'd become I'd have thought the excitement was agreeing with her.

....I went through the pile of books on my night-table, final cullings from the bottom of the travel shelf; most of them hadn't been taken out since the thirties. I found nothing of interest in any of them, at least upon first inspection, but before turning out the light I noticed that one, the reminiscences of a Colonel E. G. Paterson, was provided with an index. Though I looked in vain for the demon Shoo Goron, I found reference to it under a variant spelling.

....The author, no doubt long deceased, had spent most of his life in the Orient. His interest in Southeast Asia was slight,
and the passage in question consequently brief:

...Despite the richness and variety of their folklore, however, they have nothing akin to the Malay shugoran, a kind of bogey-man used to frighten naughty children. The traveller hears many conflicting descriptions of it, some bordering on the obscene. [Oran, of course, is Malay for 'man,' while shug, which here connotes 'sniffing' or 'questing,' means literally, 'elephant's trunk.') I well recall the hide which hung over the bar at the Traders' Club in Singapore, and which, according to tradition, represented the infant of this fabulous creature; its wings were black, like the skin of a Hottentot. Shortly after the War a regimental surgeon was passing through on his way back to Gibraltar and, after due examination, pronounced it the dried-out skin of a rather large catfish. He was never asked back.

I returned to my sister's house to find her in agitated conversation with the druggist from upstairs; she was in a terrible state and said she'd been trying to reach me all morning. She had awakened to find the flower box by her bedroom window overturned and the shrubbery beneath it trampled. Down the side of the house ran two immense slash marks several yards apart, starting at the roof and continuing straight to the ground....

....Here the tale degenerates into an unsifted collection of items which may or may not be related: pieces of a puzzle for those who fancy themselves puzzle fans, a random swarm of dots, and in the center, a wide unwinking eye....

....The past week has seen a new outbreak of the "incidents." Last night's was the most dramatic by far. I can recite it almost word for word from the morning news. Shortly before midnight Mrs. Florence Cavanaugh, a housewife living at 24 Alyssum Terrace, South Princeton, was about to close the curtains in her front room when she saw, peering through the window at her, what she described as "a large Negro man wearing a gas mask or scuba outfit." Mrs. Cavanaugh, who was dressed only in her nightgown, fell back from the window and screamed for her husband, asleep in the next room, but by the time he arrived the Negro had made good his escape.

Local police favor the "scuba" theory, since near the window they've discovered footprints that may have been made by a heavy man in swim fins. But they haven't been able to explain why anyone would wear underwater gear so many miles from water.

The report usually concludes with the news that "Mr. and Mrs. Cavanaugh could not be reached for comment."

....I think, in fact, it will be a rather appropriate end for a man of my pursuits—to be absorbed into the denouement of another man's tale.

Grow old along with me;
The best is yet to come.

Tell me, Howard: how long before it's my turn to see the black face pressed to my window?





Reading notes on "Nadelman's God"

Remember when (over 50 years ago) people had conniptions about Time magazine's "Is God Dead?" cover?

There are more gods today than you can shake a stick at. Granted, most of them are actually just crusted altars to petty bourgeois narcissism, but new gods are more than a mocking matter.

Klein's great comedy of suburban Demiurgic daemonism, "Nadelman's God," is all about the perils of calling up one's own personal deity. Especially hard on one's downstairs neighbors and former bosses.

The punchline is, for Nadelman, that it isn't even his god. Someone turned one of his old Promethean college verses into metal music lyrics, inspiring someone else to follow them as a recipe for building a deity called The Hungerer. In the end, his predicament drives the adamantly secular Nadelman i to an Orthodox synagogue for the first time in his life, burdened with an armload of Christmas presents for his family.



....There was a lesson to be drawn from those people in the bar, and Nadelman had not been slow to learn it. The world, he had discovered, was full of sad, lonely, pathetic people. They were basically good people, most of them, deserving of sympathy; worthy, even, of respect. But many of them-especially the sort who laid claim to celestial wisdom, preternatural power, magical loopholes in the laws of the universe-were not the sort of people he would care to have as friends. They were too disposed to fantasy, play-acting, and delusion: whatever would lend their dreary lives a bit of spurious drama. For too many of them, the occult was just a bridge between cosmology and kinky sex. They were, in a word, creeps.

....The poem, grandly titled "Advent of the Prometheans: A Cantata," was one of several that Nadelman had published in the Union Col-lege literary magazine, the Unicorn. He had written it as a protest against the compulsory Sunday chapei service that Union, as a Bap-tist institution, had in those days imposed
upon all undergraduates, Christian, Jew, and atheist alike. The poem had been, as he saw it, a kind of metaphoric rock hurled at the ancient chapel's ugly stained-glass windows, with their pious flock of prophets, saints, and Savior.

A more compelling motive, though, had been one of simple imita-tion: having spent half the year reading books on black magic, followed by a dalliance with Swinburne, Huysmans, Villiers de L'Isle-Adam, and the rest of their decadent crew, from the exquisite, blood-drenched torments of Lautremont to the batrachian-faced horrors of Lovecraft-in short, all the dark and sinister exotics to which adolescents are drawn-he had set out to write this kind of thing himself. The resulting work, a paean to some imaginary "leprous-featured rival of the Lord," had had ten distinct sections, each with its own peculiar meter, including a gaudily ornate "Invocation" near the end. It had been the longest poem, and by far the most ambitious, that Nadelman had ever attempted, or ever would again.

....He had moral doubts about the Lord, as well. He'd been raised not only on Santa Claus, but also on fairy tales, fables, and nursery stories; colorful fantasies in which goodness was invariably rewarded in the end, and evil punished As a child, he'd believed such things were true. He had also believed-thanks to his childhood picture books, the ones filled with fuzzy felt animals-that the only proper response to something furry was to reach out and pet it.

The world, as a result, had proved a bitter disappointment, punc-tuated here and there by nasty surprises. At age three he had reached out in the garden to pet the enticing yellow fur of a passing bumblebee, and had been rewarded with a wicked sting on the palm of his hand that left it swollen twice its size. At school he'd discovered that there were no heroes: that the weakest lived in terror of the strong, and that God seemed to favor the bullies.

Nor that he himself had much to complain of; save for the inevitable pains of growing up in this wor'd. his own life had always been comfortable enough. But the lives ofothers, the ones he saw depicted on the TV news and in the magazines, seemed overwhelmingly tragic.

It was hard to have faith in the justice of things when all around him people were dying in curious and terrible ways.

Sometimes, admittedly, the deaths of his fellow men had been easy to accept, merely demonstrating the good sense of
the universe. As a boy, he'd heard about an overeager deer hunter who had stumbled over a root and had blown the top of his head off; the tale had merely confirmed the Tightness of things. Years later he would hear reports about revolutionaries of one stripe or another who blew themselves to bits while building homemade bombs; he found such stories quite cheering. The cosmos was just, after all.

By the time he'd reached high school, he'd discovered that, with a little intellectual effort, he could justify damned near anything-and it certainly helped stave off despair. Innocent people, it turned out, were ill no real danger; it was only the guilty who died. Did cigarette smokers cough their lives away? They'd clearly brought it on themselves. Did some alcoholic poet drink himself to death? It served him right. When a planeload of nuns went down over the Andes, he told himself that this was what happened to people who tried to jam their religion down other people's throats. Pious do-gooders!

With a few small logical contortions, you could take the game still further. Was a socialite found stabbed to death in her apartment? The empty-headed parasite, she deserved it. Was a lawyer mugged? We've got more than enough lawyers, thank you. Selfish bastards! Did a doctor-wreck his private plane? Think of all the money that jerk was making! Another OD'ed rock star? How trite! A father of twelve killed by a hit-and-run driver? The thoughtless asshole, who told him to produce all those children? A family in Utah slain by a tornado? Only schmucks lived out there anyhow.

Sometimes the game became difficult-but doggedly he kept right on playing, if only to preserve his peace of mind. Did old men and women suffer strokes? Maybe they should have exercised more.

Were people dying right and left of heart attacks and cancer? Well, he'd make damned sure to watch what he ate.

There was a lesson to be drawn from those people in the bar, and Nadelman had not been slow to learn it. The world, he had discovered, was full of sad, lonely, pathetic people. They were basically good people, most of them, deserving of sympathy; worthy, even, of respect. But many of them-especially the sort who laid claim to celestial wisdom, preternatural power, magical loopholes in the laws of the universe-were not the sort of people he would care to have as friends. They were too disposed to fantasy, play-acting, and delusion: whatever would lend their dreary lives a bit of spurious drama. For too many of them, the occult was just a bridge between cosmology and kinky sex. They were, in a word, creeps.

Then one day, disconcertingly, he'd read about a young Colum-bia student killed by youths in the subway while going to the aid of a stranger. The guy had been the same age as Nadelman, from almost the same background, at the top of his class. They'd even had the same major.

Nadelman, at that point, gave up the game.

Not everyone would have, even then. A Job might have convinced himseif that all human beings were guilty, he as well as the rest; that all were living here on borrowed time; and that the Lord was therefore perfectly justified in killing anyone He damned well chose. But then, Nadelman had always regarded Job as a bit of a lunatic.

He himself had reached a somewhat
more reasonable conclusion: rather than worshiping God as a divine and highly arbitrary execu-tioner, it made more sense to see the position as vacant. There was no one in control up there. The office was empty. Nobody home.

Or maybe (and here was the germ of his poem) there was simply another god in charge, deranged and malign, delighting in cruelty and mischief. How else to explain the things he read each day in the headlines in the Post?

....And to think that the dumb bastard took Jizzmo's song seriously; he actually believed that the words Nadelman had cribbed from a rhyming dictionary and a bunch of college library books were a magical spell, and was now waiting patiently for the Holy Ghost to come and animate his garbage pile. Nadelman remembered something Rhoda's analyst had told her: "Reality is never enough for some people."

....His concern over what to do about Huntoon's letter proved academic, because Friday of the following week brought a postcard from him. The picture on the front showed the deserted dining room of the Sea Glades Manor. "On the Boardwalk at Long Beach, Long Island. Providing world-famous cuisine and unparalleled service for over forty years."

I tried calling you but they said its not a working number. You never wrote back how I could reach you or maybe your letter was lost in the mail but thats OK
because by following your Instruc-tions I am now in communication with your god & Hes everything you said. Thanks again for your courage & guidance. Dont worry no ones going to get punished except the ones who deserve it.

Nadelman felt himself sliding further down the feathery slope to the land of unreason. First the creep believed the Rival God was actually real; now he claimed he'd talked to him. Earlier that week one of the ad industry trade magazines had recounted the story-with unalloyed approval-of an Englishman who, writing a history of UFOs, had playfully invented a supposed sighting over Oxford, and of how annoyed he'd been when, for years afterward, the incident was cited as authenticated fact by dozens of other saucer books. The lie had become real. And a certain Welsh writer named Machen, the article went on to say, had written a story during World War I about the so-called "Angels of Mons," ghostly Saxon bowmen who'd come to the aid of embattled British troops. The story had become a full-fledged legend, with war veterans claiming in later years that they'd actually seen these spirits. "All of us in the communications industry can learn something useful from this," the article had concluded.

I dont see how you can deny the God. He says He knows you. He did breathe life into His servant just like in the song & He's everything you said He was. Well you did get one thing wrong, He does have a name. He's called The Hungerer....

....Was it possible?-that, in some latter-day Naming of Names, he had given the god life in the very act of naming it, and given its flesh substance with every new
line of his poem?

How weird that would be: the notion that the universe might in fact be listening to him, waiting upon his decisions, his carefully chosen words, responding to his commands. How had that line from the poem gone? '' 77/ create Me a Creator,' He would say"-a god made to order!

But what a dreadful responsibility to contemplate! For it meant that he might in some way be the original cause of the very things that had always appalled and horrified him, all the work of the dark god he'd invented: the fathers stabbed, the mothers raped, the children left to starve....




In conclusion


In the end, I think the four stories in Dark Gods are the strongest, most accomplished stories we've had from a U.S. horror writer. (Even "Black Man With A Horn," a pastiche but also a commentary that sends-up the predicament of the pastichist and his subgenre, manages to rise above the trap of melodrama an otherwise splendid story like "The Events at Poroth Farm" could not.)

It is a common refrain in the community of horror readers that Klein wrote too little in his career. I agree. But to paraphrase Lenin, I must also say, "Better fewer, but better."


Jay

17 July 2019