Read Burning Your Boats: The Collected Short Stories Online
Authors: Angela Carter
Tags: #Fantasy, #Magical Realism, #Short Stories, #F
The Professor somehow always contrived to have a few handbills printed off in the language of the country where they played. These always gave the title of his play and then they used to read as follows:
Come and see all that remains of Lady Purple, the famous prostitute and wonder of the East!
A unique sensation. See how the unappeasable appetites of Lady Purple turned her at last into the very puppet you see before you, pulled only by the strings of
lust.
Come and see the very doll, the only surviving relic of the shameless Oriental Venus herself.
The bewildering entertainment possessed almost a religious intensity for, since there can be no spontaneity in a puppet drama, it always tends towards the rapt intensity of ritual, and, at its conclusion, as the audience stumbled from the darkened booth, it had almost suspended disbelief and was more than half convinced, as the Professor assured them so eloquently, that the bizarre figure who had dominated the stage was indeed the petrification of a universal whore and had once been a woman in whom too much life had negated life itself, whose kisses had withered like acids and whose embrace blasted like lightning. But the Professor and his assistants immediately dismantled the scenery and put away the dolls who were, after all, only mundane wood and, next day, the play was played again.
This is the story of Lady Purple as performed by the Professor’s puppets to the delirious
obbligato
of the dumb girl’s samisen and the audible click of the limbs of the actors.
The Notorious Amours of Lady Purple
the Shameless Oriental Venus
When she was only a few days old, her mother wrapped her in a tattered blanket and abandoned her on the door-step of a prosperous merchant and his barren wife. These respectable bourgeois were to become the siren’s first dupes. They lavished upon her all the attentions which love and money could devise and yet they reared a flower which, although perfumed, was carnivorous. At the age of twelve, she seduced her foster father. Utterly besotted with her, he trusted to her the key of the safe where he kept all his money and she immediately robbed it of every farthing.
Packing his treasure in a laundry basket together with the clothes and jewellery he had already given her, she then stabbed her first lover and his wife, her foster mother, in their bellies with a knife used in the kitchen to slice fish. Then she set fire to their house to cover the traces of her guilt. She annihilated her own childhood in the blaze that destroyed her first home and, springing like a corrupt phoenix from the pyre of her crime, she rose again in the pleasure quarters, where she at once hired herself out to the madame of the most imposing brothel.
In the pleasure quarters, life passed entirely in artificial day for the bustling noon of those crowded alleys came at the time of drowsing midnight for those who lived outside that inverted, sinister, abominable world which functioned only to gratify the whims of the senses. Every rococo desire the mind of man might, in its perverse ingenuity, devise found ample gratification here, amongst the halls of mirrors, the flagellation parlours, the cabarets of nature-defying copulations and the ambiguous soirees held by men-women and female men. Flesh was the speciality of every house and it came piping hot, served up with all the garnishes imaginable. The Professor’s puppets dryly and perfunctorily performed these tactical manoeuvres like toy soldiers in a mock battle of carnality.
Along the streets, the women for sale, the mannequins of desire, were displayed in wicker cages so that potential customers could saunter past inspecting them at leisure. These exalted prostitutes sat motionless as idols. Upon their real features had been painted symbolic abstractions of the various aspects of allure and the fantastic elaboration of their dress hinted it covered a different kind of skin. The cork heels of their shoes were so high they could not walk but only totter and the sashes round their waists were of brocade so stiff the movements of the arms were cramped and scant so they presented attitudes of physical unease which, though powerfully moving, derived partly, at least, from the deaf assistant’s lack of manual dexterity, for his apprenticeship had not as yet reached even the journeyman stage. Therefore the gestures of these
hetaerae
were as stylised as if they had been clockwork. Yet, however fortuitously, all worked out so well it seemed each one was as absolutely circumscribed as a figure in rhetoric, reduced by the rigorous discipline of her vocation to the nameless essence of the idea of woman, a metaphysical abstraction of the female which could, on payment of a specific fee, be instantly translated into an oblivion either sweet or terrible, depending on the nature of her talents.
Lady Purple’s talents verged on the unspeakable. Booted, in leather, she became a mistress of the whip before her fifteenth birthday. Subsequently, she graduated in the mysteries of the torture chamber, where she thoroughly researched all manner of ingenious mechanical devices. She utilised a baroque apparatus of funnel, humiliation, syringe, thumbscrew, contempt and spiritual anguish; to her lovers, such severe usage was both bread and wine and a kiss from her cruel mouth was the sacrament of suffering.
Soon she became successful enough to be able to maintain her own establishment. When she was at the height of her fame, her slightest fancy might cost a young man his patrimony and, as soon as she squeezed him dry of fortune, hope and dreams, for she was quite remorseless, she abandoned him; or else she might, perhaps, lock him up in her closet and force him to watch her while she took for nothing to her usually incredibly expensive bed a beggar encountered by chance on the street. She was no malleable, since frigid, substance upon which desires might be executed; she was not a true prostitute for she was the object on which men prostituted themselves. She, the sole perpetrator of desire, proliferated malign fantasies all around her and used her lovers as the canvas on which she executed boudoir masterpieces of destruction. Skins melted in the electricity she generated.
Soon, either to be rid of them or, simply, for pleasure, she took to murdering her lovers. From the leg of a politician she poisoned she cut out the thighbone and took it to a craftsman who made it into a flute for her. She persuaded succeeding lovers to play tunes for her on this instrument and, with the supplest and most serpentine grace, she danced for them to its unearthly music. At this point, the dumb girl put down her samisen and took up a bamboo pipe from which issued weird cadences and, though it was by no means the climax of the play, this dance was the apex of the Professor’s performance for, as she stamped, wheeled and turned to the sound of her malign chamber music, Lady Purple became entirely the image of irresistible evil.
She visited men like a plague, both bane and terrible enlightenment, and she was as contagious as the plague. The final condition of all her lovers was this: they went clothed in rags held together with the discharge of their sores, and their eyes held an awful vacancy, as if their minds had been blown out like candles. A parade of ghastly spectres, they trundled across the stage, their passage implemented by medieval horrors for, here, an arm left its socket and whisked up out of sight into the flies and, there, a nose hung in the air after a gaunt shape that went tottering noseless forward.
So foreclosed Lady Purple’s pyrotechnical career, which ended as if it had been indeed a firework display, in ashes, desolation and silence. She became more ghastly than those she had infected. Circe at last became a swine herself and, seared to the bone by her own flame, walked the pavements like a desiccated shadow. Disaster obliterated her. Cast out with stones and oaths by those who had once adulated her, she was reduced to scavenging on the seashore, where she plucked hair from the heads of the drowned to sell to wigmakers who catered to the needs of more fortunate since less diabolic courtesans.
Now her finery, her paste jewels and her enormous super-imposition of black hair hung up in the green room and she wore a drab rag of coarse hemp for the final scene of her desperate decline, when, outrageous nymphomaniac, she practised extraordinary necrophilies on the bloated corpses the sea tossed contemptuously at her feet for her dry rapacity had become entirely mechanical and still she repeated her former actions though she herself was utterly other. She abrogated her humanity. She became nothing but wood and hair. She became a marionette herself, herself her own replica, the dead yet moving image of the shameless Oriental Venus.
The Professor was at last beginning to feel the effects of age and travel. Sometimes he complained in noisy silence to his nephew of pains, aches, stiffening muscles, tautening sinews, and shortness of breath. He began to limp a little and left to the boy all the rough work of mantling and dismantling. Yet the balletic mime of Lady Purple grew all the more remarkable with the passage of the years, as though his energy, channelled for so long into a single purpose, refined itself more and more in time and was finally reduced to a single, purified, concentrated essence which was transmitted entirely to the doll; and the Professor’s mind attained a condition not unlike that of the swordsman trained in Zen, whose sword is his soul, so that neither sword nor swordsman has meaning without the presence of the other. Such swordsmen, armed, move towards their victims like automata, in a state of perfect emptiness, no longer aware of any distinction between self or weapon. Master and marionette had arrived at this condition.
Age could not touch Lady Purple for, since she had never aspired to mortality, she effortlessly transcended it and, though a man who was less aware of the expertise it needed to make her so much as raise her left hand might, now and then, have grieved to see how she defied ageing, the Professor had no fancies of that kind. Her miraculous inhumanity rendered their friendship entirely free from the anthropomorphic, even on the night of the Feast of All Hallows when, the mountain-dwellers murmured, the dead held masked balls in the graveyards while the devil played the fiddle for them.
The rough audience received their copeck’s worth of sensation and filed out into a fairground which still roared like a playful tiger with life. The foundling girl put away her samisen and swept out the booth while the nephew set the stage afresh for the next day’s matinee. Then the Professor noticed Lady Purple had ripped a seam in the drab shroud she wore in the final act. Chattering to himself with displeasure, he undressed her as she swung idly, this way and that way, from her anchored strings and then he sat down on a wooden property stool on the stage and plied his needle like a good housewife. The task was more difficult than it seemed at first for the fabric was also torn and required an embroidery of darning so he told his assistants to go home together to the lodging house and let him finish his task alone.
A small oil-lamp hanging from a nail at the side of the stage cast an insufficient but tranquil light. The white puppet glimmered fitfully through the mists which crept into the theatre from the night outside through all the chinks and gaps in the tarpaulin and now began to fold their chiffon drapes around her as if to decorously conceal her or else to render her more translucently enticing. The mist softened her painted smile a little and her head dangled on one side. In the last act, she wore a loose, black wig, the locks of which hung down as far as her softly upholstered flanks, and the ends of her hair flickered with her random movements, creating upon the white blackboard of her back one of those fluctuating optical effects which make us question the veracity of our vision. As he often did when he was alone with her, the Professor chatted to her in his native language, rattling away an intimacy of nothings, of the weather, of his rheumatism, of the unpalatability and expense of the region’s coarse, black bread, while the small winds took her as their partner in a scarcely perceptible
valse triste
and the mist grew minute by minute thicker, more pallid and more viscous.
The old man finished his mending. He rose and, with a click or two of his old bones, he went to put the forlorn garment neatly on its greenroom hanger beside the glowing, winy purple gown splashed with rosy peonies, sashed with carmine, that she wore for her appalling dance. He was about to lay her, naked, in her coffin-shaped case and carry her back to their chilly bedroom when he paused. He was seized with the childish desire to see her again in all her finery once more that night. He took her dress off its hanger and carried it to where she drifted, at nobody’s volition but that of the wind. As he put her clothes on her, he murmured to her as if she were a little girl for the vulnerable flaccidity of her arms and legs made a six-foot baby of her.
“There, there, my pretty; this arm here, that’s right! Oops a daisy, easy does it …”
Then he tenderly took off her penitential wig and clucked his tongue to see how defencelessly bald she was beneath it. His arms cracked under the weight of her immense chignon and he had to stretch up on tiptoe to set it in place because, since she was as large as life, she was rather taller than he. But then the ritual of apparelling was over and she was complete again.
Now she was dressed and decorated, it seemed her dry wood had all at once put out an entire springtime of blossoms for the old man alone to enjoy. She could have acted as the model for the most beautiful of women, the image of that woman whom only a man’s memory and imagination can devise, for the lamp light fell too mildly to sustain her air of arrogance and so gently it made her long nails look as harmless as ten fallen petals. The Professor had a curious habit; he always used to kiss his doll good night.
A child kisses its toy before she pretends it sleeps although, even though she is only a child, she knows its eyes are not constructed to close so it will always be a sleeping beauty no kiss will waken. One in the grip of savage loneliness might kiss the face he sees before him in the mirror for want of any other face to kiss. These are kisses of the same kind; they are the most poignant of caresses, for they are too humble and too despairing to wish or seek for any response.