“Deprived of all initiative, indulgently acquiescent, pliable like a woman, submissive to every impulse, it is a territory outside any law, open to all kinds of charlatans and dilettanti, a domain of abuses and of dubious demiurgical manipulations. Matter is the most passive and most defenseless essence in cosmos. Anyone can mold it and shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve. There is no evil in reducing life to other and newer forms. Homicide is not a sin. It is sometimes a necessary violence on resistant and ossified forms of existence which have ceased to be amusing. In the interests of an important and fascinating experiment, it can even become meritorious. Here is the starting point of a new apologia for sadism.”My father never tired of glorifying this extraordinary element—matter.“There is no dead matter,” he taught us, “lifelessness is only a disguise behind which hide unknown forms of life. The range of these forms is infinite and their shades and nuances limitless. The Demiurge was in possession of important and interesting creative recipes. Thanks to them, he created a multiplicity of species which renew themselves by their own devices. No one knows whether these recipes will ever be reconstructed. But this is unnecessary, because even if the classical methods of creation should prove inaccessible for evermore, there still remain some illegal methods, an infinity of heretical and criminal methods.”
As my father proceeded from these general principles of cosmogony to the more restricted sphere of his private interests, his voice sank to an impressive whisper, the lecture became more and more complicated and difficult to follow, and the conclusions which he reached became more dubious and dangerous. His gestures acquired an esoteric solemnity. He half-closed one eye, put two fingers to his forehead while a look of extraordinary slyness came over his face. He transfixed his listeners with these looks, violated with his cynical expression their most intimate and most private reserve, until he had reached them in the furthest corner whither they had retreated, pressed them against the wall, and tickled them with the finger of irony, finally producing a glimmer of understanding laughter, the laughter of agreement and admission, the visible sign of capitulation.
The girls sat perfectly still, the lamp smoked, the piece of material under the needle of the sewing machine had long since slipped to the floor, and the machine ran empty, stitching only the black, starless cloth unwinding from the bale of winter darkness outside the window.
“We have lived for too long under the terror of the matchless perfection of the Demiurge,” my father said. “For too long the perfection of his creation has paralyzed our own creative instinct. We don't wish to compete with him. We have no ambition to emulate him. We wish to be creators in our own, lower sphere; we want to have the privilege of creation, we want creative delights, we want—in one word—Demiurgy.” I don't know on whose behalf my father was proclaiming these demands, what community or corporation, sect or order supported him loyally and lent the necessary weight to his words. As for us, we did not share these demiurgical aspirations. But Father had meanwhile developed the program of this second Demiurgy, the picture of the second Genesis of creatures which was to stand in open opposition to the present era.
“We are not concerned,” he said, "with long-winded creations, with long-term beings. Our creatures will not be heroes of romances in many volumes. Their roles will be short, concise; their characters—without a background. Sometimes, for one gesture, for one word alone, we shall make the effort to bring them to life. We openly admit: we shall not insist either on durability or solidity of workmanship; our creations will be temporary, to serve for a single occasion. If they be human beings, we shall give them, for example, only one profile, one hand, one leg, the one limb needed for their role. It would be pedantic to bother about the other, unnecessary, leg. Their backs can be made of canvas or simply whitewashed. We shall have this proud slogan as our aim: A different actor for every gesture. For each action, each word, we shall call to life a different human being. Such is our whim, and the world will be run according to our pleasure. The Demiurge was in love with consummate, superb, and complicated materials; we shall give priority to trash. We are simply entranced and enchanted by the cheapness, shabbiness, and inferiority of material.
“Can you understand,” asked my father, “the deep meaning of that weakness, that passion for colored tissue, for papier-mâché, for distemper, for oakum and sawdust? This is,” he continued with a pained smile, “the proof of our love for matter as such, for its fluffiness or porosity, for its unique mystical consistency. Demiurge, that great master and artist, made matter invisible, made it disappear under the surface of life. We, on the contrary, love its creaking, its resistance, its clumsiness. We like to see behind each gesture, behind each move, its inertia, its heavy effort, its bearlike awkwardness.”
The girls sat motionless, with glazed eyes. Their faces were long and stultified by listening, their cheeks flushed, and it would have been difficult to decide at that moment whether they belonged to the first or the second Genesis of Creation.“In one word,” Father concluded, “we wish to create man a second time—in the shape and semblance of a tailor's dummy.”
Here, for reasons of accuracy, we must describe an insignificant small incident which occurred at that point of the lecture and to which we do not attach much importance. The incident, completely nonsensical and incomprehensible in the sequence of events, could probably be explained as vestigial automatism, without cause and effect, as an instance of the malice of inanimate objects transferred into the region of psychology. We advise the reader to treat it as lightly as we are doing. Here is what happened:
Just as my father pronounced the word “dummy,” Adela looked at her wristwatch and exchanged a knowing look with Polda. She then moved her chair forward and, without getting up from it, lifted her dress to reveal her foot tightly covered in black silk, and then stretched it out stiffly like a serpent's head.
She sat thus throughout that scene, upright, her large eyes, shining from atropine, fluttering, while Polda and Pauline sat at her sides. All three looked at Father with wide-open eyes. My father coughed nervously, fell silent, and suddenly became very red in the face. Within a minute the lines of his face, so expressive and vibrant a moment before, became still and his expression became humble.
He—the inspired Heresiarch, just emerging from the clouds of exaltation—suddenly collapsed and folded up. Or perhaps he had been exchanged for another man? That other man now sat stiffly, very flushed, with downcast eyes. Polda went up to him and bent over him. Patting him lightly on the back, she spoke in the tone of gentle encouragement: “Jacob must be sensible. Jacob must obey. Jacob must not be obstinate. Please, Jacob . . . Please. . . .”
Adela's outstretched slipper trembled slightly and shone like a serpent's tongue. My father rose slowly, still looking down, took a step forward like an automaton, and fell to his knees. The lamp hissed in the silence of the room, eloquent looks ran up and down in the thicket of wallpaper patterns, whispers of venomous tongues floated in the air, zigzags of thought. . . .
The next evening Father reverted with renewed enthusiasm to his dark and complex subject. Each wrinkle of his deeply lined face expressed incredible cunning. In each fold of skin, a missile of irony lay hidden. But occasionally inspiration widened the spirals of his wrinkles and they swelled horribly and sank in silent whorls into the depths of the winter night.
“Figures in a waxwork museum,” he began, "even fair-ground parodies of dummies, must not be treated lightly. Matter never makes joke's: it is always full of the tragically serious. Who dares to think that you can play with matter, that you can shape it for a joke, that the joke will not be built in, will not eat into it like fate, like destiny? Can you imagine the pain, the dull imprisoned suffering, hewn into the matter of that dummy which does not know why it must be what it is, why it must remain in that forcibly imposed form which is no more than a parody? Do you understand the power of form, of expression, of pretense, the arbitrary tyranny imposed on a helpless block, and ruling it like its own, tyrannical, despotic soul? You give a head of canvas and oakum an expression of anger and leave it with it, with the convulsion, the tension enclosed once and for all, with a blind fury for which there is no outlet. The crowd laughs at the parody. Weep, ladies, over your own fate, when you see the misery of imprisoned matter, of tortured matter which does not know what it is and why it is, nor where the gesture may lead that has been imposed on it for ever.
"The crowd laughs. Do you understand the terrible sadism, the exhilarating, demiurgical cruelty of that laughter? Yet we should weep, ladies, at our own fate, when we see that misery of violated matter, against which a terrible wrong has been committed. Hence the frightening sadness of all those jesting golems, of all effigies which brood tragically over their comic grimaces.
"Look at the anarchist Luccheni, the murderer of the Empress Elizabeth of Austria; look at Draga, the diabolical and unhappy Queen of Serbia; look at that youth of genius, the hope and pride of his ancient family, ruined by the unfortunate habit of masturbation. Oh, the irony of those names, of those pretensions!
“Is there anything left of Queen Draga in the wax-figure likeness, any similarity, even the most remote shadow of her being? But the resemblance, the pretense, the name reassures us and stops us from asking what that unfortunate figure is in itself and by itself. And yet it must be somebody, somebody anonymous, menacing, and unhappy, some being that in its dumb existence had never heard of Queen Draga. . . .”Have you heard at night the terrible howling of these wax figures, shut in the fair-booths; the pitiful chorus of those forms of wood or porcelain, banging their fists against the walls of their prisons?"In my father's face, convulsed by the horror of the visions which he had conjured up from darkness, a spiral of wrinkles appeared, a maelstrom growing deeper and deeper, at the bottom of which there flared the terrible eye of a prophet. His beard bristled grotesquely, the tufts of hair growing from warts and moles and from his nostrils stood on end. He became rigid and stood with flaming eyes, trembling from an internal conflict like an automaton of which the mechanism has broken down.Adela rose from her chair and asked us to avert our eyes from what was to follow. Then she went up to Father and, with her hands on her hips in a pose of great determination, she spoke very clearly.The two other girls sat stiffly, with downcast eyes, strangely numb. . . .
On one of the following evenings, my father continued his lecture thus: “When I announced my talk about lay figures, I had not really wanted to speak about those incarnate misunderstandings, those sad parodies that are the fruits of a common and vulgar lack of restraint. I had something else in mind.”Here my father began to set before our eyes the picture of that generatio aequivoca which he had dreamed up, a species of beings only half organic, a kind of pseudofauna and pseudoflora, the result of a fantastic fermentation of matter.
They were creations resembling, in appearance only, living creatures such as crustaceans, vertebrates, cephalo-pods. In reality the appearance was misleading—they were amorphous creatures, with no internal structure, products of the imitative tendency of matter which, equipped with memory, repeats from force of habit the forms already accepted. The morphological scope of matter is limited on the whole and a certain quota of forms is repeated over and over again on various levels of existence.
These creatures—mobile, sensitive to stimuli, and yet outside the pale of real life—could be brought forth by suspending certain complex colloids in solutions of kitchen salt. These colloids, after a number of days, would form and organize themselves in precipitations of substance resembling lower forms of fauna.
In creatures conceived in this way, one could observe the processes of respiration and metabolism, but chemical analysis revealed in them traces neither of albumen nor of carbon compounds.
Yet these primitive forms were unremarkable compared with the richness of shapes and the splendor of the pseudofauna and pseudoflora, which sometimes appeared in certain strictly denned environments, such as old apartments saturated with the emanations of numerous existences and events; used-up atmospheres, rich in the specific ingredients of human dreams; rubbish heaps, abounding in the humus of memories, of nostalgia, and of sterile boredom. On such a soil, this pseudovegetation sprouted abundantly yet ephemerally, brought forth short-lived generations which flourished suddenly and splendidly, only to wilt and perish.
In apartments of that kind, wallpapers must be very weary and bored with the incessant changes in all the cadenzas of rhythm; no wonder that they are susceptible to distant, dangerous dreams. The essence of furniture is unstable, degenerate, and receptive to abnormal temptations: it is then that on this sick, tired, and wasted soil colorful and exuberant mildew can flourish in a fantastic growth, like a beautiful rash.
“As you will no doubt know,” said my father, "in old apartments there are rooms which are sometimes forgotten. Unvisited for months on end, they wilt neglected between the old walls and it happens that they close in on themselves, become overgrown with bricks, and, lost once and for all to our memory, forfeit their only claim to existence. The doors, leading to them from some backstairs landing, have been overlooked by people living in the apartment for so long that they merge with the wall, grow into it, and all trace of them is obliterated in a complicated design of lines and cracks.
“Once early in the morning toward the end of winter,” my father continued, "after many months of absence, I entered such a forgotten passage, and I was amazed at the appearance of the rooms.