American Ghosts & Old World Wonders (18 page)

           
The hawk, now. If I think about the hawk long enough, I remember that I do not remember it. That's a painful beginning; but one must begin somewhere. There was a sky, certainly; there's plenty of sky outside the Scarlet House, though we see none of it inside. Sky. Now, the hawk -- down! he comes, like a butcher's cleaver thwacking through meat. The hawk drops on the plump, careless bunny romping through the clover and young grass; the hawk's eye, like a telescopic lens, zooms in on me as I lie in the sun with the smell of fresh grass in my clothes. Yes. I remember the green scent of a summer's day, not unlike the spicy odour of crushed geranium leaves. (Concentrate of fleshly impressions, any fleshly impression; reef it in from the past, from the time before my time in the Scarlet House. Scent of grass, of geraniums, of slivered lemons. All these scents bring back the world.)

           
As I lie in the fresh grass I have reconstructed out of memory, I begin to perceive some element of paranoia in the image of the hawk. For I did not know that I was watched. I was ignorant of my clawed, feathered fate. And so I will be seized by force. Capture; and rape, from the Latin,
rapere,
to seize by force. . .
that's
a curious pedantic bunny to hunt out from the back alleys of memory. I must have studied Latin, once, though for what purpose I can't imagine. So the capture and the rape elide. Man is an animal who insists on making
patterns,
says the Count contemptuously; all the world you think so highly of is nothing but pretty floral wallpaper pasted up over chaos.

           
The Count prepares chaos in his crucible. When he plays his Tarot Game, he makes an institution out of chaos. He signs himself, yours entropically, with the quill of a hawk dipped in the blood of ruptured virginities.

           
The hawk drops. They throw me down on the silk birds of the antique Persian carpet and rape me. And, to my amazement, a pattern emerges, although it is stylised as those woven birds I may once have walked on. For the hawk is nothing more and nothing less than the memory of my capture, preserved as an image, or an icon.

           
I cannot tell you with what inexpressible relief I greeted the concretisation, not of a memory, but of an inter-connection that made some sense in my plight to me. It was as if I'd gone to the confused jumble of limbs and hands and eyes scattered promiscuously on the floor of the harem and unerringly been able to pick out my own hand, screw it back on to my wrist and feel the blood flow back into it. Or pull out my mother's eyes from the mess, wipe them carefully on my sleeve and slip them back into my own eye sockets, where they belong.

           
Now, these are my mother's eyes that jumped out of the old photograph into my head; and there are also the eyes of the mute coachman that were full so full of pity for me that my heart stopped momentarily, out of fear for my own predicament. Those eyes, too, are rimmed with endless black lashes, they've been put in with a sooty finger. They move me as only the mute language of the eye can do and I do not know if, indeed, they are my own eyes, because there are no mirrors here, or if they are the eyes of somebody I loved, once, before they dissolved in my memory. However, I must slip these eyes back into some head or other; any head will do, to make sense of those eyes which will continue to speak even if the mouth is sealed up.

           
Those eyes hold all the speech which will be denied to me when forgetting forges my lips together and I cannot speak at all, like the mute coachman, like the mute orderly whose eyes had been excised and replaced with those of a beast of prey. Or else with stones, like the bikers, whose mouths were hidden by their leather hoods so you could not tell whether they had mouths or no.

           
And so I established the declension of my undoing, from capture to annihilation: the hawk, the face without a mouth, the eyes without a face. After that will come nothing. I shall be perfectly silent.

           
When I perceived I'd organised these disparate elements into a grid, or system of connections, I felt for the first time I entered the obscure portals of the Scarlet House, a flood of joy. I examined the abused flesh of my breasts and belly and felt, not sorrow I'd been so mauled, but anger the Count had mistreated me; and what if it's only that the puppet turns against the puppet-master: Isn't the puppet-master dependent on the submission of his dolls for his authority? Can't I, in the systematic randomness of my connections, control the Game?

           
The ghost reassembles the events that rendered it into non-being. As it does so, hourly it grows more substantial.

           
And where there's no hope, there's no fear, either. Not even fear of Madame Schreck, through whose hole we must all crawl to extinction, one day; unless it is the way to freedom.

           
This morning, the Count busily erased all the tapes of my Viennese apocalypse; I am glad of it, it was a vile memory and I am heartily sorry for whoever it was among my companions to whom it belonged. He tittered with his habitual beastly glee when at last he'd rid me of the compulsion, that nervous, that hiccuping reiteration; "They say I have my mother's eyes." But that was because he does not know I no longer need to remember it, whether it were true or no; I know all that I need to know to enable me to endure the time of the torturers and all its secondhand furniture of fear -- the magic robes, the book of pretend-spells, the silence of the fool, the extinction of the whore.

           
This world's a vile oubliette. Yet in its refuse I will find the key to free me.

           
The motor stalled in the middle of a snowy landscape, lodged in a rut, wouldn't budge an inch. How I swore! I'd planned to be snug in front of a roaring fire, by now, a single malt on the mahogany wine-table (a connoisseur's piece) beside me, the five courses of Melissa's dinner savourously aromatising the kitchen; to complete the decor, a labrador retriever's head laid on my knee as trustingly as if I were indeed a country gentleman and lolled by rights among the chintz. After dinner, before I read our customary pre-coital poetry aloud to her, my elegant and accomplished mistress, also a connoisseur's piece, might play the piano for her part-time pasha while I sipped black, acrid coffee from her precious little cups.

           
Melissa was rich, beautiful and rather older than I. The servants slipped me looks of sly complicity; no matter how carefully I rumpled my sheets, they knew when a bed hadn't been slept in. The master of the house had a pied-a-terre in London when the House was sitting and the House was sitting tight. I'd met him only once, at the same dinner party where I'd met her -- he'd been off-hand with me, gruff. I was young and handsome and full of promise; my relations with husbands rarely prospered. Wives were quite amother matter. Women, as Mayakovosky justly opined, are very partial to poets.

           
And now her glamorous motor car had broken down in the snow. I'd borrowed it for a trip to Oxford, ostensibly to buy books, utilising, with my instinctual cunning, the weather as an excuse. Last night, the old woman had been shaking her mattress with a vengeance -- such snow! When I woke up the bedroom was full of luminous snow light, catching in the coils of Melissa's honey-coloured hair, and I'd experienced, once again, but, this time, almost uncontrollably, the sense of claustrophobia that sometimes afflicted me when I was with her.

           
I'd said, let's read some snowy poetry together, after dinner tonight, Melissa, a tribute of white verses to the iconography of the weather. Any excuse, no matter how far fetched, to get her out of the house -- too much luxury on an empty stomach, that was the trouble. Always the same eyes too big for his belly, as grandma used to say; grandma spotted the trait when this little fellow lisped and toddled and pissed the bed before he knew what luxury was, even. Cultural indigestion, I tell you, the gripe in the bowels of your spirit. How can I get out of here, away from her subtly flawed antique mirrors, her French perfume decanted into eighteenth-century crystal bottles, her inscrutably smirking ancestresses in their gilt, oval frames? And her dolls, worst of all, her blasted dolls.

           
Those dolls that had never have been played with, her fine collection of antique women, part of the apparatus of Melissa's charm, her piquant originality that lay well on the safe side of quaint. A dozen or so of the finest lived in her bedroom in a glass-fronted, satinwood cabinet lavishly equipped with such toyland artefacts and miniature sofas and teeny-tiny grand pianos. They had heads made of moulded porcelain, each dimple and bee-stung underlip sculpted with loving care. Their wigs and over-lifelike eyelashes were made of real hair. She told me their eyes had been manufactured by the same craftsman in glass who made those terribly precious paperweights filled with magic snowstorms. Whenever I woke up in Melissa's bed, the first thing I saw were a dozen pairs of shining eyes that seemed to gleam wetly, as if in lacrimonious accusation of my presence there, for the dolls, like Melissa, were perfect ladies and I, in my upwardly social mobile nakedness -- a nakedness that was, indeed, the essential battledress for such storm-troopers as I! -- patently no gentleman.

           
After three days of that kind of style, I badly needed to sit in a public bar, drink coarse pints of bitter, swap double entendres with the barmaid; but I could hardly tell milady that. Instead, I must use my vocation to justify my day off. Lend me the car, Melissa, so that I can drive to Oxford and buy a book of snowy verses, since there's no such book in the house. And I'd made my purchase and managed to fit in my bread, cheese and badinage as well. A good day. Then, almost home again and here I was, stuck fast.

           
The fields were all brim-f of snow and the dark sky of late afternoon already swollen and discoloured with the next fall. Flocks of crows wheeled endlessly upon the invisible carousels of the upper air, occasionally emitting a rusty caw. A glance beneath the bonnet showed me only that I did not know what was wrong and must get out to trudge along a lane where the mauve shadows told me snow and the night would arrive together. My breath smoked. I wound Melissa's husband's muffler round my neck and dug my fists into his sheepskin pockets; his borrowed coat kept me snug and warm although the cold made the nerves in my forehead hum with a thin, high sound like that of the wind in telephone wires.

           
The leafless trees, the hillside quilted by intersections of dry-stone walling -- all had been subdued to monochrome by the severity of last night's blizzard. Snow clogged every sound but that of the ironic punctuation of the crows. No sign of another presence; the pastoral cows were all locked up in the steaming byre, Colin Clout and Hobbinol sucked their pipes by the fireside in pastoral domesticity. Who would be outside, today, when he could be warm and dry, inside.

           
Too white. It is too white, out. Silence and whiteness at such a pitch of twinned intensity you know what it must be like to live in a country where snow is not a charming, since infrequent, visitor that puts its cold garlands on the trees so prettily we think they are playing at blossoming. (What an aptly fragile simile, with its Botticellian nuance. I congratulated myself.) No. Today is as cold as the killing cold of the perpetually white countries; today's atrocious candour is that of those white freckles that are the stigmata of frostbite.

           
My sensibility, the exquisite sensibility of a minor poet, tingled and crisped at the sight of so much whiteness.

           
I was certain that soon I'd come to a village where I could telephone Melissa; then she would send the village taxi for me. But the snow-fields now glimmered spectrally in an ever-thickening light and still there was no sign of life about me in the whole, white world but for the helmeted crows creaking down towards their nests.

           
Then I came to a pair of wrought-iron gates standing open on a drive. There must be some mansion or other at the end of the drive that would offer me shelter and, if they were half as rich as they ought to be, to live in such style, then they would certainly know Melissa and might even have me driven back to her by their own chauffeur in a warm car that would smell deliciously of new leather. I was sure they must be rich, the country side was lousy with the rich; hadn't I flattened a brace of pheasants on my way to Oxford? Encouraged, I turned in between the gate-posts, on which snarled iron gryphons sporting circumcision caps of snow.

           
The drive wound through an elm copse where the upper limbs of the bare trees were clogged with beastly lice of old crows' nests. I could tell that nobody had come this way since the snow fell, for only rabbit slots and the cuneiform prints of birds marked surfaces already crisping with frost. The drive took me uphill. My shoes and trouser bottoms were already wet through; it grew darker, colder and the old woman must have given her mattress a tentative shake or two, again, for a few more flakes drifted down and caught on my eyelashes so I first saw that house through a dazzle as of unshed tears, although, I assure you, I was out of the habit of crying.

           
I had reached the brow of a hill. Before me, in a hollow, magically surrounded by a snowy formal garden, lay a jewel of a mansion in a voluptuous style of English renaissance and every one of its windows blazed with light. I imagined myself describing it to Melissa- "a vista like visible Debussy". Enchanting. But, though lights streamed out in every direction, all was silent except for the crackling of the frosty trees. Lights and frost; in the winter sky above me, stars were coming out. Especially for my cultured patroness, I made an elision of the stars in the mansion of the heavens and the lights of the great house. So who was it, this snowy afternoon, who'd bagged a triad of fine images for her? Why, her clever boy! How pleased she'd be. And now I could declare the image factory closed for the day and get on with the real business of living, the experience of which that lovely house seemed to promise me in such abundance.

           
Yet, since the place was so well lit, the front door at the top of the serpentine staircase left open as for expected guests, why were there still no traces of arrivals or departures in the snow on which my footprints extended backwards to the lane and Melissa's abandoned car? And no figures to be glimpsed through any window, nor sound of life at all?

           
The vast empty hall serenely dominated by an immense chandelier, the faceted pendants of which chinked faintly in the currents of warm air and stippled with shifting, prismatic shadows walls wreathed in white stucco. This chandelier intimidated me, like too grand a butler but, all the same, I found the bellpull and tugged it. Somewhere inside a full-mouthed bell tolled; its reverberations set the chandelier a-tinkle but even when everything settled down again, nobody came.

           
I hauled again on the bellpull; still no reply, but a sudden wind blew a flurry of snow or sleet around me into the hall. The chandelier rocked musically in the draught. Behind me, outside, the air was full of the taste of snow -- the storm was about to begin again. Nothing for it but to step bravely over the indifferent threshold and stamp my feet on the doormat with enough eclat to announce my arrival to the entire ground floor.

           
It was by far the most magnificent house I'd ever seen, and warm, so warm my frozen fingers throbbed. Yet all was white inside as the night outside, white walls, white paint, white drapes and a faint perfume everywhere, as though many rich women in beautiful dresses had drifted through the hall on their way to drinks before dinner, leaving behind them their spoor of musk and civet. The very air, here, mimicked the caress of their naked arms, intimate, voluptuous, rare.

           
My nostrils flared and quivered. I should have liked to have made love to every one of those lovely beings whose presence here was most poignant in her absence; it was a house built and furnished only for pleasure, for the indulgence of the flesh, for elegant concupiscence. I felt like Mignon in the land of the lemon trees; this is the place where I would like to live. I screwed up sufficient wincing courage to shout out: "Anyone at home?" But only the chandelier tinkled in reply.

           
Then, a sudden creak behind me; I spun round to see the door swing to on its hinges with a soft, inexorable click. At that, the chandelier above me seemed to titter uncontrollably, as if with glee to see me locked in.

           
It is the wind, only the wind. Try to believe it is only the wind that blew the door shut behind you, keep a strong hold on that imagination of yours. Stop that shaking, all at once uneasy; walk slowly to the door, don't look nervous. It is the wind. Or else -- perhaps -- a trick of the owners, a practical joke. I grasped the notion gratefully. I knew the rich loved practical jokes.

           
But as soon as I realised it must be a practical joke, I knew I was not alone in the house because its apparent emptiness was all part of the joke. Then I exchanged one kind of unease for another. I became terribly self-conscious. Now I must watch my step; whatever happened, I must look as if I knew how to play the game in which I found myself. I tried the door but I was locked firmly in, of course. In spite of myself, I felt a faint panic, stifled it. . . No, you are
not
at their mercy.

           
The hall remained perfectly empty. Closed doors on either side of me; the staircase swept up to an empty landing. Am I to meet my hosts in embarrassment and humiliation, will they all come bouncing -- "boo!" -- out of hidey holes in the panelling, from behind sweeping curtains to make fun of me? A huge mirror behind an extravagant arrangement of arum lilies showed me a poor poet not altogether convincingly rigged out in borrowed country squire's gear. I thought, how pinched and pale my face looks; a face that's eaten too much bread and margarine in its time. Come, now, liven up! You left bread and margarine behind you long ago, at grandma's house. Now you are a house-guest of the Lady Melissa. Your car has just broken down in the lane; you are looking for assistance.

           
Then, to my relief but also my increased disquiet, I saw a face behind my own, reflected, like mine, in the mirror. She must have known I could spy her, peeking at me behind my back. It was a pale, soft, pretty face, streaming blonde hair, and it sprang out quite suddenly from the reflections of the backs of the lilies. But when I turned, she -- young, tricksy, fleet of foot -- was gone already, though I could have sworn I heard a carillon of giggles, unless my sharp, startled movement had disturbed the chandelier, again.

           
This fleeting apparition let me know for sure I was observed. ("How amusing, a game of hide-and-seek. All the same, do you think, perhaps, the chauffeur could. . .") With the sullen knowledge of myself as appointed clown, I opened the first door I came to on the ground floor, expecting to discover my tittering audience awaiting me.