Veteran of the Private Evacuations. Ahead, stalled traffic blocked three lanes. Oxyacetylene flared over the roofs of the police cars and ambulances in a corral at the mouth of the underpass. Travers rested his head against the mud-caked quarter-window. He had spent the past days in a nexus of endless highways, a terrain of billboards, car marts and undisclosed destinations. Deliberately he had allowed Vaughan to take command, curious to see where they would go, what junction points they would cross on the spinal causeways. Together they set off on a grotesque itinerary: a radio-observatory, stock car races, war graves, multi-storey car parks. Two teenage girls whom they picked up Vaughan had almost raped, grappling with them in a series of stylized holds. During this exercise in the back seat his morose eyes had stared at Travers through the driving mirror with a deliberate irony imitated from the newsreels of Oswald and Sirhan. Once, as they walked along the half-built embankment of a new motorway, Travers had turned to find Vaughan watching him with an expression of almost insane lucidity. His presence sounded a tocsin of danger and violence. Soon after, Travers became bored with the experiment. At the next filling station, while Vaughan was in the urinal, he drove off alone.
Actual Size. A helicopter clattered overhead, a cameraman crouched in the bubble cockpit. It circled the overturned truck, then pulled away and hovered above the three wrecked cars on the verge. Zooms for some new Jacopetti, the elegant declensions of serialized violence. Travers started the engine and turned across the central reservation. As he drove off he heard the helicopter climb away from the accident site. It soared over the motorway, the shadows of its blades scrambling across the concrete like the legs of an ungainly insect. Travers swerved into the nearside lane. Three hundred yards ahead he plunged down the incline of a slip road. As the helicopter circled and dived again he recognized the white-suited man crouched between the pilot and the camera operator.
Tolerances of the Human Face in Crash Impacts. Travers took the glass of whisky from Karen Novotny. ‘Who is Koester? – the crash on the motorway was a decoy. Half the time we're moving about in other people's games.’ He followed her on to the balcony. The evening traffic turned along the outer circle of the park. The past few days had formed a pleasant no-man's land, a dead zone on the clock. As she took his arm in a domestic gesture he looked at her for the first time in half an hour. This strange young woman, moving in a complex of undefined roles, the gun moll of intellectual hoodlums with her art critical jargon and bizarre magazine subscriptions. He had met her in the demonstration cinema during the interval, immediately aware that she would form the perfect subject for the re-enactment he had conceived. What were she and her fey crowd doing at a conference on facial surgery? No doubt the lectures were listed in the diary pages of Vogue, with the professors of tropical diseases as popular with their claques as fashionable hairdressers. ‘What about you, Karen? – wouldn't you like to be in the movies?’ With a stiff forefinger she explored the knuckle of his wrist ‘We're all in the movies.’
The Death of Affect. He parked the car among the over-luminous pines. They stepped out and walked through the ferns to the embankment. The motorway moved down a cut, spanned by a concrete bridge, then divided through the trees. Travers helped her on to the asphalt verge. As she watched, face hidden behind the white fur collar, he began to pace out the trajectories. Five minutes later he beckoned her forward. ‘The impact point was here – rollover followed by head-on collision.’ He stared at the surface of the concrete. After four years me oil stains had vanished. These infrequent visits, dictated by whatever private logic, now seemed to provide nothing. An immense internal silence presided over this area of cement and pines, a terminal moraine of the emotions mat held its debris of memory and regret, like the rubbish in the pockets of a dead schoolboy he had examined. He felt Karen touch his arm. She was staring at the culvert between bridge and motorway, an elegant conjunction of rain-washed concrete forming a huge motion sculpture. Without thinking, she asked, ‘Where did the car go?’ He led her across the asphalt, watching as she re-created the accident in terms of its alternate parameters. How would she have preferred it: in terms of the Baltimore-Washington Parkway, the '50s school of highway engineering or, most soigné of all, the Embarcadero Freeway?
The Six-Second Epic. Travers waited on the mezzanine terrace for the audience to leave the gallery floor. The Jacopetti retrospective had been a success. As the crowd cleared, he recognized the organizer, a now-familiar figure in his shabby flying jacket, standing by a display of Biafran atrocity photographs. Since his reappearance two weeks earlier Vaughan had taken part in a string of modish activities: police brawls, a festival of masochistic films, an obscene play consisting of a nine-year-old girl in a Marie Antoinette dress watching a couple in intercourse. His involvement in these lugubrious pastimes seemed an elaborate gesture, part of some desperate irony. His hostility to Karen Novotny, registered within a few seconds of their first meeting, reflected this same abstraction of emotion and intent. Even now, as he waved to Karen and Travers, his eyes were set in a canny appraisal of her hoped-for wound areas. More and more Travers found himself exposing Karen to him whenever possible.
A New Algebra. ‘Travers asked you to collect these for him?’ Dr Nathan looked down at the photostats which Catherine Austin had placed on his desk: (1) Front elevation of multi-storey car park; (2) mean intra-patellar distances (estimated during funeral services) of Coretta King and Ethel M. Kennedy; (3) close-up of the perineum of a six-year-old girl; (4) voice-print (terminal transmission) of Col. Komarov on the record jacket of a commercial 45; (5) the text of ‘Tolerances of the Human Face in Crash Impacts’. Dr Nathan pushed away the tray, shaking his head. ‘“Fusing Devices” –? God only knows what violence Vaughan is planning – it looks as if Koester's film may have a surprise ending.’
Madonna of the Multi-Storey Car Park. She lay on her side, waiting as his hands explored the musculature of her pelvis and abdomen. From the TV set came a newsreel of a tank crushing a bamboo hut, for some reason an effort of immense labour. American combat engineers were staring like intelligent tourists at an earth bunker. For days the whole world had been in slow motion. Travers had become more and more withdrawn, driving her along the motorway to pointless destinations, setting up private experiments whose purpose was totally abstract: making love to soundless images of war newsreels, swerving at speed through multi-storey car parks (their canted floors appeared to be a model of her own anatomy), leading on the mysterious film crew who followed them everywhere. (What lay behind the antagonism between Travers and the unpleasant young director-some sort of homo-erotic jealousy, or another game?) She remembered the wearying hours outside the art school, as he waited in the car, offering money to any student who would come back to the apartment and watch them in intercourse. Travers had embarked on the invention of imaginary psychopathologies, using her body and reflexes as a module for a series of unsavoury routines, as if hoping in this way to recapitulate his wife's death. With a grimace she thought of Vaughan, for ever waiting for them at unexpected junctions. In his face the diagram of bones formed a geometry of murder.
Internal Emigré. All afternoon they had driven along the highway. Moving steadily through the traffic, Travers followed the white car with the fractured windshield. Now and then he would see Vaughan's angular forehead, with its depressed temples, as the young man looked back over his shoulder. They left the city and entered a landscape of pines and small lakes. Vaughan stopped among the trees in a side road. Striding swiftly in his tennis shoes, he set off across the soft floor of pine needles. Travers drew up beside his car. Strange graffiti marked the dust on its trunk and door panels. He followed Vaughan around the shore of an enclosed lake. Over the densely packed trees lay a calm and unvarying light. A large exhibition hall appeared above the forest, part of a complex of buildings on the edge of a university campus. Vaughan crossed the lawn towards the glass door. As Travers left the shelter of the trees he heard the roar of a helicopter's engine. It soare
d overhead, the down-draught from its blades whipping his tie across his eyes. Driven back, he traced his steps through the pines. For the next hour he waited by the lake shore.
Cinecity. In the evening air Travers passed unnoticed through the crowd on the terrace. The helicopter rested on the lawn, its blades drooping over the damp grass. Through the glass doors Travers could see into the festival arena, where a circle of cine screens carried their films above the heads of the audience. Travers walked around me rear gangway, now and then joining in the applause, interested to watch these students and middle-aged cinephiles. Endlessly, the films unwound: images of neuro-surgery and organ transplants, autism and senile dementia, auto-disasters and plane crashes. Above all, the montage landscapes of war and death: newsreels from the Congo and Vietnam, execution squad instruction films, a documentary on the operation of a lethal chamber. Sequence in slow motion: a landscape of highways and embankments, evening light on fading concrete, intercut with images of a young woman's body. She lay on her back, her wounded face stressed tike fractured ice. With almost dream-like calm, the camera explored her bruised mouth, the thighs dressed in a dark lace-work of blood. The quickening geometry of her body, its terraces of pain and sexuality, became a source of intense excitement. Watching from the embankment, Travers found himself thinking of the eager deaths of his childhood.
Too Bad. Of this early period of his life, Travers wrote: ‘Two weeks after the end of World War II my parents and I left Lunghua internment camp and returned to our house in Shanghai, which had been occupied by the Japanese gendarmerie. The four servants and ourselves were still without any food. Soon after, the house opposite was taken over by two senior American officers, who gave us canned food and medicines. I struck up a friendship with their driver, Corporal Tulloch, who often took me around with him. In October the two colonels flew to Chungking. Tulloch asked me if I would like to go to Japan with him. He had been offered a round trip to Osaka by a quartermaster-sergeant at the Park Hotel occupation head-quarters. My father was away on business, my mother too ill to give any thought to the question. The skies were full of American aircraft flying to and from Japan. We left the next afternoon, but instead of going to the Nantao airfield we set off for Hongkew riverfront. Tulloch told me we would go by L.C.T. Japan was 500 miles away, the journey would take only a few days. The wharves were crammed with American landing craft and supply vessels as we drove through Hongkew. On the mudflats at Yangtzepoo were the huge stockades where the Americans held the last of the Japanese troops being repatriated. As we arrived four L.C.T.s were beached on the bank. A line of Japanese soldiers in ragged uniforms moved along a bamboo pier to the loading ramp. Our own L.C.T. was already loaded. With a group of American servicemen we climbed the stern gangway and went to the forward rail above the cargo well. Below, crammed shoulder-to-shoulder, were some four hundred Japanese, squatting on the deck and looking up at us. The smell was intense. We went to the stern, where Tulloch and the others played cards and I read through old copies of Life magazine. After two hours, when the L.C.T.s next to us had set off down-river, an argument broke out between the officers in charge of our ship and the military personnel guarding the Japanese. For some reason we would have to leave the next morning. Packing up, we went by truck back to Shanghai. The next day I waited for Tulloch outside the Park Hotel. Finally he came out and told me that there had been a delay. He sent me off home and said he would collect me the following morning. We finally set off again in the early afternoon. To my relief, the L.C.T. was still berthed on the mudflat. The stockades were empty. Two navy tenders were tied up at the stern of the L.C.T. The deck was crowded with passengers already aboard, who shouted at us as we climbed the gangway. Finally Tulloch and I found a place below the bridge rail. The Japanese soldiers in the cargo well were in bad condition. Many were lying down, unable to move. An hour later a landing craft came alongside. Tulloch told me that we were all to transfer to a supply ship leaving on the next tide. As we climbed down into the landing craft two Eurasian women and myself were turned away. Tulloch shouted at me to go back to the Park Hotel. At this point one of the soldiers guarding the Japanese called me back on board. He told me that they would be leaving shortly and that I could go with them. I sat at the stern, watching the landing craft cross the river. The Eurasian women walked back to the shore across the mudflats. At eight o'clock that night a fight broke out among the Americans. A Japanese sergeant was standing on the bridge deck, his face and chest covered with blood, while me Americans shouted and pushed at each other. Shortly after, three trucks drove up and a party of armed American military police came on board. When they saw me they told me to leave. I left the ship and walked back through the darkness to the empty stockades. The trucks were loaded with gasoline drums. A week later my father returned. He took me on the Mollar line ferry to the cotton mill he owned on the Pootung shore, two miles down-river from the Bund. As we passed Yangtzepoo the L.C.T. was still on the mudflat. The forward section of the ship had been set on fire. The sides were black, and heavy smoke still rose from the cargo well. Armed military police were standing on the mudflat.’
‘Homage to Abraham Zapruder.’ Each night, as Travers moved through the deserted auditorium, the films of simulated atrocities played above the rows of empty seats, images of napalm victims, crashing cars and motorcade attacks. Travers followed Vaughan from one projection theatre to the next, taking his seat a few rows behind him. When a party in evening dress came in Travers followed him on to the library floor. As Vaughan leafed through the magazines he listened to the flow of small talk, the suave ironies of Koester and his women. Koester had a face like a fake newsreel.
Go, No-Go Detector. These deaths preoccupied Travers. Malcolm X: the death of terminal fibrillation, as elegant as the trembling of hands in tabes dorsalis; Jayne Mansfield: the death of the erotic junction, the polite section of the lower mammary curvature by the glass guillotine of the windshield assembly; Marilyn Monroe: the death of her moist loins; the falling temperature of her rectum embodied in the white rectilinear walls of the twentieth-century apartment; Jacqueline Kennedy: the notional death, defined by the exquisite eroticism of her mouth and the logic of her leg stance; Buddy Holly: the capped teeth of the dead pop singer, like the melancholy dolmens of the Brittany coastline, were globes of milk, condensations of his sleeping mind.
The Sex Deaths of Karen Novotny. The projection theatre was silent as the last film began. Travers recognized the figures on the screen – Dr Nathan, Catherine Austin, himself. In sequence the rushes of the sex deaths of Karen Novotny passed before diem. Travers stared at the young woman's face, excited by these images of her postures and musculature and the fantasies of violence he had seen in the imaginary newsreels.
The Dream Scenario. As Travers walked through the pines towards his car he recognized Karen Novotny sitting behind the wheel, fur collar buttoned round her chin. The white strap of her binocular case lay above the dashboard. The fresh scent of the pine needles irrigated his veins. He opened the door and took his seat in the passenger compartment. ‘Where have you been?’ Travers studied her body, the junction of her broad thighs with the vinyl seat cover, her nervous fingers moving across the chromium instrument heads.
Conceptual Games. Dr Nathan pondered the list on his desk-pad. (1) The catalogue of an exhibition of tropical diseases at the Wellcome Museum; (2) chemical and topographical analyses of a young woman's excrement; (3) diagrams of female orifices: buccal, orbital, anal, urethral, some showing wound areas; (4) the results of a questionnaire in which a volunteer panel of parents were asked to devise ways of killing their own children; (5) an item entitled ‘self-disgust’ – someone's morbid and hate-filled list of his faults. Dr Nathan inhaled carefully on his gold-tipped cigarette. Were these items in some conceptual game? To Catherine Austin, waiting as ever by the window, he said, ‘Should we warn Miss Novotny?’
Biomorphic Horror. With an effort, Dr Nathan looked away from Catherine Austin as she picked at her fing
er quicks. Unsure whether she was listening to him, he continued: ‘Travers's problem is how to come to terms with the violence that has pursued his life – not merely the violence of accident and bereavement, or the horrors of war, but the biomorphic horror of our own bodies. Travers has at last realized that the real significance of these acts of violence lies elsewhere, in what we might term “the death of affect”. Consider our most real and tender pleasures – in the excitements of pain and mutilation; in sex as the perfect arena, like a culture-bed of sterile pus, for all the veronicas of our own perversions, in voyeurism and self-disgust, in our moral freedom to pursue our own psychopathologies as a game, and in our ever greater powers of abstraction. What our children have to fear are not the cars on the freeways of tomorrow, but our own pleasure in calculating the most elegant parameters of their deaths. The only way we can make contact with each other is in terms of conceptualizations. Violence is the conceptualization of pain. By the same token psychopathology is the conceptual system of sex.’
Sink Speeds. During this period, after his return to Karen Novotny's apartment, Travers was busy with the following projects: a cogent defence of the documentary films of Jacopetti; a contribution to a magazine symposium on the optimum auto-disaster; the preparation, at a former colleague's invitation, of the forensic notes to the catalogue of an exhibition of imaginary genital organs. Immersed in these topics, Travers moved from art gallery to conference hall. Beside him, Karen Novotny seemed more and more isolated by these excursions. Advertisements of the film of her death had appeared in the movie magazines and on the walls of the underground stations. ‘Games, Karen,’ Travers reassured her. ‘Next they'll have you filmed masturbating by a cripple in a wheel chair.’
The Atrocity Exhibition Page 10