She rises when the sun sets and goes immediately to her table where she plays her game of patience until she grows hungry, until she becomes ravenous. She is so beautiful she is unnatural; her beauty is an abnormality, a deformity, for none of her features exhibit any of those touching imperfections that reconcile us to the imperfections of the human condition. Her beauty is a symptom of her disorder, of her soullessness.
The white hands of the tenebrous belle deal the hand of destiny. Her fingernails are longer than those of the mandarins of ancient China and each is pared to a fine point. These and teeth as fine and white as spikes of spun sugar are the visible signs of the destiny she wistfully attempts to evade via the arcana; her claws and teeth have been sharpened on centuries of corpses, she is the last bud of the poison tree that sprang from the loins of Vlad the Impaler who picnicked on corpses in the forests of Transylvania.
The walls of her bedroom are hung with black satin, embroidered with tears of pearl. At the room’s four corners are funerary urns and bowls which emit slumbrous, pungent fumes of incense. In the centre is an elaborate catafalque, in ebony, surrounded by long candles in enormous silver candlesticks. In a white lace negligee stained a little with blood, the Countess climbs up on her catafalque at dawn each morning and lies down in an open coffin.
A chignoned priest of the Orthodox faith staked out her wicked father at a Carpathian crossroad before her milk teeth grew. Just as they staked him out, the fatal Count cried: “Nosferatu is dead; long live Nosferatu!” Now she possesses all the haunted forests and mysterious habitations of his vast domain; she is the hereditary commandant of the army of shadows who camp in the village below her chateau, who penetrate the woods in the form of owls, bats and foxes, who make the milk curdle and butter refuse to come, who ride the horses all night in a wild hunt so they are sacks of skin and bone in the morning, who milk the cows dry and, especially, torment pubescent girls with fainting fits, disorders of the blood, diseases of the imagination.
But the Countess herself is indifferent to her own weird authority, as if she were dreaming it. In her dream, she would like to be human; but she does not know if that is possible. The Tarot always shows the same configuration: always she turns up La Papesse, La Mort, La Tour Abolie, wisdom, death, dissolution.
On moonless nights, her keeper lets her out into the garden. This garden, an exceedingly sombre place, bears a strong resemblance to a burial ground and all the roses her dead mother planted have grown up into a huge, spiked wall that incarcerates her in the castle of her inheritance. When the back door opens, the Countess will sniff the air and howl. She drops, now, on all fours. Crouching, quivering, she catches the scent of her prey. Delicious crunch of the fragile bones of rabbits and small, furry things she pursues with fleet, four-footed speed; she will creep home, whimpering, with blood smeared on her cheeks. She pours water from the ewer in her bedroom into the bowl, she washes her face with the wincing, fastidious gestures of a cat.
The voracious margin of huntress’s nights in the gloomy garden, crouch and pounce, surrounds her habitual tormented somnambulism, her life or imitation of life. The eyes of this nocturnal creature enlarge and glow. All claws and teeth, she strikes, she gorges, but nothing can console her for the ghastliness of her condition, nothing. She resorts to the magic comfort of the Tarot pack and shuffles the cards, lays them out, reads them, gathers them up with a sigh, shuffles them again, constantly constructing hypotheses about a future which is irreversible.
An old mute looks after her, to make sure she never sees the sun, that all day she stays in her coffin, to keep mirrors and all reflective surfaces away from her—in short, to perform all the functions of the servants of vampires. Everything about this beautiful and ghastly lady is as it should be, queen of night, queen of terror—except her horrible reluctance for the role.
Nevertheless, if an unwise adventurer pauses in the square of the deserted village to refresh himself at the fountain, a crone in a black dress and white apron presently emerges from a house. She will invite you with smiles and gestures; you will follow her. The Countess wants fresh meat. When she was a little girl, she was like a fox and contented herself entirely with baby rabbits that squeaked piteously as she bit into their necks with a nauseated voluptuousness, with voles and fieldmice that palpitated for a bare moment between her embroidress’s fingers. But now she is a woman, she must have men. If you stop too long beside the giggling fountain, you will be led by the hand to the Countess’s larder.
All day, she lies in her coffin in her negligee of bloodstained lace. When the sun drops behind the mountain, she yawns and stirs and puts on the only dress she has, her mother’s wedding dress, to sit and read her cards until she grows hungry. She loathes the food she eats; she would have liked to take the rabbits home with her, feed them on lettuce, pet them and make them a nest in her red-and-black chinoiserie escritoire, but hunger always overcomes her. She sinks her teeth into the neck where an artery throbs with fear; she will drop the deflated skin from which she has extracted all the nourishment with a small cry of both pain and disgust. And it is the same with the shepherd boys and gypsy lads who, ignorant or foolhardy, come to wash the dust from their feet in the water of the fountain; the Countess’s governess brings them into the drawing room where the cards on the table always show the Grim Reaper. The Countess herself will serve them coffee in tiny cracked, precious cups, and little sugar cakes. The hobbledehoys sit with a spilling cup in one hand and a biscuit in the other, gaping at the Countess in her satin finery as she pours from a silver pot and chatters distractedly to put them at their fatal ease. A certain desolate stillness of her eyes indicates she is inconsolable. She would like to caress their lean brown cheeks and stroke their ragged hair. When she takes them by the hand and leads them to her bedroom, they can scarcely believe their luck.
Afterwards, her governess will tidy the remains into a neat pile and wrap it in its own discarded clothes. This mortal parcel she then discreetly buries in the garden. The blood on the Countess’s cheeks will be mixed with tears; her keeper probes her fingernails for her with a silver toothpick, to get rid of the fragments of skin and bone that have lodged there.
Fee fie fo fum
I smell the blood of an Englishman.
One hot, ripe summer in the pubescent years of the present century, a young officer in the British army, blond, blue-eyed, heavy-muscled, visiting friends in Vienna, decided to spend the remainder of his furlough exploring the little-known uplands of Romania. When he quixotically decided to travel the rutted cart-tracks by bicycle, he saw all the humour of it: “on two wheels in the land of the vampires”. So, laughing, he sets out on his adventure.
He has the special quality of virginity, most and least ambiguous of states: ignorance, yet at the same time, power in potentia, and, furthermore, unknowingness, which is not the same as ignorance. He is more than he knows—and has about him, besides, the special glamour of that generation for whom history has already prepared a special, exemplary fate in the trenches of France. This being, rooted in change and time, is about to collide with the timeless Gothic eternity of the vampires, for whom all is as it has always been and will be, whose cards always fall in the same pattern.
Although so young, he is also rational. He has chosen the most rational mode of transport in the world for his trip round the Carpathians. To ride a bicycle is in itself some protection against superstitious fear, since the bicycle is the product of pure reason applied to motion. Geometry at the service of man! Give me two spheres and a straight line and I will show you how far I can take them. Voltaire himself might have invented the bicycle, since it contributes much to man’s welfare and nothing at all to his bane. Beneficial to the health, it emits no harmful fumes and permits only the most decorous speeds. How can a bicycle ever be an implement of harm?
A single kiss woke up the Sleeping Beauty in the Wood.
The waxen fingers of the Countess, fingers of a holy image, turn up the card called Les Amoureux.
Never, never before … never before has the Countess cast herself a fate involving love. She shakes, she trembles, her great eyes close beneath her finely veined, nervously fluttering eyelids; the lovely cartomancer has, this time, the first time, dealt herself a hand of love and death.
Be he alive or be he dead
I’ll grind his bones to make my bread.
At the mauvish beginnings of evening, the English m’sieu toils up the hill to the village he glimpsed from a great way off; he must dismount and push his bicycle before him, the path too steep to ride, He hopes to find a friendly inn to rest the night; he’s hot, hungry, thirsty, weary, dusty … At first, such disappointment, to discover the roofs of all the cottages caved in and tall weeds thrusting through the piles of fallen tiles, shutters hanging disconsolately from their hinges, an entirely uninhabited place. And the rank vegetation whispers, as if foul secrets, here, where, if one were sufficiently imaginative, one could almost imagine twisted faces appearing momentarily beneath the crumbling eaves … but the adventure of it all, and the consolation of the poignant brightness of the hollyhocks still bravely blooming in the shaggy gardens, and the beauty of the flaming sunset, all these considerations soon overcame his disappointment, even assuaged the faint unease he’d felt. And the fountain where the village women used to wash their clothes still gushed out bright, clear water; he gratefully washed his feet and hands, applied his mouth to the faucet, then let the icy stream run over his face.
When he raised his dripping, gratified head from the lion’s mouth, he saw, silently arrived beside him in the square, an old woman who smiled eagerly, almost conciliatorily at him. She wore a black dress and a white apron, with a housekeeper’s key ring at her waist; her grey hair was neatly coiled in a chignon beneath the white linen headdress worn by elderly women of that region. She bobbed a curtsy at the young man and beckoned him to follow her. When he hesitated, she pointed towards the great bulk of the mansion above them, whose fagade loured over the village, rubbed her stomach, pointed to her mouth, rubbed her stomach again, clearly miming an invitation to supper. Then she beckoned him again, this time turning determinedly upon her heel as though she would brook no opposition.
A great, intoxicated surge of the heavy scent of red roses blew into his face as soon as they left the village, inducing a sensuous vertigo; a blast of rich, faintly corrupt sweetness strong enough, almost, to fell him. Too many roses. Too many roses bloomed on enormous thickets that lined the path, thickets bristling with thorns, and the flowers themselves were almost too luxuriant, their huge congregations of plush petals somehow obscene in their excess, their whorled, tightly budded cores outrageous in their implications. The mansion emerged grudgingly out of this jungle. In the subtle and haunting light of the setting sun, that golden light rich with nostalgia for the day that was just past, the sombre visage of the place, part manor house, part fortified farmhouse, immense, rambling, a dilapidated eagle’s nest atop the crag down which its attendant village meandered, reminded him of childhood tales on winter evenings, when he and his brothers and sisters scared themselves half out of their wits with ghost stories set in just such places and then had to have candles to light them up newly terrifying stairs to bed. He could almost have regretted accepting the crone’s unspoken invitation; but now, standing before the door of time—eroded oak while she selected a huge iron key from the clanking ringful at her waist, he knew it was too late to turn back and brusquely reminded himself he was no child, now, to be frightened of his own fancies.
The old lady unlocked the door, which swung back on melodramatically creaking hinges, and fussily took charge of his bicycle, in spite of his protests. He felt a certain involuntary sinking of the heart to see his beautiful two-wheeled symbol of rationality vanish into the dark entrails of the mansion, to, no doubt, some damp outhouse where they would not oil or check its tyres. But, in for a penny, in for a pound—in his youth and strength and blond beauty, in the invisible, even unacknowledged pentacle of his virginity, the young man stepped over the threshold of Nosferatu’s castle and did not shiver in the blast of cold air, as from the mouth of a grave, that emanated from the lightless, cavernous interior.
The crone took him to a little chamber where there was a black oak table spread with a clean white cloth and this cloth was carefully laid with heavy silverware, a little tarnished, as if someone with foul breath had breathed on it, but laid with one place only. Curiouser and curiouser; invited to the castle for dinner, now he must dine alone. All the same, he sat down as she had bid him. Although it was not yet dark outside, the curtains were closely drawn and only the sparing light trickling from a single oil lamp showed him how dismal his surroundings were. The crone bustled about to get him a bottle of wine and a glass from an ancient cabinet of wormy oak; while he bemusedly drank his wine, she disappeared but soon returned bearing a steaming platter of the local spiced meat stew with dumplings, and a shank of black bread. He was hungry after his long day’s ride, he ate heartily and polished his plate with the crust, but this coarse food was hardly the entertainment he’d expected from the gentry and he was puzzled by the assessing glint in the dumb woman’s eyes as she watched him eating.
But she darted off to get him a second helping as soon as he’d finished the first one and seemed so friendly and helpful, besides, that he knew he could count on a bed for the night in the castle, as well as his supper, so he sharply reprimanded himself for his own childish lack of enthusiasm for the eerie silence, the clammy chill of the place.
When he’d put away the second plateful, the old woman came and gestured he should leave the table and follow her once again. She made a pantomine of drinking; he deduced he was now invited to take after-dinner coffee in another room with some more elevated member of the household who had not wished to dine with him but, all the same, wanted to make his acquaintance. An honour, no doubt; in deference to his host’s opinion of himself, he straightened his tie, brushed the crumbs from his tweed jacket.
He was surprised to find how ruinous the interior of the house was—cobwebs, worm-eaten beams, crumbling plaster; but the mute crone resolutely wound him on the reel of her lantern down endless corridors, up winding staircases, through the galleries where the painted eyes of family portraits briefly flickered as they passed, eyes that belonged, he noticed to faces, one and all, of a quite memorable beastliness. At last she paused and, behind the door where they’d halted, he heard a faint, metallic twang as of, perhaps, a chord struck on a harpsichord. And then, wonderfully, the liquid cascade of the song of a lark, bringing to him, in the heart—had he but known it—of Juliet’s tomb, all the freshness of morning.
The crone rapped with her knuckles on the panels; the most seductively caressing voice he had ever heard in his life softly called out, in heavily accented French, the adopted language of the Romanian aristocracy: “Entrez.”
First of all, he saw only a shape, a shape imbued with a faint luminosity since it caught and reflected in its yellowed surfaces what little light there was in the ill-lit room; this shape resolved itself into that of, of all things, a hooped-skirted dress of white satin draped here and there with lace, a dress fifty or sixty years out of fashion but once, obviously, intended for a wedding. And then he saw the girl who wore the dress, a girl with the fragility of the skeleton of a moth, so thin, so frail that her dress seemed to him to hang suspended, as if untenanted in the dank air, a fabulous lending, a self-articulated garment in which she lived like a ghost in a machine. All the light in the room came from a low-burning lamp with a thick greenish shade on a distant mantelpiece; the crone who accompanied him shielded her lantern with her hand, as if to protect her mistress from too suddenly seeing, or their guest from too suddenly seeing her.
So that it was little by little, as his eyes grew accustomed to the half-dark, that he saw how beautiful and how very young the bedizened scarecrow was, and he thought of a child dressing up in her mother’s clothes, perhaps a child putting on the clothes of a dead mother in order to
bring her, however briefly, to life again.
The Countess stood behind a low table, beside a pretty, silly, gilt-and-wire birdcage, hands outstretched in a distracted attitude that was almost one of flight, she looked startled by their entry as if she had not requested it. With her stark white face, her lovely death’s head surrounded by long dark hair that fell down as straight as if it were soaking wet, she looked like a shipwrecked bride. Her huge dark eyes almost broke his heart with their waiflike, lost look; yet he was disturbed, almost repelled, by her extraordinarily fleshy mouth, a mouth with wide, full, prominent lips of a vibrant purplish-crimson, a morbid mouth. Even—but he put the thought away from him immediately—a whore’s mouth. She shivered all the time, a starveling chill, a malarial agitation of the bones. He thought she must be only sixteen or seventeen years old, no more, with the hectic, unhealthy beauty of a consumptive. She was the chatelaine of all this decay.
With many tender precautions, the crone now raised the light she held to show his hostess her guest’s face. At that, the Countess let out a faint mewing cry and made a blind, appalled gesture with her hands, as if pushing him away, so that she knocked against the table and a butterfly dazzle of painted cards fell to the floor. Her mouth formed a round “o” of woe, she swayed a little and then sank into her chair, where she lay as if now scarcely capable of moving. A bewildering reception. Tsk’ing under her breath, the crone busily poked about on the table until she found an enormous pair of dark green glasses, such as blind beggars wear, and perched them on the Countess’s nose.
He went forward to pick up her cards for her from a carpet that, he saw to his surprise, was part rotted away, partly encroached upon by all kinds of virulent-looking fungi. He retrieved the cards and shuffled them carelessly together, for they meant nothing to him, though they seemed strange playthings for a young girl. What a grisly picture of a capering skeleton! He covered it up with a happier one—of two young lovers, smiling at one another, and put her toys back into a hand so slender you could almost see the frail net of bones beneath the translucent skin, a hand with fingernails as long, as finely pointed, as banjo picks.
Burning Your Boats: The Collected Short Stories Page 27