So far, so good. Until the night of Nathan’s first date, that is.
Miss McFickel resides in a respectable suburb but, in relation to where Nathan lives, the locale of her home requires that he negotiate one of the most dangerous sectors of the city. No problem: Nathan’s keeps his car well maintained. If he just keeps the doors locked and windows rolled up, everything will be fine. Worst luck, broken bottles on a broken street, and a flat tire. Nathan curbs the car. He removes his grandfather’s watch and locks it in the glove compartment; he takes off his overcoat, folds it up neatly, and snuggles it into the shadows beneath the dashboard. As far as the trousers are concerned, he would simply have to exercise great care while attempting to change his tire in record time, and in a part of town known as Hope’s Back Door.
Now, all the while Nathan is fixing the tire, his legs feel strange. He could attribute this to the physical labor he was performing in a pair of trousers not exactly designed for such abuse. He would just have been fooling himself, though. For Nathan remembers his legs feeling strange, though less noticeably, when he tried on the trousers at home. They didn’t feel that way at the clothing store. If they had, he would never have purchased them. He would also have returned them if his date with Lorna McFickel hadn’t been scheduled too soon for him to find another pair of trousers as fitting as these, which turned out to be not fitting in the least once they began going strange on him. But strange how? Strange as in being a little tingly, and even then some. A little quivery. Nonsense, he’s just nervous about his date with lovely Lorna. And the complications he’s presently experiencing are no help.
Adding to the troubles Nathan has already had, two scraggly juveniles are now watching him change the tire. He tries to ignore them but succeeds a little too well in this. Unseen by him, one of the ostensible delinquents edges toward the car and opens the front door. Worst luck, Nathan forgot to lock it. The audacious hoodlum lays his hands on Nathan’s overcoat, and then both no-goodniks disappear into a tumbledown building.
Very quickly now. Nathan chases the hooligans into what seems to be an untenanted apartment house, and he falls down some stairs leading to a sooty basement. But it’s not that the stairs were rotten, no. It is that Nathan’s legs have given out. They just won’t work anymore. The tingling and quivering have now penetrated him and crippled his body from the waist down. He tries to remove his pants but they won’t come off, as if they had become part of him. Something has gone horribly wrong because of those pants of his. The following is why. A few days before Nathan purchased the pants, they were returned to the store for a cash refund. The woman returning them said that her husband didn’t like the way they felt, which was true. Also true was that her husband had collapsed and died from a heart attack not long after trying on the pants. In an endeavor to salvage what she could from the tragedy, the woman put her husband into a pair of old dungarees before making another move. Poor Nathan, of course, was not informed of his pants’ sordid past. And when the hooligans who stole his overcoat see that he is lying helpless in the grime of that basement, they decide to take advantage of the situation and strip him of his valuables…starting with those expensive-looking slacks and whatever treasures they may contain. But after they relieve a protesting and paralyzed Nathan of his pants, they do not further pursue their pillaging. Not after they see Nathan’s legs, which are the putrid members of a man who is decomposing. With the lower half of Nathan rapidly rotting away, the upper must also die among the countless shadows of that condemned building. And mingled with the pain and madness of his untimely demise, Nathan abhors and grieves over the thought that, for a while anyway, Miss McFickel will think he has stood her up on the first date of what was supposed to be a long line of dates destined to evolve into a magical, timeless, and profound affair of two hearts.
Incidentally, this story, had it reached its culmination, would most likely have borne the title “Romance of a Dead Man.”
The Styles
As I’ve already stated, there is more than one way to write a horror story. And such a statement, true or false, is easily demonstrated. In this section we will examine the three primary techniques that authors have employed to produce tales of terror. They are: the realistic technique, the traditional Gothic technique, and the experimental technique. Each serves its user in different ways and realizes different ends, there’s no question about that. After a little soul-searching, the prospective horror writer may awaken to the right technique for attaining his personal ends. Thus:
The realistic technique. Since the cracking dawn of consciousness, restless tongues have asked: is the world, and are its people, real? Yes, answers realistic fiction, but only when it is, and they are, normal. The supernatural, and all it represents, is profoundly abnormal, and therefore unreal. Few would argue with these conclusions. Fine. Now the highest aim of the realistic horror writer is to prove, in realistic terms, that the unreal is real. The question is: “Can this be done?” The answer is: “Of course not.” One would look silly attempting such a thing. Consequently, the realistic horror writer, wielding the hollow proofs and premises of his art, must settle for merely seeming to smooth out the ultimate paradox. In order to achieve this effect, the supernatural realist must really know the normal world, and deeply take for granted its reality. (It helps if he himself is normal and real.) Only then can the unreal, the abnormal, the supernatural be smuggled in as a plain brown package marked Hope, Love, or Fortune Cookies, and postmarked: the Edge of the Unknown. And of the dear reader’s seat. In the end, of course, the supernatural explanation of a given story depends entirely on some irrational principle which in the real, normal world looks as awkward and stupid as a rosy-cheeked farm lad in a den of reeking degenerates. (Amend this, possibly, to rosy-cheeked degenerate…reeking farm lads.) Nevertheless, the hoax can be pulled off with varying degrees of success. That much is obvious. Just remember to assure the reader, at certain points in the tale and by way of certain signals, that it’s now all right to believe the unbelievable. Here’s how Nathan’s story might be told using the realistic technique. Fast forward.
Nathan is a normal and real character, or at least one very close to being so. Perhaps he’s not as normal and real as he would like to be, but he does have his sights set on just this goal. He might even be a little too intent on it, though without passing beyond the limits of the normal and the real. We have established that Nathan has a fetish for things “magical” (which word should really have its own pair of quotes, given that the positive connotation our protagonist intends it to carry will be negated by the end of the narrative, when a world of bad magic comes down on Nathan’s head), “timeless” (again the quotes, because if time runs out for anyone, it’s Nathan), and “profound” (hmm, this one has a knottiness about it that the others don’t. “Magical” and “timeless” have a cheaply ironic connection to the incidents of the story. However, “profound” doesn’t work in this way. This “essence” does have an aura about it, though, at least for this writer. For now, then, we’ll let it stand.).
Nathan’s search for the aforesaid qualities in his life may be somewhat uncommon, but certainly not abnormal, not unreal. (And to make him a bit more real, one could supply his overcoat, his grandfather’s wristwatch, and his car with specific brand names, perhaps autobiographically borrowed from one’s own closet, wrist, and garage.) The triadic formula which haunts Nathan—similar to the Latinate slogans on family coats-of-arms—also haunts the text of the tale like a song’s refrain, possibly in italics as the submerged chanting of our anti-hero’s under-mind, possibly not. (Try not to be too artificial; one recalls this is realism.) Nathan wants his romance with Lorna McFickel, along with everything else he considers of value in existence, to be magical, timeless, and, in some vague sense, profound. To Nathan these are attributes that are really normal and really real in a helter-skelter universe where things are ever threatening to go abnormal and unreal on one, anyone, not just him.
Okay. Now Lorna McFicke
l represents all the virtues of normalcy and reality. She could be played up in the realistic version of the story as much more normal and real than Nathan. Maybe Nathan is after all quite the neurotic; maybe he needs normal and real things too much, I don’t know. (If I did, maybe I could have written the story.) Whatever, Nathan wants to win a normal, real love, but he doesn’t. He loses, even before he has a chance to play. He loses badly. Why? For the answer we can appeal to a very prominent theme in horror stories: be careful what you wish for, because you will certainly get the contrary. What happened was that Nathan got greedy. He wanted something that human existence does not offer—perfection. And to highlight this reality, certain outside supernatural forces were brought in to teach Nathan, and the reader, a lesson. (Realistic horror stories can be very didactic.) But how can such things be? This is really what a supernatural horror story, even a realistic one, is all about. In just what way, amid all the realism of Nathan’s life, does the supernatural sneak past Inspectors Normal and Real standing guard at the gate? Well, sometimes it steps softly by inches until it has crashed the party.
Now in Nathan’s story the source of the supernatural is somewhere inside those mysterious trousers. They are woven of a material which he has never seen the like of; they have no label to indicate their maker; there are no others like them in the store of a different size or color. When Nathan asks the salesman about them, we introduce Exhibit One: the trousers were received as if providentially by the clothier Nathan patronizes. They were not designated to be among the batch of apparel with which they came, the salesman checks. And no one else in the store at the time can tell Nathan anything about them, which is also checked and double-checked. All of these facts make the pants a total mystery in a totally realistic way. The reader now takes the hint that there is something surpassing strange about the pants and will allow that strangeness to extend into the supernatural.
At this point the alert student may ask: but even if the trousers are acknowledged as magical, why do they have the particular effect they eventually have, causing Nathan to rot away below the waist? To answer this question we need to introduce Exhibit Two: Nathan is not the original owner of the pants. Not long before they became one of his magical, timeless, and profound possessions, they were worn by a man whose wife adhered to the rule “waste not, want not” and removed the brand new pants he was wearing when he keeled over and died. But these “facts” explain nothing, right? Of course they don’t. However, they may seem to explain everything if they are revealed in the right manner. All one has to do is link up the Exhibits One and Two (there may even be more) within the scheme of a realistic narrative.
For example, Nathan might find something in the trousers that leads him to deduce that he is not their original owner. Perhaps he finds a winning lottery ticket of a significant, though not too tempting, amount. Being a normally honest type of person, Nathan calls the clothes store, explains the situation, and they dig up the name and phone number of the gentleman who originally purchased those pants, and, afterward, returned them, or had them returned—the signature on the return form is hard to read (how realistic). Quite possibly the lottery ticket belonged to him. Nathan makes another phone call—not minding that the pants had a previous owner because they are so perfect for his plans—and finds out that the pants were returned not by a man, but by a woman. The very same woman who explains to Nathan that she and her husband, never mind the massive coronary, could really use the modest winnings from that lottery ticket.
By now the reader’s mind is no longer on the lottery ticket, but on the revealed fact that Nathan is the owner and future wearer of a pair of pants that seems to have already killed once, and who knows how many other times—thus associating them with impermanence and decay, evils woven into the frustrating fabric of life, evils sent out under various covers (pants, pens, Christmas toys) to cut their recipients down to size because they tried to go against the ways of the world. And so when almost-real, almost-normal Nathan loses all hope of achieving full normalcy and reality, the reader knows why: wrong time, wrong pants, and wrong expectations from a life that has no sense of what we think should be normal and real.
The realistic technique.
It’s easy. Now try it yourself.
The traditional Gothic technique. Certain kinds of people, and a fortiori certain kinds of writers, have always experienced the world around them in the Gothic manner, I’m almost positive. Perhaps there was even some little stump of an apeman who witnessed prehistoric lightning as it parried with prehistoric blackness in a night without rain, and felt his soul rise and fall at the same time to behold this sublime and terrifying conflict. Perhaps such displays provided inspiration for those very first imaginings that were not born of our daily life of crude survival, who knows? Could this be why all our primal mythologies are Gothic—that is, fearsome, fantastical, and inhuman? I only pose the question, you see. Perhaps the forbidding events of triple-volume shockers passed, in abstract, through the brains of hairy, waddling things as they moved around in moon-trimmed shadows during their angular migrations across lunar landscapes of craggy peaks or skeletal wastelands of jagged ice. Such ones did not doubt there was a double world of the fearsome, the fantastical, and the inhuman, for nothing needed to flaunt its reality before their eyes as long as it felt real to their blood. A gullible bunch of creatures, these. And to this day the fearsome, the fantastical, and the inhuman retain a firm grip upon our souls. So much goes without saying, really.
Therefore, the advantages of the traditional Gothic technique, even for the contemporary writer, are two. One, isolated supernatural incidents don’t look as silly in a Gothic tale as they do in a realistic one, since the latter obeys the hard-knocking school of reality while the former recognizes only the University of Dreams. (Of course the entire Gothic tale itself may look silly to a given reader, but this is a matter of temperament, not technical execution.) Two, a Gothic tale gets under a reader’s skin and stays there far more insistently than other kinds of stories. Of course it has to be done right, whatever you take the words done right to mean. Do they mean that Nathan has to function within the monumental incarceration of a castle in the mysterious fifteenth century? No, but he may function within the monumental incarceration of a castle-like skyscraper in the just-as-mysterious modern world. Do they mean that Nathan must be a brooding Gothic hero and Miss McFickel an ethereal Gothic heroine? No, but it may mean an extra dose of obsessiveness in Nathan’s psychology, and Miss McFickel may seem to him less the ideal of normalcy and reality than the pure Ideal itself. Contrary to the realistic story’s allegiance to the normal and the real, the world of the Gothic tale is fundamentally unreal and abnormal, harboring essences which are magical, timeless, and profound in a way the realistic Nathan never dreamed. So, to do right by a Gothic tale, let’s be frank, requires that the author be a militant romantic who relates the action of his narratives in dreamy and more than usually emotive language. Hence, the well-known grandiose rhetoric of the Gothic tale, which may be understood by the sympathetic reader as not just an inflatable raft on which the imagination floats at its leisure upon waves of bombast, but also as the sails of the Gothic artist’s soul filling up with the winds of ecstatic hysteria. So it’s hard to tell someone how to write the Gothic tale, since one really has to be born to the task. Too bad. The most one can do is offer a pertinent example: a Gothic scene from “Romance of a Dead Man,” translated from the original Italian of Geraldo Riggerini. This chapter is entitled “The Last Death of Nathan.”
Through a partially shattered window, its surface streaked with a blue film of dust that thrilled the soul with a sublime sense of desolation, the diluted glow of twilight seeped down onto the basement floor where Nathan lay without hope of a saving mobility. In the dark you’re not anywhere, he had thought as a child bundled beneath his bedcovers, his sight lost in night’s enveloping cloak; and, in the bluish semi-luminescence of that stone cellar, Nathan was truly not anywhere where eyes could s
ee aught but a gloomy fate. With agonizing labor, he raised himself upon one elbow, squinting through tears of confusion into the grimy azure dimness. He now appeared as would a patient who has been left alone in a doctor’s surgery, anxiously looking around to see if he had been forgotten on that frigid table. If only his legs would move as they once did, if only that paralyzing pain would suddenly become cured. Where were those wretched doctors, he asked himself deliriously. Ah, there they were, standing behind the turquoise haze of the surgery lamps. “He’s out of it, man,” said one of them to his colleague. “We can take everything he’s got on him.” But after they removed Nathan’s trousers, the operation was unceremoniously terminated and the patient abandoned in the blue shadows of silence. “Jesus, look at his legs,” they screamed. Oh, if only he could now scream like that, Nathan thought among all the fatal chaos of his other thoughts. If only he could scream loud enough to be heard by that angelic girl, by way of apologizing for his permanent absence from their magical, timeless, and profound future, which was in fact as defunct as the two legs putrefying before his eyes. Couldn’t he now emit such a scream, now that the tingling anguish of his liquefying legs was beginning to course throughout his whole being? But no. It was impossible—to scream that loudly—though he did manage, at length, to scream himself straight to death.
Songs of a Dead Dreamer Page 11