The Nightmare Factory

by Thomas Ligotti

  And she made no secret, beyond a certain reasonable caution, of what sort of thing now engaged her energies as a businesswoman. The telephone was always ringing at her art gallery, always upsetting the otherwise dead calm of the place with its cracked, warbling voice that called out from the back room. She would then quickly disappear behind a curtain that hung in the doorway separating the front and back sections of the art gallery. I might be eating my sandwich or a piece of fruit, and then suddenly, for the fourth or fifth time in a half-hour, the telephone would scream from the back room, eventually summoning this woman behind the curtain. But she never answered the telephone with the name of the art gallery or employed any of the stock phrases of business protocol. Not so much as a “good afternoon, may I help you?” did I ever hear from the back room as I sat eating my midday meal in the front section of the art gallery. She always answered the telephone in the same way with the same quietly expectant tone in her voice. This is Dalha, she always said.

  Before I had known her very long she even had me using her name in the most familiar way. The mere saying of this name instilled in me a sense of access to what she offered all those telephone-callers, not to mention those individuals who personally visited the art gallery to make or confirm an appointment. Whatever someone was eager to try, whatever step someone was willing to take—Dalha could arrange it. This was the true stock in trade of the art gallery, these arrangements. When I returned to the library after my lunch break, I continued to imagine Dalha back at the art gallery, racing between the front and back sections of the building, making all kinds of arrangements over the telephone, and sometimes in person.

  On the day that I first noticed the new artwork entitled The Bungalow House, Dalha’s telephone was extremely vocal. While she was talking to her clients in the back section of the art gallery, I was practically left alone in the front section. Just for a thrill I went over to the wire wastebasket full of dismembered doll parts and lifted one of the painted arms (emerald green!), hiding it in the inner pocket of my sportcoat. It was then that I spotted the old audio tape recorder on a small plastic table in the corner. Beside the machine was a business card on which the title of the artwork had been hand-printed, along with the following instructions: PRESS PLAY. PLEASE REWIND AFTER LISTENING. DO NOT REMOVE TAPE. I placed the headphones over my ears and pressed the PLAY button. The voice that spoke through the headphones, which were enormous, sounded distant and was somewhat distorted by the hissing of the tape. Nevertheless, I was so intrigued by the opening passages of this dream monologue, which I have already transcribed, that I sat down on the floor next to the small plastic table on which the tape recorder was positioned and listened to the entire tape, exceeding my allotted lunchtime by over half an hour. By the time the tape had ended I was in another world—that is, the world of the infested bungalow house, with all its dreamlike crumminess and foul charms.

  “Don’t forget to rewind the tape,” said Dalha, who was now standing over me, her long gray hair, like steel wool, almost brushing against my face.

  I pressed the REWIND button on the tape recorder and got up from the floor. “Dalha, may I use your lavatory?” I asked. She pointed to the curtain leading to the back section of the art gallery. “Thank you,” I said.

  The effect of listening to the first dream monologue was very intense for reasons I will soon explain. I wanted to be alone for a few moments in order to preserve the state of mind which the voice on the tape had induced in me, much as one might attempt to hold on to the images of a dream just after waking. However, I felt that the lavatory at the library, despite its peculiar virtues which I have appreciated over the years, would somehow undermine the sensations and mental state created by the dream monologue, rather than preserving this experience and even enhancing it, as I hoped the lavatory in the back section of Dalha’s art gallery would do.

  The very reason why I spent my lunchtimes in the surroundings of Dalha’s art gallery, which were so different from those of the library, was exactly why I now wanted to use the lavatory in the back section of that art gallery and definitely not the lavatory at the library, even if I was already overdue from my lunch break. And, indeed, this lavatory had the same qualities as the rest of the art gallery, as I hoped it would. The fact that it was located in the back section of the art gallery, a region of mysteries to my mind, was significant. Just outside the door of the lavatory stood a small, cluttered desk upon which was the telephone that Dalha used in her true business of making arrangements. The telephone was centered in the weak light of a desk lamp, and I noticed, as I passed into the lavatory, that it was an unwieldy object with a straight—that is, uncoiled—cord connecting the receiver to the telephone housing, with its enormous dial. But although Dalha answered several calls during the time I was in her lavatory, these seemed to be entirely legitimate conversations having to do either with her personal life or with practical matters relating to the art gallery.

  “How long are you going to be in there?” Dalha asked through the door of the lavatory. “I hope you’re not sick, because if you’re sick you’ll have to go somewhere else.”

  I called out that there was nothing wrong (quite the opposite) and a moment later emerged from the lavatory. I was about to ask for details of the art performance tape I had just heard, anxious to know about the artist and what it would cost me to own the work entitled The Bungalow House, as well as any similar works that might exist. But the phone began ringing again. Dalha answered it with her customary greeting as I stood by in the back section of the art gallery, which was a dark, though relatively uncluttered, space that now put me in mind of the living room of the bungalow house that I had heard described on the tape recorded dream monologue. The conversation in which Dalha was engaged (another non-arrangement call) seemed interminable, and I was becoming nervously aware how long past my lunch break I had stayed at the storefront art gallery.

  “I’ll see you tomorrow,” I said to Dalha, who responded with a look from her emerald eyes while continuing to speak to the other party on the telephone. And she was smiling at me, like muted laughter, I remember thinking as I passed through the curtained doorway into the front section of the art gallery. I glanced at the tape recorder standing on the plastic table but decided against taking the audio cassette back to the library (and afterward home with me). It would be there when I visited on my lunch break the following day. Hardly anyone ever bought anything out of the front section of Dalha’s art gallery.

  For the rest of the day—both at the library and at my home—I thought about the bungalow house tape. Especially while riding the bus home from the library, I thought of the images and concepts described on the tape, as well as the voice that described them and the phrases it used throughout the dream monologue on the bungalow house. Much of my commute from my home to the library, and back home again, took me past numerous streets lined from end to end with desolate-looking houses, any of which might have been the inspiration for the bungalow house audio tape. I say that these streets were lined from “end to end” with such houses, even though the bus never turned down any of these streets, and I therefore never actually viewed even a single one of them from “end to end.” In fact, as I looked through the window next to my seat on the bus—on either side of the bus I always sat in the window seat, never in the aisle seat—the streets I saw appeared endless, vanishing from my sight toward an infinity of old houses, many of them derelict houses and a great many of them being dwarfish and desolate-looking houses of the bungalow type.

  The tape-recorded dream monologue, as I recalled it that day while riding home on the bus and staring out the window, described several features of the infested bungalow house—the dusty window blinds through which the moonlight shone, the lamps with all their lightbulb sockets empty, the threadbare carpet, and the dead or barely living vermin that littered the carpet. The voice on the tape only presented an interior view of the bungalow house, never a view from the exterior. Conversely, the houses I gazed upo
n with such intensity as I rode the bus to and from the library were only seen by me from an exterior perspective, their interiors being visible solely in my imagination as I projected it into these houses. And my memory of these interiors, once I had emerged from one of my imaginative projections, was always spotty and vague, lacking the precise physical layout provided by the bungalow house audio tape. Even my recollection of the dreams I often had of these houses was spotty and vague, highly imperfect. Yet the sensations and the mental state created by my imaginative projections into and my dreams of these houses perfectly corresponded to those I experienced at Dalha’s art gallery when I listened to the tape entitled The Bungalow House. That feeling of being in a trance among the most vile and pathetic surroundings was communicated to me in the most powerful way by the voice on the tape, which described a silent and secluded world where one existed in a state of abject hypnosis. While sitting on the floor of the art gallery listening to the voice as it spoke through those enormous headphones, I had the sense not that I was simply hearing the words of that dream monologue but also that I was reading them. What I mean is that whenever I have the occasion to read words on a page, any words on any page, the voice that I hear saying these words in my head is always recognizable in some way as my own, even though the words are those of another. Perhaps it is even more accurate to say that whenever I read words on a page, the voice in my head is my own voice as it becomes merged (or lost) within the words that I am reading. Conversely, when I have the occasion to write words on a page, even a simple note or memo at the library, the voice that I hear dictating these words does not sound like my own—until, of course, I read the words back to myself, at which time everything is all right again. The bungalow house tape was the most dramatic example of this phenomenon I had ever known. Despite the poor overall quality of the recording, the distorted voice reading this dream monologue became merged (or lost) within my own perfectly clear voice in my head, even though I was listening to its words over a pair of enormous headphones and not reading the words on a page. As I rode the bus home from the library, observing street after street of houses so reminiscent of the one described on the tape-recorded dream monologue, I regretted not having acquired this artwork on the spot or at least discovered more about it from Dalha, who had been occupied with what seemed an unusual number of telephone calls that afternoon.

  The following day at the library I was anxious for lunchtime to arrive so that I could get over to the art gallery and find out everything I possibly could about the bungalow house tape, as well as discuss terms for its acquisition. Entering the art gallery, I immediately looked toward the corner where the tape recorder had been set on the small plastic table the day before. For some reason I was relieved to find the exhibit still in place, as if any artwork in that gallery could possibly have come and gone in a single day.

  I walked over to the exhibit with the purpose of verifying that everything I had seen (and heard) the previous day was exactly as I remembered it. I checked that the audio cassette was still inside the recording machine and picked up the little business card on which the title of the exhibit was given, along with instructions for properly operating the tape-recorded artwork. It was then that I realized that this was a different card from the first one. Printed on this card was the title of a new artwork, which was called The Derelict Factory with a Dirt Floor and Voices.

  While I was very excited to find a new work by this artist, I also felt intense apprehension at the absence of the bungalow house dream monologue, which I had planned to purchase with some extra money I brought with me to the art gallery that day. Just at that moment in which I experienced the dual sensations of excitement and apprehension, Dalha emerged from behind the curtain separating the back and front sections of the art gallery. I had intended to be thoroughly blasé in negotiating the purchase of the bungalow house artwork, but Dalha caught me off-guard in a state of disorienting conflict.

  “What happened to the bungalow house tape that was here yesterday?” I asked, the tension in my voice betraying desires that were all to her advantage.

  “That’s gone now,” she replied in a frigid tone as she walked slowly and pointlessly about the gallery, her emerald skirt and scarves dragging along the floor.

  “I don’t understand. It was an artwork exhibited on that small plastic table.”

  “Yes,” she agreed.

  “Now, after only a single day on exhibit, it’s gone?”

  “Yes, it’s gone.”

  “Somebody bought it,” I said, assuming the worst.

  “No,” she said, “that one was not for sale. It was a performance piece. There was a charge, but you didn’t pay.”

  A sickly confusion now became added to the excitement and disappointment already mingling inside me. “There was no notice of a charge for listening to the dream monologue,” I insisted. “As far as I knew, as far as anyone could know, it was an item for sale like everything else in this place.”

  “The dream monologue, as you call it, was an exclusive piece. The charge was on the back of the card on which the title was written, just as the charge is on the back of that card you are holding in your hand.”

  I turned the card to the reverse side, where the words “twenty-five dollars” were written in the same hand that appeared on all the price tags around the gallery. Speaking in the tones of an outraged customer, I said to Dalha, “You wrote the price only on this card. There was nothing written on the bungalow house card.” But even as I said these words I lacked the conviction that they were true. In any case, I knew that if I wanted to hear the tape recording about the derelict factory I would have to pay what I owed, or what Dalha claimed I owed, for listening to the bungalow house tape.

  “Here,” I said, removing my wallet from my back pocket, “ten, twenty, twenty-five dollars for the bungalow house, and another twenty-five for listening to the tape now in the machine.”

  Dalha stepped forward, took the fifty dollars I held out to her, and in her coldest voice said, “This only covers yesterday’s tape about the bungalow house, which was clearly priced at fifty dollars. You must still pay twenty-five dollars if you wish to listen to the tape today.”

  “But why should the bungalow house tape cost twenty-five dollars more than the tape about the derelict factory?”

  “That is simply because this is a less ambitious work than the bungalow house.”

  In fact the tape recording entitled The Derelict Factory with a Dirt Floor and Voices was of shorter duration than The Bungalow House (Plus Silence), but I found it no less wonderful in picturing the same “infinite terror and dreariness.” For approximately fifteen minutes (on my lunch break) I embraced the degraded beauty of the derelict factory—a narrow ruin that stood isolated upon a vast plain, its broken windows accepting only the most meager haze of moonlight to shine across its floor of hard-packed dirt where dead machinery lay buried in a grave of shadows and languished in the echoes of hollow, senseless voices. Yet how lucid was the voice that communicated its message to me through the medium of a tape recording. To think that another person shared my love for the icy bleakness of things. The comfort I felt at hearing that monotonal and somewhat distorted voice singing words that I knew so well—this was an experience that even then, as I sat on the floor of Dalha’s art gallery listening to the tape through enormous headphones, might have been heartbreaking. But I wanted to believe that the artist who created these dream monologues about the bungalow house and the derelict factory had not set out to break my heart or anyone’s heart. I wanted to believe that this artist had escaped the dreams and demons of all sentiment in order to explore the foul and crummy delights of a universe where everything had been reduced to three stark principles: first, that there was nowhere for you to go; second, that there was nothing for you to do; and third, that there was no one for you to know. Of course I knew that this view was an illusion like any other, but it was also one that had sustained me so long and so well—as long and as well as any ot
her illusion and perhaps longer, perhaps better.

  “Dalha,” I said when I had finished listening to the tape recording, “I want you to tell me what you know about the artist of these dream monologues. He doesn’t even sign his works.”

  From across the front section of the art gallery Dalha spoke to me in a strange, somewhat flustered voice. “Well, why should you be surprised that he doesn’t sign his name to his works—that’s how artists are these days. All over the place they are signing their works only with some idiotic symbol or a piece of chewing gum or just leaving them unsigned altogether. Why should you care what his name is? Why should I?”

  “Because,” I answered, “perhaps I can persuade him to allow me to buy his works instead of sitting on the floor of your art gallery and renting these performances on my lunch break.”

  “So you want to cut me out entirely,” Dalha shouted back in her old voice. “I am his dealer, I tell you, and anything he has to sell you will buy through me.”

  “I don’t know why you’re getting so upset,” I said, standing up from the floor. “I’m willing to give you a percentage. All I ask is that you arrange something between myself and the artist.”

  Dalha sat down in a chair next to the curtained doorway separating the front and back sections of the art gallery. She pulled her emerald shawl around herself and said, “Even if I wished to arrange something I could not do it. I have no idea what his name is myself. A few nights ago he walked up to me on the street while I was waiting for a cab to take me home.”