Interior Darkness: Selected Stories

by Peter Straub

  In that same instant she passed into an ongoing dream, as if she had wandered into the middle of a story, more accurately a point far closer to its ending. Much, maybe nearly everything of interest, had already happened. Sandrine lay on a mess of filthy blankets at the bottom of a cage. The Golden Shower of Shit had sufficiently relaxed, it seemed, as to permit the butchering of entire slabs of flesh from her body, for much of the meat from her right shoulder had been sliced away. The wound reported a dull, wavering ache that spoke of those wonderful objects, Ballard’s narcotic painkillers. So close together were the narrow bars, she could extend only a hand, a wrist, an arm. In her case, an arm, a wrist, and a stump. The hand was absent from the arm Sandrine had slipped through the bars, and someone had cauterized the wounded wrist.

  The Mystery of the Missing Hand led directly to Cage Number One, where a giant bug-creature sat crammed in at an angle, filling nearly the whole of the cage, mewing softly, and trying to saw through the bars with its remaining mandible. It had broken the left one on the bars, but it was not giving up, it was a bug, and bugs don’t quit. Sandrine was all but certain that when in possession of both mandibles, that is to say before capture, this huge thing had used them to saw off her hand, which it had then promptly devoured. The giant bugs were the scourge of the river tribes. However, the Old Ones, the Real People, the Cloud Huggers, the Tree Spirits, the archaic Sacred Ones who spoke in birdsong and called themselves WE had so shaped the River and the Forest, which had given them birth, that the meat of the giant bugs tasted exceptionally good, and a giant bug guilty of eating a person or parts of a person became by that act overwhelmingly delicious, like manna, like the food of paradise for human beings. WE were feeding bits of Sandrine to the captured bug that it might yield stupendous meals for the Sandrine and Ballard upstairs.

  Sandrine awakened crying out in fear and horror, scattering tears she could not see.

  Enough of that. Yes, quite enough of quivering; it was time to decide what to do next. Go back and try to break down the door, or keep going down and see what happens? Sandrine hated the idea of giving up and going backward. She levered herself upright and resumed her descent with stair number one hundred and two.

  At stair three hundred she passed through another spasm of weepy trembling, but soon conquered it and moved on. By the four hundredth stair she was hearing faint carnival music and seeing sparkly light-figments flit through the darkness like illuminated moths. Somewhere around stair five hundred she realized that the numbers had become mixed up in her head, and stopped counting. She saw a grave that wasn’t a grave, merely darkness, and she saw her old tutor at Clare, a cool, detached don named Quentin Jester who said things like “If I had a lifetime with you, Miss Loy, we’d both know a deal more than we do at present,” but she closed her eyes and shook her head and sent him packing.

  Many stairs later, Sandrine’s thigh muscles reported serious aches, and her arms felt extraordinarily heavy. So did her head, which kept lolling forward to rest on her chest. Her stomach complained, and she said to herself, Wish I had a nice big slice of sautéed giant bug right about now, and chuckled at how crazy she had become in so short a time. Giant bug! Even good old Dad, old LL, who often respected sanity in others but wished for none of it himself, drew the line at dining on giant insects. And here came yet another proof of her deteriorating mental condition, that despite her steady progress deeper and deeper underground, Sandrine could almost sort of half-persuade herself that the darkness before her seemed weirdly less dark than only a moment ago. This lunatic delusion clung to her step after step, worsening as she went. She said to herself, I’ll hold up my hand, and if I think I see it, I’ll know it’s good-bye, real world, pack Old Tillie off to Bedlam. She stopped moving, closed her eyes, and raised her hand before her face. Slowly, she opened her eyes, and beheld…her hand!

  The problem with the insanity defense lay in the irrevocable truth that it was really her hand before her, not a mad vision from Gothic literature but her actual, entirely earthly hand, at present crusted with dirt from its long contact with the wall. Sandrine turned her head and discovered that she could make out the wall, too, with its hard-packed earth showing here and there the pale string of a severed root, at times sending in her direction a little spray or shower of dusty particulate. Sandrine held her breath and looked down to what appeared to be the source of the illumination. Then she inhaled sharply, for it seemed to her that she could see, dimly and a long way down, the bottom of the stairs. A little rectangle of light burned away down there, and from it floated the luminous translucency that made it possible for her to see.

  Too shocked to cry, too relieved to insist on its impossibility, Sandrine moved slowly down the remaining steps to the rectangle of light. Its warmth heated the air, the steps, the walls, and Sandrine herself, who only now registered that for most of her journey she had been half paralyzed by the chill leaking from the earth. As she drew nearer to the light, she could finally make out details of what lay beneath her. She thought she saw a strip of concrete, part of a wooden barrel, the bottom of a ladder lying on the ground: the intensity of the light surrounding these enigmatic objects shrank and dwindled them, hollowed them out even as it drilled painfully into her eyes. Beneath her world existed another, its light a blinding dazzle.

  When Sandrine had come within thirty feet of the blazing underworld, her physical relationship to it mysteriously altered. It seemed she no longer stepped downward, but moved across a slanting plane that leveled almost imperceptibly off. The dirt walls on either side fell back and melted to ghostly gray air, to nothing solid, until all that remained was the residue of dust and grime plastered over Sandrine’s white dress, her hands and face, her hair. Heat reached her, the real heat of an incendiary sun, and human voices, and the clang and bang and underlying susurrus of machinery. She walked toward all of it, shading her eyes as she went.

  Through the simple opening before her Sandrine moved, and the sun blazed down upon her, and her own moisture instantly soaked her filthy dress, and sweat turned the dirt in her hair to muddy trickles. She knew this place; the dazzling underworld was the world she had left. From beneath her shading hand Sandrine took in the wide concrete apron, the equipment she had noticed all that harrowing time ago and the equipment she had not, the men posturing for the benefit of other men, the sense of falsity and stagecraft and the incipient swelling of a banal unheard melody. The long yellow dock where on a sluggish umber tide three yachts slowly rocked, one of them the Sweet Delight.

  In a warm breeze that was not a breeze, a soiled-looking scrap of paper flipped toward Sandrine over the concrete, at the last lifting off the ground to adhere to her leg. She bent down to peel it off and release it, and caught a strong, bitter whiff, unmistakably excremental, of the Amazon. The piece of paper wished to cling to her leg, and there it hung until the second tug of Sandrine’s dirty fingers, when she observed that she was gripping not a scrap of paper but a Polaroid, now a little besmudged by contact with her leg. When she raised it to her face, runnels of dirt obscured portions of the image. She brushed away much of the dirt, but could still make no sense of the photograph, which appeared to depict some piglike animal.

  In consternation, she glanced to one side and found there, lounging against bollards and aping the idleness of degenerates and river louts, two of the men in shabby suits and worn-out hats who had pursued her into the slum. She straightened up in rage and terror, and to confirm what she already knew to be the case, looked to her other side and saw their companions. One of them waved to her. Sandrine’s terror cooled before her perception that these guys had changed in some basic way. Maybe they weren’t idle, exactly, but these men were more relaxed, less predatory than they had been on the avenue into Manaus.

  They had their eyes on her, though, they were interested in what she was going to do. Then she finally got it: they were different because now she was where they had wanted her to be all along. They didn’t think she would try to escape again,
but they wanted to make sure. Sandrine’s whole long adventure, from the moment she noticed she was being followed to the present, had been designed to funnel her back to the dock and the yacht. The four men, who were now smiling at her and nodding their behatted heads, had pushed her toward the witch-hag, for they were all in it together! Sandrine dropped her arms, took a step backward, and in amazement looked from side to side, taking in all of them. It had all been a trick; herded like a cow, she had been played. Falsity again; more stagecraft.

  One of the nodding, smiling men held his palm up before his face, and the man beside him leaned forward and laughed into his fist, as if shielding a sneeze. Grinning at her, the first man went through his meaningless mime act once again, lifting his left hand and staring into its palm. Grinning even more widely, he pointed at Sandrine and shouted, “Munna!”

  The man beside him cracked up, Munna!, what a wit, then whistled an odd little four-note melody that might have been a birdcall.

  Experimentally, Sandrine raised her left hand, regarded it, and realized that she was still gripping the dirty little Polaroid photograph of a pig. Those two idiots off to her left waved their hands in ecstasy. She was doing the right thing, so Munna! right back atcha, buddy. She looked more closely at the Polaroid and saw that what it pictured was not actually a pig. The creature in the photo had a head and a torso, but little else. The eyes, nose, and ears were gone. A congeries of scars like punctuation marks, like snakes, like words in an unknown language, decorated the torso.

  I know what Munna means, and Num, thought Sandrine, and for a moment experienced a spasm of stunning, utterly sexual warmth before she fully understood what had been given her: that she recognized the man in the photo. The roar of oceans, of storm-battered leaves, filled her ears and caused her head to spin and wobble. Her fingers parted, and the Polaroid floated off in an artificial, wind-machine breeze that spun it around a couple of times before lifting it high above the port and winking it out of sight, lost in the bright hard blue above the Sweet Delight.

  Sandrine found herself moving down the yellow length of the long dock.

  Tough love, Ballard had said. To be given and received, at the end perfectly repaid by that which she had perhaps glimpsed but never witnessed, the brutal, exalted, slow-moving force that had sometimes rustled a curtain, sometimes moved through this woman, her hair and body now dark with mud, had touched her between her legs, Sandrine, poor profane lost deluded most marvelously fated Sandrine.

  1997

  From the galley they come, from behind the little dun-colored curtain in the dining room, from behind the bookcases in the handsome sitting room, from beneath the bed and the bloodstained metal table, through wood and fabric and the weight of years, WE come, the Old Ones and Real People, the Cloud Huggers, WE process slowly toward the center of the mystery WE understand only by giving it unquestioning service. What remains of the clients and patrons lies, still breathing though without depth or force, upon the metal work-table. It was always going to end this way, it always does, it can no other. Speaking in the high-pitched, musical language of birds that WE taught the Pirahã at the beginning of time, WE gather at the site of these ruined bodies, WE worship their devotion to each other and the Great Task that grew and will grow on them, WE treat them with grave tenderness as WE separate what can and must be separated. Notes of the utmost liquid purity float upward from the mouths of WE and print themselves upon the air. WE know what they mean, though they have long since passed through the realm of words and gained again the transparency of music. WE love and accept the weight and the weightlessness of music. When the process of separation is complete, through the old sacred inner channels WE transport what the dear, still-living man and woman have each taken from the other’s body down down down to the galley and the ravening hunger that burns ever within it.

  Then. Then. With the utmost tenderness, singing the deep tuneless music at the heart of the ancient world, WE gather up what remains of Ballard and Sandrine, armless and legless trunks, faces without features, their breath clinging to their mouths like wisps, carry them (in our arms, in baskets, in once-pristine sheets) across the deck and permit them to roll from our care, as they have always longed to do, and into that of the flashing furious little river-monarchs. WE watch the water boil in a magnificence of ecstasy, and WE sing for as long as it lasts.

  The Collected Short Stories of Freddie Prothero

  Introduction by Torless Magnussen, Ph.D.

  The present volume presents in chronological order every known short story written by Frederick “Freddie” Prothero. Of causes that must ever remain obscure, he died “flying solo,” his expression for venturing out in search of solitude, in a field two blocks from his house in Prospect Fair, Connecticut. His death took place in January 1988, nine months before his ninth birthday. It was a Sunday. At the hour of his death, approximately four o’clock of a bright, cold, snow-occluded day, the writer was wearing a hooded tan snowsuit he had in fact technically outgrown; a red woolen scarf festooned with “pills”; an imitation Aran knit sweater, navy blue with cables; a green-and-blue plaid shirt from Sam’s; dark green corduroys with cuffs beginning to grow ragged; a shapeless white Jockey T-shirt also worn the day previous; Jockey briefs, once white, now stained lemon yellow across the Y-front; white tube socks; Tru-Value Velcro sneakers, so abraded as nearly to be threadbare; and black calf-high rubber boots with six metal buckles.

  The inscription on the toaster-sized tombstone in Prospect Fair’s spacious Gullikson & Son Cemetery reads FREDERICK MICHAEL PROTHERO, 1979–1988. A NEW ANGEL IN HEAVEN. In that small span of years, really in a mere three of those not-yet eight-and-a-half years, Freddie Prothero went from apprenticeship to mastery with unprecedented speed, in the process authoring ten of the most visionary short stories in the English language. It is my belief that this collection will now stand as a definitive monument to the unique merits—and difficulties!—presented by the only genuine prodigy in American literature.

  That Prothero’s fiction permits a multiplicity of interpretations supplies a portion, though scarcely all, of its interest to both the academic and the general reader. Beginning in 1984 with childish, nearly brutal simplicity and evolving toward the more polished (though still in fact unfinished) form of expression seen in the work of his later years, these stories were apparently presented to his mother, Varda Prothero, née Barthelmy. (Baathy, baathy, momma sai.) In any case, Momma Baathy Prothero preserved them (perhaps after the fact?) in individual manila files within a snug, smoothly mortised and sanded cherrywood box.

  As the above example demonstrates, the earliest Prothero, the stories written from his fifth to seventh years, displays the improvised variant spelling long encouraged by American primary schools. The reader will easily decipher the childish code, although I should perhaps explain that bood gig stands for “bad guy.”

  From first to last, the stories demonstrate the writer’s awareness of the constant presence of a bood gig. A threatening, indeterminate figure, invested with all the terrifying power and malignity of the monster beneath a child’s bed, haunts this fiction. Prothero’s “monster” figure, however, is not content to confine itself to the underside of his bed. It roams the necessarily limited map of the writer’s forays both within and outside of his house: that is, across his front yard; down Gerhardie Street, which runs past his house; through the supermarket he, stroller-bound, visits with his mother; and perhaps above all in the shadowy, clamorous city streets he is forced to traverse with his father on the few occasions when R(andolph) Sullivan “Sully” Prothero brought him along to the law office where he spent sixty hours a week in pursuit of the partnership attained in 1996, eight years after his son’s death and two prior to his own unexplained disappearance. The commuter train from Prospect Fair to Penn Station was another location favored by the omniscient shadow figure.

  Though these occasions were in fact no more than an annual event (more specifically, on the Take Your Son to Work Days of 1
985–86), they had a near-traumatic, no, let us face the facts and say traumatic, effect on Prothero. He pleaded, he wept, he screamed, he cowered gibbering in terror. One imagines the mingled disdain and distress of the fellow passengers, the unsympathetic conductor. The journey through the streets to Fifty-fourth and Madison was a horrifying trek, actually heroic on the boy’s part.

  A high-functioning alcoholic chronically unfaithful to his spouse, “Sully” was an absent, at best an indifferent, father. In her role as mother, Varda, about whom one has learned so much in recent years, can be counted, alas, as no better. The Fair Haven pharmacists open to examination of their records by a scholar of impeccable credentials have permitted us to document Varda’s reliance upon the painkillers Vicodin, Percodan, and Percocet. Those seeking an explanation for her son’s shabby, ill-fitting wardrobe need look no further. (One wishes almost to weep. His poor little snowsuit too tight for his growing body! And his autopsy, conducted in a completely up-to-date facility in Norwalk, Connecticut, revealed that, but for a single slice of bread lightly smeared with oleomargarine, Prothero had eaten nothing at all that day. Imagine.)

  In some quarters, the four stories of 1984, his fifth year, are not thought to belong in a collection of his work, being difficult to decode from their primitive spelling and level of language. Absent any narrative sense whatsoever, these very early works perhaps ought to be considered poetry rather than prose. Prothero would not be the first author of significant fiction to begin by writing poems. The earliest works do, however, present the first form of this writer’s themes and perhaps offer (multiple) suggestions of their emotional and intellectual significance.