There was one other reason Fet felt close to Setrakian. Something Fet could not bring up to him, nor something he was entirely clear on himself. Fet’s parents had immigrated to this country from the Ukraine (not Russia, as they told people, and as Fet still claimed), not only in search of the opportunities all immigrants seek but also to escape their past. Fet’s father’s father—and this was nothing he had ever been told, because no one in his family spoke of it directly, especially his sour father—had been a Soviet prisoner of war, who was conscripted into service at one of the extermination camps during World War II. Whether it was Treblinka or Sobibor or elsewhere, Fet did not know. It was nothing he ever desired to explore. His grandfather’s role in the Shoah was revealed two decades after the war ended, and he was jailed. In his defense, he claimed that he had been victimized at the hands of the Nazis, forced into the lowly role of camp guard. Ukrainians of German extraction had been installed in positions of authority, while the rest toiled at the whim of the sadistic camp commanders. Yet prosecutors submitted evidence of personal enrichment in the postwar years, such as the source of Fet’s grandfather’s wealth in starting his dressmaking company, which he was unable to explain. But it was a blurred photograph of him wearing a black uniform, standing against a fence of barbed wire with a carbine in his gloved hands—lips curled in an expression claimed by some to be a nasty smirk, by others a grimace—that ultimately did him in. Fet’s father never spoke of it while he was alive. What little Fet knew, he had learned from his mother.
Shame can indeed be visited upon future generations, and Fet carried this with him now like a terrible burden, a hot dose of shame always in the pit of his stomach. Realistically, a man can bear no responsibility for the actions of his grandfather, and yet…
And yet one carries the sins of his forebears as one carries their features in his face. One bears their blood, and their honor or their blight.
Fet had never suffered from this affiliation as he did now—except perhaps in dreams. One sequence recurred, disrupting his sleep again and again. In it, Fet has returned to his family’s home village, a place he had never visited in real life. Every door and window is shut to him, and he walks the streets alone, yet watched. And then suddenly, from one end of the street, a roaring burst of angry orange light flies toward him on the cadence of galloping hooves.
A stallion—its coat, mane, and tail aflame—is charging at him. The horse is fully consumed, and Fet, always at the very last second, dives out of its path, turning and watching the animal tear off across the countryside, trailing dark smoke in its wake.
“How is it out there?”
Fet set down his satchel. “Quiet. Menacing.” He shrugged off his jacket, pulling a jar of peanut butter and some Ritz crackers from the pockets. He had stopped off at his apartment. He offered some to Setrakian. “Any word?”
“Nothing,” said Setrakian, inspecting the cracker box as though he might turn down the snack. “But Ephraim is long overdue.”
“The bridges. Clogged.”
“Mmm.” Setrakian pulled out the wax wrapper, sniffing at the contents before trying a cracker. “Did you get the maps?”
Fet patted his pocket. He had journeyed to a DPW depot in Gravesend in order to procure sewer maps for Manhattan, specifically the Upper East Side. “I got them, all right. Question is—will we get to use them?”
“We will. I am certain.”
Fet smiled. The old man’s faith never failed to warm him. “Can you tell me what you saw in that book?”
Setrakian set down the box of crackers and lit up a pipe. “I saw… everything. I saw hope, yes. But then… I saw the end of us. Of everything.”
He slid out a reproduction of the crescent moon drawing seen both in the subway, via Fet’s pink phone video, and in the pages of the Lumen. The old man had copied it three times.
“You see? This symbol—like the vampire itself, how it was once seen—is an archetype. Common to all mankind, East and West—but within it, a different permutation, see? Latent, but revealed in time, like any prophecy. Observe.”
He took the three pieces of paper and, utilizing a makeshift light table, laid them out, superimposing one atop another.
“Any legend, any creature, any symbol we ever stumble on, already exists in a vast cosmic reservoir where archetypes wait. Shapes looming outside our Platonic cave. We naturally believe ourselves clever and wise, so advanced, and those who came before us so naïve and simple… when all we truly do is echo the order of the universe, as it guides us…”
The three moons rotated in the paper, and joined together.
“These are not three moons. No. They are occultations. Three solar eclipses, each occurring at the exact latitude and longitude, marking an even, enormous span of years—signaling an event, now complete. Revealing the sacred geometry of omen.”
Fet saw with amazement that the three shapes together formed a rudimentary biohazard sign: . “But this symbol… I know it from my work. It was just designed in the sixties, I think…”
“All symbols are eternal. They exist even before we dream of them…”
“So how did…”
“Oh, we know,” said Setrakian. “We always know. We don’t discover, we don’t learn. We just remember things that we have forgotten…” He pointed to the symbol. “A warning. Dormant in our mind, reawakened now—as the end of time approaches.”
Fet regarded the worktable Setrakian had taken over. He was experimenting with photography equipment, explaining something about “testing a metallurgical silver emulsion technique” that Fet did not understand. But the old man seemed to know what he was doing. “Silver,” said Setrakian. “Argentum, to the ancient alchemists and represented by this symbol…” Again, Setrakian presented Fet with the image of the crescent moon.
“And this, in turn…” said Setrakian, producing the engraving of the archangel. “Sariel. In certain Enochian manuscripts he is named Arazyal, Asaradel. Names all too similar to Azrael or Ozryel…”
Placing the engraving side to side with the biohazard sign and the alchemical symbol of the crescent moon gave the images a shocking through-line. A convergence, a direction; a goal.
Setrakian felt a surge of energy and excitement. His mind was hunting.
“Ozryel is the angel of death,” said Setrakian. “Muslims call him ‘he of the four faces, the many eyes, and the many mouths. He of the seventy thousand feet and four thousand wings.’ And he has as many eyes and as many tongues as there are men on earth. But you see, that only speaks of how he can multiply, how he can spread…”
Fet’s thoughts swam. The part that most concerned him was safely extracting the blood worm from Setrakian’s jar-sealed vampire heart. The old man had lined the table with battery-powered UV lamps in order to contain the worm. Everything appeared ready, and the jar was close at hand, the fist-size organ throbbing—and yet, now that the time had come, Setrakian was reluctant to butcher the sinister heart.
Setrakian leaned in close to the specimen jar, and a tentacled outgrowth shot out, the mouth-like sucker at its tip adhering to the glass. These blood worms were nasty suckers. Fet understood that the old man had been feeding it drops of his blood for decades now, nursing this ugly thing, and, in doing so, had formed some eerie attachment to it. That was natural enough. But Setrakian’s hesitation here contained an emotional component beyond pure melancholy.
This was more like true sorrow. More like despair.
Fet realized something then. Now and then, in the middle of the night, he had seen the old man speaking to the jar, feeding the thing inside. Alone by candlelight he stared at it, whispered to it, and caressed the cold glass containing the unholy flesh. Once Fet swore he’d heard the old man singing to it. Softly, in a foreign tongue—not Armenian—a lullaby…
Setrakian had become aware of Fet looking at him. “Forgive me, professor,” said Fet. “But… whose heart is it? The original story you told us…”
Setrakian nodded, having been
found out. “Yes… that I cut it out of the chest of a young widow in a village in northern Albania? You are right, that tale is not entirely true.”
Tears sparkled in the old man’s eyes. One drop fell in silence, and, when he finally spoke, he did so in a whisper—as the tale he told required it.
INTERLUDE III
SETRAKIAN’S HEART
ALONG WITH THOUSANDS OF HOLOCAUST SURVIVORS, SETRAKIAN had arrived in Vienna in 1947, almost entirely penniless, and settled in the Soviet zone of the city. He was able to find some success buying, repairing, and reselling furniture acquired from unclaimed warehouses and estates in all four zones of the city.
One of his clients became also his mentor: Professor Ernst Zelman, one of the few surviving members of the mythical Weiner Kreis, or the Vienna Circle, a turn-of-the-century philosophical society recently dispersed by the Nazis. Zelman had returned to Vienna from exile after having lost most of his family to the Third Reich. He felt enormous empathy with the young Setrakian, and, in a Vienna full of pain and silence—at a time when speaking about “the past” and discussing Nazism was considered abhorrent—Zelman and Setrakian found great solace in each other’s company. Professor Zelman allowed Abraham to borrow freely from his abundant library, and Setrakian, being a bachelor and an insomniac, devoured the books rapidly and systematically. He first applied for studies in philosophy in 1949, and, a few years later, in a very fragmented, very permeable University of Vienna, Abraham Setrakian became associate professor of philosophy.
After he accepted financing from a group headed by Eldritch Palmer, an American industrial magnate with investments in the American zone of Vienna as well as an intense interest in the occult, Setrakian’s influence and collection of cultural artifacts expanded at a great rate throughout the early 1960s, capped by his most significant prize, the wolf’s-head walking stick of the mysteriously disappeared Jusef Sardu.
But certain developments and revelations out in the field eventually convinced Setrakian that his and Palmer’s interests were not compatible. That Palmer’s ultimate agenda was, in fact, entirely contrary to Setrakian’s intentions to hunt down and expose the vampiric cabal—which led to an ugly rift.
Setrakian knew, beyond doubt, who it was who later spread rumors of his affair with a student, resulting in his removal from the university. The rumors, alas, were entirely true, and Setrakian, freed now by the airing of this secret, swiftly married the lovely Miriam.
Miriam Sacher had survived polio as a child, and walked with arm and leg braces. To Abraham, she was simply the most exquisite little bird who could not fly. Originally a Romance languages expert, she had enrolled in several of Setrakian’s seminars and slowly gained the professor’s attention. It was anathema to date a student, so Miriam convinced her wealthy father to hire Abraham as her private tutor. To reach the Sacher family estate, Setrakian had to walk a good hour after taking two trams out of Vienna. The mansion had no electricity, so Abraham and Miriam read by the light of an oil lamp in the family library. Miriam moved around using a wood-and-wicker wheelchair that Setrakian used to push near the bookshelves as new volumes were required. As he did so, he felt the soft, clean scent of Miriam’s hair. A scent that intoxicated him and that, as a memory, greatly distracted him in the few hours they spent apart. Soon, their mutual intentions were made manifest and discretion gave way to apprehension as they hid in dark, dusty corners to find each other’s breath and saliva.
Disgraced by the university after a prolonged process to remove him from tenure, and facing opposition from Miriam’s family, Setrakian the Jew eloped with the blue-blooded Sacher girl and they married in secret in Mönchhof. Only Professor Zelman and a handful of Miriam’s friends were in attendance.
As the years went by, Miriam emerged as a partner in his expeditions, a comfort during the dark times, and a true believer in his cause. For over a decade, Setrakian was able to make a living by writing small pamphlets and working as a curator for antique houses all over Europe. Miriam made the most of their modest resources, and nights at the Setrakian house were usually uneventful. Every night, Abraham would rub Miriam’s legs with a mixture of alcohol, camphor, and herbs, patiently massaging out the painful knots that cramped muscle and sinew—hiding the fact that, while he did so, his hands hurt as much as her legs. Night after night, the professor told Miriam about ancient knowledge and myth, reciting stories full of hidden meaning and lore. He would end by humming old German lullabies to help her forget her pain and drift into sleep.
In the spring of 1967, Abraham Setrakian picked up Eichhorst’s trail in Bulgaria, and a hunger for vengeance against the Nazi rekindled the fire in his belly. Eichhorst, his commandant at Treblinka, was the man who issued Setrakian his craftsman star. He had also twice promised to execute his favorite woodworker, to do so personally. Such was a Jew’s lot in the extermination camp.
Setrakian tracked Eichhorst to the Balkans. Albania had been a communist regime since the war, and, for whatever reason, strigoi appeared to flourish in similar political and ideological climates. Setrakian had high hopes that his old camp warden—the dark god of that kingdom of industrialized death—might even lead him to the Master.
Because of her physical infirmity, Setrakian left Miriam at a village outside Shkodër, and led a pack horse fifteen kilometers to the ancient town of Drisht. Setrakian pulled the reluctant animal up the steep limestone incline, along old Ottoman paths rising to the hilltop castle.
Drisht Castle (Kalaja e Drishtit) dated to the twelfth century, erected as part of a mountaintop chain of Byzantine fortifications. The castle came under Montenegrin and then, briefly, Venetian rule, before the region fell to the Turks in 1478. Now, nearly five hundred years later, the fortress ruins contained a small Muslim village, a small mosque, and the neglected castle, its walls falling prey to nature.
Setrakian discovered the village empty, with little sign of recent activity. The views from the mountaintop out to the Dinaric Alps to the north, and the Adriatic Sea and the Strait of Otranto to the west were sweeping and majestic.
The crumbling stone castle with its centuries of stillness was a spot-on location for vampire hunting. In retrospect, that should have tipped Setrakian off that things were perhaps not as they seemed.
In the belowground chambers, he discovered the coffin. A simple and modern funerary box, a tapered hexagon constructed of all wood, apparently cypress, containing no metal parts, utilizing wooden pegs instead of nails, and leather hinging.
It was not yet nightfall, but the light in the room was not strong enough that he could rely on it to do the job. So Setrakian prepared his silver sword, making ready to dispatch his former tormentor. Weapon set, he raised the lid with his crooked-fingered hand.
The box, indeed, was empty. Emptier than empty: it was bottomless. Fixed to the floor, it functioned as a trapdoor of sorts. Setrakian strapped on a headlamp from his bag and peered down.
The dirt bottomed some fifteen feet below, then tunneled out.
Setrakian loaded himself up with tools—including an extra flashlight, a pouch of batteries, and his long silver knives (his discovery of the killing properties of ultraviolet light in the C range was yet to come—as was the advent of commercially available UV lamps), leaving behind all of his food and most of his water. He tied a rope to the wall chains and lowered himself into the coffin tunnel.
The ammonia smell of strigoi discharge was pungent, prompting him to step carefully, to avoid soiling his boots. He made his way through the passages, listening at every turn, picking signal marks into the walls when the tunnel forked, until, after some time, he found he had doubled back to his original marks.
Reconsidering, he decided to retrace his steps and return to the entrance beneath the bottomless coffin. He would climb back out, regroup, and lie in wait for the inhabitants to rise after nightfall.
But when he arrived back at the entrance, looking up, he found that the coffin lid had been shut. And his access rope was gone.
Setrakian had hunted enough strigoi that his reaction to this turn of events was not fear but anger. He turned immediately, plunging back into the tunnels with the knowledge that his survival depended upon his being predator and not prey.
He took a different route this time, and eventually encountered a family of four peasant villagers. They were strigoi, their red eyes lighting up at his presence, reflected blindly in the beam of his flashlight.
But they were all too weak to attack. The mother was the only one to rise from all fours, Setrakian noticing in her face the characteristic caving of an unnourished vampire: a darkening of the flesh, the articulation of the throat stinger mechanism through the taut skin, and a dazed, somnolent appearance.
He released them—with ease, and without mercy.
He soon encountered two other families, one stronger than the other, but neither able to mount much of a challenge. In another chamber, he found a child strigoi who had been destroyed in what appeared to be an ill-fated attempt at vampire cannibalism.
But still, no sign of Eichhorst.
Once he had cleared the ancient cave network of vampires, having discovered no other exit, he returned to the chamber beneath the closed coffin and began chipping away at the ancient stone with his dagger. He hacked out one toehold in the wall, setting to work on another a few feet higher in the opposite wall. As he worked for hours—the silver was a poor choice for the job, cracking and warping, the iron handle and grip proving more useful—he wondered about the wasting village strigoi down here. Their presence made little sense. Something was amiss, but Setrakian resisted reasoning it all the way through, pushing down his anxiety in order to focus on the job at hand.
Hours—maybe days—later, out of water and low on batteries, he balanced on the two lower toeholds to carve out the third. His hands were covered with a paste of blood mixed with dust, his tools difficult to hold. Finally, he braced his opposite foot against the sheer wall and reached the lid of the coffin.
The Fall Page 21