Tharne knew how the tale continued: Diavolo, the father, was dissected, but his limbs went snaking round the town in search of those who had betrayed him, and crawled down the throats of the victims to drag out the twins of those organs of which the corpse had been robbed. All good Gothic stuff—gory and satisfying, but not to be taken too seriously. They couldn't write like that nowadays; they'd lost the knack of proper Gothic writing. And yet they whined that they weren't paid enough!
Only one thing about the tale annoyed him: the misprint "undeed" for "indeed." Amusingly, it resembled "undead"—but that was no excuse for perpetrating it. The one reprint of the tale, in the'twenties, had swarmed with literals. Well, this time the text would be perfect. Nothing appeared in a Tharne anthology until it satisfied him.
He checked the remaining text, then gave it to his secretary to retype. His timing was exact: a minute later the doorbell announced the book collector, who was as punctual as Tharne. They spent a mutually beneficial half-hour. "These I bought only this morning," Tharne said proudly. "They're yours for twenty pounds apiece."
The day seemed satisfactory until the phone rang. He heard the girl's startled squeak. She rang through to his office, sounding flustered. "Ronald Main wants to speak to you."
"Oh God. Tell him to write, if he still knows how. I've no time to waste in chatting, even if he has." But her cry had disturbed him; it sounded like a threat of inefficiency. Let Main see that someone round here wasn't to be shaken! "No, wait—put him on."
Main's orotund voice came rolling down the wire. "It has come to my notice that you have anthologised a story of mine without informing me."
Trust a writer to use as many words as he could! "There was no need to get in touch with you," Tharne said. "The story's out of copyright."
"That is hardly the issue. Aside from the matter of payment, which we shall certainly discuss, I want to take up with you the question of the text itself. Are you aware that whole sentences have been rewritten?"
"Yes, of course. That's part of my job. I am the editor, you know." Irritably Tharne restrained a sneeze; the smell of dust was very strong. "After all, it's an early story of yours. Objectively, don't you think I've improved it?" He oughtn't to sound as if he was weakening. "Anyway, I'm afraid that legally you've no rights." Did that render Main speechless, or was he preparing a stronger attack? It scarcely mattered, for Tharne put down the phone. Then he strode down the hall to check his secretary's work. Was her typing as flustered as her voice had been?
Her office was hazy with floating dust. No wonder she was peering closely at the book—though she looked engrossed, almost entranced. As his shadow fell on the page she started; the typewriter carriage sprang to its limit, ringing. She demanded "Was that you before?"
"What do you mean?"
"Oh, nothing. Don't let it bother you." She seemed nervously annoyed— whether with him or with herself he couldn't tell.
At least her typing was accurate, though he could see where letters had had to be retyped. He might as well write the introduction to the story. He went down to fetch Who'so Who in Horror and Fantasy Fiction. Dust teemed around the cellar lights and chafed his throat.
Here was Damien Damon, real name Sidney Drew: but. Chelsea, 30 April
1876; do.? 1911? "His life was even more bizarre and outrageous than his fiction. Some critics say that that is the only reason for his fame..."
A small dry sound made Tharne glance up. Somewhere among the shelved books, a face peered at him through a gap. Of course it could be nothing of the sort, but it took him a while to locate a cover which had fallen open in a gap, and which must have resembled a face.
Upstairs he wrote the introductiondd"... Without the help of an agent, and with no desire to make money from his writing, Damon became one of the most discussed in whispers writers of his day. Critics claim that it was scandals that he practised magic which gained him fame. But his posthumously published Tales Beyond Life shows that he was probably the last really first class writer in the tradition of Poe..." Glancing up, Tharne caught sight of himself, pen in hand, at the desk in the mirror. So much for any nonsense that he didn't understand writers' problems! Why, he was a writer himself!
Only when he'd finished writing did he notice how quiet the house had become. It had the strained unnatural silence of a library. As he padded down the hall to deliver the text to his secretary his sounds felt muffled, detached from him.
His secretary was poring over the typescript of Damon's tale. She looked less efficient than anxious—searching for something she would rather not find? Dust hung about her in the amber light, and made her resemble a waxwork or a faded painting. Her arms dangled, forgotten. Her gaze was fixed on the page. Before he could speak, the phone rang. That startled her so badly that he thought his presence might dismay her more. He retreated into the hall, and a dark shape stepped back behind him—his shadow, of course. He entered her office once more, making sure he was audible.
"It's Mr Main again," she said, almost wailing.
"Tell him to put it in writing."
"Mr Tharne says would you please send him a letter." Her training allowed her to regain control, yet she seemed unable to put down the phone until instructed. Tharne enjoyed the abrupt cessation of the outraged squeaking. "Now I think you'd better go home and get some rest," he said.
When she'd left he sat at her desk and read the typescripts. Yes, she had corrected the original; "undeed" was righted. The text seemed perfect, ready for the printer. Why then did he feel that something was wrong? Had she omitted a passage or otherwise changed the wording?
He'd compare the texts in his office, where he was more comfortable. As he rose, he noticed a few faint dusty marks on the carpet. They approached behind his secretary's chair, then veered away. He must have tracked dust from the cellar, which clearly needed sweeping. What did his housekeeper think she was paid for?
Again his footsteps sounded muted. Perhaps his ears were clogged with dust; there was certainly enough of it about. He had never noticed how strongly the house smelled of old books, nor how unpleasant the smell could be. His skin felt dry, itchy.
In his office he poured himself a large Scotch. It was late enough, he needn't feel guilty—indeed, twilight seemed unusually swift tonight, unless it was an effect of the swarms of dust. He didn't spend all day drinking, unlike some writers he could name.
He knocked clumps of dust from the book; it seemed almost to grow there, like grey fungus. Airborne dust whirled away from him and drifted back. He compared the texts, line by line. Surely they were identical, except for her single correction. Yet he felt there was some aspect of the typescript which he needed urgently to decipher. This frustration, and its irrationality, unnerved him.
He was still frowning at the pages, having refilled his glass to loosen up his thoughts, when the phone rang once. He grabbed it irritably, but the earpiece was as hushed as the house. Or was there, amid the electric hissing vague as a cascade of dust, a whisper? It was beyond the grasp of his hearing, except for a syllable or two which sounded like Latin—if it was there at all.
He jerked to his feet and hurried down the hall. Now that he thought about it, perhaps he'd heard his secretary's extension lifted as his phone had rung. Yes, her receiver was off the hook. It must have fallen off. As he replaced it, dust sifted out of the mouthpiece.
Was a piece of paper rustling in the hall? No, the hall was bare. Perhaps it was the typescript, stirred on his desk by a draught. He closed the door behind him, to exclude any draught—as well as the odour of something very old and dusty.
But the smell was stronger in his room. He sniffed gingerly at Tales Beyond Life. Why, there it was: the book reeked of dust. He shoved open the French windows, then he sat and stared at the typescript. He was beginning to regard it with positive dislike. He felt as though he had been given a code to crack; it was nerve-racking as an examination. Why was it only the typescript that bothered him, and not the original?
&n
bsp; He flapped the typed pages, for they looked thinly coated with grey. Perhaps it was only the twilight, which seemed composed of dust. Even his Scotch tasted clogged. Just let him see what was wrong with this damned story, then he'd leave the room to its dust—and have a few well-chosen words for his housekeeper tomorrow.
There was only one difference between the texts: the capital I. Or had he missed another letter? Compulsively and irritably, refusing to glance at the grey lump which hovered at the edge of his vision, he checked the first few capitals. E, M, O, R, T... Suddenly he stopped, parched mouth open. Seizing his pen, he began to transcribe the capitals alone.
E mortuis revoco.
From the dead I summon thee.
Oh, it must be a joke, a mistake, a coincidence. But the next few capitals dashed his doubts. From the dead I summon thee, from the dust I recreate thee... The entire story concealed a Latin invocation. It had been Damien Damon's last story and also, apparently, his last attempt at magic.
And it was Tharne's discovery. He must rewrite his introduction. Publicised correctly, the secret of the tale could help the book's sales a great deal. Why then was he unwilling to look up? Why was he tense as a trapped animal, ears straining painfully? Because of the thick smell of dust, the stealthy dry noises that his choked ears were unable to locate, the grey mass that hovered in front of him?
When at last he managed to look up, the jerk of his head twinged his neck. But his gasp was of relief. The grey blotch was only a chunk of dust, clinging to the mirror. Admittedly it was unpleasant; it resembled a face masked with dust, which also spilled from the face's dismayingly numerous openings. Really, he could live without it, much as he resented having to do his housekeeper's job for her.
When he rose, it took him a moment to realise that his reflection had partly blotted out the grey mass. In the further moment before he understood, two more reflected grey lumps rose beside it, behind him. Were they hands or wads of dust? Perhaps they were composed of both. It was impossible to tell, even when they closed over his face.
The Brood (1980)
He'd had an almost unbearable day. As he walked home his self-control still oppressed him, like rusty armour. Climbing the stairs, he tore open his mail: a glossy pamphlet from a binoculars firm, a humbler folder from the Wild Life Preservation Society. Irritably he threw them on the bed and sat by the window, to relax.
It was autumn. Night had begun to cramp the days. Beneath golden trees, a procession of cars advanced along Princes Avenue, as though to a funeral; crowds hurried home. The incessant anonymous parade, dwarfed by three storeys, depressed him. Faces like these vague twilit miniatures—selfishly ingrown, convinced that nothing was their fault—brought their pets to his office.
But where were all the local characters? He enjoyed watching them, they fascinated him. Where was the man who ran about the avenue, chasing butterflies of litter and stuffing them into his satchel? Or the man who strode violently, head down in no gale, shouting at the air? Or the Rainbow Man, who appeared on the hottest days obese with sweaters, each of a different garish colour? Blackband hadn't seen any of these people for weeks.
The crowds thinned; cars straggled. Groups of streetlamps lit, tinting leaves sodium, unnaturally gold. Often that lighting had meant—Why, there she was, emerging from the side street almost on cue: the Lady of the Lamp.
Her gait was elderly. Her face was withered as an old blanched apple; the rest of her head was wrapped in a tattered grey scarf. Her voluminous ankle-length coat, patched with remnants of colour, swayed as she walked. She reached the central reservation of the avenue, and stood beneath a lamp.
Though there was a pedestrian crossing beside her, people deliberately crossed elsewhere. They would, Blackband thought sourly: just as they ignored the packs of stray dogs that were always someone else's responsibility— ignored them, or hoped someone would put them to sleep. Perhaps they felt the human strays should be put to sleep, perhaps that was where the Rainbow Man and the rest had gone! The woman was pacing restlessly. She circled the lamp, as though the blurred disc of light at its foot were a stage. Her shadow resembled the elaborate hand of a clock.
Surely she was too old to be a prostitute. Might she have been one, who was now compelled to enact her memories? His binoculars drew her face closer: intent as a sleepwalker's, introverted as a foetus. Her head bobbed against gravel, foreshortened by the false perspective of the lenses. She moved offscreen.
Three months ago, when he'd moved to this flat, there had been two old women. One night he had seen them, circling adjacent lamps. The other woman had been slower, more sleepy. At last the Lady of the Lamp had led her home; they'd moved slowly as exhausted sleepers. For days he'd thought of the two women in their long faded coats, trudging around the lamps in the deserted avenue, as though afraid to go home in the growing dark.
The sight of the lone woman still unnerved him, a little. Darkness was crowding his flat. He drew the curtains, which the lamps stained orange. Watching had relaxed him somewhat. Time to make a salad.
The kitchen overlooked the old women's house. See the World from the Attics of Princes Avenue. All Human Life Is Here. Backyards penned in rubble and crumbling toilet sheds; on the far side of the back street, houses were lidless boxes of smoke. The house directly beneath his window was dark, as always. How could the two women—if both were still alive—survive in there? But at least they could look after themselves, or call for aid; they were human, after all. It was their pets that bothered him.
He had never seen the torpid woman again. Since she had vanished, her companion had begun to take animals home; he'd seen her coaxing them towards the house. No doubt they were company for her friend; but what life could animals enjoy in the lightless probably condemnable house? And why so many? Did they escape to their homes, or stray again? He shook his head: the women's loneliness was no excuse. They cared as little for their pets as did those owners who came, whining like their dogs, to his office.
Perhaps the woman was waiting beneath the lamps for cats to drop from the trees, like fruit. He meant the thought as a joke. But when he'd finished preparing dinner, the idea troubled him sufficiently that he switched off the light in the main room and peered through the curtains.
The bright gravel was bare. Parting the curtains, he saw the woman hurrying unsteadily towards her street. She was carrying a kitten: her head bowed over the fur cradled in her arms; her whole body seemed to enfold it. As he emerged from the kitchen again, carrying plates, he heard her door creak open and shut. Another one, he thought uneasily.
By the end of the week she'd taken in a stray dog, and Blackband was wondering what should be done.
The women would have to move eventually. The houses adjoining theirs were empty, the windows shattered targets. But how could they take their menagerie with them? They'd set them loose to roam or, weeping, take them to be put to sleep.
Something ought to be done, but not by him. He came home to rest. He was used to removing chicken bones from throats; it was suffering the excuses that exhausted him—Fido always had his bit of chicken, it had never happened before, they couldn't understand. He would nod curtly, with a slight pained smile. "Oh yes?" he would repeat tonelessly. "Oh yes?"
Not that that would work with the Lady of the Lamp. But then, he didn't intend to confront her: what on earth could he have said? That he'd take all the animals off her hands? Hardly. Besides, the thought of confronting her made him uncomfortable.
She was growing more eccentric. Each day she appeared a little earlier. Often she would move away into the dark, then hurry back into the flat bright pool. It was as though light were her drug.
People stared at her, and fled. They disliked her because she was odd. All she had to do to please them, Blackband thought, was be normal: overfeed her pets until their stomachs scraped the ground, lock them in cars to suffocate in the heat, leave them alone in the house all day then beat them for chewing. Compared to most of the owners he met, she was Saint Fra
ncis.
He watched television. Insects were courting and mating. Their ritual dances engrossed and moved him: the play of colours, the elaborate racial patterns of the life-force which they instinctively decoded and enacted. Microphotography presented them to him. If only people were as beautiful and fascinating!
Even his fascination with the Lady of the Lamp was no longer unalloyed; he resented that. Was she falling ill? She walked painfully slowly, stooped over, and looked shrunken. Nevertheless, each night she kept her vigil, wandering sluggishly in the pools of light like a sleepwalker.
How could she cope with her animals now? How might she be treating them? Surely there were social workers in some of the cars nosing home, someone must notice how much she needed help. Once he made for the door to the stairs, but already his throat was parched of words. The thought of speaking to her wound him tight inside. It wasn't his job, he had enough to confront. The spring in his guts coiled tighter, until he moved away from the door.
One night an early policeman appeared. Usually the police emerged near midnight, disarming people of knives and broken glass, forcing them into the vans. Blackband watched eagerly. Surely the man must escort her home, see what the house hid. Blackband glanced back to the splash of light beneath the lamp. It was deserted.
How could she have moved so fast? He stared, baffled. A dim shape lurked at the corner of his eyes. Glancing nervously, he saw the woman standing on the bright disc several lamps away, considerably further from the policeman than he'd thought. Why should he have been so mistaken?
Before he could ponder, a sound distracted him: a loud fluttering, as though a bird were trapped and frantic in the kitchen. But the room was empty. Any bird must have escaped through the open window. Was that a flicker of movement below, in the dark house? Perhaps the bird had flown in there.
The policeman had moved on. The woman was trudging her island of light; her coat's hem dragged over the gravel. For a while Blackband watched, musing uneasily, trying to think what the fluttering had resembled more than the sound of a bird's wings.
The Collected Short Fiction Page 65