The Inside Out Man

by Fred Strydom

  Praise for The Inside Out Man

  “A page-burner of a psychological horror story unfolding with the style and intrigue of film noir, The Inside Out Man is a compelling, unsettling exploration of identity, desire, and the darkest regions of the human psyche.”

  —Jacqueline Baker, author of The Broken Hours

  “Near pitch-perfect prose that will keep the reader spellbound. A finely wrought and twisty novel that dares to go where few authors would.” —Cape Times

  “A well-written page-turner that will have you looking over your shoulder, or perhaps in directions you didn’t know existed, The Inside Out Man explores the inner depths of the mind and the soul as it races toward a climax as unexpected as it is satisfying.” —Richard Cox, author of The Boys of Summer

  “Astounding … a psychological thriller that feels familiar, and yet is unlike anything I’ve read.” —Africa in Words

  “Fred Strydom is back with yet another thrilling and genius book … [his] effortless use of language and imagination takes the reader on a psychological euphoria with every turn of the page.” —SABC Digital News

  “Multilayered, honest and, as promised, a hell of a trip.”

  —Books LIVE: Sunday Times

  “Brilliantly sneaky—a story as darn and bent (cough cough) as the main character, The Inside Out Man is as unpredictable as it is macabre and thrilling…. without doubt the best South African fiction title of the year. Kudos to the author; he’s a rock star.”—A Girl with a Book

  Also by Fred Strydom

  The Raft

  Copyright © 2017 by Fred Strydom

  First published by Umuzi, an imprint of Random House South Africa (Pty) Ltd, in 2017

  All rights reserved. No part of this book may be reproduced in any manner without the express written consent of the publisher, except in the case of brief excerpts in critical reviews or articles. All inquiries should be addressed to Talos Press, 307 West 36th Street, 11th Floor, New York, NY 10018.

  Talos Press books may be purchased in bulk at special discounts for sales promotion, corporate gifts, fund-raising, or educational purposes. Special editions can also be created to specifications. For details, contact the Special Sales Department, Talos Press, 307 West 36th Street, 11th Floor, New York, NY 10018 or info@skyhorsepublishing.com.

  Talos Press® is a registered trademark of Skyhorse Publishing, Inc.®, a Delaware corporation.

  Visit our website at www.talospress.com.

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  Library of Congress Cataloging-in-Publication Data

  Names: Strydom, Fred, author.

  Title: The inside-out man / by Fred Strydom.

  Description: New York : Talos Press, [2017]

  Identifiers: LCCN 2017006609| ISBN 9781945863110 (softcover : acid-free paper) | ISBN 9781945863141 (ebook)

  Subjects: LCSH: Psychological ficton. | GSAFD: Horror ficton.

  Classification: LCC PR9369.4.S85 I57 2017 | DDC 823/.92--dc23

  LC record available at https://lccn.loc.gov/2017006609

  Cover artwork and design by Mujtaba Sayed

  Printed in the United States of America

  For my mother and Wytze, who showed me all the doors,

  but taught me to get my own keys cut

  People know what they want because they

  know what other people want.

  —Theodor W. Adorno

  The piano ain’t got no wrong notes.

  —Thelonious Monk

  One Year Later

  There is a nightclub on the corner of Bree and Orphan that sits between a pretentious restaurant and a musty old bookstore.

  The fine-dining restaurant does its best to make you forget where you are. It’ll have you believe you’re in a centuries-old landmark in France, which may never in fact have existed. It’s always full of people more than happy to bolster the lie, all there to pretend for an evening they don’t have to go home to lazy sex and laundry baskets in their charmless homes.

  The bookstore, on the other hand, is stacked from floor to ceiling with a shabby assortment of abandoned works. It is an orphanage for bastards, the issue of dead authors’ love affairs. Nobody goes in and nobody comes out, and I am probably not the first to wonder how the shop covers its rent.

  Between these two establishments, there is a building with a red door. A gold-plated plaque is etched with the club’s name: Ten To Twelve. Enter the red door and you’ll climb a steep flight of rough wooden stairs. On the second-floor landing, an enormous woman sits on a stool. After handing her the entrance fee, she pulls your change from a vintage cookie tin. On its lid is a grinning fifties housewife on a dinky blue motorcycle, with the slogan THE NICEST PEOPLE RIDE A HONDA! Fat fingers rummage in the tin and then touch your own as she passes your change. You can smell onions on her; she’s been eating a boerewors roll from the greasy vendor up the street.

  But that’s only if you go to the club.

  I just get a nod from the Onion Woman, and walk straight in. It’s dark and warm inside. Not the good kind of warmth, mind you, the kind that hugs you in your bed in winter, but the warmth of sweaty bodies and backroom generators and things decaying in drains.

  The place is full of people, but I can’t see their faces. I walk between sets of floating teeth and make my way to the bar. The barman, he knows me, but he isn’t friendly. He’d almost certainly ignore me if he saw me on the street, but he knows what I like to drink—whiskey and ginger ale on ice—and he pours one as soon as I arrive.

  I turn and suss out the silhouettes in front of me. The tips of cigarettes flare orange, and smoke curls upwards to the ceiling.

  This crowd looks no different from a crowd on any other night, and I know the lighting (or lack thereof) is arranged to accomplish precisely this: to keep the vibe of the venue consistent, night after night after night. More than most, I’ve seen clubs come and go, and I tell you, that’s the key to longevity: predictability. People will tell you they want spontaneity and innovation, but they’re only kidding themselves. As shitty and grotty as a place might be, what matters most is that it’s consistently shitty and grotty, and believe me, it will then live to rot another day.

  In about five minutes, the manager of Ten To Twelve will arrive and sit beside me and shake my hand and ask about my day. He’s a short man in his early thirties. His hair’s gelled up into spikes, and he’s all smiles. He’s the manager because he knows how to smile at people he dislikes, and he’s a particularly good manager when smiling at me. He’ll ask if I’m ready, if my vinnige vingers are feeling up to another good show, and I’ll nod and sip my drink and joke that I got a manicure just for tonight, and he’ll grab my shoulder and laugh.

  Then he’ll head to the small stage at the back of the club and introduce me to the crowd. He’ll refer to me as the real deal, the man of the hour, the Jehovah of Jazz, and that’ll be my cue to down my drink and walk up. Everyone will clap and the spotlight will fall on the piano that’s been sitting in the darkness like a coffin at the altar. I’ll take my seat, lift the lid, and lean in to the drooping mike to thank everyone for coming.

  At that point I’ll do what I do best, the only thing I know how to do. I’ll play jazz. I’ll stretch my fingers across the keys and move them faster than I’m even aware of doing. I’ll sweat and I’ll forget. I’ll forget about the Onion Woman, the grinning manager, and the crowd of teeth.

  I’ll forget about the whole goddamned world.

  And for a while, all conversations will be put on hold. Not a word. Cos they’ll all be listening, you see—that shapeless mass of teeth and smoke out there—listening as I rant and scream and cry through the strings of the piano, furiously imploring them all to set me free.

  I.

&nbs
p; Scratch, scratch

  1.

  First things first.

  My name is not Bentley Croud.

  It’s been so long since anyone’s called me by my full name that I imagine it belonging to some smiling stranger at some dull party. Someone tanned and healthy and successful. Whites of the eyes admitting to few or no vices. Straight rows of pristine teeth that have taken no punches. Someone who looks like me, has my face, shares my birthday, but who’s taken every road I didn’t, said a no to each of my yesses and a yes to each of my nos. That would be your Bentley Croud, and that would not be me.

  No. The I in the story I’m about to tell you is simply known as Bent.

  Bent. The misshapen state.

  2.

  I lived on the second floor of a run-down building on Lower Main, Observatory. The ground floor offered nothing but a succession of undernourished businesses on a street that fared no better. There was a poorly stocked hardware store that opened and closed erratically, obliging itself to no one. Beside the hardware store stood a Korean mart that sold ramen noodles, big plastic bags of tiny dried fish, cheap feather dusters that moulted at first stroke, small remote-controlled cars, and ceramic ashtrays shaped like the Venus de Milo or the Arc de Triomphe. There was also a barbershop that, in the four years I’d been living there, hadn’t fixed its broken front window, opting instead for planks from a wooden crate. It was run by a Nigerian who more than likely facilitated a far more lucrative back-alley business after dark.

  These three stores held up two floors of single-room apartments. Mine sat second from the end of a narrow corridor with a nappy-green carpet. The ceiling globes were filled with dead moths. I knew little about the occupants of the other rooms on the floor. Their doors were always shut, and the only sounds were the gabbling of televisions and the flushing of toilets. Every now and again there were the roars and shrieks and thuds of an argument, but nobody dared intervene, or call the police. The doors stayed shut and the televisions got turned up until the guy yelling that his wife was a cheating fuckin’ whore got his own canned laughter.

  I did, however, once go into my neighbour’s apartment. He’d knocked on my door to ask if I could help fix his radio. An old man with a balding head and long grey strands that fell to his shoulders, he was fidgety and frustrated, barely acknowledging me even as he asked his favour. I soon realised that his problems were graver than chronic restlessness. His apartment was like a demented version of my own—the identical layout, except that everything was blackening and rotting, seemingly from the inside out. The windows were boarded up, and the kitchen bin was a Vesuvius of waste running all the way into the living room.

  The radio itself seemed to be working fine, and I turned the knob, switching from station to station, to show him. He insisted it wasn’t. He said he needed the numbers from the voice on the radio, and they just weren’t coming any more. He’d scrawled hundreds of these numbers on his walls, on his refrigerator, and even on the grubby brown upholstery of his couch. But he couldn’t find the pattern if the numbers stopped coming. Without the numbers there was nothing, he said. No meaning behind any of it. Without the numbers, there was only chaos and madness and fear. I searched the stations for the supposed numbers, going back and forth, but found nothing. I told him I didn’t think there were any numbers, that there was no voice. At that point he grabbed me by my collar and threw me out of his apartment, bawling his eyes out as he shut the door behind me.

  It was only much later that I learnt he’d once been the Head of Applied Mathematics at the university—a genius in the field of graph theory. An agoraphobic schizophrenic, but a genius nonetheless. He’d been dismissed after child pornography had been discovered on his office computer, and the wife had left soon after. His children had stopped calling, and he’d somehow ended up next door to me on the second floor of the Crack Radisson, waiting for a pattern to emerge from the mess of things.

  But that was only one story. One among many of the people living on my floor. The rest of the stories remained behind those closed doors, like the stories in shelved books, revealing nothing but their dusty spines. Most of those stories I would never know—or probably want to know.

  There was one thing we had in common, though, and for that we may have been smarter than everyone else: we were all paying the lowest rent in town to house our shame.

  3.

  On Mondays I played at The Bijou, on Tuesdays at Van Hunks, and on Saturdays at Ten To Twelve. Each venue had its own piano, and each piano its own personality. Sometimes I was offered a percentage on the door, other times I was paid a fixed amount for a set. Neither method concerned me much, as long as I was allowed partial custody of my three idiosyncratic pianos. The Bijou had the stubborn keys, Van Hunks the cleanest chords, and the piano at Ten To Twelve was so light to the touch, so ready to release its sounds, I often felt it would play itself if it could. Sometimes crowds would trickle in, other times they were already there, packed tight in a murk of smoke and waiting. Truth is, once I began it didn’t really matter whether I was playing for the Sultan of Brunei or Shirley’s Hen Do—the audience became faceless, featureless observers, like ghosts in a haunted house. Once I’d finished playing (though it was not so much playing as it was urgently digging a tunnel out of a prison cell), I’d come around with clammy hands, a pounding heart, and the dizzy sense my atoms were being slowly reassembled.

  Afterwards, I’d be approached by members of the crowd. I had to shake their hands, answer their questions, and welcome their gratitude—and I casually accepted this as part of my profession. There might be a woman out there who thought I was worth sleeping with, or a man who considered me interesting enough to pull a stool up to mine, but I was too well acquainted with these gestures to exploit them guiltlessly. This was simply how things went at these things.

  One particular Monday, I finished up at The Bijou around ten-thirty, skipped the usual courtesies, collected my pay, and headed straight out. The joint was only a few blocks from my apartment, so I walked it. The street was quiet and empty, and my footsteps echoed. A dog barked, a bottle rolled along the concrete, and trees shushed in the wind. By the time I reached my block, the cold had crept through my coat and my cardigan to the flesh beneath. I buzzed my card at the front gate, walked to the lobby, went inside, and took the rickety elevator to the top floor.

  Open this door, dammit!

  The elevator had just creaked open, and I could hear yelling from down the corridor. The culprit came into view. A big man was beating his fists against the door next to mine. I fumbled for my keys in my coat pocket and crossed the carpet, avoiding his eyes as if he were some wild animal.

  I’m warning you, I’m warning you! Open this door!

  His fists swung against the door, mercilessly pummelling it. His face was glowing red. His breath hissed through gritted teeth. A sweat-drenched fringe hung over his eyes like rats’ tails.

  I’ll kick this door down, I swear it! And when I do, when I do—

  He gave the door a low kick with the steel tip of his boot. Good for him. I grabbed at a key, stuck it in and turned. The wrong key.

  A woman’s voice: Go away!

  Okay, you’re asking for it. You hear me? I said you’re asking for it! Julie! I’m going to count to three, and I swear to God!

  I flicked to another key and stuck it in the door. For some reason I turned my head and caught his eye. Both raised fists were against the door, his chest heaving as he caught his breath. He was sizing me up, calculating my height and width and whether there was the right amount of cocky disdain to pull his fists from the practice range and bring them to the pit.

  And you? What you think you looking at? You fucking my wife too?

  I gave a quick shake of my head, pushed open the door, and shut it behind me.

  Next thing I was aware of were the theatrical sounds of rough sex. I was lying on my bed in the dark of my room, trying to get to sleep, but brought back to wakefulness by thump-moan-thump-shriek-thump.
She’d clearly let him inside at some point (I hadn’t heard a door being kicked in), though I couldn’t tell whether they’d reconciled or were punishing each other. I climbed out of bed and went to the window. A crumpled box of Princeton cigarettes lay in a bin beside the dressing table. I reached in to fish it out, straightened the box, and pulled out the only cigarette among five that wasn’t broken. I shoved my window open, lit up, and breathed a grey cloud into the night.

  The lights of the city were yellow, like sickly stars beneath the moon, bright and full. I remembered reading about horses that drop dead for no apparent reason during a full moon, and spent a moment wondering why that might happen. No possible explanation came, so I let go of the whole thing. For a moment I even forgot about the couple next door bashing against my wall; there was nothing novel about this incursion, and it wouldn’t last longer than another two or three minutes anyway.

  I flicked the last quarter of the cigarette out the window, and in the darkness I walked to the kitchen. I opened the fridge and tried to figure out what combination of condiments and leftovers could be used to make a quick meal, but nothing came to me. By the time I closed the fridge door, the sounds of sex had ended, and I went back to bed.

  That’s when my phone rang.

  My phone did not ring often and definitely not at that time of night. A wrong number, most likely. I answered. A man introduced himself. He said he was an uncle, one I hadn’t seen or heard from in many years. Still, I wasn’t sure he was who he claimed to be (at any point, I was expecting the imposter to request a deposit into his bank account). He told me he’d been struggling to find my number all day, that he’d finally got it from one of the clubs (which pissed me off), but I listened carefully anyway, the way one listens only when there is nothing else on one’s mind. The way an insomniac puts up with the repetitive details of a TV infomercial at three in the morning—listening to it and through it.