I said something, “Oh, don’t,” or “Please.” It makes no difference what I said.
His eyelids drooped and the shallow rasping of his breathing grew more regular. Unable to keep my own aching eyes open, I slept. At some later point I heard him remark in a surprised and drowsy tone, “Do you hear birds singing, Christine? Imagine, songbirds, in a cellar! Open a door, let them out.”
That night he died.
Left alone with the cooling remains of the singular creature with whom I had spent a lifetime’s passion in a handful of incandescent years, I thought I would die myself. I wished that I might, stretched out beside his corpse in that damp and fetid bed with its curtains of fresh forest green.
In a while I rose, and found that I could scarcely bear to look at him. Absent the faintest animation, his face was a repulsive parody of a human face in a state of ruin and decay. I closed his eyes and set his mask in place to hide the worst.
I said no prayers then; I was too angry and too weary and could barely drive myself to do what needed doing. I washed him and dressed him in the formal attire that he had always favored and put the ring of little flowers on his finger.
My choice would have been to turn him adrift on the lake in his boat, a hundred candles flaming on the thwarts; or to build him a pyre on the bank, like Shelley’s pyre. But by then I was exhausted from tending to him, from grief, and from the not inconsiderable labor of preparing his lifeless body for its last rest.
So, with strength drawn from I know not where, I disposed him decently upon his fresh-made bed with his musical manuscripts piled ’round him as he had wished. I covered him with his opera cloak and used the patchwork robe that I had given him to cushion his head. Against his lunar skin the velvet folds glowed rich and deep, like a sumptuous setting for some pale, exotic gem.
Seeing his face so remote and stony on that makeshift pillow, I understood that we touched no longer, he and I. We sped on invisible, divergent trajectories, driven farther apart by every passing instant. Nothing remained to keep me there.
In a trance of exhaustion I packed a few belongings and keepsakes, left the underground house, and tripped the concealed triggers he had shown me. A long, deep thundering sound followed, and I tasted stone-dust in the air.
Panic flooded me: how like him it would be, to contrive beforehand to bring the whole Paris Opéra crashing down in ruins upon his grave!
But all was as he had told me, according to his design: granite blocks placed within the walls rumbled down into their chiseled beds, sealing off every entrance and air-shaft of the Phantom’s home. Erik slept in a tomb more secure than Pharaoh’s pyramid.
I paced beside the underground lake, spent and weeping. Now I prayed. I was afraid for him. Apart from everything else, if he had somehow willed himself to die then that was the sin of suicide, which grows from the sin of despair.
Yet this possibility is implicit in every strong union. Someone departs first, and the one left behind decides whether to die, or to stay on awhile chewing the dusty flavor of words like “desolate,” and “bereft.”
In the end, fearing that somebody had heard the noise or felt the reverberations and was even now descending through the cellars to investigate, I roused myself to the final task of sinking the little boat in the lake. Then I let myself out by the Rue Scribe gate for the last time, five years and eleven days from the night of my debut in Faust.
Rain had fallen overnight; puddles gleamed on the cobblestones. A draggled white cat sheltering in a doorway watched me go.
* * *
Of my life since there is little to tell. My aged guardian having died, I was able to make arrangements to live quietly in Paris under my own name. Hardly anyone remembered the Phantom of the Opéra and the deeds attributed to him, for great cities thrive on novelty and their citizens’ memories are short (that is why M. Leroux felt free to publish his nonsense later on).
I tried to avoid knowledgeable or inquisitive people. To those who knew me I said that I had been driven away by the family of a noble admirer, and had been singing since in opera houses in distant lands (Raoul, I learned, had emigrated to America in the spring of 1881, shortly after my own disappearance).
While reestablishing myself I found I could live well enough. During my years underground I had had published a number of vocal pieces under my father’s name. I continued to sell new compositions, and drew investment income as well from the remains of Erik’s fortune.
But singing on the stage again disappointed me. My own voice seemed dull, and audiences—no matter how they applauded—even duller. Without an edge of fear and a need for approval, no singer can bring an audience, or a performance, to life. Having resumed my career with some success, I retired early and advertised for students. I found that I loved teaching and did it well.
Thus, I did not go on to become a great diva (one whose name has quietly dropped out of operatic history); sometimes I regret this, most often I do not. Must a life be so publicly celebrated to be accounted worthy? Besides, I had already been distinguished enough by Fate for a hundred lifetimes, even if that distinction was unknown to anyone, now, but myself. How I relished my ordinary days, my calmly unexceptional nights!
Rejoicing daily in my freedom, I was nonetheless lonelier than I could bear all by myself. I took comfort where I could; there are good men from that time of whom I still think fondly. But none ever came to me trailing the clouds of sinister and turbulent glory in which the Opéra Ghost had enfolded me.
During the Great War I volunteered as a nurse. Not surprisingly, I dealt calmly with the most frightful facial wounds. Erik’s awful countenance would not have been out of place on those wards, just as his music would suit perfectly the emerging character of the new century. Perhaps he was a true phantom after all, as well as a brilliant, cruel, afflicted man: a phantom of this brilliant, cruel, afflicted future.
My hospital work brought me to the admiring attention of a doctor several years my junior, and I married late in life for the first time, or so it seemed. The marriage was good, being founded in the shared trials and mutual respect of wartime service. To the day he died, René never knew the truth of my life before. If God holds that deception against me, I stand ready to answer for it along with everything else.
Nowadays I coach voice at the Opéra, although my own instrument has of course decayed with time. A gratifying number of well-known singers have trained with me over the years. My students are like my children and I help them as I can, awarding to the needier ones small stipends out of Erik’s money. He would not approve.
Does it seem incredible, to have gone from such a bizarre, outlaw existence to a placid one indistinguishable from millions of others? Yet many people walk through the world hiding shocking memories. I look sometimes at a man or a woman in a shop or a gallery, at a friend or a student sitting over a coffee with me, and I wonder what towering joys and howling depths lie concealed behind the mask of ordinary life that each one wears.
Even extraordinary lives are not entirely as they seem. Recently I discovered that Erik’s spaniel inkwell (into which I have just now dipped my pen) contains a secret drawer. Inside I found a sheaf of receipts all dated early in April 1881, made out to “Erik Rouen” for large cash payments from him to various men, in settlement of the formidable debts of a third party: Raoul de Chagny.
Underneath lay a pile of bank drafts running from that time until June 1885, four or five of them per year, for considerable amounts of money. Each had been signed by Erik in Paris, and some weeks later cashed by Raoul de Chagny in the city of New Orleans.
Finally, my shaking fingers drew out an envelope, posted from New Orleans and addressed to Erik. It contained a yellowed news clipping in English, dated July 17, 1885, announcing the marriage of Raoul de Chagny, a rising young dealer in cotton, and Juliet Ravenal, daughter of a prominent local broker and businessman. With this notice was enclosed a final bank draft (for yet another of those large sums which Erik had been in the inexp
licable habit of mislaying), returned uncashed. There was no letter.
The message was clear enough: Raoul did not come back for me because Erik paid him not to. My Vicomte had gone to America as a Remittance Man! At least he had had the decency (or pride or whatever it was) to refuse further bribes once financially established in his new country.
I wept over those papers and all that they implied. But I smiled, too, at the resourcefulness, the cunning, and the sheer determination of my incomparable monster, who had thus firmly secured his victory without breaking his promise to me.
Age robs me of easy sleep, and many nights I lie awake remembering the little glass shoe full of centimes; and the shivering poodle stinking of lamp-oil; and the brush being drawn through my hair by a man who sits behind me, where I cannot see his face until I turn. In the dark I listen for some echo of the radiant voice of my teacher, my brother, my lover and accomplished master of my body’s joys, that dire, disfigured angel with whom I wrestled for over a thousand days and nights, in all the youthful vigor of my hunger and my pride.
My hair is short now, in the modern style. It has turned quite white.
The Comte de Chagny (Raoul’s title since his elder brother’s death) arrived this month from America to see to his French holdings. He came to the Opéra asking after me. I avoided him, and he has gone away again.
Awaiting my own exit, I live my days in this brash and cynical present as other people do. But I nourish my soul on the sweet pangs of looking back, more than forty years now, to the time when the Opéra Ghost and I lived together underground, in a candle-lit world of passion and music.
I have thought of writing an opera about it, but time seems short and I know my limitations. Someone else will write it, someday. They will get the story wrong, of course; but perhaps, all the same, the music will be right.
A Few Parting Words
Not an essay, just some thoughts
Like most of the writers I know, I learned to write by reading, and by going to plays and movies (stories in dialog and pictures—good training for the visual imagination and the plot-and-action sector of the brain). I always adored fantasy and horror, even though—or maybe because—they gave me nightmares; literally. For six months after an older cousin took me to see Abbott and Costello Meet Frankenstein, I would wake up at six in the morning and lie petrified in my bed, certain that the Frankenstein monster was about to lurch around the corner from the hall and into my bedroom. And that was Abbott and Costello, folks.
Well. And Frankenstein’s monster. And the wolfman, and Dracula, come to think of it. But it was Abbott and Costello. What can I say; I have always been rather impressionable. It comes with the territory.
At any rate, just like everybody else (albeit in fear and trembling and with my hand ever ready to whip off my eyeglasses so that the screen became safely blurred and vague) I kept up with the monster movies and the monster reading, too, because I couldn’t stay away (Bud Abbott and Lou Costello have a lot to answer for). I saw poor old “Larry Talbot ” turn into what looked like a gummy bear that had rolled on the floor of a hair salon before clean-up time; I read Mina Harker’s journal and saw all the film-Draculas ever played; I read the Oz books and watched Judy Garland’s Dorothy with her witches, both friendly and evil; and I read Leroux’s fusty, goofy, clumsy novel about the Paris Opéra and went to Andrew Lloyd Webber’s stage version of that story (once on each coast).
In fact I went so far as to visit the Paris Opéra last time I was in that city, just for its “Phantom” associations.
So it’s perfectly natural that from time to time I should turn to writing stories with strong horror elements, some borrowed, some made up fresh (or what I think is fresh, anyway). I always have a wonderful time doing it and am sorry when the story is finished. Still, I feel like a bit of a fraud when people refer to me as a “horror writer,” because I’m not—not in my mind, and probably not in anybody else’s either.
To start at the lowest end of the “horror” scale, I have to admit that I don’t even read there; I am easily bored and irritated by tales (onscreen or on paper) of victimized, terrified women, or victimized men for that matter; or towns with evil black gunkus oozing out of the light fixtures; or whole “secret” communities of languorous vampires exhibiting all the ennui of confirmed French persons (excepting only the endless smoking of cigarettes and the long, long silences).
Afflicted priests rushing around chasing or being chased by demons (or angels) that speak in funny voices do not turn me on, gangs of cannibal zombies bore me blind, and when I read Steve King I usually skip the blood and gore and look for the social observation, which he does better than anybody else. Frankly, I’ve reached a stage in my life where the drama, the tension, the interest of a story is what happens between the action-packed moments of mayhem. I mean the pauses for breath, when the characters, if they are worth their salt to begin with, understand and attempt to grapple with what the “action” means to them, for them, and about them and those close to them.
Remember a strange little movie called “The Sweet Hereafter”? A school bus crashes into a frozen lake, and the kids are killed. That’s the horror element. The story is of a townful of people left behind and trying to deal with the event in some way that will make it less horrific (and failing). The crash is glimpsed now and again, mostly from afar. It is a glyph, a sign of ruin and despair, but it’s the ruin and despair that are interesting. The bus-crash is just an incident, too sudden and too shocking and too swiftly complete to reverberate much in and of itself.
That, to my mind, is a fine horror-story, albeit of a quotidian kind—no ghosts to speak of, no dripping child-zombies. Except that they are all there, of course—in the voices, the blank or twisted faces, the shocked eyes of the parents. If you perceive them there, and you should.
So I guess the usual run of horror fiction is not my métier.
On the other hand: I love to play. What I love to play with most is some stodgy cultural trope that needs a good shaking to get the dust out of its ears, e.g., a planet of women, say a society of Amazon warriors—only what kind of life would that really be in and of itself, not just as an exotic and perverse locale for our intrepid hero to stumble into, strut his stuff, and teach them (oh, rapture!) how to kiss? How would they, seeing themselves not as perverse at all but as the norm, order their politics, their economy, and their personal lives?
Or the world ends, but suppose all our unhoused souls are indestructible and have to go somewhere else to continue evolving. Or here’s this dashing space pilot with flexible ethics, only she’s driven to seek help on a planet settled not by engineers and scientists but by African market women with deep-rooted customs (and shrewdness) of their own.
Turn ’em upside-down and see what falls out of their pockets, that’s what I say; otherwise you’re just putting hoary old basic ideas through their time-honored paces yet again, and what’s the point of that?
Hence, my forays into what gets classed as horror. I am drawn to fascinating characters or beings that have most often been presented—your monster, your vampire, your werewolf, your witch—as shock material, something to give us a good jolt in the perfect safety of the movie theatre or the chair in the living room beside the good reading light. Nothing falls out of their pockets if they’re not wearing something like their usual clothes (rags; fur; cape). We all know there’s more to them than just the jolt, or they wouldn’t persist in our cultures with such immense verve and color.
So sometimes I get curious about the rest of the baggage your teen werewolf, say, is carrying with her, or your twisted musical genius with the awful face and violent habits.
Luckily, the stories of this type that I love best always set up questions in my mind (maybe that’s why I love them). They are not dead, perfect objects, all shiny and cold, but fertile and warm and messy, fermenting away in my mind long after “the end” has come and gone. I turn the problems of “Dracula,” say, over and over mentally, for the sheer
pleasure of remembering how it went and where it was at its most tasty for me.
I think about the answers offered—poor old Larry can never escape his fang-and-fuzz destiny, the Phantom gives Christine to his rival out of sheer nobility—and after a while other possible answers occur to me, and other questions that weren’t asked. Or questions with no answers at all.
Like most writers who work in an exploratory rather than an outlined fashion, I come up with a situation that will bring the questions in my mind to bear on the characters, and then I stand back and let my imaginary people work out their own answers.
What’s being a werewolf good for?
Why would a schoolgirl be really, really angry?
How might a child use great power if she had it?
What is “enough” punishment for the torments of the schoolyard?
The “idea” of “Boobs” is that a schoolgirl turns into a werewolf instead of getting her period; but the questions about that situation are what generate the plot, the story itself. All I had to do was to make up Kelsey, out of memories of my own childhood, of other kids I’ve known and observed as a teacher, even of kids I’ve read about, and give her an ordinary family in an ordinary American suburb, and then turn her loose to create the story for me.
Maybe I don’t particularly like all her answers, but if they ring true, they stay. That’s really what the character is for: to chart an interesting course through the possible answers, a course that hangs together and adds up to the illusion of a real mind and soul and heart grappling with extreme situations. The character is the test of the questions and vice versa, and if it works, that’s success; you don’t mess with it to placate others’ tastes or preferences, if you can help it.
Which is what writers mean when they say the characters “come to life” or “just take over the story.” Fictional characters are not real and they can not take over anything, but if they are well made and have a spark of vitality, they do acquire a powerful coherence that an author tramples over—for reasons of plot, or to make a particular effect, or to avoid developments that will offend some readers—at her peril.
Music of the Night Page 18