Every winter years ago, little girls would chalk the ground for “blind Michael” in a courtyard off the Plaza of Realised Time. (It was on the left as you came to the Plain Moon Cafe, where even in February the tables were arranged on the pavement, their planished copper tops gleaming in the weak sun. You turned down by an ornamental apple tree.) Generally they were the illegitimate children of midinettes, laundry women who worked in Minnet-Saba, or the tradesmen from the Rivelin market. They preserved a fierce independence and wore short stiff blouses which bared the hollow of their backs to the grimmest weather. If you approached them properly, one of them would always tuck her chalk down her white drawers, lick the snot off her upper lip, and lead you to Orves; it was hard work to keep up with her in the steep winding streets.
Most sightseers changed their minds as soon as they saw the shadow of the observatory falling across the houses, and went back to drink hot genever in the Plain Moon. Those who kept on under the black velvet banners of the New Men, which in those days hung heavily from every second-floor window, would find themselves on the bank of the canal at Allman’s Reach.
There was not much to see. The cottages were often boarded up at that time of year. A few withered dock plants lined the water’s edge where the towpath had collapsed. No one was in sight. The wind from the heath made your eyes water until you turned away and found the girl standing quite still next to you, her hands hanging at her sides. She would hardly look at you, or the heath; she might glance at her feet. If you offered her money she would scratch her behind, screech with laughter, and run off down the hill. Later you might see her kneeling on the pavement in some other part of the Quarter, the wet chalk in her mouth, staring with a devout expression at something she had drawn.
Vera Ghillera, Vriko’s immortal ballerina, had herself taken to Allman’s Reach the day she arrived in the city from Sour Bridge. She was still a provincial and not more than a child herself, as thin and fierce and naive as any of them in the courtyard off the plaza, but determined to succeed; long in the muscle for classical dance, perhaps, but with a control already formidable and a sharp technical sense. It was the end of a winter afternoon when she got there. She stood away from her guide and looked over the canal. After a minute her eyes narrowed as if she could see something moving a great distance away. “Wait,” she said. “Can you? No. It’s gone.” The sun was red across the ice. Long before the city knew her lyrical port de bras, she knew the city. Long, long before she crossed the canal she had seen Allman’s Heath and acknowledged it.
Everyone has read how Vera Ghillera, choreographed by Madame Chevigne, costumed by Audsley King, and dancing against sets designed by Paulinus Rack from sketches attributed to Ens Laurin Ashlyme, achieved overnight fame at the Prospekt Theatre as “Lucky Parminta” in The Little Humpbacked Horse; how she was courted by Rack and Ingo Lympany amongst others, but did not marry; and how she kept her place as principal dancer for forty years despite the incurable fugues which compelled her to attend regularly and in secret the asylum at Wergs.
Less of her early life is public. In her autobiography The Constant Imago, she is not frank about her illness or how it came about. And few of her contemporaries were ever aware of the helplessness of her infatuation with Egon Rhys, leader of the Blue Anemone Ontological Association.
Rhys was the son of a trader in fruit and vegetables at Rivelin-one of those big, equivocally natured women whose voice or temper dominate the Market Quarter for years on end, and whose absence leaves it muted and empty. He had been in and out of the market since her death, a man enclosed, not much used to the ordinary emotions, not interested in anything but his own life. He tended to act in good faith.
He was shorter than Vera Ghillera. As a boy, first selling crystallised flowers round the combat rings, then as the apprentice of Osgerby Practal, he had learned to walk with a shambling gait which diverted attention from his natural balance and energy. This he retained. (Later in life, though his limbs thickened, his energy seemed to increase rather than abate-at seventy, they said, he could hardly stand still to talk to you.) He had large hands and a habit of looking at them intently, with a kind of amused indulgence, as if he wanted to see what they would do next.
His heavy, pleasant face was already well-known about the rings when Vera came to the city. Under the aegis of the Blue Anemone he had killed forty men. As a result the other “mutual” associations often arranged a truce among themselves in order to bring about his death. The Feverfew Anschluss had a special interest in this, as did the Fourth of October and the Fish-Head Men from Austonley. At times even his relations with the Anemone were difficult. He took it calmly, affecting an air of amusement which-as in other notorious bravos-seems to have masked not anxiety but an indifference of which he was rather ashamed, and which in itself sometimes frightened him. He let himself be seen about the Quarter unaccompanied, and walked openly about in the High City, where Vera first observed him from an upper room.
The Little Humpbacked Horse was history by then: she had carried a lamp in Mariana Natesby, overcome with furious concentration the debilitating danse d’ecole work and formalism of Lympany’s The Ginger Boy. She had danced with de Cuevas, then past the height of his powers, and been his lover; she had had her portrait painted once a year for the oleo-graph trade, as “Delphine,” “Manalas,” and-looking over a parapet or smiling mysteriously under a hat-as the unnamed girl in The Fire Last Wednesday at Lowth. She had got her full growth. At work, though she was so tall, her body seemed compacted, pulled in on itself like the spring of a humane killer: but she looked exhausted when the makeup came off, and somehow underfed as she slumped awkwardly, legs apart, on a low chair in her sweat-stained practice clothes. She had forgotten how to sit. She was “all professional deformity in body and soul.” Her huge eyes gave you their attention until she thought you were looking at someone else, then became blank and tired.
She never lost her determination, but an unease had come over her.
In the morning before practice she could be seen in the workmen’s cafes down by the market, huddled and fragile-looking in an expensive woollen coat. She listened to the sad-sounding traders’ calls in the early fog, hearing them as remote, and as urgent as the cries of lookouts in the bows of a ship. “Two fathoms and shelving!” She watched the girls playing blind Michael in the courtyard off the Plaza of Realised Time, but as soon as they recognised her walked quickly away. “One fathom!”
The first time she saw Egon Rhys she ran down into the street without thinking and found him face to face with two or three members of the Yellow Paper College. It was a fraught moment; razors were already out in the weird Minnet-Saba light, which lay across the paving stones the colour of mercury. Rhys had his back to some iron railings, and a line of blood ran vertically down his jaw from a nick under one eye.
“Leave that man alone!” she said. At ten years old in the depressed towns of the Midland Levels she had seen unemployed boys fighting quietly under the bridges, building fires on waste ground. “Can’t you find anything better to do?”
Rhys stared at her in astonishment and jumped over the railings.
“Don’t ask me who she was,” he said later in the Dryad’s Saddle. “I legged it out of there faster than you could say, right through someone’s front garden. They’re hard fuckers, those Yellow Paper Men.” He touched the cut they had given him. “I think they’ve chipped my cheekbone.”
He laughed.
“Don’t ask me anything!”
But after that, Vera seemed to be everywhere. He had quick glimpses of a white face with heavily made-up eyes among the crowds that filled the Market Quarter at the close of every short winter afternoon. He thought he saw her in the audience at the ring behind the Dryad’s Saddle. (She was blinking in the fumes from the naphtha lamps.) Later she followed him from venue to venue in the city and brought him great bunches of sol d’or whenever he won.
With the flowerboys she sent her name, and tickets to the Prospekt Thea
tre. There he was irritated by the orchestra, confused by the constant changes of scene, and embarrassed by the revealing costumes of the dancers. The smell of dust and sweat and the thud of their feet on the stage spoiled the illusion for him: he had always understood dancing to be graceful. When Vera had him brought up to her dressing room afterwards, he found her wearing an old silk practice top rotting away under the arms, and a pair of loose, threadbare woollen stockings out of which someone had cut the feet. “I have to keep my calves warm,” she explained when she caught him staring at them. He was horrified by the negligent way she sprawled, watching him intently in the mirrors, and he thought her face seemed as hard and tired as a man’s; he left as soon as he could.
Vera went home and stood irresolutely near her bed. The geranium on the windowsill was like an artificial flower on a curved stem, its white petals more or less transparent as the clouds covered and uncovered the moon. She imagined saying to him,
“You smell of geraniums.”
She began to buy him the latest novels. Just then, too, a new kind of music was being played everywhere, so she took him to concerts. She commissioned Ens Laurin Ashlyme to paint his portrait. He couldn’t be bothered to read, he said; he listened distractedly to the whine of the cor anglais, then stared over his shoulder all evening as if he had seen someone he knew; he frightened the artist by showing him how good an edge his palette knife would take. “Don’t send so many flowers,” he told her. Nothing she could offer seemed to interest him, not even his own notoriety.
Then he watched a cynical turn called Insects at the Allotrope Cabaret in Cheminor. One of the props used in this was a large yellow locust. When they first dragged it onto the cramped Allotrope stage it appeared to be a clever waxwork. But soon it moved, and even waved one of its hands, and the audience discovered among the trembling antennae and gauze wings a naked woman, painted with wax, lying on her back with her knees raised to stimulate the bent rear legs of the insect. She wore to represent its head a stylised, highly varnished mask. Fascinated, Rhys leaned forward to get a better view. Vera heard his breath go in with a hiss. He said loudly, “What’s that? What is that animal?” People began to laugh at his enthusiasm; they couldn’t see that the double entendre of the act meant nothing to him. “Does anyone know?” he asked them.
“Hush!” said Vera. “You’re spoiling it for everyone else.”
Poor lighting and a smell of stale food made the Allotrope a cheerless place to perform; it was cold. The woman in the insect mask, having first adjusted it on her shoulders so that it would face the audience when she did, stood up and made the best she could of an “expressive” dance, crossing and uncrossing her thick forearms in front of her while her breath steamed into the chilly air and her feet slapped one two three, one two three on the unchalked boards. But Rhys would not leave until the bitter end, when the mask came off and under it was revealed the triumphant smile, disarranged chestnut hair, and tired puffy face of some local artiste hardly sixteen years old, to whistles of delight.
Outside, their shadows fell huge and black on the wall that runs, covered with peeling political cartoons, the length of Endingall Street. “It doesn’t seem much to stand in front of an audience for,” said Vera, imitating the barren, oppressive little steps. “I would be frightened to go on.” She shuddered sympathetically. “Did you see her poor ankles?”
Rhys made an impatient gesture.
“I thought it was very artistic,” he said. Then: “That animal! Do things like that exist anymore?”
Vera laughed.
“Go on Allman’s Heath and see for yourself. Isn’t that where you’re supposed to go to see them? What would you do if you were face to face with it now? A thing as big as that?”
He caught her hands to stop her from dancing. “I’d kill it,” he said seriously. “I’d-” What he might do he had to think for a moment, staring into Vera’s face. She stood dead still. “Perhaps it would kill me,” he said wonderingly. “I never thought. I never thought things like that might really exist.” He was shivering with excitement: she could feel it through his hands. She looked down at him. He was as thick-necked and excitable as a little pony. All of a sudden she was sharply aware of his life, which had somehow assembled for itself like a lot of eccentric furniture the long perspective of Endingall Street, the open doors of the Allotrope Cabaret, that helpless danseuse with her overblocked shoes and ruined ankles, to what end he couldn’t see.
“Nothing could kill you,” she said shyly.
Rhys shrugged and turned away.
For a week or two after that she seemed to be able to forget him. The weather turned wet and mild; the ordinary vigour of their lives kept them apart.
His relations with the Blue Anemone had never been more equivocal: factions were out for him in High City and Low. If Vera had known he was so hard put to it in the alleys and waste ground around Chenaniaguine and Lowth, who can say what she might have done. Luckily, while he ran for it with an open razor in one hand and a bunch of dirty bandages coming unravelled from the other, she was at the barre ten hours a day for her technique. Lympany had a new production, Whole Air: it would be a new kind of ballet, he believed. Everyone was excited by the idea, but it would mean technique, technique, technique. “The surface is dead!” he urged his dancers: “Surface is only the visible part of technique!”
Ever since she came up from the midlands, Vera had hated rest days. At the end of them she was left sleepless and irritated in her skin, and as she lay in bed the city sent granular smoky fingers in through her skylight, unsettling her and luring her out so that late at night she had to go to the arena and, hollow-eyed, watch the clowns. There while thinking about something else she remembered Rhys again, so completely and suddenly that he went across her-snap-like a crack in glass. Above the arena the air was purple with roman candles bursting, and by their urgent intermittent light she saw him quite clearly standing in Endingall Street, shivering in the grip of his own enthusiasm, driven yet balked by it like all nervous animals. She also remembered the locust of the Allotrope Cabaret. She thought,
“Artistic!”
Though on a good night you could still hear the breathy whisper of twenty-five thousand voices wash across the pantile roofs of Montrouge like a kind of invisible firework, the arena by then was really little more than a great big outdoor circus, and all the old burnings and quarterings had given place to acrobatics, horse racing, trapeze acts, etc. The New Men liked exotic animals. They did not seem to execute their political opponents-or each other-in public, though some of the aerial acts looked like murder. Every night there was a big, stupid lizard or a megatherium brought in to blink harmlessly and even a bit sadly up at the crowd until they had convinced themselves of its rapacity. And there were more fireworks than ever: to a blast of maroons full of magnesium and a broad falling curtain of cerium rain, the clowns would erupt bounding and cartwheeling into the circular sandy space-jumping up, falling down, building unsteady pyramids, standing nine or ten high on one another’s shoulders, active and erratic as grasshoppers in the sun. They fought, with rubber knives and whitewash. They wore huge shoes. Vera loved them.
The greatest clown of his day, called by the crowd “Kiss-O-Suck,” was a dwarf of whose real name no one was sure. Some people knew him as “Morgante,” others as “Rotgob” or “The Grand Pan.” His legs were frail looking and twisted, but he was a fierce gymnast, often able to perform four separate somersaults in the air before landing bent-kneed, feet planted wide apart, rock steady in the black sand. He would alternate cartwheels with handsprings at such a speed he seemed to be two dwarfs, while the crowd egged him on with whistles and cheers. He always ended his act by reciting verses he had made up himself:
Codpoorlie-tah
Codpoorrrlie- tah!
Codpoorlie-tah! tah! tah!
Dog pit.
Dog pit pooley
Dog pit pooley
Dog pit have-a-rat tah tah tah
(ta ta.)
He had come originally from the hot bone-white hinterlands of the Mingulay Littoral, where the caravans seem to float like yellow birdcages at midday across the violet lakes of the mirage “while inside them women consult feverishly their grubby packs of cards.” If you are born in that desert, its inhabitants often boast, you know all deserts. Kiss-O-Suck was not born a dwarf but chose it as his career, having himself confined for many years in the black oak box, the gloottokoma, so as to stunt his growth. Now he was at the peak of his powers. When he motioned peremptorily, the other clowns sprang up into the air around him. His voice echoed to Vera over the arena. “Dog pit pooley!” he chanted, and the crowd gave it him back: but Vera, still somehow on Endingall Street with Egon Rhys trembling beside her, heard, “Born in a desert, knows all deserts!” The next day she sent him her name with a great bunch of anemones. I admire your act. They met in secret in Montrouge.
At the Bistro Californium, Ansel Verdigris, poet of the city, lay with his head sideways on the table; a smell of lemon gin rose from the tablecloth bunched up under his cheek. Some way away from him sat the Marquis de M-, pretending to write a letter. They had quarrelled earlier, ostensibly about the signifier and the signified, and then Verdigris had tried to eat his glass. At that time of night everyone else was at the arena. Without them the Californium was only a few chairs and tables someone had arranged for no good reason under the famous frescoes. De M- would have gone to the arena himself, but it was cold outside with small flakes of snow falling through the lights on the Unter-Main-Kai. Discovering this about itself, he wrote, the place seems stunned and quiet. It has no inner resources.
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