The Collected Short Fiction by Thomas Ligotti Part 6

"Look where you're going," says the woman at the same instant.

Of course at this point we have already seen where Nathan is going and, in a way too spooky to explain right now, so has he.

The experimental technique. It's easy, now try it yourself.

ANOTHER STYLE.

All the styles we have just examined have been simplified for the purposes of instruction, haven't they? Each is a purified example of its kind, let's not kid ourselves. In the real world of horror fiction, however, the above three techniques often get entangled with one another in hopelessly mysterious ways, almost to the point where all previous talk about them is useless for all practical purposes. But an ulterior purpose, which I'm saving for later, may thus be better served. Before we get there, though, I'd like, briefly, to propose still another style.

The story of Nathan is one very close to my heart and I hope, in its basic trauma, to the hearts of many others. I wanted to write this horror tale in such a fas.h.i.+on that its readers would be distressed not by the personal, individual catastrophe of Nathan but by his very existence in a world, even a fictional one, where a catastrophe of this type and magnitude is possible. I wanted to employ a style that would conjure all the primordial powers of the universe independent of the conventional realities of the Individual, Society, or Art. I aspired toward nothing less than a pure style without style, a style having nothing whatever to do with the normal or abnormal, a style magic, timeless, and profound...and one of great horror, the horror of a G.o.d. The characters of the story would be Death himself in the flesh, Desire in a new pair of pants, the pretty eyes of Desiderata and the hideous...o...b.. of Loss. And linked hand-in-hand with these terrible powers would be the more terrible ones of Luck, Fate, and all the miscellaneous minions of Doom.

I couldn't do it, my friends. It's not easy, and I don't suggest that you try it yourself.

THE FINAL STYLE.

Dear horror writers of the future, I ask you: what is the style of horror? What is its tone, its voice? Is it that of an old storyteller, keeping eyes wide around the tribal campfire; is it that of a doc.u.mentarian of current or historical happenings, reporting events heard-about and conversations overheard; is it even that of a yarn-spinning G.o.d who can see the unseeable and reveal, from viewpoint omniscient, the horrific hearts of man and monster? I have to say that it's none of these, sorry if it's taken so long.

To tell you the truth, I'm not sure myself what the voice of horror really is. But throughout my career of eavesdropping on the dead and the d.a.m.ned, I know I've heard it; and Gerry Riggers, you remember him, has tried to put it on paper. Most often it sounds to me very simply like a voice calling out in the middle of the night, a single voice with no particular qualities. Sometimes it's m.u.f.fled, like the voice of a tiny insect crying for help from inside a sealed coffin; and other times the coffin shatters, like a brittle exoskeleton, and from within rises a piercing, crystal shriek that lacerates the midnight blackness. These are approximations, of course, but highly useful in pinning down the sound of the voice of horror, if one still wants to.

In other words, the proper style of horror is really that of the personal confession, and nothing but: ma.n.u.scripts found in lonely places. While some may consider this the height of cornball melodrama, and I grant that it is, it is also the rawhead and b.l.o.o.d.y bones of true blue grue. It's especially true when the confessing narrator has something he must urgently get off his chest and labors beneath its nightmarish weight all the while he is telling the tale. Nothing could be more obvious, except perhaps that the tale teller, ideally, should himself be a writer of horror fiction by trade. That really is more obvious. Better. But how can the confessional technique be applied to the story we've been working with? Its hero isn't a horror writer, at least not that I can see. Clearly some adjustments have to be made.

As the reader may have noticed, Nathan's character can be altered to suit a variety of literary styles. He can lean toward the normal in one and the abnormal in another. He can be transformed from fully fleshed person to disembodied fictional abstraction. He can play any number of basic human and nonhuman roles, representing just about anything a writer could want. Mostly, though, I wanted Nathan, when I first conceived him and his ordeal, to represent none other than my real life self. For behind my pseudonymic mask of Gerald Karloff Riggers, I am no one if not Nathan Jeremy Stein.

So it's not too far-fetched that in his story Nathan should be a horror writer, at least an aspiring one. Perhaps he dreams of achieving Gothic glory by writing tales that are nothing less than magic, timeless, and you know what. Perhaps he would sell his soul in order to accomplish this fear, I mean feat. But Nathan was not born to be a seller of his soul or anything else, that's why he became a horror writer rather than going into Dad's (and Granddad's) business. Nathan is, however, a buyer: a haunter of spectral marketplaces, a visitant of discount houses of unreality, a bargain hunter in the deepest bas.e.m.e.nt of the unknown. And in some mysterious way, he comes to procure his dream of horror without even realizing what it is he's bought or with what he has bought it. Like the other Nathan, this Nathan eventually finds that what he's bought is not quite what he bargained for-a pig in a poke rather that a nice pair of pants. What? I'll explain.

In the confessional version of Nathan's horror story, the main character must be provided with something horrible to confess, something fitting to his persona as a die-hard horrorist. The solution is quite obvious, which doesn't prevent its also being freakish to the core. Nathan will confess that he's gone too far into FEAR. He's always had a predilection for this particular discipline, but now it's gotten out of hand, out of control, and out of this world.

The turning point in Nathan's biography of horror-seeking is, as in previous accounts, an aborted fling with Lorna McFickel. In the other versions of the story, the character known by this name is a personage of s.h.i.+fting significance, representing at turns the ultra-real or the super-ideal to her would-be romancer. The confessional version of "Romance of a Dead Man," however, gives her a new ident.i.ty, namely that of Lorna McFickel herself, who lives across the hall from me in a Gothic castle of high-rise apartments, twin-towered and honeycombed with newly carpeted pa.s.sageways. But otherwise there's not much difference between the female lead in the fictional story and her counterpart in the factual one. While the storybook Lorna will remember Nathan as the creep who spoiled her evening, who disappointed her-Real Lorna, Normal Lorna feels exactly the same way, or rather felt, since I doubt she even thinks about the one she called, and not without good reason, the most disgusting creature on the face of the earth. And although this patent exaggeration was spoken in the heat of a very hot moment, I believe her att.i.tude was basically sincere. Even so, I will never reveal the motivation for this outburst of hers, not even under the throbbing treat of torture. (I meant, of course, to write threat. Only a tricky trickle of the pen's ink, nothing more.) Such things as motivation are not important to this horror story anyway, not nearly as important as what happens to Nathan following Lorna's revelatory rejection.

For he now knows, as he never knew before, how weird he really is, how unlike everyone else, how abnormal and unreal fate has made him. He knows that supernatural influences have been governing his life all along, that he is subject only to the rule of demonic forces, which now want this expatriate from the red void back in their bony arms. In brief, Nathan should never have been born a human being, a truth he must accept. Hard. (The most painful words are "never again," or just plain "never!") And he knows that someday the demons will come for him.

The height of the crisis comes one evening when the horror writer's ego is at low ebb, possibly to ebb all the way back to the abyss. He has attempted to express his supernatural tragedy in a short horror story, his last, but he just can't reach a climax of suitable intensity and imagination, one that would do justice to the cosmic scale of his pain. He has failed to embody in words his semi-autobiographical sorrow, and all these games with protective names have only made it more painful. It hurts to hide his heart within pseudonyms of pseudonyms. Finally, the horror writer sits down at his desk and begins whining like a brat all over the ma.n.u.script of his unfinished story. This goes on for quite some time, until Nathan's sole desire is to seek a human oblivion in a human bed. Whatever its drawbacks, grief is a great sleeping draught to drug oneself into a noiseless, lightless paradise far from an agonizing universe. This is so.

Later on there comes a knocking at the door, an impatient rapping, really. Who is it? One must open it to find out.

"Here, you forgot these," a pretty girl said to me, flinging a woolly bundle into my arms. Just as she was about to walk away, she turned and scanned the features of my face a little more scrupulously. I have sometimes pretended to be other people, the odd Norman and even a Nathan or two, but I knew I couldn't get away with it anymore. Never again! "I'm sorry," she said. "I thought you were Norman. This is his apartment, right across and one down the hall from mine." She pointed to show me. "Who're you?"

"I'm a friend of Norman's," I answered.

"Oh, I guess I'm sorry then. Well, those're his pants I threw at you."

"Were you mending them or something?" I asked innocently, checking them as if looking for the scars of repair.

"No, he just didn't have time to put them back on the other night when I threw him out, you know what I mean? I'm moving out of this creepy dump just to get away from him, and you can tell him those words."

"Please come in from that drafty hallway and you can tell him yourself."

I smiled my smile and she, not unresponsively, smiled hers. I closed the door behind her.

"So, do you have a name?" she asked.

"Penzance," I replied. "Call me Pete."

"Well, at least you're not Harold Wackers, or whatever the name is on those lousy books of Norman's."

"I believe it's Wickers, H. J. Wickers."

"Anyway, you don't seem at all like Norman, or even someone who'd be a friend of his."

"I'm sure that was intended as a compliment, from what I've gathered about you and Norm. Actually, though, I too write books not unlike those of H. J. Wickers. My apartment across town is being painted, and Norman was kind enough to take me in, even loan me his desk for a while." I manually indicated the cluttered, weeped-upon object of my last remark. "In fact, Norman and I sometimes collaborate under a common pen-name, and right now we're working together on a ma.n.u.script." That was an eternity ago, but somehow it seems like the seconds and minutes of those days are still nipping at our heels. What tricks human clocks can play, even on us who are no longer subject to them! But it's a sort of reverse magic, I suppose, to enshackle the timeless with Granddaddy's wrist-grips of time, just as it is the most negative of miracles to smother unburdened spirits with the burdensome overcoat of matter.

"That's nice, I'm sure," she replied to what I said a few statements back. "By the way. I'm Laura-"

"O'Finney," I finished. "Norman's spoken quite highly of you." I didn't mention that he had also spoken quite lowly of her too.

"Where is the creep, anyway?" she inquired.

"He's sleeping," I answered, lifting a vague finger toward the rear section of the apartment, where a shadowy indention led to bathrooms and bedrooms. "He's had a hard night of writing."

The girl's face a.s.sumed a disgusted expression.

"Forget it," she said, heading for the door. Then she turned and very slowly walked a little ways back toward me. "Maybe we'll see each other again."

"Anything is possible," I a.s.sured her.

"Just do me a favor and keep Norman away from me, if you don't mind."

"I think I can do that very easily. But you have to do something for me."

"What?"

I leaned toward her very confidentially.

"Please die, Desiderata," I whispered in her ear, while gripping her neck with both hands, cutting short a scream along with her life. Then I really went to work.

"Wake up, Norman," I shouted a little later. I was standing at the foot of his bed, my hands positioned behind my back. "You were really dead to the world, you know that?"

A little drama took place on Norman's face in which surprise overcame sleepiness and both were vanquished by anxiety. He had been through a lot the past couple nights, struggling with our "Notes" and other things, and really needed his sleep. I hated to wake him up.

"Who? What do you want?" he said, quickly sitting up in bed.

"Never mind what I want. Right now we are concerned with what you want, you know what I mean? Remember what you told that girl the other night, remember what you wanted her to do that got her so upset?"

"If you don't get the h.e.l.l out of here-"

"That's what she said too, remember? And then she said she wished she had never met you. And that was the line, wasn't it, that gave you the inspiration for our fictionalized adventure. Poor Nathan never had the chance you had. Oh yes, very fancy rigmarole with the enchanted trousers. Blame it all on some old b.i.t.c.h and her dead husband. Very realistic, I'm sure. When the real reason-"

"Get out of here!" he yelled. But he calmed down somewhat when he saw that ferocity in itself had no effect on me.

"What did you expect from that girl. You did tell her that you wanted to embrace, what was it? Oh yes, a headless woman. A headless woman, for heaven's sake, that's asking a lot. And you did want her to make herself look like one, at least for a little while. Well, I've got the answer to your prayers. How's this for headless?" I said, holding up the head from behind my back.

He didn't make a sound, though his two eyes screamed a thousand times louder than any single mouth. I tossed the long-haired and b.l.o.o.d.y noggin in his lap, but he threw the bedcovers over it and frantically pushed the whole business onto the floor with his feet.

"The rest of her is in the bathtub. Go see, if you want. I'll wait."

He didn't make a move or say a word for quite a few moments. But when he finally did speak, each syllable came out so calm and smooth, so free of the vibrations of fear, that I have to say it shook me up a bit.

"Whooo are you?" he asked as if he already knew.

"Do you really need to have a name, and would it even do any good? Should we call that disengaged head down there Laura or Lorna, or just plain Desiderata? And what, in heaven's name, should I call you-Norman or Nathan, Harold or Gerald?"

"I thought so," he said disgustedly. Then he began to speak in an eerily rational voice, but very rapidly. He did not even seem to be talking to anyone in particular. "Since the thing to which I am speaking," he said, "since this thing knows what only I could know, and since it tells me what only I could tell myself, I must therefore be completely alone in this room, or perhaps even dreaming. Yes, dreaming. Otherwise the diagnosis is insanity. Very true. Profoundly certain. Go away now, Mr. Madness. Go away, Dr. Dream. You made your point, now let me sleep. I'm through with you." Then he lay his head down on the pillow and closed his eyes.

"Norman," I said. "Do you always go to bed with your trousers on?"

He opened his eyes and now noticed what he had been too deranged to notice before. He sat up again.

"Very good, Mr. Madness. These look like the real thing. But that's not possible since Laura still has them, sorry about that. Funny, they won't come off. The imaginary zipper must be stuck. Gee, I guess I'm in trouble now. I'm a dead man if there ever was one, hoo. Always make sure you know what you're buying, that's what I say. Heaven help me, please. You never know what you might be getting into. Come off, d.a.m.n you! Oh, what grief. Well, so when do I start to rot, Mr. Madness? Are you still there? What happened to the lights?"

The lights had gone out in the room and everything glowed with a bluish luminescence. Lightning began flas.h.i.+ng outside the bedroom window, and thunder resounded through a rainless night. The moon shone through an opening in the clouds, a blood-red moon only the d.a.m.ned and the dead can see.

"Rot your way back to us, you freak of creation. Rot your way out of this world. Come home to a pain so great that it is bliss itself. You were born to be bones not flesh. Rot your way free of that skin of mere skin."

"Is this really happening to me? I mean, I'm doing my best, sir. It isn't easy, not at all. Horrible electricity down there. Horrible. Am I bathed in magic acid or something? Oh, it hurts, my love. Ah, ah, ah. It hurts so much. Never let it end. If I have to be like this, then never let me wake up, Dr. Dream. Can you do that, at least?"

I could feel my bony wings rising out of my back and saw them spread gloriously in the blue mirror before me. My eyes were now jewels, hard and radiant. My jaws were a cavern of dripping silver and through my veins ran rivers of putrescent gold. He was writhing on the bed like a wounded insect, making sounds like nothing in human memory. I swept him up and wrapped my sticky arms again and again around his trembling body. He was laughing like a child, the child of another world. And a great wrong was about to be rectified.

I signaled the windows to open onto the night, and, very slowly, they did. His infant's laughter had now turned to tears, but they would soon run dry, I knew this. At last we would be free of the earth. The windows opened wide over the city below and the profound blackness above welcomed us.

I had never tried this before. But when the time came, I found it all so easy.

The Lost Art Of Twilight (1986).

First published in Dark Horizons #30, 1986.

Also published in: Songs Of A Dead Dreamer, The Nightmare Factory.

I have painted it, tried to at least. Oiled it, watercolored it, smeared it upon a mirror which I positioned to rekindle the glow of the real thing. And always in the abstract. Never actual sinking suns in spring, autumn, winter skies; never a sepia light descending over the trite horizon of a lake, not even the particular lake I like to view from the great terrace of my great house. But these Twilights of mine were not merely all abstraction, which is simply a way to keep out the riff-raff of the real world. Other painterly abstractionists may claim that nothing is represented in their canvases, and probably nothing is: a streak of iodine red is just a streak of iodine red, a patch of flat black equals a patch of flat black. But pure color, pure light, pure lines and their rhythms, pure form in general all mean much more than that. The others have only seen their dramas of shape and shade; I-and it is impossible to insist on this too strenuously-I have been there. And my twilight abstractions did in fact represent some reality, somewhere, sometime: a zone formed by palaces of soft and sullen color hovering beside seas of scintillating pattern and beneath rhythmic skies; a zone in which the visitor himself is transformed into a formal essence, a luminous presence, free of substance-a citizen of the abstract. And a zone (I cannot sufficiently amplify my despair on this point, so I will not try) that I will never know again.

Only a few weeks ago I was sitting out on the terrace of my ma.s.sive old mansion, watching the early autumn sun droop into the above-mentioned lake, talking to Aunt T. Her heels clomped with a pleasing hollowness on the flagstones of the terrace. Silver-haired, she was attired in a gray suit, a big bow flopping up to her lower chins. In her left hand was a long envelope, neatly caesarianed, and in her right hand the letter it had contained, folded in sections like a triptych.

"They want to see you," she said, gesturing with the letter. "They want to come here."

"I don't believe it," I said and skeptically turned in my chair to watch the sunlight stretching in long cathedral-like aisles across the upper and lower levels of the lawn.

"If you would only read the letter," she insisted.

"It's in French, no? Can't read."

"Now that's not true, to judge by those books you're always stacking in the library."

"Those happen to be art books. I just look at the pictures."

"You like pictures, Andre?" she asked in her best matronly ironic tone. "I have a picture for you. Here it is: they are going to be allowed to come here and stay with us as long as they like. There's a family of them, two children and the letter also mentions an unmarried sister. They're traveling all the way from Aix-en-Provence to visit America, and while on their trip they want to see their only living blood relation here. Do you understand this picture? They know who you are and, more to the point, where you are."

"I'm surprised they would want to, since they're the ones-"

"No, they're not. They're from your father's side of the family. The Duvals," she explained. "They do know all about you but say [Aunt T. here consulted the letter for a moment] that they are sans prejuge."

"The generosity of such creatures freezes my blood. Phenomenal sc.u.m. Twenty years ago these people do what they did to my mother, and now they have the gall, the gall, to say they aren't prejudiced against me."

Aunt T. gave me a warning hrumph to silence myself, for just then the one I called Rops walked out onto the terrace bearing a tray with a slender gla.s.s set upon it. I dubbed him Rops because he, as much as his artistic namesake, never failed to give me the charnel house creeps.

He cadavered over to Aunt T. and served her her afternoon c.o.c.ktail.

"Thank you," she said, taking the gla.s.s of cloudy stuff.

"Anything for you, sir?" he asked, now holding the tray over his chest like a silver s.h.i.+eld.

"Ever see me have a drink, Rops," I asked back. "Ever see me-"

"Andre, behave. That'll be all, thank you."

Rops left our sight in a few bony strides. "You can continue your rant now," said Aunt T. graciously.

"I'm through. You know how I feel," I replied and then looked away toward the lake, drinking in the dim mood of the twilight in the absence of normal refreshment.

"Yes, I do know how you feel, and you've always been wrong. You've always had these romantic ideas of how you and your mother, rest her soul, have been the victims of some monstrous injustice. But nothing is the way you like to think it is. They were not backward peasants who, we should say, saved your mother. They were wealthy, sophisticated members of her own family. And they were not superst.i.tious, because what they believed about your mother was the truth."

"True or not," I argued, "they believed the unbelievable-they acted on it-and that I call superst.i.tion. What reason could they possibly-"

"What reason? I have to say that at the time you were in no position to judge reasons, considering that we knew you only as a slight swelling inside your mother's body. But I was actually there. I saw the 'new friends' she had made, that 'aristocracy of blood,' as she called it, in contrast to her own people's hard-earned wealth. But I don't judge her, I never have. After all, she had just lost her husband-your father was a good man and it's a shame you never knew him-and then to be carrying his child, the child of a dead man... She was frightened, confused, and she ran back to her family and her homeland. Who can blame her if she started acting irresponsibly? But it's a shame what happened, especially for your sake."

"You are indeed a comfort... Auntie," I said with now regrettable sarcasm.

"Well, you have my sympathy whether you want it or not. I think I've proven that over the years."

"Indeed you have," I agreed, and somewhat sincerely.