The Complete Short Stories: Volume 1. Adam Thirlwell
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Название: The Complete Short Stories: Volume 1
Автор: Adam Thirlwell
Издательство: HarperCollins
Жанр: Классическая проза
isbn: 9780007369386
isbn:
As this aura became detectable by greater and greater numbers of people – it would be noticed in bus queues and cafés – and the first oblique, and for some puzzling reason, amused references to it were made openly by members of the public, I knew that the power’s period of utility was ending. No longer would I be able to exercise it without fear of detection. I should have to destroy the diary, sell the safe which so long had held its secret, probably even refrain from ever thinking about the power lest this alone generate the aura.
To be forced to lose the power, when I was only on the threshold of its potential, seemed a cruel turn of fate. For reasons which still remained closed to me, I had managed to penetrate behind the veil of commonplaces and familiarity which masks the inner world of the timeless and the preternatural. Must the power, and the vision it revealed, be lost forever?
This question ran through my mind as I looked for the last time through my diary. It was almost full now, and I reflected that it formed one of the most extraordinary texts, if unpublished, in the history of literature. Here, indeed, was established the primacy of the pen over the sword!
Savouring this thought, I suddenly had an inspiration of remarkable force and brilliance. I had stumbled upon an ingenious but simple method of preserving the power in its most impersonal and lethal form without having to wield it myself and itemize my victims’ names.
This was my scheme: I would write and have published an apparently fictional story in conventional narrative in which I would describe, with complete frankness, my discovery of the power and its subsequent history. I would detail precisely the names of my victims, the mode of their deaths, the growth of my diary and the succession of experiments I carried out. I would be scrupulously honest, holding nothing back whatsoever. In conclusion I would tell of my decision to abandon the power and publish a full and dispassionate account of all that had happened.
Accordingly, after a considerable labour, the story was written and published in a magazine of wide circulation.
You show surprise? I agree; as such I should merely have been signing my own death warrant in indelible ink and delivering myself straight to the gallows. However, I omitted a single feature of the story: its denouement, or surprise ending, the twist in its tail. Like all respectable stories, this one too had its twist, indeed one so violent as to throw the earth itself out of its orbit. This was precisely what it was designed to do.
For the twist in this story was that it contained my last command to the power, my final sentence of death.
Upon whom? Who else, but upon the story’s reader!
Ingenious, certainly, you willingly admit. As long as issues of the magazine remain in circulation (and their proximity to victims of this extraordinary plague guarantees that) the power will continue its task of annihilation. Its author alone will remain unmolested, for no court will hear evidence at second hand, and who will live to give it at first hand?
But where, you ask, was the story published, fearful that you may inadvertently buy the magazine and read it.
I answer: Here! It is the story that lies before you now. Savour it well, its finish is your own. As you read these last few lines you will be overwhelmed by horror and revulsion, then by fear and panic. Your heart seizes, its pulse falling … your mind clouds … your life ebbs … you are sinking, within a few seconds you will join eternity … three … two … one …
Now!
Zero.
1959
ONE
By midnight Madame Gioconda’s headache had become intense. All day the derelict walls and ceiling of the sound stage had reverberated with the endless din of traffic accelerating across the mid-town flyover which arched fifty feet above the studio’s roof, a frenzied hypermanic babel of jostling horns, shrilling tyres, plunging brakes and engines that hammered down the empty corridors and stairways to the sound stage on the second floor, making the faded air feel leaden and angry.
Exhausting but at least impersonal, these sounds Madame Gioconda could bear. At dusk, however, when the flyover quietened, they were overlaid by the mysterious clapping of her phantoms, the sourceless applause that rustled down on to the stage from the darkness around her. At first a few scattered ripples from the front rows, it soon spread to the entire auditorium, mounting to a tumultuous ovation in which she suddenly detected a note of sarcasm, a single shout of derision that drove a spear of pain through her forehead, followed by an uproar of boos and catcalls that filled the tortured air, driving her away towards her couch where she lay gasping helplessly until Mangon arrived at midnight, hurrying on to the stage with his sonovac.
Understanding her, he first concentrated on sweeping the walls and ceiling clean, draining away the heavy depressing under-layer of traffic noises. Carefully he ran the long snout of the sonovac over the ancient scenic flats (relics of her previous roles at the Metropolitan Opera House) which screened in Madame Gioconda’s make-shift home – the great collapsing Byzantine bed (Othello) mounted against the microphone turret; the huge framed mirrors with their peeling silver-screen (Orpheus) stacked in one corner by the bandstand; the stove (Trovatore) set up on the programme director’s podium; the gilt-trimmed dressing table and wardrobe (Figaro) stuffed with newspaper and magazine cuttings. He swept them methodically, moving the sonovac’s nozzle in long strokes, drawing out the dead residues of sound that had accumulated during the day.
By the time he finished the air was clear again, the atmosphere lightened, its overtones of fatigue and irritation dissipated. Gradually Madame Gioconda recovered. Sitting up weakly, she smiled wanly at Mangon. Mangon grinned back encouragingly, slipped the kettle on to the stove for Russian tea, sweetened by the usual phenobarbitone chaser, switched off the sonovac and indicated to her that he was going outside to empty it.
Down in the alley behind the studio he clipped the sonovac on to the intake manifold of the sound truck. The vacuum drained in a few seconds, but he waited a discretionary two or three minutes before returning, keeping up the pretence that Madame Gioconda’s phantom audience was real. Of course the cylinder was always empty, containing only the usual daily detritus – the sounds of a door slam, a partition collapsing somewhere or the kettle whistling, a grunt or two, and later, when the headaches began, Madame Gioconda’s pitiful moanings. The riotous applause, which would have lifted the roof off the Met, let alone a small radio station, the jeers and hoots of derision were, he knew, quite imaginary, figments of Madame Gioconda’s world of fantasy, phantoms from the past of a once great prima donna who had been dropped by her public and had retreated into her imagination, each evening conjuring up a blissful dream of being once again applauded by a full house at the Metropolitan, a dream that guilt and resentment turned sour by midnight, inverting it into a nightmare of fiasco and failure.
Why she should torment herself was difficult to understand, but at least the nightmare kept Madame Gioconda just this side of sanity and Mangon, who revered and loved Madame Gioconda, would have been the last person in the world to disillusion her. Each evening, when he finished his calls for the day, he would drive his sound truck all the way over from the West Side to the abandoned radio station under the flyover at the deserted end of F Street, go through the pretence of sweeping Madame Gioconda’s apartment on the stage of studio 2, charging no fee, make tea and listen to her reminiscences and plans СКАЧАТЬ