House of Incest (4 page)

Then she rushed out into the garden of dead
trees, over the lava paths, over the
micha
schist,
and all the minerals on her path burned the muscovite like a bride, the pyrite,
the hydrous silica, the cinnabar, the azurite like a fragment of benefic
Jupiter, the malachite, all crushed together, pressed together, melted jewels,
melted planets, alchemized by air and sun and time and space, mixed into
mineral fixity, the fixity of the fear of death and the fear of life.

Semen dried into the silence of rock and
mineral. The words we did not shout, the tears unshed, the curse we swallowed,
the phrase we shortened, the love we killed, turned into magnetic iron ore,
into tourmaline, into pyrite agate, blood congealed into cinnabar, blood
calcinated
,
leadened
into galena,
oxidized, aluminized,
sulphated
,
calcinated
,
the mineral glow of dead meteors and exhausted suns in the forest of dead trees
and dead desires.

Standing on a hill of orthoclase, with topaz
and argentite stains on her hands, she looked up at the facade of the house of
incest, the rusty ore facade of the house of incest, and there was one window
with the blind shut tight and rusty, one window without light like a dead eye,
choked by the hairy long arm of old ivy.

She trembled with the desire not to shriek, an
effort so immense that she stood still, her blood unseen for the golden pallor
of her face.

She struggled with her death coming: I do not
love anyone; I love no one, not even my brother. I love nothing but this
absence of pain, this cold neutral absence of pain.

Standing still for many years, between the
moment she had lost her brother and the moment she had looked at the facade of
the house of incest, moving in endless circles round the corners of the dreams,
never reaching the end of her voyage, she apprehended all wonder through the
rock-agedness of her pain, by dying.

And she found her brother asleep among the
paintings.

Jeanne, I fell asleep among the paintings,
where I could sit for many days worshipping your portrait. I fell in love with
your portrait, Jeanne, because it will never change. I have such a fear of
seeing you grow old, Jeanne; I fell in love with an unchanging you that will
never be taken away from me. I was wishing you would die, so that no one could
take you away from me, and I would love the painting of you as you would look
eternally.

They bowed to one part of themselves—only their
likeness.

Good night, my brother!

Good night, Jeanne!

With her walked distended shadows, stigmatized
by fear. They carried their compact like a jewel on their breast; they wore it
proudly like their coat of arms.

I walked into my own book, seeking peace.

It was night, and I made a careless movement
inside the dream; I turned too brusquely the corner and I bruised myself
against my madness. It was this seeing too much, this seeing of a tragedy in
the quiver of an eyelid, constructing a crime in the next room, the men and
women who had loved before me on the same hotel bed.

I carry white sponges of knowledge on strings
of nerves.

As I move within my book I am cut by pointed
glass and broken bottles in which there is still the odor of sperm and perfume.

More pages added to the book but pages like a
prisoner’s walking back and forth over the space allotted him. What is it
allotted me to say?

Only the truth disguised in a fairy tale, and
this is the fairy tale behind which all the truths are staring as behind
grilled mosque windows. With veils. The moment I step into the cavern of my
lies I drop into darkness, and see a mask which stares at me like the glance of
a cross-eyed man; yet I am wrapped in lies which do not penetrate my soul as if
the lies I tell were like costumes.

LIES CREATE SOLITUDE

I walked out of my book into the paralytic’s
room.

He sat there among many objects under glass as
in a museum. He had collected a box of paint which he never painted with, a
thousand books with pages uncut, and they were covered with dust. His Spanish
cape hung on the shoulders of a mannequin, his guitar lay with strings snapped
like long disordered hair. He sat before a note book of blank pages, saying: I
swallow my own words. I chew and chew
ything
until it
deteriorates. Every thought or impulse I have is chewed into nothingness. I
want to capture all my thoughts at once, but they run in all directions. If I
could do this I would be capturing the nimblest of minds, like a shoal of
minnows. I would reveal innocence and duplicity, generosity and calculation,
fear and cowardice and courage. I want to tell the whole truth, but I cannot
tell the whole truth because I would have to write four pages at once, like
four long columns simultaneously, four pages to the present one, and so I do
not write at all. I would have to write backwards, retrace my steps constantly
to catch the echoes and the overtones.

His skin was transparent like that of a newborn
child, and his eyes green like moss. He bowed to Sabina, to Jeanne, and to me:
meet the modern Christ, who is crucified by his own nerves, for all our
neurotic sins!

The modern Christ was wiping the perspiration
which dripped over his face, as if he were sitting there in the agony of a
secret torture. Pain-carved features. Eyes too open, as if dilated by scenes of
horror. Heavy-lidded, with a world-heavy fatigue. Sitting on his chair as if
there were ghosts standing beside him. A smile like an insult. Lips edged and
withered by the black scum of drugs. A body taut like wire.

In our writings we are brothers, I said. The
speed of our vertigoes is the same. We arrived at the same place at the same
moment, which is not so with other people’s thoughts. The language of nerves
which we both use makes us brothers in writing.

The modern Christ said: I was born without a
skin. I dreamed once that I stood naked in a garden and that it was carefully
and neatly peeled, like a fruit. Not an inch of skin left on my body. It was
all gently pulled off, all of it, and then I was told to walk, to live, to run.
I walked slowly at first, and the garden was very soft, and I felt the softness
of the garden so acutely, not on the surface of my body, but all through it,
the soft warm air and the perfumes penetrated me like needles through every
open bleeding pore. All the pores open and breathing the softness, the warmth,
and the smells. The whole body invaded, penetrated, responding, every tiny cell
and pore active and breathing and trembling and enjoying. I shrieked with pain.
I ran. And as I ran the wind lashed me, and then the voices of people like
whips on me. Being touched! Do you know what it is to be touched by a human
being!

He wiped his face with his handkerchief.

The paralytic sat still in the corner of the
room.

You are fortunate, he said, you are fortunate
to feel so much; I wish I could feel all that. You are at least alive to pain,
whereas I…

Then he turned his face away, and just before
he turned away I saw the veins on his forehead swelling, swelling with the
effort he made, the inner effort which neither his tongue nor his body, nor his
thoughts would obey.

If only we could all escape from this house of
incest, where we only love ourselves in the other, if only I could save you all
from yourselves, said the modern Christ.

But none of us could bear to pass through the
tunnel which led from the house into the world on the other side of
thewalls
, where there were leaves on the trees, where water
ran beside the paths, where there was daylight and joy. We could not believe
that the tunnel would open on daylight: we feared to be trapped into darkness
again; we feared to return whence we had come, from darkness and night. The
tunnel would narrow and taper down as we walked; it would close around us, and
close tighter and tighter around us and stifle us. It would grow heavy and
narrow and suffocate us as we walked.

Yet we knew that beyond the house of incest
there was daylight, and none of us could walk towards it.

We all looked now at the dancer who stood at
the center of the room dancing the dance of the woman without arms. She danced
as if she were deaf and could not follow the rhythm of the music. She danced as
if she could not hear the sound of her castanets. Her dancing was isolated and
separated from music and from us and from the room and from life. The castanets
sounded like the steps of a ghost.

She danced, laughing and sighing and breathing
all for herself. She danced her fears, stopping in the center of every dance to
listen to reproaches that we could not hear, or bowing to applause that we did
not make. She was listening to a music we could not hear, moved by
hallucinations we could not see.

My arms were taken away from me, she sang. I
was punished for clinging. I clung. I clutched all those I loved; I clutched at
the lovely moments of life; my hands closed upon every full hour. My arms were always
tight and craving to embrace: I wanted to embrace and hold the light, the wind,
the sun, the night, the whole world. I wanted to caress, to heal, to rock, to
lull, to surround, to encompass. And I strained and I held so much that they
broke; they broke away from me. Everything eluded me then. I was condemned not
to hold.

Trembling and shaking she stood looking at her
arms now stretched before her again.

She looked at her hands tightly closed and
opened them slowly, opened them completely like Christ; she opened them in a
gesture of abandon and giving; she relinquished and forgave, opening her arms
and her hands, permitting all things to flow away and beyond her.

I could not bear the passing of things. All
flowing, all passing, all movement choked me with anguish.

And she danced; she danced with the music and
with the rhythm of earth’s circles; she turned with the earth turning, like a
disk, turning all faces to light and to darkness evenly, dancing towards
daylight.