Night Visions (10 page)

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Authors: Thomas Fahy

BOOK: Night Visions
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M
ost of the passengers are wearing business suits and reading newspapers. They probably take one of these commuter flights to Los Angeles several times a week, Samantha thinks. They have grown accustomed to roasted peanuts, strained conversation, and the smell of recycled air. She can't pass as a regular because she doesn't like sitting so close to strangers and being served by people who are paid to smile.

Ten months ago, she flew to L.A. to see her father. He had been rushed to a burn unit at UCLA after firefighters pulled him from the house. Decayed wiring had started an electrical fire in the living room just after midnight. Within minutes the entire place was ablaze. Father was asleep until a flaming beam from the bedroom ceiling crashed onto his back, causing second-and third-degree burns. The doctors said he was lucky to be alive.

When she and Frank arrived at the hospital, Father was lying facedown in a hammock, his face sweating and lined with pain, drool streaming from his mouth onto the floor. His arms were stretched out to his sides. In one hand he clutched a morphine
button that released a dose as needed, but only up to once every five minutes. He pushed it incessantly. Blood seeped through the gauze on his back so quickly that it seemed to turn yellowish-brown almost immediately. Every time a nurse came in to change it, gently lifting each strip off his moist, blistering skin, Samantha had to leave the room.

His back healed, leaving only scars and discoloration, but Samantha's father said nothing could heal the memory of those long, agonizing moments underneath the flames, waiting for the end. Since then, he hasn't slept well. He tells her that the fear of another fire keeps him awake. Every night he walks around his new apartment three or four times before going to bed, checking each electrical socket. He still wakes up terrified by nightmares, sweating from the heat of imaginary flames and sniffing the air for smoke. Every time she looks at him, she can see the imprint of that fire, as if black ash were permanently etched onto parts of his face.

While driving to the campus, she thinks about calling him, but she didn't even take time to pack. After leaving Catherine's place, she considered returning to work, but as soon as she got home, Don called. Apparently Goldberg kept a list of monthly expenditures, travel records, letters. And all of these documents were currently housed at the Schoenberg Music Library at UCLA; a musicologist on campus was studying and translating them. Don had already contacted him about getting her access, and she left for the airport immediately. Flights ran every hour.

 

“You're here for the Goldberg papers,” the librarian says as Samantha approaches the front desk. The woman's dark brown hair is pulled back, and she has a pale, round face.

“Yes.”

“Wait here.”

Samantha looks around the room anxiously. It has been a long time since she was in a library. Other than a few computer terminals, everything looks the same as in her undergraduate years—the metallic gray bookshelves, the scratched tabletops, even the same unimaginative posters. She took music history classes as a senior and spent a lot of time listening to CDs in the library. She also had a crush on the conductor of the university symphony, making excuses to hang around the department. She secretly admired his commanding stage presence at concerts, which made most girls in the orchestra, and even some of the boys, fawn over him. She is fairly sure that he never knew her name, but that just made the fantasy more bittersweet.

Other parts of campus have been transformed by years of endless construction, to the point where she doesn't recognize things—new bookstores, coffee shops, athletic fields, dorms—but the music building is stuck in the past. This sameness comforts her, as if she were still part of this place.

The librarian returns and places the registry book on the counter. “Sign this and come with me.”

Samantha follows her down the hall to a door marked Special Collections. Closed cabinets line each wall in the small, windowless room. There is a circular conference table in the middle with five long rectangular boxes on top. She hands Samantha a pair of white gloves and a list of the boxes' contents.

“Wear these gloves at all times while working with the materials. Nothing may be removed from this room or photocopied without permission. This box has both original and translated documents. The others have not been translated—so they're still in German.”

“That won't be a problem, thanks.”

Samantha can't read or speak German. She studied Spanish in high school and can't speak that either, but she wants to surprise this woman with the answer, to break through her stoic
professionalism. Instead, the librarian smiles at her indifferently and leaves the room.

According to the catalog, there are a hundred and twenty-five letters. Only fifty-seven have been translated and grouped according to date and addressee. Notated index cards have been paper-clipped to the top left-hand corner of each, and Samantha assumes that they belong to the musicologist Don contacted.

Goldberg started working for Count Keyserlingk in 1739 and wrote dozens of letters to his brother Carl during the next few years. Several detail a romance with a woman referred to as G—, but most describe the living conditions at Keyserlingk Castle.

17 November 1740

Carl,

It has been almost three months since the count has slept through the night. He calls on us at all hours—demanding meals, companionship, and music, so much music. Sometimes I play until sunrise.

He wears all black, like one who mourns for himself, a red scarf, and a strange circular pendant around his neck. Even on the hottest summer day, he wears these clothes and walks about like a madman, mumbling to himself. No guests come to the castle, nor does he leave at night.

His chamber is filled with potions, dried herbs, and exotic plants. I caught a glimpse through the open door and am reluctant to pass by again. Most of the servants walk around like ghosts, trying not to make noise and incur his anger. This is a strange place.

I have little time to work on my music and am often too
tired to concentrate. I pray things will get better, as I pray for you and Father.

Your brother,
Johann

Several letters describe the restrictions imposed on Goldberg and the other servants. None of them was permitted to leave after sundown, nor could they enter the count's private chamber under any circumstance. They were also forbidden to leave the castle on Sunday.

3 January 1741

Dear Brother,

The count is furious again. He has taken down all of the crosses in the castle. Remember the one Father gave me before I moved to Dresden? The count tore it off the wall above my bed and threw it in the fire!

He blames God for his inability to sleep. “God has punished me enough,” he keeps saying, but for what, I do not know.

I played a new keyboard piece for him last night, and he was very pleased. Sometime before dawn, he interrupted to tell me about the Seven Sleepers of Ephesus—a group of Christians who were persecuted for refusing to worship idols. On the eve of suffering the emperor's wrath, God willed them to sleep for three hundred and seventy-two years to protect them. He woke them to restore the city's faith in resurrection.

“What kind of Lord would be so cruel—to deprive some of sleep and will it to others for centuries?” He clenched his
fist and shook with rage as he spoke. “Imagine being one of those seven, waking up to find a world that had left you behind. Empires fallen. Friends, family, wives, and children buried. To find yourself forgotten. Yet for me it is worse, Goldberg. I am forced to watch this every hour, every day. Like this circle”—he lifted the pendant from his chest—“I am trapped in a never-ending band without sleep or joy.”

He turned away, and I left the room as quickly as possible. I have been afraid ever since. Each day I think of leaving, running far from this city, but he watches like a hawk. I must go—

Yours,
Johann

The warm, poorly ventilated room is stifling, and for the first time, Samantha feels uneasy in the quiet. She takes off her jacket, hanging it over the back of a nearby chair. Fluorescent lights buzz steadily overhead, and a low clicking starts to echo in the far distance. It gets louder, and she realizes that someone is walking down the hallway. The footsteps mark time steadily.

Tap, tap, tap, tap.

Her heart is thudding, and she grabs the edge of the table with both hands. Her neck is damp with sweat.

Tap, tap, tap, tap.

 

She couldn't see where the sounds were coming from. They seemed to echo in every direction with the steady rhythm of a clock ticking. She had been studying for hours, not aware of the exact time, not aware that the other students around her had left for the night. In her cubicle, notes from her constitutional law class looked as if they had been scattered by a gust of wind. An empty bottle of
water and half-eaten bag of almond M&Ms were barely visible above the debris of books and papers.

The sounds stopped. She looked over her shoulder, scanning a row of uniform stacks.

Nothing. Just tall shelves casting short shadows.

She turned back to her work.

Samantha smelled him just before he grabbed her from behind. Sweat and grease, like the men where she got her car repaired and oil changed. His thick, smooth arm wrapped around her neck like a boa constrictor. She grabbed his wrist and forearm, struggling to breathe.

In one motion, he seemed to throw her out of the chair and onto the floor. Her head smacked hard against the tile.

A flash of white. The room drained of color until she saw the sliver blade slice through her yellow cotton shirt.

His open hand pressed forcefully against her throat. Her stomach felt warm and sticky, and she imagined sinking into the floor as if it were quicksand. A thick heaviness covered her.

“I've marked you.” His voice was deep and steady. “You're mine now.”

She remembers his pitted face close to hers. Yellow-green eyes and thick purplish lips. Hot breath. The smell of grease.

Then darkness.

 

A young man and woman were kneeling beside her when she woke. Another had run off to call the police and paramedics. Samantha found out later that they were law students too. The woman had accidentally left her reading glasses in one of the cubicles and returned with two friends on their way to a bar.

The man attacking Samantha must have run at the sound of their approaching voices. None of them had seen him, just Samantha's body lying on the floor. Her shirt black with blood. Pools of red on the white tiles.

 

Tap, tap, tap, tap.

The footsteps come together and stop outside the door. Everything is still. Her face flushed and warm.

“Hello?” Samantha's voice is deadened in the soundproof room.

The footsteps start again, moving in the opposite direction. They aren't hurried, but steady and deliberate. Samantha exhales slowly and tells herself not to be afraid. She breathes again. The sounds in the hall fade to silence.

She turns back to the letters and the next index card.

Goldberg's terror seems to lessen somewhat when Bach visits the castle several months later. His fear is replaced by fascination, a newfound curiosity about the count's alchemical practices.

5 October 1741

Dearest Brother,

The great J. S. Bach was here at the castle a few days ago! I introduced myself before G—showed him to the waiting room. My hand is still shaking with excitement.

The count has commissioned a piece to help him sleep. It sounds absurd, I know, but the count is earnest. And Bach has agreed to try. In the meantime, the count summons me daily to assist with his work. He has become too ill to manage on his own.

Yesterday he pointed out several potions in his chamber and said: “This is how it began, Goldberg. With a search.”

“For what?”

“Everlasting life. It is what God promises the righteous, those who can wait a lifetime for judgment.”

“I don't understand.”

“I was impatient. Afraid of oblivion, of not knowing. Let me live forever, I prayed. I will suffer whatever pains and torments, just leave me here—where I know what to expect.”

He was quiet after that, and we continued to work.

At first I thought of the miserable Struldbruggs, in Swift's book, who live forever but never stop aging. Watching their bodies and minds decay, they become dejected and melancholic, lamenting at every funeral—envious of those who die. But the count is not like this. He is a victim not of fate but of his own deeds.

I'm learning of a world I never knew, Brother. There are powers here that you can't imagine. Be well and write soon,

Your brother,
J

Before returning to Leipzig in early November, Bach delivers the
Variations
. This is the last letter Goldberg writes for the next six months.

16 November 1741

Carl,

Bach composed a set of miraculous variations for the count. His performance was sublime. So much so that I began to feel spiteful—as if its beauty ridiculed me, laughing at the excuses I have made for my own failures. Why am I chained in servitude to this embittered man? If only I had the time and freedom to compose. I am capable of so much more, of a kind of greatness, yet I have grown comfortable with my own failings.

The count's manner has only gotten worse, and the ser
vants become more frightened every day. As my animosity toward him grows, so does my sympathy for him. We are bound together now, like brothers. For the first time I understand his need for something more, something beyond this life.

Stay well,
Johann

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