Teatro Grottesco (6 page)
When the rest of them turned away and began to head back to town, I stayed behind. Another town manager would arrive before long, and I did not wish to see what form the new administration would take. This was the way it had always been – one town manager succeeding another, each of them exhibiting signs of greater degeneracy, as if they were festering away into who knows what. And there was no telling where it would all end. How many others would come and go, taking with them more and more of the place where I had been born and was beginning to grow old? I thought about how different that place had been when I was a child. I thought about my youthful dream of having a home in The Hill district. I thought about my old delivery business.
Then I walked in the opposite direction from the town. I walked until I came to a road. And I walked down that road until I came to another town. I passed through many towns, as well as large cities, doing clean-up work and odd jobs to keep myself going. All of them were managed according to the same principles as my old home town, although I came upon none that had reached such an advanced stage of degeneracy. I had fled that place in hopes of finding another that had been founded upon different principles and operated under a different order. But there was no such place, or none that I could find. It seemed the only course of action left to me was to make an end of it.
Not long after realizing the aforementioned facts of my existence, I was sitting at the counter of a crummy little coffee shop. It was late at night, and I was eating soup. I was also thinking about how I might make an end of it. The coffee shop may have been in a small town or a large city. Now that I think of it, the place stood beneath a highway overpass, so it must have been the latter. The only other customer in the place was a well-dressed man sitting at the other end of the counter. He was drinking a cup of coffee and, I noted, directing a sidelong glance at me every so often. I turned my head toward him and gave him a protracted stare. He smiled and asked if he could join me at my end of the counter.
‘You can do whatever you like. I’m leaving.’
‘Not just yet,’ he said as he sat down at the counter stool next to mine. ‘What business are you in?’
‘None in particular. Why?’
‘I don’t know. You just seem like someone who knows his way around. You’ve been some places, am I right?’
‘I suppose so,’ I said.
‘I thought as much. Look, I’m not just interested in chit-chat here. I work on commission finding people like you. And I think you’ve got what it takes.’
‘For what?’ I asked.
‘Town management,’ he replied.
I finished off the last few spoonfuls of my soup. I wiped my mouth with a paper napkin. ‘Tell me more,’ I said.
It was either that or make an end of it.
SIDESHOW, AND OTHER STORIES
FOREWORD
A
t the time I met the man who authored the stories that follow, I had reached a crisis point in my own work as a writer of fiction. This gentleman, who was considerably older than I, was several steps ahead of me along the same path. ‘I have always desired to escape,’ he said, ‘from
the grip of show business
.’ He said these words to me across the table in a corner booth of the coffee shop where all our meetings took place in the late hours of the night.
t the time I met the man who authored the stories that follow, I had reached a crisis point in my own work as a writer of fiction. This gentleman, who was considerably older than I, was several steps ahead of me along the same path. ‘I have always desired to escape,’ he said, ‘from
the grip of show business
.’ He said these words to me across the table in a corner booth of the coffee shop where all our meetings took place in the late hours of the night.
We had been first introduced by a waitress working the night shift who noticed we were both insomniacs who came into the coffee shop and sat for many hours smoking cigarettes (the same brand), drinking the terrible decaffeinated coffee they served in that place, and every so often jotting something in the respective notebooks which we both kept at hand. ‘All of the myths of mankind are nothing but show business,’ the other man said to me during our initial meeting. ‘Everything that we supposedly live by and supposedly die by – whether it’s religious scriptures or makeshift slogans – all of it is show business. The rise and fall of empires – show business. Science, philosophy, all of the disciplines under the sun, and even the sun itself, as well as all those other clumps of matter wobbling about in the blackness up there –’ he said to me, pointing out the window beside the coffee-shop booth in which we sat, ‘show business, show business, show business.’ ‘And what about dreams?’ I asked, thinking I might have hit upon an exception to his dogmatic view, or at least one that he would accept as such. ‘You mean the dreams of the sort we are having at this moment or the ones we have when we’re fortunate enough to sleep?’ I told him his point was well taken and withdrew my challenge, having only half-heartedly advanced it in the first place. The conversation nevertheless proceeded along the same course – he submitting one example after another of
show business phenomena
; I attempting to propose plausible exceptions to the idiosyncratic doctrine with which he seemed hopelessly obsessed – until we went our separate ways just before dawn.
show business phenomena
; I attempting to propose plausible exceptions to the idiosyncratic doctrine with which he seemed hopelessly obsessed – until we went our separate ways just before dawn.
That first meeting set the tone and fixed the subject matter of my subsequent encounters in the coffee shop with the gentleman I would come to regard as my lost literary father. I should say that I deliberately encouraged the gentleman’s mania and did all I could to keep our conversations focused on it, since I felt that his show-business obsession related in the most intimate way with my own quandary, or crisis, as a writer of fiction. What exactly did he mean by ‘show business’? Why did he find the ‘essentially show-business nature’ of all phenomena to be problematic? How did his work as an author coincide with, or perhaps oppose, what he called the ‘show-business world’?
‘I make no claims for my writing, nor have any hopes for it as a means for escaping the grip of show business,’ he said. ‘Writing is simply another action I perform
on cue
. I order this terrible coffee because I’m in a second-rate coffee shop. I smoke another cigarette because my body tells me it’s time to do so. Likewise, I write because I’m
prompted
to write, nothing more.’
on cue
. I order this terrible coffee because I’m in a second-rate coffee shop. I smoke another cigarette because my body tells me it’s time to do so. Likewise, I write because I’m
prompted
to write, nothing more.’
Seeing an entrance to a matter more closely related to my own immediate interest, or quandary or crisis, I asked him about his writing and specifically about what focus it might be said to have, what ‘center of interest,’ as I put it.
‘My focus, or center of interest,’ he said, ‘has always been the wretched show business of my own life – an autobiographical wretchedness that is not even first-rate show business but more like a series of sideshows, senseless episodes without continuity or coherence except that which, by virtue of my being the ringmaster of this miserable circus of sideshows, I
assign
to it in the most bogus and show-businesslike fashion, which of course fails to maintain any genuine effect of continuity or coherence, inevitably so. But this, I’ve found, is the very essence of show business, all of which in fact is no more than
sideshow
business. The unexpected mutations, the sheer baselessness of beings, the volatility of things . . . By necessity we live in a world, a sideshow world, where everything is ultimately peculiar and ultimately ridiculous.’
assign
to it in the most bogus and show-businesslike fashion, which of course fails to maintain any genuine effect of continuity or coherence, inevitably so. But this, I’ve found, is the very essence of show business, all of which in fact is no more than
sideshow
business. The unexpected mutations, the sheer baselessness of beings, the volatility of things . . . By necessity we live in a world, a sideshow world, where everything is ultimately peculiar and ultimately ridiculous.’
‘By what standard?’ I interjected before his words – which had arrived at the very heart of the crisis, quandary, and suffocating cul-de-sac of my existence as a writer of fiction – veered away. ‘I said by what standard,’ I repeated, ‘do you consider everything peculiar and ridiculous?’
After staring at me in a way that suggested he was not only considering my question, but was also evaluating me and my entire world, he replied: ‘By the standard of that unnameable, unknowable, and no doubt nonexistent order that is
not
show business.’
not
show business.’
Without speaking another word he slid out of the corner booth, paid his check at the counter cash register, and walked out of the coffee shop.
That was the last occasion on which I spoke with this gentleman and fellow writer. The next time I visited the coffee shop and sat in the corner booth, the waitress who worked the night shift presented me with a small sheaf of pages. ‘He said to give these to you and that he wouldn’tbe back for them.’
‘That’s all he said?’ I asked.
‘That’s all,’ she answered.
I thanked her, ordered a decaffeinated coffee, lit a cigarette, and began to read the tales that follow.
I. THE MALIGNANT MATRIX
For years I had been privileged to receive frequent and detailed communications regarding the most advanced scientific and metaphysical studies. This information was of a highly specialized nature that seemed to be unknown to the common run of scientists and metaphysicians, yet was nevertheless attainable by such avid non-specialists as myself, providing of course that one possessed a receptive temperament and willingly opened oneself to certain channels of thought and experience.
One day I received a very special communication whereby I learned that an astounding and quite unexpected breakthrough had been achieved – the culmination, it appeared, of many years of intense scientific and metaphysical study. This breakthrough, the communication informed me, concerned nothing less than the discovery of the true origins of all existential phenomena, both physical and metaphysical – the very source, as I understood the claims being made, of existence in the broadest possible sense. This special communication also told me that I had been selected to be among those who would be allowed a privileged view of everything involved in this startling breakthrough discovery, and therefore would be guaranteed a rare insight into the true origins of all existential phenomena. Since I was an individual who was highly receptive in temperament to the matter at hand, I need only present myself at the particular location where this incredible advance in scientific and metaphysical knowledge had occurred.
Scrupulously I followed the directions communicated to me, even though, for reasons that were not explained, I was not fully apprised of the specifics of my actual destination. Nevertheless, I could not help imagining that I would ultimately find myself a visitor at a sophisticated research facility of some kind, a shining labyrinth of the most innovative devices and apparatus of extraordinary complexity. The place where I finally arrived, however, in no way conformed to my simple-minded and deplorably conventional expectations. This scientific and metaphysical installation, as I thought of it, was located in a large building, but one that was very old. I entered it, according to my instructions, through a small door that I found at the end of a dark and narrow alley that ran along the side of the old building. I opened the door and stepped inside, barely able to see two paces in front of me, for by now it was the middle of the night. There was a faint click as the door closed behind my back, and all I could do was wait for my eyesight to adjust to the darkness.
Moonlight shone down through a window somewhere above me and spread dimly across a dirty concrete floor. I could see that I was standing at the bottom of an empty stairwell. I heard faint sounds of something dragging itself directly toward me. Then I saw what it was that emerged from a shadowy area of that empty stairwell. It was a head supported by a short length of neck on which it pulled itself along like a snail, moving by inches upon the concrete floor. Its features were indistinct yet nonetheless seemed deformed or mutilated, and it was making sounds whose meaning I could not comprehend, its angular jaw opening and closing mechanically. Before the head moved very close to me I noticed there was something else in another, even more shadowy corner of that bleak, moonlit stairwell. Not much larger than the head that was approaching me across the floor, this other object was to my eyes an almost wholly shapeless mass, quite pale, which I was able to identify as
animated tissue
only because, every so often, it opened itself up like a giant bivalved mollusk found at great suboceanic depths. And it made the same sound as the crawling head was making, both of them crying out at the bottom of that dim and empty stairwell, the place, I had been informed, where I might confront the source of all existential phenomena.
animated tissue
only because, every so often, it opened itself up like a giant bivalved mollusk found at great suboceanic depths. And it made the same sound as the crawling head was making, both of them crying out at the bottom of that dim and empty stairwell, the place, I had been informed, where I might confront the source of all existential phenomena.
I thought that I might have been misled, as I stood there listening to the cries of those creatures at the bottom of that empty stairwell, and I left that place through the door by which I had entered it. But just as that door was closing behind me I realized how much those sounds I heard reminded me of the tiny voices of things which, however imperfect their form, have been newly thrust into the world of phenomenal existence.
II. PREMATURE COMMUNICATION
Early one winter morning during my childhood, while I was still lying in bed upstairs, watching a few snowflakes floating outside my bedroom window, I heard a voice from downstairs say these words: ‘The ice is breaking up on the river.’ This voice was like no other that was familiar to me. It was very harsh and yet very quiet at the same time, as though a heap of rusted machinery had whispered something from the shadows of an old factory. Nothing else was said by this voice.
When I left my room and went downstairs, I found my parents in the kitchen as they usually were at that time on winter mornings, my father reading the newspaper and my mother preparing breakfast while the same snowflakes which were floating outside the window of my room upstairs were now floating so slowly outside the kitchen window. Before I could say anything to either of my parents, my mother suddenly told me that I would have to stay inside the house for the rest of the day, offering no reason for making this demand. In reaction I asked, in the words of a child, if my confinement to the house that day had anything to do with the words that the voice had spoken, that ‘the ice was breaking up on the river.’ From across the kitchen my father looked up at my mother, neither of them saying a word. In that moment I realized for the first time how many things in the world were entirely unknown to me, how reticent, often wholly silent, were the people and places of my small childhood world.
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