There is another world, but it is in this one.

Paul Eluard. Œuvres complètes, vol. 1, Gallimard, 1968.

Tuesday, May 5, 2020

Uncanny Capote

Uncanny Capote

....if the writer believes that our life is and will remain essentially mysterious, if he looks upon us as beings existing in a created order to whose laws we freely respond, then what he sees on the surface will be of interest to him only as he can go through it into an experience of mystery itself. His kind of fiction will always be pushing its own limits outward toward the limits of mystery, because for this kind of writer, the meaning of a story does not begin except at a depth where adequate motivation and adequate psychology and the various determinations have been exhausted. Such a writer will be interested in what we don't understand rather than in what we do. He will be interested in possibility rather than in probability. He will be interested in characters who are forced out to meet evil and grace and who act on a trust beyond themselves–whether they know very clearly what it is they act upon or not. To the modern mind, this kind of character, and his creator, are typical Don Quixotes, tilting at what is not there.

I would not like to suggest that this kind of writer, because his interest is predominantly in mystery, is able in any sense to slight the concrete. Fiction begins where human knowledge begins–with the senses–and every fiction writer is bound by this fundamental aspect of his medium. I do believe, however, that the kind of writer I am describing will use the concrete in a more drastic way. His way will much more obviously be the way of distortion.

Flannery O'Connor,

"Some Aspects of the Grotesque in Southern Fiction" (1960)

Capote's 1949 collection A Tree of Night and Other Stories never aspires to the general tone of postwar probity and petty-bourgeois political seriousness of the period. None of the stories even pretend to ape that era's U.S. publishing house style.

Instead, Capote in all the tales employs a mode of defamiliarization, of what Shklovsky called ostranenie (Sutherland, 2010).

A Tree of Night • (1945)

A young woman named Kay boards a night train to return to college after attending an uncle's funeral. She sits across from a talkative woman and a silent man. Social discomfort quickly dissolves into menace.

....The trio in the alcove regarded one another in mysterious silence till the woman said, "I've got something here I wanna show you, honey." She rummaged once more in the oilcloth satchel. "You won't be so snotty after you get a gander at this."

     What she passed to Kay was a handbill, published on such yellowed, antique paper it looked as if it must be centuries old. In fragile, overly fancy lettering, it read:





     Adults, 25¢—Children, 10¢

     "I always sing a hymn and read a sermon," said the woman. "It's awful sad: some folks cry, especially the old ones. And I've got me a perfectly elegant costume: a black veil and a black dress, oh, very becoming. He wears a gorgeous made-to-order bridegroom suit and a turban and lotsa talcum on his face. See, we try to make it as much like a bonafide funeral as we can. But shoot, nowadays you're likely to get just a buncha smart alecks come for laughs—so sometimes I'm real glad he's afflicted like he is on accounta otherwise his feelings would be hurt, maybe."

     Kay said, "You mean you're with a circus or a side-show or something like that?"

     "Nope, us alone," said the woman as she reclaimed the fallen hat. "We've been doing it for years and years—played every tank town in the South: Singasong, Mississippi—Spunky, Louisiana—Eureka, Alabama …" These and other names rolled off her tongue musically, running together like rain. "After the hymn, after the sermon, we bury him."

     "In a coffin?"

     "Sort of. It's gorgeous, it's got silver stars painted all over the lid."

     "I should think he would suffocate," said Kay, amazed. "How long does he stay buried?"

     "All told it takes maybe an hour—course that's not counting the lure."

     "The lure?"

     "Uh huh. It's what we do the night before the show. See, we hunt up a store, any ol' store with a big glass window'll do, and get the owner to let him sit inside this window, and, well, hypnotize himself. Stays there all night stiff as a poker and people come and look: scares the livin' hell out of 'em.…" While she talked she jiggled a finger in her ear, withdrawing it occasionally to examine her find. "And one time this ol' bindle-stiff Mississippi sheriff tried to …"

From there the young woman's predicament further degenerates.

....At this point the man took from his pocket what seemed to be a finely shellacked peach seed and balanced it on the palm of his hand. He looked across at Kay and, certain of her attention, opened his eyelids wide and began to squeeze and caress the seed in an undefinably obscene manner.

     Kay frowned. "What does he want?"

     "He wants you to buy it."

     "But what is it?"

     "A charm," said the woman. "A love charm."

     Whoever was playing the harmonica stopped. Other sounds, less unique, became at once prominent: someone snoring, the gin bottle seesaw rolling, voices in sleepy argument, the train wheels' distant hum.

     "Where could you get love cheaper, honey?"

     "It's nice. I mean it's cute.…" Kay said, stalling for time. The man rubbed and polished the seed on his trouser leg. His head was lowered at a supplicating, mournful angle, and presently he stuck the seed between his teeth and bit it, as if it were a suspicious piece of silver. "Charms always bring me bad luck. And besides … please, can't you make him stop acting that way?"

     "Don't look so scared," said the woman, more flat-voiced than ever. "He ain't gonna hurt you."

     "Make him stop, damn it!"

     "What can I do?" asked the woman, shrugging her shoulders. "You're the one that's got money. You're rich. All he wants is a dollar, one dollar."

     Kay tucked her purse under her arm. "I have just enough to get back to school," she lied, quickly rising and stepping out into the aisle. She stood there a moment, expecting trouble. But nothing happened.

     The woman, with rather deliberate indifference, heaved a sigh and closed her eyes; gradually the man subsided and stuck the charm back in his pocket. Then his hand crawled across the seat to join the woman's in a lax embrace.

     Kay shut the door and moved to the front of the observation platform. It was bitterly cold in the open air, and she had left her raincoat in the alcove. She loosened her scarf and draped it over her head.

     Although she had never made this trip before, the train was traveling through an area strangely familiar: tall trees, misty, painted pale by malicious moonshine, towered steep on either side without a break or clearing. Above, the sky was a stark, unexplorable blue thronged with stars that faded here and there. She could see streamers of smoke trailing from the train's engine like long clouds of ectoplasm. In one corner of the platform a red kerosene lantern cast a colorful shadow....

Kay ends up without the possibility to escape, in the dark, robbed of sight like one of Ramsey Campbell's short story protagonists.

Miriam • (1945)

Mrs. H. T. Miller, widowed, isolated more than she realizes, meets a little girl named Miriam at a movie theater. (Miriam is also the first name of Mrs. H. T. Miller.)

Mrs. Miller has a number of subsequent encounters with Miriam, each more disturbing and menacing than the last.

....That evening she scrambled eggs and fixed a bowl of tomato soup. Then, after putting on a flannel robe and cold-creaming her face, she propped herself up in bed with a hot-water bottle under her feet. She was reading the Times when the doorbell rang. At first she thought it must be a mistake and whoever it was would go away. But it rang and rang and settled to a persistent buzz. She looked at the clock: a little after eleven; it did not seem possible, she was always asleep by ten.

     Climbing out of bed, she trotted barefoot across the living room. "I'm coming, please be patient." The latch was caught; she turned it this way and that way and the bell never paused an instant. "Stop it," she cried. The bolt gave way and she opened the door an inch. "What in heaven's name?"

     "Hello," said Miriam.

     "Oh … why, hello," said Mrs. Miller, stepping hesitantly into the hall. "You're that little girl."

     "I thought you'd never answer, but I kept my finger on the button; I knew you were home. Aren't you glad to see me?"

     Mrs. Miller did not know what to say. Miriam, she saw, wore the same plum-velvet coat and now she had also a beret to match; her white hair was braided in two shining plaits and looped at the ends with enormous white ribbons.

     "Since I've waited so long, you could at least let me in," she said.

     "It's awfully late.…"

     Miriam regarded her blankly. "What difference does that make? Let me in. It's cold out here and I have on a silk dress." Then, with a gentle gesture, she urged Mrs. Miller aside and passed into the apartment.

     She dropped her coat and beret on a chair. She was indeed wearing a silk dress. White silk. White silk in February. The skirt was beautifully pleated and the sleeves long; it made a faint rustle as she strolled about the room. "I like your place," she said. "I like the rug, blue's my favorite color." She touched a paper rose in a vase on the coffee table. "Imitation," she commented wanly. "How sad. Aren't imitations sad?" She seated herself on the sofa, daintily spreading her skirt.

     "What do you want?" asked Mrs. Miller.

     "Sit down," said Miriam. "It makes me nervous to see people stand."

     Mrs. Miller sank to a hassock. "What do you want?" she repeated.

     "You know, I don't think you're glad I came."

     For a second time Mrs. Miller was without an answer; her hand motioned vaguely. Miriam giggled and pressed back on a mound of chintz pillows. Mrs. Miller observed that the girl was less pale than she remembered; her cheeks were flushed.

     "How did you know where I lived?"

     Miriam frowned. "That's no question at all. What's your name? What's mine?"

     "But I'm not listed in the phone book."

     "Oh, let's talk about something else."

     Mrs. Miller said, "Your mother must be insane to let a child like you wander around at all hours of the night—and in such ridiculous clothes. She must be out of her mind."

     Miriam got up and moved to a corner where a covered bird cage hung from a ceiling chain. She peeked beneath the cover. "It's a canary," she said. "Would you mind if I woke him? I'd like to hear him sing."

     "Leave Tommy alone," said Mrs. Miller, anxiously. "Don't you dare wake him."

     "Certainly," said Miriam. "But I don't see why I can't hear him sing." And then, "Have you anything to eat? I'm starving! Even milk and a jam sandwich would be fine."

     "Look," said Mrs. Miller, arising from the hassock, "look—if I make some nice sandwiches will you be a good child and run along home? It's past midnight, I'm sure."

     "It's snowing," reproached Miriam. "And cold and dark."

     "Well, you shouldn't have come here to begin with," said Mrs. Miller, struggling to control her voice. "I can't help the weather. If you want anything to eat you'll have to promise to leave."

Miriam is not exactly a doppelganger or a vampire, but something more insistent, insidious, and inevitable.

A couple of days later, when Mrs. H. T. Miller has returned home from shopping:

....At precisely five the doorbell rang. Mrs. Miller knew who it was. The hem of her housecoat trailed as she crossed the floor. "Is that you?" she called.

     "Naturally," said Miriam, the word resounding shrilly from the hall. "Open this door."

     "Go away," said Mrs. Miller.

     "Please hurry … I have a heavy package."

     "Go away," said Mrs. Miller. She returned to the living room, lighted a cigarette, sat down and calmly listened to the buzzer; on and on and on. "You might as well leave. I have no intention of letting you in."

     Shortly the bell stopped. For possibly ten minutes Mrs. Miller did not move. Then, hearing no sound, she concluded Miriam had gone. She tiptoed to the door and opened it a sliver; Miriam was half-reclining atop a cardboard box with a beautiful French doll cradled in her arms.

     "Really, I thought you were never coming," she said peevishly. "Here, help me get this in, it's awfully heavy."

     It was not spell-like compulsion that Mrs. Miller felt, but rather a curious passivity; she brought in the box, Miriam the doll. Miriam curled up on the sofa, not troubling to remove her coat or beret, and watched disinterestedly as Mrs. Miller dropped the box and stood trembling, trying to catch her breath.

     "Thank you," she said. In the daylight she looked pinched and drawn, her hair less luminous. The French doll she was loving wore an exquisite powdered wig and its idiot glass eyes sought solace in Miriam's. "I have a surprise," she continued. "Look into my box."

     Kneeling, Mrs. Miller parted the flaps and lifted out another doll; then a blue dress which she recalled as the one Miriam had worn that first night at the theatre; and of the remainder she said, "It's all clothes. Why?"

     "Because I've come to live with you," said Miriam, twisting a cherry stem. "Wasn't it nice of you to buy me the cherries …?"

     "But you can't! For God's sake go away—go away and leave me alone!"

     "… and the roses and the almond cakes? How really wonderfully generous. You know, these cherries are delicious. The last place I lived was with an old man; he was terribly poor and we never had good things to eat. But I think I'll be happy here." She paused to snuggle her doll closer. "Now, if you'll just show me where to put my things …"

     Mrs. Miller's face dissolved into a mask of ugly red lines; she began to cry, and it was an unnatural, tearless sort of weeping, as though, not having wept for a long time, she had forgotten how. Carefully she edged backward till she touched the door....

My Side of the Matter • (1945)

"My Side of the Matter" is a black comedy of error, misunderstanding, and social idiocy. (It also recalls Benny Hill's grotesque old send-ups of grotesque Tennessee Williams plays.)

A teenage married couple move to the wife's family home when she becomes pregnant. "So she makes me quit my perfectly swell position clerking at the Cash 'n' Carry and move here to Admiral's Mill, which is nothing but a damn gap in the road any way you care to consider it."

Tone of voice carries the story forward: a self-justifying cry of hopeless fury and resentment by the young bridegroom.

....When I first caught sight of this house I must say I was impressed. It's big and yellow and has real columns out in front and japonica trees, both red and white, lining the yard.

     Eunice and Olivia-Ann had seen us coming and were waiting in the hall. I swear I wish you could get a look at these two. Honest, you'd die! Eunice is this big old fat thing with a behind that must weigh a tenth of a ton. She troops around the house, rain or shine, in this real old-fashioned nightie, calls it a kimono, but it isn't anything in this world but a dirty flannel nightie. Furthermore she chews tobacco and tries to pretend so ladylike, spitting on the sly. She keeps gabbing about what a fine education she had, which is her way of attempting to make me feel bad, although, personally, it never bothers me so much as one whit, as I know for a fact she can't even read the funnies without she spells out every single, solitary word. You've got to hand her one thing, though—she can add and subtract money so fast that there's no doubt but what she could be up in Washington, D.C., working where they make the stuff. Not that she hasn't got plenty of money! Naturally she says she hasn't but I know she has because one day, accidentally, I happened to find close to a thousand dollars hidden in a flowerpot on the side porch. I didn't touch one cent, only Eunice says I stole a hundred-dollar bill, which is a venomous lie from start to finish. Of course anything Eunice says is an order from headquarters, as not a breathing soul in Admiral's Mill can stand up and say he doesn't owe her money and if she said Charlie Carson (a blind ninety-year-old invalid who hasn't taken a step since 1896) threw her on her back and raped her, everybody in this county would swear the same on a stack of Bibles.

Things degenerate from there. But there is no resolution in sight for our narrator, just an endless Keystone Kops crash.

"God will punish him," says Eunice.

     "Oh, Sister," says Olivia-Ann, "let us not wait for God."

     Whereupon Eunice advances on me with this most peculiar look, her dirty flannel nightie jerking along the floor. And Olivia-Ann leeches after her and Bluebell lets forth this moan that must have been heard clear to Eufala and back while Marge stands there wringing her hands and whimpering.

     "Oh-h-h," sobs Marge, "please give her back that money, babydoll."

     I said, "Et tu Brute?" which is from William Shakespeare.

     "Look at the likes of him," says Eunice, "lying around all day not doing so much as licking a postage stamp." "Pitiful," clucks Olivia-Ann.

     "You'd think he was having a baby instead of that poor child." Eunice speaking.

     Bluebell tosses in her two cents, "Ain't it the truth?"

     "Well, if it isn't the old pots calling the kettle black," says I.

     "After loafing here for three months, does this runt have the audacity to cast aspersions in my direction?" says Eunice.

     I merely flicked a bit of ash from my sleeve and not the least bit fazed said, "Dr. A. N. Carter has informed me that I am in a dangerous scurvy condition and can't stand the least excitement whatsoever—otherwise I'm liable to foam at the mouth and bite somebody."

     Then Bluebell says, "Why don't he go back to that trash in Mobile, Miss Eunice? I'se sick and tired of carryin' his ol' slop jar."

     Naturally that coal-black nigger made me so mad I couldn't see straight.

     So just as calm as a cucumber I arose and picked up this umbrella off the hat tree and rapped her across the head with it until it cracked smack in two.

     "My real Japanese silk parasol!" shrieks Olivia-Ann.

     Marge cries, "You've killed Bluebell, you've killed poor old Bluebell!"

     Eunice shoves Olivia-Ann and says, "He's gone clear out of his head, Sister! Run! Run and get Mr. Tubberville!"

     "I don't like Mr. Tubberville," says Olivia-Ann staunchly. "I'll go get my hog knife." And she makes a dash for the door, but seeing as I care nothing for death, I brought her down with a sort of tackle. It wrenched my back something terrible.

     "He's going to kill her!" hollers Eunice loud enough to bring the house down. "He's going to murder us all! I warned you, Marge. Quick, child, get Papa's sword!"

     So Marge gets Papa's sword and hands it to Eunice. Talk about wifely devotion! And, if that's not bad enough, Olivia-Ann gives me this terrific knee punch and I had to let go. The next thing you know we hear her out in the yard bellowing hymns.

     Mine eyes have seen the glory of the

     coming of the Lord;

     He is trampling out the vintage where

     the grapes of wrath are stored.…

     Meanwhile, Eunice is sashaying all over the place, wildly thrashing Papa's sword, and somehow I've managed to clamber atop the piano. Then Eunice climbs up on the piano stool and how that rickety contraption survived a monster like her I'll never be the one to tell.

     "Come down from there, you yellow coward, before I run you through," says she and takes a whack and I've got a half-inch cut to prove it.

     By this time Bluebell has recovered and skittered away to join Olivia-Ann holding services in the front yard. I guess they were expecting my body and God knows it would've been theirs if Marge hadn't passed out cold.

     That's the only good thing I've got to say for Marge.

     What happened after that I can't rightly remember except for Olivia-Ann reappearing with her fourteen-inch hog knife and a bunch of the neighbors. But suddenly Marge was the star attraction and I suppose they carried her to her room. Anyway, as soon as they left I barricaded the parlor door....

Jug of Silver • (1945)

A squee-jawed, bizarre trip into the labyrinth of what becomes a heart-warming Christmas story.

The narrator works at a small-town drug store whose owner has come up with a sure-fire holiday sales gimmick.

....when the jug was dry, Mr. Marshall picked it up and said, "Now we shall see!" And with that disappeared out into the afternoon.

     "Where's he off to?" I asked.

     "Ah," was all Hamurabi would say. He liked to devil me.

     A half-hour passed before my uncle returned. He was stooped and grunting under the load he carried. He set the jug atop the fountain and stepped back, smiling and rubbing his hands together. "Well, what do you think?"

     "Ah," purred Hamurabi.

     "Gee …" I said.

     It was the same wine jug, God knows, but there was a wonderful difference; for now it was crammed to the brim with nickels and dimes that shone dully through the thick glass.

     "Pretty, eh?" said my uncle. "Had it done over at the First National. Couldn't get in anything bigger-sized than a nickel. Still, there's lotsa money in there, let me tell you."

     "But what's the point, Mr. Marshall?" I said. "I mean, what's the idea?"

     Mr. Marshall's smile deepened to a grin. "This here's a jug of silver, you might say …"

     "The pot at the end of the rainbow," interrupted Hamurabi.

     "… and the idea, as you call it, is for folks to guess how much money is in there. For instance, say you buy a quarter's worth of stuff—well, then you get to take a chance. The more you buy, the more chances you get. And I'll keep all guesses in a ledger till Christmas Eve, at which time whoever comes closest to the right amount will get the whole shebang."

The person most serious about hitting the jackpot is a teenage boy:

....At about this time Appleseed and sister made their first appearance.

     He was a stranger in town. At least no one could recall ever having seen him before. He said he lived on a farm a mile past Indian Branches; told us his mother weighed only seventy-four pounds and that he had an older brother who would play the fiddle at anybody's wedding for fifty cents. He claimed that Appleseed was the only name he had and that he was twelve years old. But his sister, Middy, said he was eight. His hair was straight and dark yellow. He had a tight, weather-tanned little face with anxious green eyes that had a very wise and knowing look. He was small and puny and high-strung; and he wore always the same outfit: a red sweater, blue denim britches and a pair of man-sized boots that went clop-clop with every step.

     It was raining that first time he came into the Valhalla; his hair was plastered round his head like a cap and his boots were caked with red mud from the country roads. Middy trailed behind as he swaggered like a cowboy up to the fountain, where I was wiping some glasses.

     "I hear you folks got a bottle fulla money you fixin' to give 'way," he said, looking me square in the eye. "Seein' as you-all are givin' it away, we'd be obliged iffen you'd give it to us. Name's Appleseed, and this here's my sister, Middy."

     Middy was a sad, sad-looking kid. She was a good bit taller and older-looking than her brother: a regular bean pole. She had tow-colored hair that was chopped short, and a pale pitiful little face. She wore a faded cotton dress that came way up above her bony knees. There was something wrong with her teeth, and she tried to conceal this by keeping her lips primly pursed like an old lady.

     "Sorry," I said, "but you'll have to talk with Mr. Marshall."

     So sure enough he did. I could hear my uncle explaining what he would have to do to win the jug. Appleseed listened attentively, nodding now and then. Presently he came back and stood in front of the jug and, touching it lightly with his hand, said, "Ain't it a pretty thing, Middy?"

     Middy said, "Is they gonna give it to us?"

     "Naw. What you gotta do, you gotta guess how much money's inside there. And you gotta buy two bits' worth so's even to get a chance."

     "Huh, we ain't got no two bits. Where you 'spec we gonna get us two bits?"

     Appleseed frowned and rubbed his chin. "That'll be the easy part, just leave it to me. The only worrisome thing is: I can't just take a chance and guess … I gotta know."

Appleseed and his sister spend weeks sitting at the pharmacy counter, the boy studying intently the jug of silver.

....It was three days before Christmas when out of the clear sky, he announced: "Well, I'm finished. I mean I know how much is in the bottle." He claimed this with such grave, solemn sureness it was hard to doubt him.

     "Why, say now, son, hold on," said Hamurabi, who was present. "You can't know anything of the sort. It's wrong to think so: you're just heading to get yourself hurt."

     "You don't need to preach to me, Mr. Hamurabi. I know what I'm up to. A lady in Louisiana, she told me …"

     "Yes yes yes—but you got to forget that. If it were me, I'd go home and stay put and forget about this goddamned jug."

     "My brother's gonna play the fiddle at a wedding over in Cherokee City tonight and he's gonna give me the two bits," said Appleseed stubbornly. "Tomorrow I'll take my chance."

     So the next day I felt kind of excited when Appleseed and Middy arrived. Sure enough, he had his quarter: it was tied for safekeeping in the corner of a red bandanna.

     The two of them wandered hand in hand among the showcases, holding a whispery consultation as to what to purchase. They decided finally on a thimble-sized bottle of gardenia cologne, which Middy promptly opened and partly emptied on her hair. "I smells like … Oh, darlin' Mary, I ain't never smelled nothin' as sweet. Here, Appleseed, honey, let me douse some on your hair." But he wouldn't let her.

     Mr. Marshall got out the ledger in which he kept his records, while Appleseed strolled over to the fountain and cupped the jug between his hands, stroking it gently. His eyes were bright and his cheeks flushed from excitement. Several persons who were in the drugstore at that moment crowded close. Middy stood in the background quietly scratching her leg and smelling the cologne. Hamurabi wasn't there.

     Mr. Marshall licked the point of his pencil and smiled. "Okay, son, what do you say?"

     Appleseed took a deep breath. "Seventy-seven dollars and thirty-five cents," he blurted.

     In picking such an uneven sum, he showed originality, for the run-of-the-mill guess was a plain round figure. Mr. Marshall repeated the amount solemnly as he copied it down.

     "When'll I know if I won?"

     "Christmas Eve," someone said.

     "That's tomorrow, huh?"

     "Why, so it is," said Mr. Marshall, not surprised. "Come at four o'clock."

Capote gives the reader a few anxious moments before the drawing. But this only makes the reader love him more at the end.

The Headless Hawk • (1946)

There are many stories about young people going to NYC to launch careers and find romance. Here Capote takes a young man with such ambitions and autopsies the myriad ways his weakness, selfishness, and narcissism sabotage his every cretinous pipe-dream.

....Four aspirins, one right after the other, and he came back into the room; the bed had not been tidied for a week, a spilt ashtray messed the floor, odds and ends of clothing decorated improbable places, lampshades and such. But tomorrow, if he felt better, there would be a general cleaning; perhaps he'd have the walls repainted, maybe fix up the yard. Tomorrow he could begin thinking about his friends again, accept invitations, entertain. And yet this prospect, tasted in advance, was without flavor: all he'd known before seemed to him now sterile and spurious. Footsteps in the hall; could she return this soon, the movie over, the afternoon gone? Fever can make time pass so queerly, and for an instant he felt as though his bones were floating loose inside him. Clop-clop, a child's sloppy shoefall, the footsteps passed up the stairs, and Vincent moved, floated toward the mirrored closet. He longed to hurry, knowing he must, but the air seemed thick with gummy fluid. He brought her suitcase from the closet, and put it on the bed, a sad cheap suitcase with rusty locks and a warped hide. He eyed it with guilt. Where would she go? How would she live? When he'd broken with Connie, Gordon, all the others, there had been about it at least a certain dignity. Really, though—and he'd thought it out—there was no other way. So he gathered her belongings. Miss Martha Lovejoy Hall peeked out from under the leather windbreaker, her music-teacher's face smiling an oblique reproach. Vincent turned her over, face down, and tucked in the frame an envelope containing twenty dollars. That would buy a ticket back to Glass Hill, or wherever it was she came from. Now he tried to close the case, and, too weak with fever, collapsed on the bed. Quick yellow wings glided through the window. A butterfly. He'd never seen a butterfly in this city, and it was like a floating mysterious flower, like a sign of some sort, and he watched with a kind of horror as it waltzed in the air. Outside, somewhere, the razzledazzle of a beggar's grind-organ started up; it sounded like a broken-down pianola, and it played La Marseillaise. The butterfly lighted on her painting, crept across crystal eyes and flattened its wings like a ribbon bow over the loose head. He fished about in the suitcase until he found her scissors. He first purposed to slash the butterfly's wings, but it spiraled to the ceiling and hung there like a star. The scissors stabbed the hawk's heart, ate through canvas like a ravening steel mouth, scraps of picture flaking the floor like cuttings of stiff hair. He went on his knees, pushed the pieces into a pile, put them in the suitcase, and slammed the lid shut. He was crying. And through the tears the butterfly magnified on the ceiling, huge as a bird, and there were more: a flock of lilting, winking yellow; whispering lonesomely, like surf sucking a shore. The wind from their wings blew the room into space. He heaved forward, the suitcase banging his leg, and threw open the door. A match flared. The little boy said: "Whatcha doin', Mister?" And Vincent, setting the suitcase in the hall, grinned sheepishly. He closed the door like a thief, bolted the safety lock and, pulling up a chair, tilted it under the knob. In the still room there was only the subtlety of shifting sunlight and a crawling butterfly; it drifted downward like a tricky scrap of crayon paper, and landed on a candlestick. Sometimes he is not a man at all—she'd told him that, huddling here on the bed, talking swiftly in the minutes before dawn—sometimes he is something very different: a hawk, a child, a butterfly. And then she'd said: At the place where they took me there were hundreds of old ladies, and young men, and one of the young men said he was a pirate, and one of the old ladies—she was near ninety—used to make me feel her stomach. "Feel," she'd say, "feel how strong he kicks?" This old lady took painting class, too, and her paintings looked like crazy quilts. And naturally he was in this place. Mr. Destronelli. Only he called himself Gum. Doctor Gum. Oh, he didn't fool me, even though he wore a gray wig, and made himself up to look real old and kind, I knew. And then one day I left, ran clear away, and hid under a lilac bush, and a man came along in a little red car, and he had a little mouse-haired mustache, and little cruel eyes. But it was him. And when I told him who he was he made me get out of his car. And then another man, that was in Philadelphia, picked me up in a café and took me into an alley. He talked Italian, and had tattoo pictures all over. But it was him. And the next man, he was the one who painted his toenails, sat down beside me in a movie because he thought I was a boy, and when he found out I wasn't he didn't get mad but let me live in his room, and cooked pretty things for me to eat. But he wore a silver locket and one day I looked inside and there was a picture of Miss Hall. So I knew it was him, so I had this feeling she was dead, so I knew he was going to murder me. And he will. He will. Dusk, and nightfall, and the fibers of sound called silence wove a shiny blue mask. Waking, he peered through eyeslits, heard the frenzied pulsebeat of his watch, the scratch of a key in a lock. Somewhere in this hour of dusk a murderer separates himself from shadow and with a rope follows the flash of silk legs up doomed stairs. And here the dreamer staring through his mask dreams of deceit. Without investigating, he knows the suitcase is missing, that she has come, that she has gone; why, then, does he feel so little the pleasure of safety, and only cheated, and small—small as the night when he searched the moon through an old man's telescope?

Shut a Final Door • (1947)

....At seven that evening he'd arrived in New Orleans, at seven-thirty he'd registered in this hotel, an anonymous, side-street place. It was August, and it was as though bonfires burned in the red night sky, and the unnatural Southern landscape, observed so assiduously from the train, and which, trying to sublimate all else, he retraced in memory, intensified a feeling of having traveled to the end, the falling off.

"He'd always been willing to confess his faults, for, by admitting them, it was as if he made them no longer to exist."  Another young man schemes to succeed in NYC, but only breaks his teeth before taking flight. Alas, he is pursued by a sinister long-distance caller. 

....Just as the music ended, the telephone rang. He simply stood there, afraid somehow to answer, and the lamplight, the furniture, everything in the room went quite dead. When at last he thought it had stopped, it commenced again; louder, it seemed, and more insistent. He tripped over a footstool, picked up the receiver, dropped and recovered it, said: "Yes?"

     Long-distance: a call from some town in Pennsylvania, the name of which he didn't catch. Following a series of spasmic rattlings, a voice, dry and sexless and altogether unlike any he'd ever heard before, came through: "Hello, Walter."

     "Who is this?"

     No answer from the other end, only a sound of strong orderly breathing; the connection was so good it seemed as though whoever it was was standing beside him with lips pressed against his ear. "I don't like jokes. Who is this?"

     "Oh, you know me, Walter. You've known me a long time." A click, and nothing.

Children on Their Birthdays • (1948)

My deep thanks to author Scott Bradfield for bringing "Children on their Birthdays" (1948) by Truman Capote to my attention.

Sublimely grotesque and funny about adolescence and its occult rituals.

Scott's video talk:

The story begins: "Yesterday afternoon the six-o'clock bus ran over Miss Bobbit."

It ends:

"Look, boys," [10 year old Miss Bobbitt] said, laying it on the line, "none of you ever thought to see that money again, but now that you have, you ought to invest it in something practical—like me." The proposition was that they should pool their money and finance her trip to Hollywood; in return, they would get ten percent of her life's earnings which, after she was a star, and that would not be very long, would make them all rich men. "At least," as she said, "in this part of the country." Not one of the boys wanted to do it: but when Miss Bobbit looked at you, what was there to say?

Since Monday, it has been raining buoyant summer rain shot through with sun, but dark at night and full of sound, full of dripping leaves, watery chimings, sleepless scuttlings. Billy Bob is wideawake, dry-eyed, though everything he does is a little frozen and his tongue is as stiff as a bell tongue. It has not been easy for him, Miss Bobbit's going. Because she'd meant more than that. Than what? Than being thirteen years old and crazy in love. She was the queer things in him, like the pecan tree and liking books and caring enough about people to let them hurt him. She was the things he was afraid to show anyone else. And in the dark the music trickled through the rain: won't there be nights when we will hear it just as though it were really there? And afternoons when the shadows will be all at once confused, and she will pass before us, unfurling across the lawn like a pretty piece of ribbon? She laughed to Billy Bob; she held his hand, she even kissed him. "I'm not going to die," she said. "You'll come out there, and we'll climb a mountain, and we'll all live there together, you and me and Sister Rosalba." But Billy Bob knew it would never happen that way, and so when the music came through the dark he would stuff the pillow over his head.

Only there was a strange smile about yesterday, and that was the day she was leaving. Around noon the sun came out, bringing with it into the air all the sweetness of wisteria. Aunt El's yellow Lady Anne's were blooming again, and she did something wonderful, she told Billy Bob he could pick them and give them to Miss Bobbit for goodbye. All afternoon Miss Bobbit sat on the porch surrounded by people who stopped by to wish her well. She looked as though she were going to Communion, dressed in white and with a white parasol. Sister Rosalba had given her a handkerchief, but she had to borrow it back because she couldn't stop blubbering. Another little girl brought a baked chicken, presumably to be eaten on the bus; the only trouble was she'd forgotten to take out the insides before cooking it. Miss Bobbit's mother said that was all right by her, chicken was chicken; which is memorable because it is the single opinion she ever voiced. There was only one sour note. For hours Preacher Star had been hanging around down at the corner, sometimes standing at the curb tossing a coin, and sometimes hiding behind a tree, as if he didn't want anyone to see him. It made everybody nervous. About twenty minutes before bus time he sauntered up and leaned against our gate. Billy Bob was still in the garden picking roses; by now he had enough for a bonfire, and their smell was as heavy as wind. Preacher stared at him until he lifted his head. As they looked at each other the rain began again, falling fine as sea spray and colored by a rainbow. Without a word, Preacher went over and started helping Billy Bob separate the roses into two giant bouquets: together they carried them to the curb. Across the street there were bumblebees of talk, but when Miss Bobbit saw them, two boys whose flower-masked faces were like yellow moons, she rushed down the steps, her arms outstretched. You could see what was going to happen; and we called out, our voices like lightning in the rain, but Miss Bobbit, running toward those moons of roses, did not seem to hear. That is when the six-o'clock bus ran over her.

Master Misery • (1949)

My favorite story, epitomising the uncanny and deeply menacing NYC where a young woman finds her ambitions dashed before she is even aware what they are. To survive, she begins selling part of herself.

"....I wish you didn't have to go to that office and come home every day feeling cross and out of sorts. Personally, and I said this to Bootsy just last night and he agreed with me one hundred percent, I said, Bootsy, I think Sylvia ought to get married: a girl high-strung like that needs her tensions relaxed. There's no earthly reason why you shouldn't. I mean maybe you're not pretty in the ordinary sense, but you have beautiful eyes, and an intelligent, really sincere look. In fact you're the sort of girl any professional man would be lucky to get. And I should think you would want to … Look what a different person I am since I married Henry. Doesn't it make you lonesome seeing how happy we are? I'm here to tell you, honey, that there is nothing like lying in bed at night with a man's arms around you and …"

     "Estelle! For Christ's sake!" Sylvia sat bolt upright in bed, anger on her cheeks like rouge. But after a moment she bit her lip and lowered her eyelids. "I'm sorry," she said, "I didn't mean to shout. Only I wish you wouldn't talk like that."

     "It's all right," said Estelle, smiling in a dumb, puzzled way. Then she went over and gave Sylvia a kiss. "I understand, honey. It's just that you're plain worn out. And I'll bet you haven't had anything to eat either. Come on in the kitchen and I'll scramble you some eggs."

     When Estelle set the eggs before her, Sylvia felt quite ashamed; after all, Estelle was trying to be nice; and so then, as though to make it all up, she said: "Something did happen today."

     Estelle sat down across from her with a cup of coffee, and Sylvia went on: "I don't know how to tell about it. It's so very odd. But—well, I had lunch at the Automat today, and I had to share the table with these three men. I might as well have been invisible because they talked about the most personal things. One of the men said his girl friend was going to have a baby and he didn't know where he was going to get the money to do anything about it. So one of the other men asked him why didn't he sell something. He said he didn't have anything to sell. Whereupon the third man (he was rather delicate and didn't look as if he belonged with the others) said yes, there was something he could sell: dreams. Even I laughed, but the man shook his head and said very seriously: no, it was perfectly true, his wife's aunt, Miss Mozart, worked for a rich man who bought dreams, regular night-time dreams—from anybody. And he wrote down the man's name and address and gave it to his friend; but the man simply left it lying on the table. It was too crazy for him, he said."

     "Me, too," Estelle put in a little righteously.

     "I don't know," said Sylvia, lighting a cigarette. "But I couldn't get it out of my head. The name written on the paper was A. F. Revercomb and the address was on East Seventy-eighth Street. I only glanced at it for a moment, but it was … I don't know, I couldn't seem to forget it. It was beginning to give me a headache. So I left the office early …"

     Slowly, and with emphasis, Estelle put down her coffee cup. "Honey, listen, you don't mean you went to see him, this Revercomb nut?"

     "I didn't mean to," she said, immediately embarrassed. To try and tell about it she now realized was a mistake. Estelle had no imagination, she would never understand. So her eyes narrowed, the way they always did when she composed a lie. "And, as a matter of fact, I didn't," she said flatly. "I started to; but then I realized how silly it was, and went for a walk instead."

     "That was sensible of you," said Estelle as she began stacking dishes in the kitchen sink. "Imagine what might have happened. Buying dreams! Whoever heard? Uh uh, honey, this sure isn't Easton."

     Before retiring, Sylvia took a Seconal, something she seldom did; but she knew otherwise she would never rest, not with her mind so nimble and somersaulting; then, too, she felt a curious sadness, a sense of loss, as though she'd been the victim of some real or even moral theft, as though, in fact, the boys encountered in the park had snatched (abruptly she switched on the light) her purse. The envelope Miss Mozart had handed her: it was in the purse, and until now she had forgotten it. She tore it open. Inside there was a blue note folded around a bill; on the note there was written: In payment of one dream, $5. And now she believed it; it was true, and she had sold Mr. Revercomb a dream. Could it be really so simple as that? She laughed a little as she turned off the light again. If she were to sell a dream only twice a week, think of what she could do: a place somewhere all her own, she thought, deepening toward sleep; ease, like firelight, wavered over her, and there came the moment of twilit lantern slides, deeply deeper. His lips, his arms: telescoped, descending; and distastefully she kicked away the blanket. Were these cold man-arms the arms Estelle had spoken of? Mr. Revercomb's lips brushed her ear as he leaned far into her sleep. Tell me? he whispered.

     It was a week before she saw him again, a Sunday afternoon in early December. She'd left the apartment intending to see a movie, but somehow, and as though it had happened without her knowledge, she found herself on Madison Avenue, two blocks from Mr. Revercomb's. It was a cold, silver-skied day, with winds sharp and catching as hollyhock; in store windows icicles of Christmas tinsel twinkled amid mounds of sequined snow: all to Sylvia's distress, for she hated holidays, those times when one is most alone. In one window she saw a spectacle which made her stop still. It was a life-sized, mechanical Santa Claus; slapping his stomach he rocked back and forth in a frenzy of electrical mirth. You could hear beyond the thick glass his squeaky uproarious laughter. The longer she watched the more evil he seemed, until, finally, with a shudder, she turned and made her way into the street of Mr. Revercomb's house. It was, from the outside, an ordinary town house, perhaps a trifle less polished, less imposing than some others, but relatively grand all the same. Winter-withered ivy writhed about the leaded windowpanes and trailed in octopus ropes over the door; at the sides of the door were two small stone lions with blind, chipped eyes. Sylvia took a breath, then rang the bell. Mr. Revercomb's pale and charming Negro recognized her with a courteous smile.

     On the previous visit, the parlor in which she had awaited her audience with Mr. Revercomb had been empty except for herself. This time there were others present, women of several appearances, and an excessively nervous, gnat-eyed young man. Had this group been what it resembled, namely, patients in a doctor's anteroom, he would have seemed either an expectant father or a victim of St. Vitus. Sylvia was seated next to him, and his fidgety eyes unbuttoned her rapidly: whatever he saw apparently intrigued him very little, and Sylvia was grateful when he went back to his twitchy preoccupations. Gradually, though, she became conscious of how interested in her the assemblage seemed; in the dim, doubtful light of the plant-filled room their gazes were more rigid than the chairs upon which they sat; one woman was particularly relentless. Ordinarily, her face would have had a soft commonplace sweetness, but now, watching Sylvia, it was ugly with distrust, jealousy. As though trying to tame some creature which might suddenly spring full-fanged, she sat stroking a flea-bitten neck fur, her stare continuing its assault until the earthquake footstep of Miss Mozart was heard in the hall. Immediately, and like frightened students, the group, separating into their individual identities, came to attention. "You, Mr. Pocker," accused Miss Mozart, "you're next!" And Mr. Pocker, wringing his hands, jittering his eyes, followed after her. In the dusk-room the gathering settled again like sun motes.

     It began then to rain; melting window reflections quivered on the walls, and Mr. Revercomb's young butler, seeping through the room, stirred a fire in the grate, set tea things upon a table. Sylvia, nearest the fire, felt drowsy with warmth and the noise of rain; her head tilted sideways, she closed her eyes, neither asleep nor really awake. For a long while only the crystal swingings of a clock scratched the polished silence of Mr. Revercomb's house. And then, abruptly, there was an enormous commotion in the hall, capsizing the room into a fury of sound: a bull-deep voice, vulgar as red, roared out: "Stop Oreilly? The ballet butler and who else?" The owner of this voice, a tub-shaped, brick-colored little man, shoved his way to the parlor threshold, where he stood drunkenly seesawing from foot to foot. "Well, well, well," he said, his gin-hoarse voice descending the scale, "and all these ladies before me? But Oreilly is a gentleman, Oreilly waits his turn."

     "Not here, he doesn't," said Miss Mozart, stealing up behind him and seizing him sternly by the collar. His face went even redder and his eyes bubbled out: "You're choking me," he gasped, but Miss Mozart, whose green-pale hands were as strong as oak roots, jerked his tie still tighter, and propelled him toward the door, which presently slammed with shattering effect: a tea cup tinkled, and dry dahlia leaves tumbled from their heights. The lady with the fur slipped an aspirin into her mouth. "Disgusting," she said, and the others, all except Sylvia, laughed delicately, admiringly, as Miss Mozart strode past dusting her hands....

The stories share some of the black-magic witchery of Paul Bowles and the early, sublimely ugly and menacing Bradbury.

As an epitaph

This short Maysles film shows a visit with Capote as In Cold Blood was being publishedSoon the answered prayers of fame and fortune crushed him. He never wrote fiction of any significance again.


5 May 2020

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