“Not bad, eh? That’s about fifty yards.”
I don’t say anything. He is fussing over his gun, replacing the dead shell with a live bullet. I let him walk ahead. I’m not going to get any fun out of this. He walks forward, as nonchalant as if he were going to change a record or go and get another drink.
I see his flashlight turn on and then a pause as he kneels to look at the body. And then the light goes out and he is running around and around in circles. He is yelping and running like a dog whose foot has been run over. As he circles he says, “Shit, Shit, Shit, oh fucking Christ.” He looks comical and terrible dancing in his bare feet. He can’t stay still. He runs around saying shit.
Then I am looking at the body. In the yellow light of my flashlight I see the face of a sixteen-year-old boy. I notice strange things, small details: golden down on the cheeks, bad pimples, and something else. At first, in dumb shock, I think it’s his guts coming up. And a pea rolls out. In his mouth is a chunk of TV dinner, slowly thawing.
11.
When I was six years old I threw a cat into an incinerator. It wasn’t until the cat came running out the grate at the bottom, burning, screaming, that I had any comprehension of what I had done.
The burning cat still runs through my dreams, searing me with its dreadful knowledge.
When I saw the dead boy I knew it was Bart’s burning cat.
He is like the girls in Vogue, wearing combat clothes and carrying guns and smoking pink cigarettes. He is like the intellectuals: he lives on the wrong side of the chasm between ideas and action. The gap is exactly equal to the portion of time that separates the live cat from the burning cat.
That is the difference between us.
It should be said to him: “If you wear guns on your hip you will need to see young boys lying dead at your feet and confront what ‘dead’ is. That is what it takes to live that fantasy. If you cannot do this, you should take off your uniform. Others will perform the unpleasant acts for you. It is the nature of business that as a result of your decisions some people will starve and others be killed. It is simply a matter of confronting the effects of your actions. If you can grasp this nettle you will be strong. If you cannot you are a fool and are deluding yourself.”
12.
Our burning cats are loose.
Bart’s is sedated, slowed down, held tightly on a fearful leash by Mandies or some other downer. Perhaps he has been shooting up with morphine. His eyes are dull and his movements clumsy but his cat stirs threateningly within him, intimidating him with its most obvious horror.
My cat is loose and raging and my eyes are wide. Black smoke curls like friendly poison through my veins and bubbles of rage course through my brain. My cat is clawing and killing, victim and killer. I am in an ecstasy. I can’t say. My eyes stretch wide and nostrils, also, are flaring.
Oh, the electricity. The batteries of torches firing little hits of electricity behind the eyes. To stretch my fingers and feel the tautness behind the knuckles like full sails under heavy wind.
For I have found out.
I have discovered a most simple thing. The little bastard Sergei has been cheating me in such a foolish and simple way that I cannot contain my rage at the insult to my intelligence. He has been siphoning funds like a punk. A dull stupid punk without inventiveness. He is someone trying to club a knife-fighter to death. He is so stupid I cannot believe it.
Ah, the rage. The rage, the fucking rage. He has no sense. He hasn’t even the sense to be afraid. He stands before me, Bart by his side. Bart does not live here. He is away on soft beds of morphine which cannot ease his pain. Sergei is threatening. He is being smart. He thinks I’m a fool. He casts collusive glances towards Bart, who is like a man lobotomized. Smiling vaguely, insulated by blankets of morphine from my rage, like man in an asbestos suit in the middle of a terrible fire.
Oh, and fire it is.
For the cost of raw materials has not risen by 10 per cent. The cost of raw materials has not risen at all. Sergei, the fool, has been paying a fictitious company on his cheque butts and using the actual cheques to both pay the real suppliers and himself.
I only do this for the profit, for the safety, for the armour and strength that money gives. That I may be insulated from disaster and danger and threats and little bastards who are trying to subvert my friends and take my money.
And now there will be an example.
For he is trying to place me in a factory. He is trying to take my power. He shall be fucking well cut, and slashed, and shall not breathe to spread his hurt.
He is smart and self-contained. He speaks with the voice of the well educated and powerful. His eyebrows meet across his forehead.
It took me three hours to trace his schoolboy fiddle. And it only took that long because the bastards who were doing the company’s search took so long to confirm that the company he’s been writing on his cheque butts doesn’t exist. It took me five minutes to check that his prices were inflated. Five minutes to guess what he was up to.
The body of Bart’s victim has been tied to the top of the perimeter fence. Let that warn the bastards. Even the wind will not keep down the flies. The unemployed shall buzz with powerless rage.
And now Sergei. An example will be made. I have called for his suit and his white business shirt and black shoes. The suit is being pressed. The shoes are being polished. It will be a most inventive execution, far more interesting than his dull childish cheating.
Under my surveillance his hair is being cut. Very neat. He is shaved cleanly. He is shaved twice. The poor idiot does not know what is happening. Bart watches with dumb incomprehension, helping the girl who is cutting the hair. He holds the bowl of hot water. He brings a towel. He points out a little bit of sideburn that needs trimming better. He is stumbling and dazed. Only I know. I have Bart’s gun, just in case.
The suit is pressed. Bart helps with the tie. He fusses, tying and retying. Sergei’s eyes have started to show fear. He tries to talk casually to me, to Bart. He is asking what is happening but Bart is so far away that his mind is totally filled with the simple problem of tying the tie, its loops and folds provide intricate problems of engineering and aesthetics.
I never liked Sergei. He never treated me with respect. He showed disdain.
I will donate him a briefcase. I have a beautiful one left me by the old general manager. It is slim and black with smart snappy little chrome clips on it. In it I place Sergei’s excellent references and about five hundred dollars’ worth of cash. It is a shame about the money, but no one must ever think him poor or helpless.
I order him to hold the briefcase. He looks so dapper. Who could not believe he was a senior executive? Who indeed!
It is time now for the little procession to the gate. The knowledge of what is happening hits Sergei on this, his walk to the scaffold. He handles it well enough, saying nothing I remember.
High on the wire the dead boy stands like a casualty of an awkward levitation trick.
I have the main gate opened and Sergei walks out of it. The guards stand dumbly like horses in a paddock swishing flies away. I am watching Bart’s eyes but they are clouded from me. He has become a foreign world veiled in mists. I know now that we will not discuss Kandinsky again or get stoned together. But he will do what I want because he knows I am crazy and cannot be deceived.
He seems to see nothing as the great wire mesh gate is rolled back into place and locked with chains. Sergei walks slowly down the gravel road away from us.
A grey figure slides out from the scrub a mile or so away. They will welcome him soon, this representative of management with his references in his briefcase.
The fact of Sergei’s execution could not possibly be nearly as elegant as my plan. I return to my office, leaving the grisly reality of it to the watchers at the gate.
13.
In the night they put Sergei’s head on the wire. It stares towards my office in fear and horror, a reminder of my foolishness.
 
; For now it appears that I misunderstood the situation. It appears that he was acting on Bart’s instructions, that the siphoned funds were being used to rebuild the inside of the factory.
To please me, dear God.
How could I have guarded against Bart’s “What if …” or protected us all from his laconic “easy-peasy”? If one lives with dreamers and encourages their aberrations something is bound to go wrong. Now I understand what it is to be the parent of brilliant children, children reared with no discipline, their every fantasy pandered to. Thus one creates one’s own assassins.
The factory tour is over now and Bart sits in my office eyeing me with the cunning of a dog, pretending servility, but with confused plans and strategies showing in his dog-wet eyes.
He understood nothing of factories or my fear of them. His model factory is a nightmare far more obscene than anything my simple mind could have created.
For they have made a factory that is quiet. They have worried about aesthetics.
Areas of peaceful blue and whole fields of the most lyrical green. In these ideal conditions people perform insulting functions, successfully imitating the functions of mid-twentieth-century machinery.
This is Bart and Sergei’s masterpiece, their gift to me. They have the mentality of art students who think they can change the world by spraying their hair silver.
They make me think of other obscenities. For instance, a Georg Jensen guillotine made from the finest silver and shaped with due concern for function and aesthetic appeal. Alternatively, condemned cells decorated with pretty blue bunny patterns from children’s nurseries.
In order to achieve these effects they have reduced profit by 6.5 per cent.
In here it is very quiet. No noise comes from the staff outside. I have seen them, huddled together in little groups at the windows staring at Sergei. They seem anaesthetized. They have the glazed eyes of people too frightened to see anything that might get them into trouble. Thus they avoided Bart’s eyes. He pranced through like a spider, his hand on his gun, the fury in his veins bursting to fill the room like black ink in water.
Now in the silence of my office I see the extent to which he is afflicted by hurt and misunderstanding. Trying to talk to him, I put my hand on his arm. He flinches from me. In that terrible instant I am alone on the pack ice, the string inside me taut and all that lonely ice going in front of me no matter which way I turn. And he, Bart, looking at me guilty and afraid and angry and does he want to kill me?
Yes, he does.
He will learn to use his burning cat. He hates me because I killed his friend. It was a misunderstanding. It was his fault, not mine. If they hadn’t cheated I would never have made the mistake. His friend Sergei, the little turd, he thought he was clever but he was a fool. Sergei, his stupid mouth dribbling black blood on the top of the wire fence. If only his siphoning of funds had been more subtle. There were two other ways to do it, but he did it like a petty-cash clerk. It was this which upset me the most. It was this which put me over the line and left me here, alone, threatened by the one person I thought my friend.
He may wish to kill me.
But I, alone on the ice, have eyes like the headlights of a truck. I have power. I will do anything. And I have made enough bad dreams that one more dying face will make not the slightest scrap of difference. Anyone who wants to cling on to their life won’t fuck around with me too willingly, though their hand might easily encircle my wrist, though they have the strength to crush me with their bare arms, for I am fearful and my fear makes me mighty.
And I am not mad, but rather I have opened the door you all keep locked with frightened bolts and little prayers. I am more like you than you know. You have not inspected the halls and attics. You haven’t got yourself grubby in the cellars. Instead you sit in the front room in worn blue jeans, reading about atrocities in the Sunday papers.
Now Bart will do as I wish for he wishes to live and is weak because of it. I am a freight train, black smoke curling back, thundering down the steel lines of terrible logic.
So now I speak to him so quietly that I am forcing him to strain towards me. Trucks have been destroyed attempting to enter the plant. It is time, I tell him, that the scrub be cleared of unemployed.
It will give him something to do. It will give him a use for his rage. He can think about his friend, whom I didn’t kill. He was killed by the people in the scrub, whoever they are. They are the ones holding up trucks and stopping business, and business must go on. BUSINESS MUST GO ON. That is what the hell we are here for. There is no other reason for this. This is the time that is sold to the devil. It is time lost, never to be relived, time stolen so it can be OK later and I can live in white sheets and ironed shirts and drink gin and tonic in long glasses, well away from all this.
Then I can have the luxury of nightmares, and pay the price gladly, for it will only be my sleep which will be taken and not my waking hours as well.
14.
All around the plant seemed very, very still. The sun had gone down, leaving behind a sky of the clearest blue I had ever seen. But even as I watched, this moment passed and darkness claimed it.
I watched Bart lead his contingent of workers through the dusk in the direction of the front gate. Each man had a flamethrower strapped to his back and I smiled to think that these men had been producing food to feed those whom they would now destroy.
I watched the operation from the roof of the canteen, using binoculars Sergei had left behind.
As I watched men run through the heat, burning other men alive, I knew that thousands of men had stood on hills or roofs and watched such scenes of terrible destruction, the result of nothing more than their fear and their intelligence.
In the scrub the bodies of those who hated me were charred and smouldering.
I touched my arm, marvelling at the fineness of hairs and skin, the pretty pinkness glowing through the fingernails, the web-like mystery of the palm, the whiteness underneath the forearm and the curious sensitivity where the arm bends.
I wished I had been born a great painter. I would have worn fine clothes and celebrated the glories of man. I would have stood aloft, a judge, rather than wearily kept vigil on this hill, hunchbacked, crippled, one more guilty fool with blood on his hands.
A Letter to Our Son
Before I have finished writing this, the story of how you were born, I will be forty-four years old and the events and feelings which make up the story will be at least eight months old. You are lying in the next room in a cotton jump-suit. You have five teeth. You cannot walk. You do not seem interested in crawling. You are sound asleep.
I have put off writing this so long that, now the time is here, I do not want to write it. I cannot think. Laziness. Wooden shutters over the memory. Nothing comes, no pictures, no feelings, but the architecture of the hospital at Camperdown.
You were born in the King George V Hospital in Missenden Road, Camperdown, a building that won an award for its architecture. It was opened during the Second World War, but its post-Bauhaus modern style has its roots in that time before the First World War, with an optimism about the technological future that we may never have again.
I liked this building. I liked its smooth, rounded, shiny corners. I liked its wide stairs. I liked the huge sash-windows, even the big blue-and-white-checked tiles: when I remember this building there is sunshine splashed across those tiles, but there were times when it seemed that other memories might triumph and it would be remembered for the harshness of its neon lights and emptiness of the corridors.
A week before you were born, I sat with your mother in a four-bed ward on the eleventh floor of this building. In this ward she received blood transfusions from plum-red plastic bags suspended on rickety stainless-steel stands. The blood did not always flow smoothly The bags had to be fiddled with, the stand had to be raised, lowered, have its drip-rate increased, decreased, inspected by the sister who had been a political prisoner in Chile, by the sister from the Solomon Isla
nds, by others I don’t remember. The blood entered your mother through a needle in her forearm. When the vein collapsed, a new one had to be found. This was caused by a kind of bruising called “tissuing”. We soon knew all about tissuing. It made her arm hurt like hell.
She was bright-eyed and animated as always, but her lips had a slight blue tinge and her skin had a tight, translucent quality.
She was in this room on the west because her blood appeared to be dying. Some thought the blood was killing itself. This is what we all feared, none more than me, for when I heard her blood-count was so low, the first thing I thought (stop that thought, cut it off, bury it) was cancer.
This did not necessarily have a lot to do with Alison, but with me, and how I had grown up, with a mother who was preoccupied with cancer and who, going into surgery for suspected breast cancer, begged the doctor to “cut them both off”. When my mother’s friend Enid Tanner boasted of her hard stomach muscles, my mother envisaged a growth. When her father complained of a sore elbow, my mother threatened the old man: “All right, we’ll take you up to Doctor Campbell and she’ll cut it off.” When I was ten, my mother’s brother got cancer and they cut his leg off right up near the hip and took photographs of him, naked, one-legged, to show other doctors the success of the operation.
When I heard your mother’s blood-count was low, I was my mother’s son. I thought: cancer.
I remembered what Alison had told me of that great tragedy of her grandparents’ life, how their son (her uncle) had leukaemia, how her grandfather then bought him the car (a Ford Prefect? a Morris Minor?) he had hitherto refused him, how the dying boy had driven for miles and miles, hours and hours while his cells attacked each other.
I tried to stop this thought, to cut it off. It grew again, like a thistle whose root has not been removed and must grow again, every time, stronger and stronger.