When the deterioration of the club set in, it proceeded with amazing rapidity along several unconnected lines. Girls of flawless pedigree turned out to be wanted by the police as the ‘molls’ of bandits with grotesque jaws, or to have been criminals themselves. Corrupt physicians passed faded blondes who had had half a dozen children, some of them being already prepared to enter remote floramors themselves. Cosmeticians of genius restored forty-year-old matrons to look and smell like schoolgirls at their first prom. Highborn gentlemen, magistrates of radiant integrity, mild-mannered scholars, proved to be such violent copulators that some of their younger victims had to be hospitalized and removed to ordinary lupanars. The anonymous protectors of courtesans bought medical inspectors, and the Rajah of Cachou (an impostor) was infected with a venereal disease by a (genuine) great-grandniece of Empress Josephine. Simultaneously, economic disasters (beyond the financial or philosophical ken of invulnerable Van and Demon but affecting many persons of their set) began to restrict the esthetic assets of Villa Venus. Disgusting pimps with obsequious grins disclosing gaps in their tawny teeth popped out of rosebushes with illustrated pamphlets, and there were fires and earthquakes, and quite suddenly, out of the hundred original palazzos, only a dozen remained, and even those soon sank to the level of stagnant stews, and by 1910 all the dead of the English cemetery at Ex had to be transferred to a common grave.
Van never regretted his last visit to one last Villa Venus. A cauliflowered candle was messily burning in its tin cup on the window ledge next to the guitar-shaped paper-wrapped bunch of long roses for which nobody had troubled to find, or could have found, a vase. On a bed, some way off, lay a pregnant woman, smoking, looking up at the smoke mingling its volutes with the shadows on the ceiling, one knee raised, one hand dreamily scratching her brown groin. Far beyond her, a door standing ajar gave on what appeared to be a moonlit gallery but was really an abandoned, half-demolished, vast reception room with a broken outer wall, zigzag fissures in the floor, and the black ghost of a gaping grand piano, emitting, as if all by itself, spooky glissando twangs in the middle of the night. Through a great rip in the marbleized brick and plaster, the naked sea, not seen but heard as a panting space separated from time, dully boomed, dully withdrew its platter of pebbles, and, with the crumbling sounds, indolent gusts of warm wind reached the unwalled rooms, disturbing the volutes of shadow above the woman, and a bit of dirty fluff that had drifted down onto her pale belly, and even the reflection of the candle in a cracked pane of the bluish casement. Beneath it, on a rump-tickling coarse couch, Van reclined, pouting pensively, pensively caressing the pretty head on his chest, flooded by the black hair of a much younger sister or cousin of the wretched florinda on the tumbled bed. The child’s eyes were closed, and whenever he kissed their moist convex lids the rhythmic motion of her blind breasts changed or stopped altogether, and was presently resumed.
He was thirsty, but the champagne he had bought, with the softly rustling roses, remained sealed and he had not the heart to remove the silky dear head from his breast so as to begin working on the explosive bottle. He had fondled and fouled her many times in the course of the last ten days, but was not sure if her name was really Adora, as everybody maintained — she, and the other girl, and a third one (a maidservant, Princess Kachurin), who seemed to have been born in the faded bathing suit she never changed and would die in, no doubt, before reaching majority or the first really cold winter on the beach mattress which she was moaning on now in her drugged daze. And if the child really was called Adora, then what was she? — not Rumanian, not Dalmatian, not Sicilian, not Irish, though an echo of brogue could be discerned in her broken but not too foreign English. Was she eleven or fourteen, almost fifteen perhaps? Was it really her birthday — this twenty-first of July, nineteen-four or eight or even several years later, on a rocky Mediterranean peninsula?
A very distant church clock, never audible except at night, clanged twice and added a quarter.
‘Smorchiama la secandela,’ mumbled the bawd on the bed in the local dialect that Van understood better than Italian. The child in his arms stirred and he pulled his opera cloak over her. In the grease-reeking darkness a faint pattern of moonlight established itself on the stone floor, near his forever discarded half-mask lying there and his pump-shod foot. It was not Ardis, it was not the library, it was not even a human room, but merely the squalid recess where the bouncer had slept before going back to his Rugby-coaching job at a public school somewhere in England. The grand piano in the otherwise bare hall seemed to be playing all by itself but actually was being rippled by rats in quest of the succulent refuse placed there by the maid who fancied a bit of music when her cancered womb roused her before dawn with its first familiar stab. The ruinous Villa no longer bore any resemblance to Eric’s’ organized dream,’ but the soft little creature in Van’s desperate grasp was Ada.
4
What are dreams? A random sequence of scenes, trivial or tragic, viatic or static, fantastic or familiar, featuring more or less plausible events patched up with grotesque details, and recasting dead people in new settings.
In reviewing the more or less memorable dreams I have had during the last nine decades I can classify them by subject matter into several categories among which two surpass the others in generic distinctiveness. There are the professional dreams and there are the erotic ones. In my twenties the first kind occurred about as frequently as the second, and both had their introductory counterparts, insomnias conditioned either by the overflow of ten hours of vocational work or by the memory of Ardis that a thorn in my day had maddeningly revived. After work I battled against the might of the mind-set: the stream of composition, the force of the phrase demanding to be formed could not be stopped for hours of darkness and discomfort, and when some result had been achieved, the current still hummed on and on behind the wall, even if I locked up my brain by an act of self-hypnosis (plain will, or pill, could no longer help) within some other image or meditation — but not Ardis, not Ada, for that would mean drowning in a cataract of worse wakefulness, with rage and regret, desire and despair sweeping me into an abyss where sheer physical extenuation stunned me at last with sleep.
In the professional dreams that especially obsessed me when I worked on my earliest fiction, and pleaded abjectly with a very frail muse (‘kneeling and wringing my hands’ like the dusty-trousered Marmlad before his Marmlady in Dickens), I might see for example that I was correcting galley proofs but that somehow (the great ‘somehow’ of dreams!) the book had already come out, had come out literally, being proffered to me by a human hand from the wastepaper basket in its perfect, and dreadfully imperfect, stage — with a typo on every page, such as the snide ‘bitterly’ instead of ‘butterfly’ and the meaningless ‘nuclear’ instead of ‘unclear.’ Or I would be hurrying to a reading I had to give — would feel exasperated by the sight of the traffic and people blocking my way, and then realize with sudden relief that all I had to do was to strike out the phrase ‘crowded street’ in my manuscript. What I might designate as ‘skyscape’ (not ‘skyscrape,’ as two-thirds of the class will probably take it down) dreams belongs to a subdivision of my vocational visions, or perhaps may represent a preface to them, for it was in my early pubescence that hardly a night would pass without some old or recent waketime impression’s establishing a soft deep link with my still-muted genius (for we are ‘van,’ rhyming with and indeed signifying ‘one’ in Marina’s double-you-less deep-voweled Russian pronunciation). The presence, or promise, of art in that kind of dream would come in the image of an overcast sky with a manifold lining of cloud, a motionless but hopeful white, a hopeless but gliding gray, showing artistic signs of clearing, and presently the glow of a pale sun grew through the leaner layer only to be recowled by the scud, for I was not yet ready.
Allied to the professional and vocational dreams are ‘dim-doom’ visions: fatidic-sign nightmares, thalamic calamities, menacing riddles. Not infrequently the menace is well concealed, and
the innocent incident will turn out to possess, if jotted down and looked up later, the kind of precognitive flavor that Dunne has explained by the action of ‘reverse memory’; but for the moment I am not going to enlarge upon the uncanny element particular to dreams — beyond observing that some law of logic should fix the number of coincidences, in a given domain, after which they cease to be coincidences, and form, instead, the living organism of a new truth (‘Tell me,’ says Osberg’s little gitana to the Moors, El Motela and Ramera, ‘what is the precise minimum of hairs on a body that allows one to call it ‘hairy’?).
Between the dim-doom and the poignantly sensual, I would place ‘melts’ of erotic tenderness and heart-rending enchantment, chance frôlements of anonymous girls at vague parties, half-smiles of appeal or submission — forerunners or echoes of the agonizing dreams of regret when series of receding Adas faded away in silent reproach; and tears, even hotter than those I would shed in waking life, shook and scalded poor Van, and were remembered at odd moments for days and weeks.
Van’s sexual dreams are embarrassing to describe in a family chronicle that the very young may perhaps read after a very old man’s death. Two samples, more or less euphemistically worded, should suffice. In an intricate arrangement of thematic recollections and automatic phantasmata, Aqua impersonating Marina or Marina made-up to look like Aqua, arrives to inform Van, joyfully, that Ada has just been delivered of a girl-child whom he is about to know carnally on a hard garden bench while under a nearby pine, his father, or his dress-coated mother, is trying to make a transatlantic call for an ambulance to be sent from Vence at once. Another dream, recurring in its basic, unmentionable form, since 1888 and well into this century, contained an essentially triple and, in a way, tribadic, idea. Bad Ada and lewd Lucette had found a ripe, very ripe ear of Indian corn. Ada held it at both ends as if it were a mouth organ and now it was an organ, and she moved her parted lips along it, varnishing its shaft, and while she was making it trill and moan, Lucette’s mouth engulfed its extremity. The two sisters’ avid lovely young faces were now close together, doleful and wistful in their slow, almost languid play, their tongues meeting in flicks of fire and curling back again, their tumbled hair, red-bronze and black-bronze, delightfully commingling and their sleek hindquarters lifted high as they slaked their thirst in the pool of his blood.
I have some notes here on the general character of dreams. One puzzling feature is the multitude of perfect strangers with clear features, but never seen again, accompanying, meeting, welcoming me, pestering me with long tedious tales about other strangers — all this in localities familiar to me and in the midst of people, deceased or living, whom I knew well; or the curious tricks of an agent of Chronos — a very exact clock-time awareness, with all the pangs (possibly full-bladder pangs in disguise) of not getting somewhere in time, and with that clock hand before me, numerically meaningful, mechanically plausible, but combined — and that is the curious part — with an extremely hazy, hardly existing passing-of-time feeling (this theme I will also reserve for a later chapter). All dreams are affected by the experiences and impressions of the present as well as by memories of childhood; all reflect, in images or sensations, a draft, a light, a rich meal or a grave internal disorder. Perhaps the most typical trait of practically all dreams, unimportant or portentous — and this despite the presence, in stretches or patches, of fairly logical (within special limits) cogitation and awareness (often absurd) of dream-past events — should be understood by my students as a dismal weakening of the intellectual faculties of the dreamer, who is not really shocked to run into a long-dead friend. At his best the dreamer wears semi-opaque blinkers; at his worst he’s an imbecile. The class (1891, 1892, 1893, 1894, et cetera) will carefully note (rustle of bluebooks) that, owing to their very nature, to that mental mediocrity and bumble, dreams cannot yield any semblance of morality or symbol or allegory or Greek myth, unless, naturally, the dreamer is a Greek or a mythicist. Metamorphoses in dreams are as common as metaphors in poetry. A writer who likens, say, the fact of imagination’s weakening less rapidly than memory, to the lead of a pencil getting used up more slowly than its erasing end, is comparing two real, concrete, existing things. Do you want me to repeat that? (cries of ‘yes! yes!’) Well, the pencil I’m holding is still conveniently long though it has served me a lot, but its rubber cap is practically erased by the very action it has been performing too many times. My imagination is still strong and serviceable but my memory is getting shorter and shorter. I compare that real experience to the condition of this real commonplace object. Neither is a symbol of the other. Similarly, when a teashop humorist says that a little conical titbit with a comical cherry on top resembles this or that (titters in the audience) he is turning a pink cake into a pink breast (tempestuous laughter) in a fraise-like frill or frilled phrase (silence). Both objects are real, they are not interchangeable, not tokens of something else, say, of Walter Raleigh’s decapitated trunk still topped by the image of his wetnurse (one lone chuckle). Now the mistake — the lewd, ludicrous and vulgar mistake of the Signy-Mondieu analysts consists in their regarding a real object, a pompon, say, or a pumpkin (actually seen in a dream by the patient) as a significant abstraction of the real object, as a bumpkin’s bonbon or one-half of the bust if you see what I mean (scattered giggles). There can be no emblem or parable in a village idiot’s hallucinations or in last night’s dream of any of us in this hall. In those random visions nothing — underscore ‘nothing’ (grating sound of horizontal strokes) — can be construed as allowing itself to be deciphered by a witch doctor who can then cure a madman or give comfort to a killer by laying the blame on a too fond, too fiendish or too indifferent parent — secret festerings that the foster quack feigns to heal by expensive confession fests (laughter and applause).
5
Van spent the fall term of 1892 at Kingston University, Mayne, where there was a first-rate madhouse, as well as a famous Department of Terrapy, and where he now went back to one of his old projects, which turned on the Idea of Dimension & Dementia (‘You will "sturb," Van, with an alliteration on your lips,’ jested old Rattner, resident pessimist of genius, for whom life was only a ‘disturbance’ in the rattnerterological order of things — from ‘nertoros,’ not ‘terra’).
Van Veen [as also, in his small way, the editor of Ada] liked to change his abode at the end of a section or chapter or even paragraph, and he had almost finished a difficult bit dealing with the divorce between time and the contents of time (such as action on matter, in space, and the nature of space itself) and was contemplating moving to Manhattan (that kind of switch being a reflection of mental rubrication rather than a concession to some farcical ‘influence of environment’ endorsed by Marx père, the popular author of ‘historical’ plays), when he received an unexpected dorophone call which for a moment affected violently his entire pulmonary and systemic circulation.
Nobody, not even his father, knew that Van had recently bought Cordula’s penthouse apartment between Manhattan’s Library and Park. Besides its being the perfect place to work in, with that terrace of scholarly seclusion suspended in a celestial void, and that noisy but convenient city lapping below at the base of his mind’s invulnerable rock, it was, in fashionable parlance, a ‘bachelor’s folly’ where he could secretly entertain any girl or girls he pleased. (One of them dubbed it ‘your wing à terre’). But he was still in his rather dingy Chose-like rooms at Kingston when he consented to Lucette’s visiting him on that bright November afternoon.
He had not seen her since 1888. In the fall of 1891 she had sent him from California a rambling, indecent, crazy, almost savage declaration of love in a ten-page letter, which shall not be discussed in this memoir [See, however, a little farther. Ed.]. At present, she was studying the History of Art (‘the second-rater’s last refuge,’ she said) in nearby Queenston College for Glamorous and Glupovatïh (‘dumb’) Girls. When she rang him up and pleaded for an interview (in a new, darker voice, agonizingly resembl
ing Ada’s), she intimated that she was bringing him an important message. He suspected it would be yet another installment of her unrequited passion, but he also felt that her visit would touch off internal fires.
As he awaited her, walking the whole length of his brown-carpeted suite and back again, now contemplating the emblazed trees, that defied the season, through the northeast casement at the end of the passage, then returning to the sitting room which gave on sun-bordered Greencloth Court, he kept fighting Ardis and its orchards and orchids, bracing himself for the ordeal, wondering if he should not cancel her visit, or have his man convey his apologies for the suddenness of an unavoidable departure, but knowing all the time he would go through with it. With Lucette herself, he was only obliquely concerned: she inhabited this or that dapple of drifting sunlight, but could not be wholly dismissed with the rest of sun-flecked Ardis. He recalled, in passing, the sweetness in his lap, her round little bottom, her prasine eyes as she turned toward him and the receding road. Casually he wondered whether she had become fat and freckled, or had joined the graceful Zemski group of nymphs. He had left the parlor door that opened on the landing slightly ajar, but somehow missed the sound of her high heels on the stairs (or did not distinguish them from his heartbeats) while he was in the middle of his twentieth trudge’ back to the ardors and arbors! Eros qui prend son essor! Arts that our marblery harbors: Eros, the rose and the sore,’ I am ill at these numbers, but e’en rhymery is easier ‘than confuting the past in mute prose.’ Who wrote that? Voltimand or Voltemand? Or the Burning Swine? A pest on his anapest! ‘All our old loves are corpses or wives.’ All our sorrows are virgins or whores.