Noctuary

  Nolon was resting his hands at the edge of the small, nearly circular table. In the middle of the table a piece of candle flickered inside a misshapen bubble of green glass, and Nolon's face was bathed in a restless green glare. He too was wearing a dark overcoat, unbuttoned at the top to reveal a scarf of lighter shade stuffed inside it. The scarf was wrapped about Nolon's neck right to the base of his chin. Every so often Nolon glanced up, not to look at Grissul as he proceeded across the park, but to try and catch sight of something in that lighted window across the street: a silhouette which at irregular intervals slipped in and out of view. Above the window was a long, low roof surmounted by a board which appeared to be a sign or marquee. The lettering on this board was entirely unreadable, perhaps corroded by the elements or even deliberately effaced. But the image of two tall, thin bottles could still be seen, their slender necks angled festively this way and that.

  Grissul sat down, facing Nolon at eye level.

  "Have you been here long?" he asked.

  Nolon calmly pulled out a watch from deep inside his coat. He stared at it for a few moments, tapped the glass once or twice, then gently pushed it back inside his coat.

  "Someone must have known I was thinking about seeing you," Grissul continued, "because I've got a little story I could tell."

  Nolon again glanced toward the lighted window across the street. Grissul noticed this and twisted his head around, saying, "Well, someone's there after all. Do you think tonight we could get, you know, a little service of some kind?"

  "Maybe you could go over there yourself and see what our chances are," Nolon replied.

  "All the same to me," Grissul insisted, twisting his head back to face Nolon. "I've still got my news."

  "Is that specifically why this meeting is taking place?"

  To this query Grissul returned a blank expression. "Not that I know of," he asserted. "As far as I'm concerned, we just met by chance."

  "Of course," Nolon agreed, smiling a little. Grissul smiled back but with much less subtlety.

  "So I was going to tell you," Grissul began, "that I was out in that field, the one behind those empty buildings at the edge of town where everything just slides away and goes off in all directions. And there's a marsh by there, makes the ground a little, I don't know, stringy or something. No trees, though, only a lot of wild grass, reeds, you know where I mean?"

  "I now have a good idea," Nolon replied, a trifle bored or at least pretending to be.

  "This was a little before dark that I was there. A little before the stars began to come out. I really wasn't planning to do anything, let me say that. I just walked some ways out onto the field, changed direction a few times, walked a ways more. Then I saw something through a blind of huge stalks of some kind, skinny as your finger but with these great spiky heads on top. And really very stiff, not bending at all, just sort of wobbling in the breeze. They might well have creaked, I don't know, when I pushed my way through to see beyond them. Then I knelt down to get a better look at what was there on the ground. I'm telling you, Mr Nolon, it was right in the ground. It appeared to be a part of it, like - "

  "Mr Grissul, what appeared?"

  Grissul remembered himself and found a tone of voice not so exhausting of his own strength, nor so wearing on his listener's patience.

  "The face," he said, leaning back in his chair. "It was right there, about the size of, I don't know, a window or a picture hanging on a wall, except that it was in the ground and it was a big oval, not rectangular in any way. Just as if someone had partly buried a giant, or better yet, a giant's mask. Only the edges of the face seemed not so much buried as, well, woven I guess you would say, right into the ground. The eyes were closed, not shut closed - it didn't seem to be dead - but relaxed. The same with the lips, very heavy lips rubbing up against each other. Even complexion, ashy gray, and soft cheeks. They looked soft, I mean, because I didn't actually touch them in any way. I think it was asleep."

  Nolon shifted slightly in his chair and looked straight into Grissul's eyes.

  "Then come and see for yourself," Grissul insisted. "The moon's bright enough."

  "That's not the problem. I'm perfectly willing to go along with you, whatever might be there. But for once I have other plans."

  "Oh, other plans," repeated Grissul as if some deeply hidden secret had been revealed. "And what other plans would those be, Mr Nolon?"

  "Plans of relatively long standing and not altered since made, if you can conceive of such a thing these days. Are you listening? Oh, I thought you nodded off. Well, Rignolo, that mysterious little creature, has made a rare move. He's asked if I would like to have a look around his studio. No one's ever been there that I know of. And no one's actually seen what he paints."

  "No one that you know of," added Grissul.

  "Of course. Until tonight, that is, a little while from now unless a change of plans is necessary. Otherwise I shall be the first to see what all that talk of his is about. It should really be worth the trouble, and I could invite you to come along."

  Grissul's lower lip pushed forward a little. "Thank you, Mr Nolon," he said, "but that's more in your line. I thought when I told you about my observation this evening - "

  "Of course, your observation is very interesting, extraordinary, Mr Grissul. But I think that that sort of thing can wait, don't you? Besides, I haven't told you anything of Rignolo's work."

  "You can tell me."

  "Landscapes, Mr Grissul. Nothing but landscapes. Exclusively his subject, a point he even brags about."

  "That's very interesting, too."

  "I thought you would say something like that. And you might be even more interested if you had ever heard Rignolo discourse on his canvasses. But... well, you can see and hear for yourself. What do you say, then? First Rignolo's studio and then straight out to see if we can find that old field again?"

  They agreed that these activities, in this sequence, would not be the worst way to fill an evening.

  As they got up from the table, Nolon had a last look at the window across the street. The light that once brightened it must have been put out during his conversation with Grissul. So there was no way of knowing whether or not someone was now observing them. Buttoning their overcoats as far as their scarfed necks, the two men walked in silence across the park upon which countless stars stared down like the dead eyes of sculptured faces.

  "Don't just walk stepping everywhere," Rignolo told his visitors as they all entered the studio. He was a little out of breath from the climb up the stairs, wheezing his words, quietly muttering to himself, "This place, oh, this place." There was hardly a patch of floor that was not in some way cluttered over, so he need not have warned Nolon, or even Grissul. Rignolo was of lesser stature than his guests, virtually a dwarf, and so moved with greater freedom through that cramped space. "You see," he said, "how this isn't really a room up here, just a little closet that tried to grow into one, bulging out every which way and making all these odd niches and alcoves surrounding us, this shapeless gallery of nooks. There's a window around here, I suppose, under some of these canvasses. But those are what you're here for, not to look out some window that who knows where it is. Nothing to see out there, even so."

  Rignolo then ushered his visitors through the shrunken maze composed of recesses of one sort or another, indicating to them a canvass here or there. Each somehow held itself to a wall or was leaning against one, as if with exhaustion. Having brought their attention to this or that picture, he would step a little to the side and allow them to admire his work, standing there like a polite but slightly bored curator of some seldom-visited museum, a pathetic figure attired in over-sized clothes of woven... dust. His small ovoid face was as lifeless as a mask: his skin had the same faded complexion as his clothes and was just as slack, flabby; his lips were the same color as his skin but more full and taut; his hair shot out in tufts from his head, uncontrolled, weedy; and his eyes showed too much white, having to all appearances rolled up halfway
into his forehead, as if they were trying to peek under it.

  While Nolon was gazing at one of Rignolo's landscapes, Grissul seemed unable to shake off a preoccupation with the artist himself, though he was obviously making the effort. But the mote he tried to turn his attention away from Rignolo, the more easily it was drawn back to the flabby skin, the faded complexion, the undisciplined shocks of hair. Finally, Grissul gave a little nudge to Nolon and began to whisper something. Nolon looked at Grissul in a way that might have said, "Yes, I know, but have some sense of decorum in any case," then resumed his contemplation of Rignolo's excellent landscapes.

  They were all very similar to one another. Given such titles as "Glistening Marsh,” "The Tract of Three Shadows," and "The Stars, the Hills," they were not intended to resemble as much as suggest the promised scenes. A vague hint of material forms might emerge here and there, some familiar effect of color or outline, but for the most part they could be described as extremely remote in their perspective on tangible reality. Grissul, who was no stranger to some of the locales purportedly depicted in these canvasses, could very well have expressed the objection that these conglomerations of fractured mass, these whirlpools of distorted light, simply did not achieve their purpose, did not in fact deserve connection with the geographical subjects from which they took their titles. Perhaps it was Rignolo's intuition that just such a protest might be forthcoming that inspired - in the rapid, frantic voice of a startled sleeper - the following outburst.

  "Think anything you like about these scenes, it's all the same to me. Whisper to each other, my hearing is wonderfully bad. Say that my landscapes do not invite one's eyes to pass into them and wander, let alone linger for the briefest moment. Nevertheless, that is exactly their purpose, and as far as I am concerned they are quite adequate to it, meticulously efficient.

  I have spent extraordinary lengths of time within the borders of each canvass, both as maker and as casual inhabitant, until the borders no longer exist for me and neither does... that other thing. Understand that when I say inhabitant, I do not in any way mean that I take my clumsy feet tromping up and down staircases of color, or that I stand this stunted body of mine upon some lofty ledge where I can play the master of all I see. There are no masters of these scenes and no seers, because bodies and their organs cannot function there - no place for them to go, nothing to survey with ordinary eyes, no thoughts to think for the mighty brain. And my thoroughfares will not take you from the doorstep of one weariness to the backdoor of another, and they cannot crumble, because they are burdened with nothing to convey — their travelers are already there, continuously arriving at infinite sites of the perpetually astonishing. Yet these sites are also a homeland, and nothing there will ever threaten to become strange. What I mean to say is that to inhabit my landscapes one must, in no figurative sense, grow into them. At best they are a paradise for sleepwalkers, but only those sleepwalkers who never rise to their feet, who forget their destination, and who may thus never reach that ultimate darkness beyond dreams, but may loiter in perpetuity in these lands of mine, which neighbor on nothingness and stand next door to endlessness. So you see, my critics, what we have in these little pictures is a living communion with the void, a vital annihilation and a thoroughly decorative eternity of — "

  "All the same," Grissul interjected, "it does sound unpleasant."

  "You're interfering," Nolon said under his breath.

  "The old bag of wind," Grissul said under his.

  "And just where do you see the unpleasantness? Where, show me. Nowhere, in my view. One cannot be unpleasant to one's self, one cannot be strange to oneself. I claim that all will be different when one is joined with the landscape. We need not go the way of doom when such a hideaway is so near at hand — a land of escape. For the initiated, each of those little swirls is a cove which one may enter into and become; each line — jagged or merely jittery — is a cartographer's shoreline which may be explored at all points at once; each crinkled wad of radiance is a star basking in its own light, and in yours. This, gentlemen, is a case of making the most of one's talent for pro-jec-tion. There indeed exist actual locales on which my pictures are based, I admit that. But these places keep their distance from the spectator: whereas my new landscapes make you feel at home, those old ones put you off, hold you at arm's length, and in the end throw you right out of the picture. That's the way it is out there — everything looks at you with strange eyes. But you can get around this intolerable situation, jump the fence, so to speak, and trespass into a world where you belong for a change. If my landscapes look unfamiliar to you, it is only because everything looks different from the other side. All this will be understood much more clearly when you have seen my masterwork. Step this way, please."

  Nolon and Grissul glanced blankly at each other and then followed the artist up to a narrow door. Opening the door with a tiny key, Rignolo ushered his guests inside. It was a tight squeeze through the doorway.

  "Now this place really is a closet," Grissul whispered to Nolon. "I don't think I can turn around."

  "Then we'll just have to walk out of here backwards, as if there were something wrong with that."

  The door slammed closed and for a moment there was no place on earth darker than that little room.

  "Watch the walls," Rignolo called through the door.

  "Walls?" someone whispered.

  The first images to appear in the darkness were those crinkled wads of radiance Rignolo spoke of, except these were much larger, more numerous, and became more radiant than the others bound within their cramped little canvasses. And they emerged on all sides of the spectator, above and below as well, so that an irresistible conviction was instilled that the tiny gravelike room had expanded into a star-strewn corridor of night, the certainty created that one was suspended in space without practical means of remaining there. Reaching out for the solid walls, crouching on the floor, only brought confusion rather than relief from the sense of impossibility. The irregular daubs of brightness grew into great silver blotches, each of them ragged at its rim and glowing wildly. Then they stopped growing in the blackness, attaining some predesigned composition, and another kind of growing began: thin filaments of bluish light started sprouting in the spaces between those bulbous thistles of brilliance, running everywhere like cracks up and down a wall. And these threadlike, hairlike tendrils eventually spread across the blackness in an erratic fury of propagation, until all was webbed and stringy in the universal landscape. Then the webbing began to fray and grow shaggy, cosmic moss hanging in luminous clumps, beards. But the scene was not muddled, no more so, that is, than the most natural marsh or fen-like field. Finally, enormous stalks shot out of nowhere, quickly crisscrossed to form interesting and well-balanced patterns, and suddenly froze. They were a strange shade of green and wore burry crowns of a pinkish color, like prickly brains.

  The scene, it appeared, was now complete. All the actual effects were displayed: actual because the one further effect now being produced was most likely an illusion. For it seemed that deep within the shredded tapestry of webs and hairs and stalks, something else had been woven, something buried beneath the marshy morass but slowly rising to the surface.

  "Is that a face?" someone said.

  "I can begin to see one too," said the other, "but I don't know if I want to see it. I don't think I can feel where I am now. Let's try not to look at those faces."

  A series of cries from within the little room finally induced Rignolo to open the door, which sent Nolon and Grissul tumbling backwards into the artist's studio. They lay among the debris on the floor for some time. Rignolo swiftly secured the door, and then stood absolutely still beside it, his upturned eyes taking no interest in his visitors' predicament. As they regained their feet, a few things were quickly settled in low voices.

  "Mr Nolon, I recognized the place that that room is supposed to be."

  "I'm sure you did."

  "And I'm also sure I know whose face it was that I saw
tonight in that field."

  "I think we should be going."

  "What are you saying?" demanded Rignolo.

  Nolon gestured toward a large clock high upon the wall and asked if that was the time.

  "Always," replied Rignolo, "since I've never yet seen its hands move."

  "Well, then, thank you for everything," said Nolon.

  "We have to be leaving,' added Grissul.

  "Just one moment," Rignolo shouted as they were making their way out. "I know where you're going now. Someone, I won't say who, told me what you found in that field. I've done it, haven't I? You can tell me all about it. No, it's not necessary. I've put myself into the scene at last. The abyss with a decor, the ultimate flight! In short - survival in the very maw of oblivion. Oh, perhaps there's still some work to be done. But I've made a good start, haven't I? I've got my foot in the door, my face looking in the window. Little by little, then... forever. True? No, don't say anything. Show me where it is, I need to go there. I have a right to go."

  Having no idea what sort of behavior a refusal might inspire in the maniacal Rignolo, not to mention possible reprisals from unknown parts, Nolon and Grissul respected the artist's request.

  * * *

  Into a scene which makes no sound, three figures arrive. Their silhouettes move with distinct, cautious steps across an open field, progressing slowly, almost without noticeable motion. Around them, crisscrossing shafts of tall grasses are entirely motionless, their pointed tips sharply outlined in the moonlight. Above them, the moon is round and bright; but its brightness is of a dull sort, like the flat whiteness that appears in the spaces of complex designs embellishing the page of a book.

  The three figures, one of which is much shorter than the other two, have stopped and are standing completely still before a particularly dense clump of oddly shaped stalks. Now one of the taller figures has raised his arm and is pointing toward this clump of stalks, while the shorter figure has taken a step in the direction indicated. The two tall figures are standing together as the short one has all but disappeared into the dark, dense overgrowth. Only a single shoe, its toe angled groundward, remains visible. Then nothing at all.