Fireworks: Nine Profane Pieces Page 12

  Now B revealed an intransigent morality. He wanted us to go to the police, make a clean breast of all and take our punishment, since we had done nothing of which we ourselves were ashamed. But A had his baby son to think of and wanted to take Susie and his child to a Welsh mountain where he had friends on a commune, there to recuperate from these excesses in the clean air. Apropos of nothing, he declared he’d never be able to look at meat again and would walk on the other side of the road when he passed a butcher’s shop. He sat on the mattress by the sleeping girl and looked, every moment, more and more like an ordinary husband and father. But C and I did not know what to do, now, nor what to think. We felt nothing but a lapse of feeling, a dulled heaviness, a despair.

  The pure, cool light of early September touched the contents of the room with fastidious fingers; we looked at the day with mild surprise, that it should be as bright as any other day, brighter, in fact, than most. Then I felt a drop like a heavy raindrop fall on the back of my hand but it was not a raindrop, for the sun was shining, nor a drip from a leaking cistern, because the landlord’s room was directly over our heads. This was a red drop. Horror! It was blood; and, looking up, I saw the stain on the ceiling where the old man’s blood was leaking through. Soon he would begin to smell.

  We began to argue. Should we dig a hole in the backyard and bury the old man in it, pack our few things and leave the house under false names for secret destinations, as A wanted to do; or should we throw ourselves upon the law, as B thought was fight. Instinct and will, again; I was poised on the window-ledge of a fourth floor of a building I had never suspected existed and I did not know which was will and which was instinct that told me to jump, to run. While we were discussing these things, we heard a low rumble in the distance. We thought it was thunder but, when A turned on the radio to find out what time it was, only martial music was playing and the newsflash informed us the coup had taken place; the army was in power, as if this was not home but a banana republic. They were encountering some resistance in the North but were rapidly crushing it. All the time we had been plotting, the generals had been plotting and we had known nothing. Nothing!

  The thunder grew louder; it was gun and mortar fire. The sky soon filled with helicopters. The Civil War began. History began.

  AFTERWORD

  I STARTED TO write short pieces when I was living in a room too small to write a novel in. So the size of my room modified what I did inside it and it was the same with the pieces themselves. The limited trajectory of the short narrative concentrates its meaning. Sign and sense can fuse to an extent impossible to achieve among the multiplying ambiguities of an extended narrative. I found that, though the play of surfaces never ceased to fascinate me, I was not so much exploring them as making abstractions from them. I was writing, therefore, tales.

  Though it took me a long time to realize why I liked them, I’d always been fond of Poe, and Hoffman – Gothic tales, cruel tales, tales of wonder, tales of terror, fabulous narratives that deal directly with the imagery of the unconscious – mirrors; the externalized self; forsaken castles; haunted forests; forbidden sexual objects. Formally, the tale differs from the short story in that it makes few pretences at the imitation of life. The tale does not log everyday experience, as the short story does; it interprets everyday experience through a system of imagery derived from subterranean areas behind everyday experience, and therefore the tale cannot betray its readers into a false knowledge of everyday experience.

  The Gothic tradition in which Poe writes grandly ignores the value systems of our institutions; it deals entirely with the profane. Its great themes are incest and cannibalism. Character and events are exaggerated beyond reality, to become symbols, ideas, passions. Its style will tend to be ornate, unnatural and thus operate against the perennial human desire to believe the word as fact. Its only humour is black humour. It retains a singular moral function – that of provoking unease.

  The tale has relations with sub-literary forms of pornography, ballad and dream, and it has not been dealt with kindly by literati. And is it any wonder? Let us keep the unconscious in a suitcase, as Père Ubu did with his conscience, and flush it down the lavatory when it gets too troublesome.

  So I worked on tales. I was living in Japan; I came back to England in 1972. I found myself in a new country. It was like waking up, it was a rude awakening. We live in Gothic times. Now, to understand and to interpret is the main thing; but my method of investigation is changing.

  These stories were written between 1970 and 1973 and are arranged in chronological order, as they were written. There is a small tribute to Defoe, father of the bourgeois novel in England, inserted in the story, ‘Master’.

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  Copyright © Angela Carter 1974

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  First published by Quartet Books Limited in 1974

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