Demon spoke on: ‘I cannot disinherit you: Aqua left you enough "ridge" and real estate to annul the conventional punishment. And I cannot denounce you to the authorities without involving my daughter, whom I mean to protect at all cost. But I can do the next proper thing, I can curse you, I can make this our last, our last —’

Van, whose finger had been gliding endlessly to and fro along the mute but soothingly smooth edge of the mahogany desk, now heard with horror the sob that shook Demon’s entire frame, and then saw a deluge of tears flowing down those hollow tanned cheeks. In an amateur parody, at Van’s birthday party fifteen years ago, his father had made himself up as Boris Godunov and shed strange, frightening, jet-black tears before rolling down the steps of a burlesque throne in death’s total surrender to gravity. Did those dark streaks, in the present show, come from his blackening his orbits, eyelashes, eyelids, eyebrows? The funest gamester... the pale fatal girl, in another well-known melodrama.... In this one. Van gave him a clean handkerchief to replace the soiled rag. His own marble calm did not surprise Van. The ridicule of a good cry with Father adequately clogged the usual ducts of emotion.

Demon regained his composure (if not his young looks) and said:

‘I believe in you and your common sense. You must not allow an old debaucher to disown an only son. If you love her, you wish her to be happy, and she will not be as happy as she could be once you gave her up. You may go. Tell her to come here on your way down.’

Down. My first is a vehicle that twists dead daisies around its spokes; my second is Oldmanhattan slang for ‘money’; and my whole makes a hole.

As he traversed the second-floor landing, he saw, through the archway of two rooms, Ada in her black dress standing, with her back to him, at the oval window in the boudoir. He told a footman to convey her father’s message to her and passed almost at a run through the familiar echoes of the stone-flagged vestibule.

My second is also the meeting place of two steep slopes. Right-hand lower drawer of my practically unused new desk — which is quite as big as Dad’s, with Sig’s compliments.

He judged it would take him as much time to find a taxi at this hour of the day as to walk, with his ordinary swift swing, the ten blocks to Alex Avenue. He was coatless, tieless, hatless; a strong sharp wind dimmed his sight with salty frost and played Medusaean havoc with his black locks. Upon letting himself in for the last time into his idiotically cheerful apartment, he forthwith sat down at that really magnificent desk and wrote the following note:


Do what he tells you. His logic sounds preposterous, prepsupposing [sic] a vague kind of ‘Victorian’ era, as they have on Terra according to ‘my mad’ [?], but in a paroxysm of [illegible] I suddenly realized he was right. Yes, right, here and there, not neither here, nor there, as most things are. You see, girl, how it is and must be. In the last window we shared we both saw a man painting [us?] but your second-floor level of vision probably prevented your seeing that he wore what looked like a butcher’s apron, badly smeared. Good-bye, girl.


Van sealed the letter, found his Thunderbolt pistol in the place he had visualized, introduced one cartridge into the magazine and translated it into its chamber. Then, standing before a closet mirror, he put the automatic to his head, at the point of the pterion, and pressed the comfortably concaved trigger. Nothing happened — or perhaps everything happened, and his destiny simply forked at that instant, as it probably does sometimes at night, especially in a strange bed, at stages of great happiness or great desolation, when we happen to die in our sleep, but continue our normal existence, with no perceptible break in the faked serialization, on the following, neatly prepared morning, with a spurious past discreetly but firmly attached behind. Anyway, what he held in his right hand was no longer a pistol but a pocket comb which he passed through his hair at the temples. It was to gray by the time that Ada, then in her thirties, said, when they spoke of their voluntary separation:

‘I would have killed myself too, had I found Rose wailing over your corpse. "Secondes pensées sont les bonnes," as your other, white, bonne used to say in her pretty patois. As to the apron, you are quite right. And what you did not make out was that the artist had about finished a large picture of your meek little palazzo standing between its two giant guards. Perhaps for the cover of a magazine, which rejected that picture. But, you know, there’s one thing I regret,’ she added: ‘Your use of an alpenstock to release a brute’s fury — not yours, not my Van’s. I should never have told you about the Ladore policeman. You should never have taken him into your confidence, never connived with him to burn those files — and most of Kalugano’s pine forest. Eto unizitel’no (it is humiliating).’

‘Amends have been made,’ replied fat Van with a fat man’s chuckle. ‘I’m keeping Kim safe and snug in a nice Home for Disabled Professional People, where he gets from me loads of nicely brailled books on new processes in chromophotography.’

There are other possible forkings and continuations that occur to the dream-mind, but these will do.

Part Three

1

He traveled, he studied, he taught.

He contemplated the pyramids of Ladorah (visited mainly because of its name) under a full moon that silvered the sands inlaid with pointed black shadows. He went shooting with the British Governor of Armenia, and his niece, on Lake Van. From a hotel balcony in Sidra his attention was drawn by the manager to the wake of an orange sunset that turned the ripples of a lavender sea into goldfish scales and was well worth the price of enduring the quaintness of the small striped rooms he shared with his secretary, young Lady Scramble. On another terrace, overlooking another fabled bay, Eberthella Brown, the local Shah’s pet dancer (a naive little thing who thought ‘baptism of desire’ meant something sexual), spilled her morning coffee upon noticing a six-inch-long caterpillar, with fox-furred segments, qui rampait, was tramping, along the balustrade and curled up in a swoon when picked up by Van — who for hours, after removing the beautiful animal to a bush, kept gloomily plucking itchy bright hairs out of his fingertips with the girl’s tweezers.

He learned to appreciate the singular little thrill of following dark byways in strange towns, knowing well that he would discover nothing, save filth, and ennui, and discarded ‘merrycans’ with ‘Billy’ labels, and the jungle jingles of exported jazz coming from syphilitic cafés. He often felt that the famed cities, the museums, the ancient torture house and the suspended garden, were but places on the map of his own madness.

He liked composing his works (Illegible Signatures, 1895; Clairvoyeurism, 1903; Furnished Space, 1913; The Texture of Time, begun 1922), in mountain refuges, and in the drawing rooms of great expresses, and on the sun decks of white ships, and on the stone tables of Latin public parks. He would uncurl out of an indefinitely lengthy trance, and note with wonder that the ship was going the other way or that the order of his left-hand fingers was reversed, now beginning, clockwise, with his thumb as on his right hand, or that the marble Mercury that had been looking over his shoulder had been transformed into an attentive arborvitae. He would realize all at once that three, seven, thirteen years, in one cycle of separation, and then four, eight, sixteen, in yet another, had elapsed since he had last embraced, held, bewept Ada.

Numbers and rows and series — the nightmare and malediction harrowing pure thought and pure time — seemed bent on mechanizing his mind. Three elements, fire, water, and air, destroyed, in that sequence, Marina, Lucette, and Demon. Terra waited.

For seven years, after she had dismissed her life with her husband, a successfully achieved corpse, as irrelevant, and retired to her still dazzling, still magically well-staffed Côte d’Azur villa (the one Demon had once given her), Van’s mother had been suffering from various ‘obscure’ illnesses, which everybody thought she made up, or talentedly simulated, and which she contended could be, and partly were, cured by willpower. Van visited her less often than dutiful Lucette, whom he glimpsed there on two or three occasions; and once, in 1899, he saw, as he entered the arbutus-and-laurel garden of Villa Armina, a bearded old priest of the Greek persuasion, clad in neutral black, leaving on a motor bicycle for his Nice parish near the tennis courts. Marina spoke to Van about religion, and Terra, and the Theater, but never about Ada, and just as he did not suspect she knew everything about the horror and ardor of Ardis, none suspected what pain in her bleeding bowels she was trying to allay by incantations, and ‘self-focusing’ or its opposite device, ‘self-dissolving.’ She confessed with an enigmatic and rather smug smile that much as she liked the rhythmic blue puffs of incense, and the dyakon’s rich growl on the ambon, and the oily-brown ikon coped in protective filigree to receive the worshipper’s kiss, her soul remained irrevocably consecrated, naperekor (in spite of) Dasha Vinelander, to the ultimate wisdom of Hinduism.

Early in 1900, a few days before he saw Marina, for the last time, at the clinic in Nice (where he learned for the first time the name of her illness), Van had a ‘verbal’ nightmare, caused, maybe, by the musky smell in the Miramas (Bouches Rouges-du-Rhône) Villa Venus. Two formless fat transparent creatures were engaged in some discussion, one repeating ‘I can’t!’ (meaning ‘can’t die’ — a difficult procedure to carry out voluntarily, without the help of the dagger, the ball, or the bowl), and the other affirming ‘You can, sir!’ She died a fortnight later, and her body was burnt, according to her instructions.