THE BLUE AIR COMPRESSOR
The house was tall, with an incredible slope of shingled roof. As he walked up toward it from the shore road, Gerald Nately thought it was almost a country in itself, geography in microcosm. The roof dipped and rose at varying angles above the main building and two strangely-angled wings; a widow's walk skirted a mushroom-shaped cupola which looked toward the sea; the porch, facing the dunes and lusterless September scrubgrass was longer than a Pullman car and screened in. The high slope of roof made the house seem to beetle its brows and loom above him. A Baptist grandfather of a house.
He went to the porch and after a moment of hesitation, through the screen door to the fanlighted one beyond. There was only a wicker chair, a rusty porch swing, and an old discarded knitting basket to watch him go. Spiders had spun silk in the shadowy upper corners. He knocked.
There was silence, inhabited silence. He was about to knock again when a chair someplace inside wheezed deeply in its throat. It was a tired sound. Silence. Then the slow, dreadfully patient sound of old, overburdened feet finding their way up the hall. Counterpoint of cane: Whock... whock... whock...
The floorboards creaked and whined. A shadow, huge and unformed in the pearled glass, bloomed on the fanlight. Endless sound of fingers laboriously solving the riddle of chain, bolt, and hasp lock. The door opened. "Hello," the nasal voice said flatly. "You're Mr. Nately. You've rented the cottage. My husband's cottage."
"Yes." Gerald said, his tongue swelling in his throat. "That's right. And you're-"
"Mrs. Leighton," the nasal voice said, pleased with either his quickness or her name, though neither was remarkable. "I'm Mrs. Leighton."
* * *
this woman is so goddam fucking big and old she looks like oh jesus christ print dress she must be six-six and fat my god Shes fat as a hog can't smell her white hair long white hair her legs those redwood trees ill that movie a Lank she could be a tank she could kill me her voice is out of any context like a kazoo jesus if i laugh i can't laugh can she be seventy god how does she walk and the cane her hands are bigger than my feet like a goddam tank she could go through oak oak for christs sake.
* * *
"You write." She hadn't offered him in.
"That's about the size of it," he said, and laughed to cover his own sudden shrinking from that metaphor.
"Will you show me some after you get settled?" she asked. Her eyes seemed perpetually luminous and wistful. They were not touched by the age that had run riot in the rest of her
* * *
wait get that written down
* * *
image: "age had run riot in her with luxuriant fleshiness: she was like a wild sow let loose in a great and dignified house to shit on the carpet, gore at the welsh dresser and send the crystal goblets and wine-glasses all crash-atumble, to trample the wine colored divans to lunatic puffs of springs and stuffing, to spike the mirrorbright finish of the great hall floor with barbarian hoofprints and flying puddles of urine"
okay Shes there its a story i feel her
* * *
body, making it sag and billow.
"If you like," he said. "I didn't even see the cottage from the Shore Road, Mrs. Leighton. Could you tell me where--"
"Did you drive in?"
"Yes. I left my car over there.'' He pointed beyond the dunes, toward the road.
A smile, oddly one-dimensional, touched her lips. "That's why. You can only see a blink from the road: unless you're walking, you miss it." She pointed west at a slight angle away from the dunes and the house. "There. Right over that little hill."
"All right," he said, then stood there smiling. He really had no idea how to terminate the interview.
"Would you like to come in for some coffee? Or a Coca-Cola?"
"Yes," he said instantly.
She seemed a little taken back by his instant agreement. He had, after 211, been her husband's friend, not her own. The face loomed above Gerald, moonlike, disconnected, undecided. Then she led him into the elderly, waiting house.
She had tea. He had Coke, Millions of eyes seemed to watch them. He felt like a burglar, stealing around the hidden fiction he could Make of her, carrying only his own youthful winsomeness and a psychic flashlight.
* * *
My own name, of course, is Steve King, and you'll pardon my intrusion on your mind-or I hope you will. I could argue that the drawing-aside of the curtain of presumption between reader and author is permissible because I am the writer; i.e., since it's my story I'll do any goddam thing I please with it-but since that leaves the reader out of it completely, that is not valid. Rule One for all writers is that the teller is not worth a tin tinker's fart when compared to the listener. Let us drop the matter, if we may. I am intruding for the same reason that the Pope defecates: we both have to.
You should know that Gerald Nately was never brought to the dock; his crime was not discovered. He paid all the same. After writing four twisted, monumental, misunderstood novels, he cut his own head off with an ivory-figured guillotine purchased in Kowloon.
I invented him first during a moment of eight o'clock boredom in a class taught by Carroll F. Terrell of the University of Maine English faculty. Dr. Terrell was speaking of Edgar A. Poe, and I thought
ivory guillotine Kowloon
twisted woman of shadows, like a pig
some big house
The blue air compressor did not come until later. It is desperately important that the reader be made cognizant of these facts.
* * *
He did show her some of his writing. Not the important part, the story he was writing about her, but fragments of poetry, the spine of a novel that had ached in his mind for a year like embedded shrapnel, four essays. She was a perceptive critic, and addicted to marginal notations with her black felt-tip pen. Because she sometimes dropped in when lie was gone to the village, he kept the story hidden in the back shed.
September melted into cool October, and the story was completed, mailed to a friend, returned with suggestions (bad ones), rewritten. He felt it was good, but not quite right. Some indefinable was missing. The focus was a shade fuzzy. He began to toy, with the idea of giving it to her for Criticism, rejected it, toyed with it again. After all. the story was her; he never doubted she could supply the final vector.
His attitude concerning her became increasing])- unhealthy; he was fascinated by her huge, animalistic bulk, by the slow, tortoise-like way she trekked across the space between the house and the cottage.
* * *
image: "mammoth shadow of decay swaying across the shadowless sand, cane held in one twisted hand, feet clad in huge canvas shoes which pump and push at the coarse grains, face like a serving platter, puffy dough arms, breasts like drumlins, a geography in herself, a country of tissue"
* * *
by her reedy, vapid voice; but at the same time he loathed her, could not stand her touch. lie began to feel like the young man in "The Tell-Tale Heart, " by Edgar A. Poe. He felt lie could stand at her bedroom door for endless midnights, shining one Tay of light on her sleeping eye, ready to pounce and rip the instant it flashed open.
The urge to show her the story itched at him maddeningly. He had decided, by the first day of December, that he would do it. The decision-making did not relieve him, as it is supposed to do in the novels, but it did leave him with a feeling of antiseptic pleasure. It was right that it should be so-an omega that quite dovetailed with he alpha. And it was omega; he was vacating the cottage on he fifth of December. On this day he had just returned from the Stowe Travel Agency in Portland, where he had booked passage for the Far East. He had done this almost on the spur of the moment: the decision to go and the decision to show his manuscript to Mrs. Leighton had come together, almost as if he had been guided by an invoisible hand.
* * *