“What are these?” I asked Lambshead. From his chair, he looked up to the ceiling, unsure of my voice’s source.
“What do they look like?” he asked my sitting-self. I heard her describe the jorums, and he smiled.
“Mood,” he spoke into the ether. “They are jars of mood.”
I squatted at the bookshelf and selected one containing the cosmos. Several minute stars swam like strawberry seeds in a phosphorescent jam that churned and congealed into a sun that heated the glass. It burned my hand and I dropped it, and, with a loud bang, it exploded on the floor, incinerating all within the jar and melting the glass, which pooled and cooled into a Bristol blue fetus.
Before I could retrieve it, I heard Lambshead command me awake, and suddenly I was back in the chair—whole—and subject to his sherry-sweet breath. The bookshelves, the taxidermy, curios, and jars were all gone, but on the ground remained the glass fetus, which the doctor rushed to rescue.
He coddled it in his palm. “This—this is what ails you!”
“A child?”
“Of the imagination, yes. You thought you had a disease of influence, but it is much, much worse. You have a disease of the imagination, probably from too much Poe. But don’t worry, this here is your cure.”
“I thought you said it was what ails me?”
“You are cured,” he said. “And I have another child for my cabinet!” He waved the wisps away and they dimmed in rejection. Before I could ask what the other children were, he all but rushed me from the basement and out of his house.
I did not see where he kept the Dark Room’s offspring, and I suppose now I never will, but after I left Lambshead and his curious cabinet, I admit I felt a lot lighter. Before booting me off the steps, he gave me permission to write of my disease, which seemed to ameliorate my condition more.
Having been able to resume a normal, perhaps even an extra-normal life, I am forever indebted to that cabinet and to Dr. Lambshead. When I read of his death, just three years later, I mourned not only the loss of that great man but also of his Dark Room and its soul-ware nursery that has inevitably become overexposed and returned to the ether.
2003: The Pea
Related to Gio Clairval in 2008 at a Parisan Café, by Dr. Lambshead’s Housekeeper
Dr. Lambshead had told me not to dust the object resting on the third shelf from the floor, a collector’s item hidden behind a maroon curtain. In my twenty years at the doctor’s service, I had never contravened an order. Nevertheless, my employer’s days being numbered, it seemed to me that I should redouble my efforts in keeping the basement spotless.
Behind the curtain stood a bell jar of oxide-stained glass, iridescent with blues, pinks, and greens, as tall as my forearm, protecting a Smyrna-red velvet cushion the size of a full-blossomed rose. Golden tassels hanging from a crown of braided trimmings strangled the cushion into the shape of a muffin, the top of which appeared to be decorated with an embroidery of silver-coloured human hair stitched at regular intervals to form a lozenge pattern.
On the cushion sat a perfectly preserved pea.
I gasped, suddenly aware of my staring at a piece of Dr. Lambshead’s secret collection, and lowered my gaze to examine the elegant pedestal. It was made of grey-veined marble carved into ovals framed by acanthus leaves. A slight suspicion of dust filled the carvings. After five seconds, I looked at the item again. How could a pea not shrink and shrivel, unless it was preserved in oil or in a vacuum? To judge by the colour, it was a young pea freshly spilled from its pod, full of water and life that made its skin turgid, ready to burst if squeezed between index finger and thumb.
My stomach clenched at the unprofessional thought. I concentrated on my task, passing my feather duster with the greatest attention on the delicate pedestal carvings, but my gaze wandered back to the pea. It had never happened before. In all those years, never had one single question about any of the objects crossed my mind. My deference to the doctor’s wishes had always been absolute.
Dr. Lambshead had become all my family after my parents died. No sensible person can lend credence to the cook’s rants; he attributes a selfish intent to each of the doctor’s good actions. It is untrue that my legal guardian discouraged my interest in humanities to secure the services of an unpaid employee. When a paralysing timidity forced me to abandon my studies at Oxford, the doctor restored my self-esteem by assuring me I was the only person he could trust to keep his ever-growing collection mildew-free. He had always treated me with consideration. And dust was our enemy.
Dust, Paulette, dust hard and true, he used to say. Blessed be the stutter that forced you to forgo your wish to become a teacher. Dusting is a greater responsibility. Dusting must be your obsession. The professional Duster’s mission is to make a stand against the particles that come out of the ether, the first step taken by Mother Nature in the process of smothering her children. Entropy, the doctor said, erases all differences, deconstructing complex matter into simple elements. Dust, full of vile microorganisms, is the harbinger of entropy and must be confronted with unrelenting determination. Forget the wonders gathered in this basement room. See only concave shapes and recesses and carvings as receptacles to choking death, headquarters where the enemy prepares for sorties. Don’t let the soldiers of entropy regroup to launch the next offensive. Destroy them with your feather duster, moist rag, and badger-bristle brush. Wage war against the blanket of oblivion, Paulette. Make these shelves a testimony to Man’s struggle for eternity.
With these words in mind, I would spend my days in the doctor’s cabinet of curiosities, stroking precious items with my instruments. Never seeing the items themselves. Always considering these disparate objects in their mere quality of innocent victims to dust.
So why was I fascinated by the most humble among the doctor’s treasures? Despite the glamorous presentation on the tasselled cushion, it was a simple pea—so round, so green, so impossibly glossy within the confined space of the bell.
It struck me that the pea, like other items protected by cloths, jars, bottles, cases, and sandalwood- or stone-inlaid boxes, didn’t need me. Surely enough, the outer shell, the glass bell that protected it, would soon be marred by layers of particles, without my repeated interventions. But the pea itself flaunted its perfect round shape unblemished by the agents of annihilation. My chest ached as I realized how peripheral I was in the pea’s destiny.
Dr. Lambshead’s cook, a retired professor who philosophised while stirring sauces, once said my job epitomised the concept of empty instrumentality. He meant that once I had finished dusting, I would have to start it over again and there could be no lasting result of my toiling, ever. You’re like the dust you fight, Paulette, a monument to impermanence. But I saw no problem in being a modest tool. Day after day, I won my battle against the dancing motes and went home happy, knowing that the enemy would infiltrate the basement during the night, laying a thin sheet of powdery specks on everything, but I would counter the attack the following day, and again, and I’d never be unemployed.
An immutable ritual. I wore a pristine white apron. Washed my hands at the sink concealed behind a drape in a corner of the one-room basement. Seized my instruments. Dusting, I crossed the strokes, swivelled before stepping toward the next spot, dedicated an entrechat to the smallest pieces and bowed to the tallest, seeing them as a continuum of surfaces to dust. I worked with enthusiasm, disputing my protégés to my opponent’s domination. I was proud of my mission. I was content. Above everything, I was useful.