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 he 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. Something 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 increasingly 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
* * *
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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. He began to feel like the young man in "The Tell-Tale Heart, " by Edgar A. Poe. He felt he could stand at her bedroom door for endless midnights, shining one ray 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 the alpha. And it was omega; he was vacating the cottage on the 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 invisible hand.
In truth, he was guided by an invisible hand-mine.
The day was white with overcast and the promise of snow lurked in its throat. The dunes seemed to foreshadow the winter already, as Gerald crossed them between the slate-roofed house of her dominion and the low stone cottage of his. The sea, sullen and gray, curled on the shingle of beach. Gulls rode the slow swells like buoys.
He crossed the top of the last dune and knew she was there – her cane, with its white bicycle handgrip at the base, stood against the side of the door. Smoke drifted from the toy chimney. Gerald went up the board steps, kicked sand from his high-topped shoes to make her aware of his presence, and then went in.
"Hi, Mrs. Leighton!"
But the tiny living room and the kitchen both stood empty. The ship's clock on the mantle ticked only for itself and for Gerald. Her gigantic fur coat lay draped over the rocker like some animal sail. A small fire had been laid in the fireplace, and it glowed and crackled busily. The teapot was on the gas range in the kitchen, and one teacup stood on the counter, still waiting for water. He peered into the narrow hall which led to the bedroom.
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"Mrs. Leighton?"
Hall and bedroom both empty.
He was about to turn back to the kitchen when the mammoth chuckles began. They were large, helpless shakings of laughter, the kind that stays hidden for years and ages like wine (There is also an Edgar A. Poe story about wine). The chuckles evolved into large bellows of laughter.
They came from behind the door to the right of Gerald's bed, the last door in the cottage. From the tool-shed.
my balls are crawling like in grammar school the old bitch shes laughing she found it the old fat she bitch goddam her goddam her goddam her you old whore youre doing that cause im out here you old she bitch whore you piece of shit
He went to the door in one step and pulled it open. She was sitting next to the small space-heater in the shed, her dress pulled up over oak-stump knees to allow her to sit cross-legged, and his manuscript was held, dwarfed, in her bloated hands.
Her laughter roared and racketed around him. Gerald Nately saw bursting colors
in front of his eyes. She was a slug, a maggot, a gigantic crawling thing evolved in the cellar of the shadowy house by the sea. A dark bug that had swaddled itself in grotesque human form.
In the flat light from the one cobwebbed window her face became a hanging graveyard moon, pocked by the sterile craters of her eyes and the ragged earthquake rift of her mouth.
"Don't you laugh," Gerald said stiffly.
"Oh Gerald," she said, laughing all the same. "This is such a bad story.
I don't blame you for using a penname. It's – " she wiped tears of laughter from her eyes, "it's abominable!"
He began to walk toward her stiffly.
"You haven't made me big enough, Gerald. That's the trouble. I'm too big for you. Perhaps Poe, or Dosteyevsky, or Melville…but not you, Gerald. Not even under your royal pen-name. Not you. Not you.”
She began to laugh again, huge racking explosions of sound.
"Don't you laugh," Gerald said stiffly.
The tool-shed, after the manner of Zola:
Wooden walls, which showed occasional chinks of light, surrounding rabbit-traps hung and slung in corners; a pair of dusty, unstrung snow-shoes: a rusty spaceheater showing flickers of yellow flame like cat's eyes; a shovel; hedge clippers; an ancient green hose coiled like a garter-snake; four bald tires stacked like doughnuts; a rusty Winchester 53
rifle with no bolt; a two handed saw; a dusty work-bench covered with nails, screws, bolts, washers, two hammers, a plane, a broken level, a dismantled carburetor which once sat inside a 1949 Packard convertible; a 4 hp. air-compressor painted electric blue, plugged into an extension cord running back into the house.
"Don't you laugh," Gerald said again, but she continued to rock back and forth, holding her stomach and flapping the manuscript with her wheezing breath like a white bird.
His hand found the rusty Winchester rifle and he pole-axed her with it.
Most horror stories are sexual in nature.
I'm sorry to break in with this information, but feel I must in order to make the way clear for the grisly conclusion of this piece, which is (at least psychologically) a clear metaphor for fears of sexual impotence on his part. Mrs. Leighton's large mouth is symbolic of the vagina; the hose of the compressor is a penis. Her female bulk, huge and overpowering, is a mythic representation of the sexual fear that lives in every male, to a greater or lesser degree: that the woman, with her opening, is a devourer.
In the works of Edgar A. Poe, Stephen King, Gerald Nately, and others who practice this particular literary form, we are apt to find locked rooms, dungeons, empty mansions (all symbols of the womb); scenes of living burial (sexual impotence); the dead returned from the grave (necrophilia); grotesque monsters or human beings (externalized fear of the sexual act itself); torture and/or murder (a viable alternative to the sexual act).
These possibilities are not always valid, but the post-Freud reader and writer must take them into consideration when attempting the genre.