Tropic of Capricorn (29 page)

When the great plunder-bird returns exhausted from her flight she will find me here in the midst of my nothingness, I,
the imperishable schizerino, a blazing seed hidden in the heart of death. Every day she thinks to find another means of sustenance, but there is no other, only this eternal seed of light which by dying each day I rediscover for her. Fly, O devouring bird, fly to the limits of the universe! Here is your nourishment glowing in the sickening emptiness you have created! You will come back to perish once more in the black hole; you will come back again and again, for you have not the wings to carry you out of the world. This is the only world you can inhabit, this tomb of the snake where darkness reigns.

And suddenly for no reason at all, when I think of her returning to her nest, I remember Sunday mornings in the little old house near the cemetery. I remember sitting at the piano in my nightshirt, working away at the pedals with bare feet, and the folks lying in bed toasting themselves in the next room. The rooms opened one on the other, telescope fashion, as in the good old American railroad flats. Sunday mornings one lay in bed until one was ready to screech with well-being. Towards eleven or so the folks used to rap on the wall of my bedroom for me to come and play for them. I would dance into the room like the Fratellini Brothers, so full of flame and feathers that I could hoist myself like a derrick to the topmost limb of the tree of heaven. I could do anything and everything singlehanded, being double-jointed at the same time. The old man called me “Sunny Jim”, because I was full of “Force”, full of vim and vigour. First I would do a few handsprings for them on the carpet before the bed; then I would sing falsetto, trying to imitate a ventriloquist’s dummy; then I would dance a few light fantastic steps to show which way the wind lay, and zoom! Like a breeze I was on the piano stool and doing a velocity exercise. I always began with Czerny, in order to limber up for the performance. The old man hated Czerny, and so did I, but Czerny was the plat du jour on the bill of fare then, and so Czerny it was until my joints were rubber. In some vague way Czerny reminds me of the great emptiness which came upon me later. What a velocity I would work up, riveted to the piano stool! It was like swallowing a bottle of tonic at one gulp and then having someone strap you to the bed. After I had played
about ninety-eight exercises I was ready to do a little improvising. I used to take a fist-full of chords and crash the piano from one end to the other, then sullenly modulate into “The Burning of Rome” or the “Ben Hur Chariot Race” which everybody liked because it was intelligible noise. Long before I read Wittgenstein’s
Tractatus Logico-Philosophicus
I was composing the music to it, in the key of sassafras. I was learned then in science and philosophy, in the history of religions, in inductive and deductive logic, in liver mantic, in the shape and weight of skulls, in pharmacopeia and metallurgy, in all the useless branches of learning which gives you indigestion and melancholia before your time. This vomit of learned truck was stewing in my guts the whole week long, waiting for it to come Sunday to be set to music. In between “The Midnight Fire Alarm” and “Marche Militaire” I would get my inspiration, which was to destroy all the existent forms of harmony and create my own cacophony. Imagine Uranus well aspected to Mars, to Mercury, to the Moon, to Jupiter, to Venus. It’s hard to imagine because Uranus functions best when it is badly aspected, when it is “afflicted”, so to speak. Yet that music which I gave off Sunday mornings, a music of well-being and of well-nourished desperation, was born of an illogically well-aspected Uranus firmly anchored in the 7th House. I didn’t know it then, I didn’t know that Uranus existed, and lucky it was that I was ignorant. But I can see it now, because it was a fluky joy, a phony well-being, a destructive sort of fiery creation. The greater my euphoria the more tranquil the folks became. Even my sister who was dippy became calm and composed. The neighbours used to stand outside the window and listen, and now and then I would hear a burst of applause, and then bang, zip! like a rocket I was off again – Velocity Exercise No. 947½. If I happened to espy a cockroach crawling up the wall I was in bliss: that would lead me without the slightest modulation to Opus Izzi of my sadly corrugated clavichord. One Sunday, just like that, I composed one of the loveliest scherzos imaginable – to a louse. It was Spring and we were all getting the sulphur treatment; I had been pouring all week over Dante’s
Inferno
in
English. Sunday came like a thaw, the birds driven so crazy by the sudden heat that they flew in and out of the window, immune to the music. One of the German relatives had just arrived from Hamburg, or Bremen, a maiden aunt who looked like a bull-dyker. Just to be near her was sufficient to throw me into a fit of rage. She used to pat me on the head and tell me I would be another Mozart. I hated Mozart, and I hate him still, and so to get even with her I would play badly, play all the sour notes I knew. And then came the little louse, as I was saying, a real louse which had gotten buried in my winter underwear. I got him out and I put him tenderly on the tip of a black key. Then I began to do a little gigue around him with my right hand; the noise had probably deafened him tenderly on the tip of a black key. Then hypnotized, it seemed, by my nimble pyrotechnic. This trance-like immobility finally got on my nerves. I decided to introduce a chromatic scale coming down on him full force with my third finger. I caught him fair and square, but with such force that he was glued to my fingertip. That put the St. Vitus’ Dance in me. From then on the scherzo commenced. It was a pot-pourri of forgotten melodies spiced with aloes and the juice of porcupines, played sometimes in three keys at once and pivoting always like a waltzing mouse around the immaculate conception. Later, when I went to hear Prokofief, I understood what was happening to him; I understood Whitehead and Russell and Jeans and Eddington and Rudolf Eucken and Frobenius and Link Gillespie; I understood why, if there had never been a binomial theorem, man would have invented it; I understood why electricity and compressed air, to say nothing of sprudel baths and fango packs. I understood very clearly, I must say, that man has a dead louse in his blood, and that when you’re handed a symphony or a fresco or a high explosive you’re really getting an ipecac reaction which was not included in the predestined bill of fare. I understood too why I had failed to become the musician I was. All the compositions I had created in my head, all these private and artistic auditions which were permitted me, thanks to St. Hildegarde or St. Bridget, or John of the Cross, or God knows whom, were written for an age to come, an age with less
instruments and stronger antennae, stronger eardrums too. A different kind of suffering has to be experienced before such music can be appreciated. Beethoven staked out the new territory – one is aware of its presence when he erupts, when he breaks down in the very core of his stillness. It is a realm of new vibrations – to us only a misty nebula, for we have yet to pass beyond our own conception of suffering. We have yet to ingest this nebulous world, its travail, its orientation. I was permitted to hear an incredible music lying prone and indifferent to the sorrow about me. I heard the gestation of a new world, the sound of torrential rivers taking their course, the sound of stars grinding and chafing, of fountains clotted with blazing gems. All music is still governed by the old astronomy, is the product of the hothouse, a panacea for Weltschmerz. Music is still the antidote for the nameless, but this is not yet
music.
Music is planetary fire, an irreducible which is all-sufficient; it is the slate-writing of the gods, the abracadabra which the learned and the ignorant alike muff because the axle has been unhooked. Look to the bowels, to the unconsolable and ineluctable! Nothing is determined, nothing is settled or solved. All this that is going on, all music, all architecture, all law, all government, all invention, all discovery – all this is velocity exercises in the dark, Czerny with a capital Zed riding a crazy white horse in a bottle of mucilage.

One of the reasons why I never got anywhere with the bloody music is that it was always mixed up with sex. As soon as I was able to play a song the cunts were around me like flies. To begin with, it was largely Lola’s fault. Lola was my first piano teacher. Lola Niessen. It was a ridiculous name and typical of the neighbourhood we were living in then. It sounded like a stinking bloater, or a wormy cunt. To tell the truth, Lola was not exactly a beauty. She looked somewhat like a Kalmuck or a Chinook, with sallow complexion and bilious-looking eyes. She had a few warts and wens, not to speak of the moustache. What excited me, however, was her hairiness; she had wonderful long fine black hair which she arranged in ascending and descending buns on her Mongolian skull. At the nape of the neck she curled it up in a serpentine knot. She was always late
in coming, being a conscientious idiot, and by the time she arrived I was always a bit enervated from masturbating. As soon as she took the stool beside me, however, I became excited again, what with the stinking perfume she soused her armpits with. In the summer she wore loose sleeves and I could see the tufts of hair under her arms. The sight of it drove me wild. I imagined her as having hair all over, even in her navel. And what I wanted to do was to roll in it, bury my teeth in it. I could have eaten Lola’s hair as a delicacy, if there had been a bit of flesh attached to it. Anyway she was hairy, that’s what I want to say and being hairy as a gorilla she got my mind off the the music and on to her cunt. I was so damned eager to see that cunt of hers that finally one day I bribed her little brother to let me have a peep at her while she was in the bath. It was even more wonderful than I had imagined: she had a shag that reached from the navel to the crotch, an enormous thick tuft, a sporran, rich as a hand-woven rug. When she went over it with the powder puff I thought I would faint. The next time she came for the lesson I left a couple of buttons open on my fly. She didn’t seem to notice anything amiss. The following time I left my whole fly open. This time she caught on. She said, “I think you’ve forgotten something, Henry.” I looked at her, red as a beet, and I asked her blandly
what?
She pretended to look away while pointing to it with her left hand. Her hand came so close that I couldn’t resist grabbing it and pushing it in my fly. She got up quickly, looking pale and frightened. By this time my prick was out of my fly and quivering with delight. I closed in on her and I reached up under her dress to get at that hand-woven rug I had seen through the keyhole. Suddenly I got a sound box on the ears, and then another and she took me by the ear and leading me to a corner of the room she turned my face to the wall and said, “Now button up your fly, you silly boy!” We went back to the piano in a few moments – back to Czerny and the velocity exercises. I couldn’t see a sharp from a flat any more, but I continued to play because I was afraid she might tell my mother about the incident. Fortunately it was not an easy thing to tell one’s mother. The incident, embarrassing as it was, marked a decided
change in our relations. I thought that the next time she came she would be severe with me, but on the contrary; she seemed to have dolled herself up, to have sprinkled more perfume over herself, and she was even a bit gay, which was unusual for Lola because she was a morose, withdrawn type. I didn’t dare to open my fly again, but I would get an erection and hold it throughout the lesson, which she must have enjoyed because she was always stealing sidelong glances in that direction. I was only fifteen at the time, and she was easily twenty-five or twenty-eight. It was difficult for me to know what to do, unless it was to deliberately knock her down one day while my mother was out. For a time I actually shadowed her at night, when she went out alone. She had a habit of going out for long walks alone in the evening. I used to dog her steps, hoping she would get to some deserted spot near the cemetery where I might try some rough tactics. I had a feeling sometimes that she knew I was following her and that she enjoyed it. I think she was waiting for me to waylay her – I think that was what she wanted. Anyway, one night I was lying in the grass near the railroad tracks; it was a sweltering summer’s night and people were lying about anywhere and everywhere, like panting dogs. I wasn’t thinking of Lola at all – I was just mooning there, too hot to think about anything. Suddenly I see a woman coming along the narrow cinderpath. I’m lying sprawled out on the embankment and nobody around that I can notice. The woman is coming along slowly, head down, as though she were dreaming. As she gets close I recognize her. “Lola!” I call. “Lola!” She seems to be really astonished to see me there. “Why, what are you doing here?” she says, and with that she sits down beside me on the embankment. I didn’t bother to answer her, I didn’t say a word – I just crawled over her and flattened her. “Not here, please,” she begged, but I paid no attention. I got my hand between her legs, all tangled up in that thick sporran of hers, and she was sopping wet, like a horse salivating. It was my first fuck, be Jesus, and it had to be that a train would come along and shower hot sparks over us. Lola was terrified. It was her first fuck too, I guess, and she probably needed it more than I, but when she felt the sparks
she wanted to tear loose. It was like trying to hold down a wild mare. I couldn’t keep her down, no matter how I wrestled with her. She got up, shook her clothes down, and adjusted the bun at the nape of her neck. “You must go home,” she says. “I’m not going home,” I said, and with that I took her by the arm and started walking. We walked along in dead silence for quite a distance. Neither of us seemed to be noticing where we were going. Finally we were out on the highway and up above us were the reservoirs and near the reservoirs was a pond. Instinctively I headed towards the pond. We had to pass under some low-hanging trees as we neared the pond. I was helping Lola to stoop down when suddenly she slipped, dragging me with her. She made no effort to get up; instead, she caught hold of me and pressed me to her, and to my complete amazement I also felt her slip her hand in my fly. She caressed me so wonderfully that in a jiffy I came in her hand. Then she took my hand and put it between her legs. She lay back completely relaxed and opened her legs wide. I bent over and kissed every hair on her cunt; I put my tongue in her navel and licked it clean. Then I lay with my head between her legs and lapped up the drool that was pouring from her. She was moaning now and clutching wildly with her hands; her hair had come completely undone and was lying over her bare abdomen. To make it short, I got it in again, and I held it a long time, for which she must have been damned grateful because she came I don’t know how many times – it was like a pack of firecrackers going off, and with it all she sunk her teeth into me, bruised my lips, clawed me, ripped my shirt and what the hell not. I was branded like a steer when I got home and took a look at myself in the mirror.