LITMIR.BIZ

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I might as well have. I worked for part of a summer in a hellish Texarkanan carnival as the contumelious clown you get to drop into a tank of water after he calls you pencil-dick. I was shot in the meat of my left hand in a bar outside La Crosse, Wisconsin. All of this rich material I made good use of in my first novel, The Bottomlands, 1976, which was well reviewed, and which sometimes, at desperate instants, I consider to be my truest work. After a few years of unhappy and often depraved existence, I landed, again in the classic manner, in California, where I fell in love with a philosophy major at Berkeley who persuaded me not to waste in wandering what she called, with an air of utter, soul-enveloping conviction that has since led to great misery and that I have never for one instant forgotten, my gift. I was pinned to the spot by this touching tribute to my genius, and stayed put long enough to get together an application to Cal. I was just about ready to blow town—alone—when the letter of acceptance arrived.

      Terry Crabtree and I met at the start of our junior year, when we landed in the same short-story class, an introductory course I’d tried every semester to get into. Crabtree had signed up for it on an impulse, and gotten in on the strength of a story he’d written in the tenth grade, about an encounter, at a watering place, between the aging Sherlock Holmes and a youthful Adolf Hitler, who has come from Vienna to Carlsbad to rob invalid ladies of their jewelry. It was a remarkable trick for a fifteen-year-old to have performed, but it was unique; Crabtree had written nothing since then, not a line. The story had weird sexual undertones, as, it must be said, did its author. He was then an awkward, frail young man, his face all forehead and teeth, and he kept to himself, at the back of the class, dressed in a tight, unfashionable suit and tie, a red cashmere scarf tucked like an ascot into his raised lapels when the weather turned cool. I sat in my own corner of the room, sporting a new beard and a pair of little round wire-rims, and took careful notes on everything the teacher had to say.

      The teacher was a real writer, too, a lean, handsome cowboy writer from an old Central Valley ranching family, who revered Faulkner and who in his younger days had published a fat, controversial novel that was made into a movie with Robert Mitchum and Mercedes McCambridge. He was given to epigrams and I filled an entire notebook, since lost, with his gnomic utterances, all of which every night I committed to the care of my memory, since ruined. I swear but cannot independently confirm that one of them ran, “At the end of every short story the reader should feel as if a cloud has been lifted from the face of the moon.” He wore a patrician manner and boots made of rattlesnake hide, and he drove an E-type Jaguar, but his teeth were bad, the fly of his trousers was always agape, and his family life was a semi-notorious farrago of legal proceedings, accidental injury, and institutionalization. He seemed, like Albert Vetch, simultaneously haunted and oblivious, the kind of person who in one moment could guess, with breathtaking coldness, at the innermost sorrow in your heart, and in the next moment turn and, with a cheery wave of farewell, march blithely through a plate-glass window, requiring twenty-two stitches in his cheek.

      It was in this man’s class that I first began to wonder if people who wrote fiction were not suffering from some kind of disorder—from what I’ve since come to think of, remembering the wild nocturnal rocking of Albert Vetch, as the midnight disease. The midnight disease is a kind of emotional insomnia; at every conscious moment its victim—even if he or she writes at dawn, or in the middle of the afternoon—feels like a person lying in a sweltering bedroom, with the window thrown open, looking up at a sky filled with stars and airplanes, listening to the narrative of a rattling blind, an ambulance, a fly trapped in a Coke bottle, while all around him the neighbors soundly sleep. This is in my opinion why writers—like insomniacs—are so accident-prone, so obsessed with the calculus of bad luck and missed opportunities, so liable to rumination and a concomitant inability to let go of a subject, even when urged repeatedly to do so.

      But these are observations I made only later, over the course of many years’ exposure to the workings of the midnight disease. At the time I was simply intimidated, by our teacher’s fame, by his snakeskin boots, and by the secrets of the craft which I believed him to possess. The class covered two stories every session, and in the first go-around I held the last slot on the schedule, along with Crabtree, who, I noticed, made no effort whatever to write down the axioms that filled the smoky air of the classroom, nor ever had anything to contribute to the class beyond an occasional terse but unfailingly polite comment on the banality of the work under discussion that afternoon. Naturally his aloofness was taken for arrogance, and he was thought to be a snob, in particular when he wore his cashmere scarf; but I had noticed from the first how bitten were his nails, how soft and unimposing his voice, how he flinched whenever someone addressed him. He stayed in his corner, in his ill-fitting suit, looking forever pale and faintly queasy, as though our company disgusted him but he was too kind to let on.

      He was suffering from the disease, I suspected—but was I?

      Hitherto I’d always felt certain of my own ability, but as the weeks passed, and we were burdened with all the inescapable shibboleths and bugbears of the trade of writing—knowing what was “at stake” in a story, where the mystical fairy-fire of epiphany ought to be set dancing above a character’s head, the importance of what our teacher liked to call “spiritual danger” to good characterization—the inevitable overshadowing of my own effort by cool Crabtree’s made it impossible for me to finish anything. I stayed up all night long at the typewriter for the week before my story was due, drinking bourbon and trying to untangle the terrible symbolical mess I had made out of a simple story my grandmother once told me about a mean black rooster that had killed her dog when she was a little girl.

      At six o’clock on the last morning I gave up, and decided to do an unconscionable thing. My mind had been wandering for the last hour through the rooms in which my grandmother had passed her life (a year before this I’d telephoned home from some booth in the middle of nowhere, Kansas, and learned that the woman who raised me had died of pneumonia that very morning), and all at once, with the burnt-sugar flavor of bourbon in my mouth, I found myself thinking about Albert Vetch and the hundreds of forgotten stories into which he had poured all the bitterness of his cosmic insomnia. There was one story I remembered fairly well—it was one of his best—called “Sister of Darkness.” It was about an amateur archaeologist, naturally, who lived with his invalid spinster sister in a turreted old house, and who, in the course of poking around the ruins of a local Indian burial mound, stumbled upon a queer, non-Indian sarcophagus, empty, bearing the faded image of a woman with a sinister grin, which he carted home in the dead of night and with which he became obsessed. In the course of restoring the object he cut his hand on a razor blade, and at the splash of his blood upon it the sarcophagus at once grew warm and emitted an odd radiance; his hand was healed, and at the same time he felt himself suffused with a feeling of intense well-being. After a couple of tests on hapless household pets, which he injured and then restored, our man persuaded his crippled little sister to lie in the sarcophagus and thus heal her poliomyelitic legs, whereupon she was transformed, somewhat inexplicably as I recalled, into an incarnation of Yshtaxta, a succubus from a distant galaxy who forced the hero to lie with her—Van Zorn’s genre permitted a certain raciness, as long as the treatment was grotesque and euphemistic—and then, having drained the life force from the unlucky hero, set out to take on the rest of the town, or so I had always imagined, half hoping that a luminous ten-foot woman with fangs and immortal cravings might appear sometime at my own window in the most lonely hour of the Pennsylvanian night.

      I set to work reassembling the story as well as I could. I toned down the occult elements by turning the whole nameless-Thing-from-beyond-Time component into a weird psychosis on the part of my first-person narrator, played up the theme of incest, and added more sex. I wrote in a fever and it took about six hours to do. When I was finished I had to run all the way to class and I walked into the room five minutes late. The teacher was already reading Crabtree’s story aloud, which was his favored way of having us “experience” a story, and it didn’t take me long to recognize that I was hearing, not a garbled and badly Faulknerized rehash of an obscure gothic horror story by an unknown writer, but the original “Sister of Darkness,” the clear, lean, unexcitable prose of August Van Zorn himself. The shock I felt at having been caught, beaten, and most of all preceded at my own game was equaled only by my surprise on learning that I wasn’t the only person in the world who’d ever read the work of poor old Albert Vetch, and in the midst

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