The Weird Part 144

'Well,' said Borchert. 'Truth is important to you after all, Mr. Kline.'

He was sitting in his chair, a gun in his hand gripped awkwardly with his remaining fingers. 'Please stay right there, Mr. Kline,' he said.

'It's not loaded,' said Kline.

'No?' said Borchert. 'What makes you think that?'

'The gun you gave me wasn't,' said Kline.

'No, it wasn't,' said Borchert, 'but wasn't that perhaps because I was giving it to you?'

Kline didn't answer.

'Care to tell me what you know?' asked Borchert.

'You're planning to kill Aline,' said Kline.

'And?'

'And planning to make it look like I killed him.'

'You've been most obliging in that regard,' said Borchert. 'You've acted your role nicely. A doc.u.mented penchant for violence. A certain obsession with Aline, dead or alive. You're only wrong in one particular, that being that I've already killed Aline.'

'When?'

'Not long after you last left. For a limbless man he put up quite a fight.'

'Why?'

'Ah,' said Borchert. 'Mr. Kline, I doubt if I can make you understand.'

'Try me.'

'Try me, Mr. Kline? How colloquial of you. It was a matter of belief. Aline and I disagreed on certain particulars, questions of belief. Either he or I had to be done away with for the good of the faith in a way that would leave the survivor blameless. Otherwise there would have been a schism. Naturally, I, in my position, preferred that he be done away with rather than I.'

'You were enemies.'

'Not at all. Each of us admired the other. It was simply an expedient political move, Mr. Kline. It had to be done.'

'Why me?'

'Why you, Mr. Kline? Simply because you were there, and because G.o.d had touched you with his grace, had chosen you by removing your hand. You'll of course be rewarded in heaven for your role in all this. Whether you'll be rewarded in this life, though, is entirely another matter.'

'Perhaps I should go,' said Kline.

'A good question, Mr. Kline. Do I kill you or do I let you go? Hmmm? What do you think, Mr. Kline? Shall I let you go? Shall we flip a coin?'

Kline did not answer.

'No coin?' asked Borchert. 'Do you care to express an opinion?'

'I'd like to go,' said Kline.

'Of course you would,' said Borchert. 'And so you shall. Today shall be a day for mercy, not justice. Perhaps, with a little luck, you'll even be able to make it out the gate and past the guards to the so-called freedom of the outside world.'

Kline turned toward the door.

'But then again,' he heard from behind him, 'surely justice must temper mercy, Mr. Kline. Am I right? So perhaps you'd care to leave a little something we can remember you by.'

Kline stood still. And then, without turning around, he reached slowly for the door handle.

'I wouldn't do that if I were you,' said Borchert. 'I hate to shoot a man in the back.'

Kline stopped, turned to face him.

'What do you want?' he asked.

'You know exactly what I want,' said Borchert, his eye steady. 'Flesh for knowledge.'

'No,' said Kline.

'You told the guard you'd come up here for an amputation,' said Borchert. 'There's a cleaver on the counter. The same cleaver you used on my finger. Where the hand is gone, the arm shall follow. Otherwise I shoot you. It makes honestly no difference to me, Mr. Kline. You've accomplished your purpose. Technically, you're no longer needed.'

Kline started slowly for the back of the room. Borchert watched him go, pus.h.i.+ng at the floor with his foot to turn his chair around.

There was a cleaver there, embedded in the butcher's block.

'Go ahead, Mr. Kline. 'Take it by the cronge and tug it free.'

He took the cleaver. 'What's to stop me from killing you?' he asked.

'Do you really know how to throw a cleaver, Mr. Kline? Where does one learn such skills? Some sort of Vo-Tec? Can you imagine you'd be able to hit me, let alone hit me so that the blade itself will stick? And even if you did, I imagine I'd be able to squeeze off a shot beforehand '

' a.s.suming the gun is loaded.'

'a.s.suming the gun is loaded,' agreed Borchert affably. 'A shot that would bring the guards running and that would get you killed. So, Mr. Kline, you'd be trading the possibility of killing me for your own life. Is that really what you want to do?

No? Now be a good boy and cut off your arm.'

He turned on the burner in the countertop, waited for it to heat up. The cleaver seemed sharp enough, though he realized it might have some difficulty cutting through bone. If he hit the joint just right it probably wouldn't matter, though he shouldn't forget he was cutting left-handed; did he have sufficient force in his left hand to cut all the way through in a single blow?

He lined the cleaver along the crease of his elbow, found the flesh to run from one end of the blade to the other. He would have to hit it exactly right.

In his mind's eye, the cleaver is already coming swiftly down, beginning to bite through skin and flesh and bone. He will be washed over with pain and will stagger, but before going down he must remember to thrust the new end of his arm against the burner to cauterize it, so that he doesn't bleed to death. And then, if he is still standing, he may manage to stagger from the room and down the stairs and eventually out of the compound altogether, where, limping, feverish, in pain, he will make his way out into the lone and dreary world.

And this, he realizes, is only the best possible outcome. In all probability it will be much worse. The hatchet will strike wrong and he will have to strike a second time. He will wooze and fall before cauterizing the wound and then lie on the floor bleeding to death from the wound. The guards will catch him at the gate and kill him. Or even worse, all will go well, the arm coming smoothly off, but Borchert, smiling, will say 'Very good, Mr. Kline. But why stop there? What shall we cut off next?'

He raises the cleaver high. His whole life is waiting for him. He only needs to bring the cleaver down for it to begin.

The White Hands.

Mark Samuels.

Mark Samuels (1967) is an English writer of weird fiction in the tradition of Arthur Machen and H. P. Lovecraft. Many of his short stories map the outlines of a shadowy modern London that hides a dark and terrifying secret. Samuel's first collection, The White Hands (2003) was shortlisted for the British Fantasy Award, along with the t.i.tle story, reprinted herein. His first long novella, The Face of Twilight, was published by PS Publis.h.i.+ng in 2005 and a new collection published in 2010. 'The White Hands' is that rarest of weird tales: a self-referential piece, steeped in knowledge of the genre, that succeeds in being scary and original rather than simply a sly in-joke.

You may remember Alfred Muswell, whom devotees of the weird tale will know as the author of numerous articles on the subject of literary ghost stories. He died in obscurity just over a year ago.

Muswell had been an Oxford don for a time, but left the cloisters of the University after an academic scandal. A former student (now a journalist) wrote of him in a privately published memoir: Muswell attempted single-handedly to alter the academic criteria of excellence in literature. He sought to eradicate what he termed the 'tyranny of materialism and realism' from his teaching. He would loom over us in his black robes at lectures and tutorials, tearing prescribed and cla.s.sic books to shreds with his gloved hands, urging us to read instead work by the likes of Sheridan Le Fanu, Vernon Lee, M.R. James and Lilith Blake. Muswell was a familiar sight amongst the squares and courtyards of the colleges at night and would stalk abroad like some bookish revenant. He had a very plump face and a pair of circular spectacles. His eyes peered into the darkness with an indefinable expression that could be somewhat disturbing.

You will recall that Muswell's eccentric theories about literature enjoyed a brief but notorious vogue in the 1950s. In a series of essays in the short-lived American fantasy magazine The Necrophile, he championed the supernatural tale. This was at a time when other academics and critics were turning away from the genre in disgust, following the illiterate excesses of pulp magazines such as Weird Tales. Muswell argued that the anthropocentric concerns of realism had the effect of stifling the much more profound study of infinity. Contemplation of the infinite, he contended, was the faculty that separated man from beast. Realism, in his view, was the literature of the prosaic. It was the quest for the hidden mysteries, he contended, which formed the proper subject of all great literature. Muswell also believed that literature, in its highest form, should unravel the secrets of life and death. This latter concept was never fully explained by him but he hinted that its attainment would involve some actual alteration in the structure of reality itself. This, perhaps inevitably, led to him being dismissed in academic circles as a foolish mystic.

After his quiet expulsion from Oxford, Muswell retreated to the lofty heights of Highgate. From here, the London village that had harboured Samuel Taylor Coleridge during the final phase of his struggle against opium addiction, Muswell continued his literary crusade. A series of photographs reproduced in the fourth issue of The Necrophile show Muswell wandering through the leafy streets of Highgate clad in his black three-piece suit, cigarette jammed between lips, plump and be-spectacled. In one of his gloved hands is a book of ghost stories by the writer he most admired, Lilith Blake. This Victorian author is perhaps best known for her collection of short stories, The Reunion and Others. Then, as now, fabulously rare, this book was printed in an edition of only one hundred copies. Amongst the cognoscenti, it has acquired legendary status. Muswell was undoubtedly the greatest authority on her life and works. He alone possessed the little that remained of her extant correspondence, as well as diaries, photographs and other personal effects.

In moving to Highgate, Muswell was perhaps most influenced by the fact that Blake had been resident in the village for all of the twenty-two years of her brief life. Her mortal remains were interred in the old West Cemetery in Swains Lane.

I first met Alfred Muswell after writing a letter to him requesting information about Lilith Blake for an article I was planning on supernatural writers of the late-nineteenth and early-twentieth centuries. After an exchange of correspondence he suggested that we should meet one afternoon in the reading room of the Highgate Literary and Scientific Inst.i.tution. From there he would escort me to his rooms, which, apparently, were difficult to find without help, being hidden in the maze of narrow brick pa.s.sageways beyond Pond Square.

It was a very cold, clear winter afternoon when I alighted at the Underground station in Highgate and made my way up Southwood Lane towards its village. Snow had fallen since the night before and the lane was almost deserted. Only the sound of my footsteps crunching in the brittle snow broke the silence. When I reached the village I paused for a while to take in my surroundings. The Georgian houses were cloaked in white and glittered in the freezing suns.h.i.+ne. A sharp wind blew chilly gusts across the sagging roofs and chimney pots. One or two residents, clad in greatcoats and well m.u.f.fled, plodded warily along.

I accosted one of these pedestrians and was directed by him towards the Inst.i.tute. This was a whitewashed structure, two floors high, facing the square on the corner of Swains Lane. I could see the glow of a coal fire within and a plump man reading in an easy chair through one of the ground floor windows. It was Alfred Muswell.

After dusting the snowflakes from my clothes, I made my way inside and introduced myself to him. He struggled out of his chair, stood upright like a hermit crab quitting its sh.e.l.l, and threw out a gloved hand for me to grasp. He was dressed in his habitual black suit, a cigarette drooping from his bottom lip. His eyes peered at me intensely from behind those round gla.s.ses. His hair had thinned and grown white since the photographs in The Necrophile. The loss of hair was mainly around the crown, giving him a somewhat monkish appearance.

I hung up my duffel coat and scarf and sat down in the chair facing him.

'We can sit here undisturbed for a few more minutes at least,' he said, 'the other members are in the library attending some lecture about that charlatan, James Joyce.'

I nodded as if in agreement, but my attention was fixed on Muswell's leather gloves. He seemed always to wear them. He had worn a similar pair in The Necrophile photographs. I noticed the apparent emaciation of the hands and long fingers that the gloves concealed. His right hand fidgeted constantly with his cigarette while the fingers of his left coiled and uncoiled repeatedly. It was almost as if he were uncomfortable with the appendages.

'I'm very pleased to talk with a fellow devotee of Lilith Blake's tales,' he said, in his odd, strained voice.

'Oh, I wouldn't describe myself as a devotee. Her work is striking, of course, but my own preferences are for Blackwood and Machen. Blake seems to me to lack balance. Her world is one of unremitting gloom and decay.'

Muswell snorted at my comment. He exhaled a great breath of cigarette smoke in my direction and said: 'Unremitting gloom and decay? Rather say that she makes desolation glorious! I believe that De Quincey once wrote "Holy was the grave. Saintly its darkness. Pure its corruption." Words that describe Lilith Blake's work perfectly. Machen indeed! That red-faced old coot with his deluded Anglo-Catholic rubbis.h.!.+ The man was a drunken clown obsessed by sin. And Blackwood? Pantheistic rot that belongs to the Stone Age. The man wrote mainly for money and he wrote too much. No, no. Believe me, if you want the truth beyond the frontier of appearances it is to Lilith Blake you must turn. She never compromises. Her stories are infinitely more than mere accounts of supernatural phenomena...'

His voice had reached a peak of shrillness and it was all I could do not to squirm in my chair. Then he seemed to regain his composure and drew a handkerchief across his brow.

'You must excuse me. I have allowed my convictions to ruin my manners. I so seldom engage in debate these days that when I do I become overexcited.' He allowed himself to calm down and was about to speak again when a side door opened and a group of people bustled into the room. They were chatting about the Joyce lecture that had evidently just finished. Muswell got to his feet and made for his hat and overcoat. I followed him.

Outside, in the cold afternoon air, he looked back over his shoulder and crumpled up his face in a gesture of disgust.

'How I detest those fools,' he intoned.

We trudged through the snow, across the square and into a series of pa.s.sageways. Tall buildings with dusty windows pressed upon us from both sides and, after a number of twists and turns, we reached the building that contained Muswell's rooms. They were in the bas.e.m.e.nt and we walked down some well-worn steps outside, leaving the daylight above us.

He opened the front door and I followed him inside.

Muswell flicked on the light switch and a single bulb suspended from the ceiling and reaching halfway towards the bare floor revealed the meagre room. On each of the walls were long bookcases stuffed with volumes. There was an armchair and footstool in one corner along with a small, circular table on which a pile of books teetered precariously. A dangerous-looking Calor gas fire stood in the opposite corner. Muswell brought another chair (with a canvas back and seat) from an adjoining room and invited me to sit down. Soon afterwards he hauled a large trunk from the same room. It was extremely old and bore the monogram 'L.B.' on its side. He unlocked the trunk with some ceremony, and then sat down, lighting yet another cigarette, his eyes fixed on my face.

I took a notebook from my pocket and, drawing sheaves of ma.n.u.scripts from the trunk, began to scan them. It seemed dark stuff, and rather strange, but just what I needed for the article. And there was a mountain of it to get through. Muswell, meanwhile, made a melancholy remark, apropos of nothing, the significance of which I did not appreciate until much later.

'Loneliness,' he said, 'can drive a man into mental regions of extreme strangeness.'

I nodded absently. I had found a small box and, on opening it, my excitement mounted. It contained a sepia-coloured photographic portrait of Lilith Blake, dated 1890. It was the first I had seen of her, and must have been taken just before her death. Her beauty was quite astonis.h.i.+ng.

Muswell leaned forward. He seemed to be watching my reaction with redoubled interest.

Lilith Blake's raven-black and luxuriant hair curled down to her shoulders. Her face was oval, finished with a small pointed chin. The eyes, wide-apart and piercing, seemed to gaze across the vastness of the time which separated us. Her throat was long and pale, her forehead rounded and stray curls of hair framed the temples. The fleshy lips were slightly parted and her small, sharp teeth gleamed whitely. Around her neck hung a string of pearls and she wore a jet-black, velvet dress. The most delicate and lovely white hands I had ever seen were folded across her bosom. Although the alabaster skin of her face and neck was extremely pale, her hands were paler. They were whiter than the purest snow. It was as if daylight had never touched them. The length of her graceful fingers astonished me.

I must have sat there for some time in silent contemplation of that intoxicating image. Muswell, becoming impatient, finally broke my reverie in a most violent and unnecessary manner. He s.n.a.t.c.hed the photograph from me and held it in the air while he spoke, his voice rising to a feverish pitch: 'Here is the hopeless despair of one haunted by the night. One who had gone down willingly into the grave with a black ecstasy in her heart instead of fear!'

I could only sit there in stunned silence. To me, Muswell seemed close to a complete nervous breakdown.

Later, Muswell must have helped me to sort through the various papers in the trunk. I remember little of the detail. I do know that by the time I finally left his rooms and found my way back to the square through the snow, I had realised that my research into Blake's work would be of the utmost importance to my academic career. Muswell had treasure in his keeping, a literary gold mine, and, given the right handling, it could make my name.

After that, my days were not my own. Try as I might, I could not expunge the vision of Blake from my mind. Her face haunted my thoughts, beckoning me onwards in my quest to discover the true meaning of her work. The correspondence between Muswell and myself grew voluminous as I sought to arrange a time when I would be enabled to draw further on his collection. For a while he seemed to distrust my mounting interest, but at last he accepted my enthusiasm as genuine. He welcomed me as a kindred spirit. By a happy chance, I even managed to rent a room in his building.

And so, during the course of the winter months, I shut myself away with Muswell, poring over Blake's letters and personal effects. I cannot deny that the handling of those things began to feel almost sacrilegious. But as I read the letters, diaries and notebooks I could see that Muswell had spoken only the truth when he described Blake as supreme in the field of supernatural literature.

He would scuttle around his library like a spider, climbing stepladders and hauling out volumes from the shelves, pa.s.sing them down through the gloomy s.p.a.ce to me. He would mark certain pa.s.sages that he believed furthered a greater understanding of Blake's life and work. Outside, the frequent snow-showers filled the gap between his bas.e.m.e.nt window and the pavement above with icy whiteness. My research was progressing well; my notebook filling up with useful quotations and annotations, but somehow I felt that I was failing to reach the essence of Lilith; the most potent aspect of her vision was eluding my understanding. It was becoming agonising to be so close to her, and yet to feel that her most secret and beautiful mysteries were buried from my view.

'I believe,' Muswell once said, 'that mental isolation is the essence of weird fiction. Isolation when confronted with disease, with madness, with horror and with death. These are the reverberations of the infinity that torments us. It is Blake who delineates these echoes of doom for us. She alone exposes our inescapable, blind stumbling towards eternal annihilation. She alone shows our souls screaming in the darkness with none to heed our cries. Ironic, isn't it, that such a beautiful young woman should possess an imagination so dark and riddled with nightmare?'

Muswell took a deep drag of his cigarette, and, in contemplating his words, seemed to gaze through everything into a limitless void.

Sometimes, when Muswell was away, I would have the collection to myself. Blake's personal letters became as sacred relics to me. Her framed photograph attained a special significance, and I was often unable to prevent myself from running my fingers around the outline of her lovely face.

As time pa.s.sed, and my research into Lilith Blake's oeuvre began to yield ever more fascinating results, I felt that I was now ready to posthumously afford her the attention that she so richly deserved. Whereas previously I had planned to merely include references to her work in my lengthy article on supernatural fiction during the late-nineteenth and early-twentieth centuries, I now realised that she had to be accorded a complete critical book of her own, such was the importance of the literary legacy I had stumbled across by a.s.sociating with Muswell. It seemed obvious to me that the man had little real idea of the prime importance of the materials in his possession and that his reclusive lifestyle had led him to regard anything relating to this dead and beautiful creature as his own personal property. His understanding was hopelessly confused by the unsubstantiated a.s.sertion that he made of the importance of the 'work behind the works', which I took to mean some obscure mystical interpretation he had formulated from his own muddled, ageing brain.

One afternoon he came across me working on my proposed book and took an apparent polite interest in my writing, but mingled in with that interest was an infuriating sarcasm. I voiced my contention that Blake deserved a much higher place in the literary pantheon. The only reasonable explanation for the failure of her work to achieve this was, I had discovered, the almost total lack of contemporary interest in it. I could trace neither extant reviews of The Reunion and Others in any of the literary journals nor mention of her in society columns of the time. At this statement he actually laughed out loud. Holding one of his cigarettes between those thin, gloved fingers he waved it in the air dismissively, and said: 'I should have thought that you would have found the silence surrounding her person and work suggestive, as I did. Do not mistake silence for indifference. Any imbecile might make that erroneous conclusion and indeed many have done so in the past. Lilith Blake was no Count Stenbock, merely awaiting rediscovery. She was deliberately not mentioned; her work was specifically excluded from consideration. How much do you think was paid simply to ensure she had a fitting tomb in Highgate Cemetery?! But pray continue, tell me more of your article and I shall try to take into consideration your youthful naivete.'

As I continued to expand on my theories I saw clearly that he began to smirk in a most offensive fas.h.i.+on. Why, it was as if he were humouring me! My face flushed and I stood up, my back rigid with tension. I was close to breaking point and could not tolerate this old fool's patronising att.i.tude any longer. Muswell took a step backwards and bowed, rather ornately, in some idiotic gentlemanly gesture. But as he did so, he almost lost his footing, as if a bout of dizziness had overcome him. I was momentarily startled by the action and he took the opportunity to make his exit. But before he did so he uttered some departing words: 'If you knew what I know, my friend, and perhaps you soon will, then you would find this literary criticism as horribly amusing as I do. But I am extremely tired and will leave you to your work.'

It seemed obvious to me at that point that Muswell was simply not fit to act as the trustee for Lilith Blake's estate. Moreover, his theatrics and lack of appreciation for my insights indicated progressive mental deterioration. I would somehow have to wrest control over the estate from his enfeebled grasp, for the sake of Blake's reputation.

The opportunity came more quickly than I could have dared hope.

One evening in February Muswell returned from one of his infrequent appointments looking particularly exhausted. I had noticed the creeping fatigue in his movements for a number of weeks. In addition to an almost constant sense of distraction he had also lost a considerable amount of weight. His subsequent confession did not, in any case, come as a shock.

'The game is up for me,' he said, 'I am wasting away. The doctor says I will not last much longer. I am glad that the moment of my a.s.signation with Blake draws near. You must ensure that I am buried with her.'

Muswell contemplated me from across the room, the light of the dim electric bulb reflected off the lenses of his spectacles, veiling the eyes behind. He continued: 'There are secrets which I have hidden from you, but I will reveal them now. I have come to learn that there are those who, though dead, lie in their coffins beyond the grip of decay. The power of eternal visions preserves them: there they lie, softly dead and dreaming. Lilith Blake is one of these and I shall be another. You will be our guardian in this world. You will ensure that our bodies are not disturbed. Once dead, we must not be awakened from the eternal dream. It is for the protection of Lilith and myself that I have allowed you to share in my thoughts and her literary legacy. Everything will make sense once you have read her final works.'