Like a Charm (26 page)
Deanna drew back her arm and pitched the bracelet into the water. Then she turned and headed back to the hotel.
THE INKPOT MONKEY
John Connolly
Mr Edgerton was suffering from writer's block; it was, he quickly grew to realize, a most distressing complaint. A touch of influenza might lay a man up for a day or two, yet still his mind could continue its ruminations. Gout might leave him racked with pain, yet still his fingers could grasp a pen and turn pain to pennies. But this blockage, this barrier to all progress, had left Mr Edgerton a virtual cripple. His mind would not function, his hands would not write, and his bills would not be paid. In a career spanning the best part of two decades he had never before encountered such an obstacle to his vocation. He had, in that time, produced five moderately successful, if rather indifferent, novels; a book of memoirs that, in truth, owed more to invention than experience; and a collection of poetry that could most charitably be described as having stretched the capacities of free verse to the limits of their acceptability.
Mr Edgerton made his modest living from writing by the yard, based on the unstated belief that if he produced a sufficient quantity of material then something of quality was bound to creep in, if only in accordance with the law of averages. Journalism, ghostwriting, versifying, editorializing; nothing was beneath his limited capabilities.
Yet, for the past three months the closest he had come to a writing project was the construction of his weekly grocery list. A veritable tundra of empty white pages stretched before him, the gleaming nib of his pen poised above them like a reluctant explorer. His mind was a blank, the creative juices sapped from it, leaving behind only a dried husk of frustration and bewilderment. He began to fear his writing desk, once his beloved companion but now reduced to the status of a faithless lover, and it pained him to look upon it. Paper, ink, desk, imagination, all had betrayed him, leaving him lost and alone.
To further complicate matters, Mr Edgerton's wallet had begun to feel decidedly lightweight of late, and nothing will dampen a man's ardour for life more than an empty pocket. Like a rodent gripped in the coils of a great constricting snake, he found that the more he struggled against his situation, the tighter the pressure upon him grew. Necessity, wrote Ovid, is the mother of invention. For Mr Edgerton, desperation was proving to be the father of despair.
And so, once again, Mr Edgerton found himself wandering the streets of the city, vainly hunting for inspiration like a hungry leech seeking blood. In time, he came to Charing Cross Road, but the miles of shelved books only depressed him further, especially since he could find none of his own among their number. Head down, he cut through Cecil Court and made his way into Covent Garden in the faint hope that the vibrancy of the markets might spur his sluggish subconscious into action. He was almost at the Magistrates' Court when something caught his eye in the window of a small antique shop. There, partially hidden behind a framed portrait of General Gordon and a stuffed magpie, was a most remarkable inkpot.
It was silver, and about four inches tall, with a lacquered base adorned by Chinese characters. But what was most striking about it was the small, mummified monkey that perched upon its lid, its clawed toes clasped upon the rim and its dark eyes gleaming in the summer sunlight. It was obviously an infant of its species, perhaps even a foetus of some kind, for it was no more than three inches in height, and predominantly grey in colour, except for its face, which was blackened round the mouth as if the monkey had been sipping from its own inkpot. It really was a most ghastly creature, but Mr Edgerton had acquired the civilized man's taste for the grotesque and he quickly made his way into the darkened shop to enquire about the nature of the item in question.
The owner of the business proved to be almost as distasteful in appearance as the creature that had attracted Mr Edgerton's attention, as though the man were somehow father to the monkey. His teeth were too numerous for his mouth, his mouth too large for his face, and his head too great for his body. Combined with a pronounced stoop to his back, his aspect was that of one constantly on the verge of toppling over. He also smelled decidedly odd, and Mr Edgerton quickly concluded that he was probably in the habit of sleeping in his clothes, a deduction that briefly led the afflicted writer to an unwelcome speculation upon the nature of the body that lay concealed beneath the layers of unwashed clothing.
Nevertheless, the proprietor proved to be a veritable font of knowledge about the items in his possession, including the article that had brought Mr Edgerton into his presence. The mummified primate was, he informed the writer, an inkpot monkey, a creature of Chinese mythology. According to the myth, the monkey provided artistic inspiration in return for the residues of ink left in the bottom of the inkwell.
Mr Edgerton was a somewhat superstitious (and, it must be said, sentimental) man: he still wore, much to the amusement of his peers, his mother's old charm bracelet, a rag-tag bauble of dubious taste that she found one day while walking upon the seashore and had subsequently bequeathed to him upon her death, along with a set of antique combs, now pawned, and a small sum of money, now spent. Among the items dangling from its links was a small gold monkey. It had always fascinated him as a child, and the discovery of a similar relic in the window of the antique store seemed to him nothing less than a sign from the Divine. As a man who was profoundly in need of inspiration from any source, and who had recently been considering opium or cheap gin as possible catalysts, he required no further convincing. He paid over money he could ill afford for the faint hope of redemption offered by the curiosity, and made his way back to his small apartments with the inkpot and its monkey tucked beneath his arm in a cloak of brown paper.
Mr Edgerton occupied a set of rooms above a tobacconist's shop on Marylebone High Street, a recent development forced upon him by his straitened circumstances. Although Mr Edgerton did not himself partake of the noble weed, his walls were yellowed by the fumes that regularly wended their way between the cracks in the floorboards, and his clothing and furnishings reeked of assorted cigars, cigarettes, pipe tobaccos, and even the more eyewatering forms of snuff. His dwelling was, therefore, more than a little depressing, and would almost certainly have provided Mr Edgerton with the impetus necessary to improve his finances were he not so troubled by the absence of his muse. Indeed, he had few distractions, for most of his writer friends had deserted him. They had silently, if reluctantly, tolerated his modest success. Now, with the taint of failure upon him, they relished his discomfort from a suitably discreet distance.
That evening, Mr Edgerton sat at his desk once again and stared at the paper before him. And stared. And stared. Before him, the inkpot monkey squatted impassively, its eyes reflecting the lamplight and lending its mummified form an intimation of life that was both distracting and unsettling. Mr Edgerton poked at it tentatively with his pen, leaving a small black mark on its chest. Like most writers, he had a shallow knowledge of a great many largely useless matters. Among these was anthropology, a consequence of one of his earlier works, an evolutionary fantasy entitled
The Monkey's Uncle. (The Times
had described it as 'largely adequate, if inconsequential'. Mr Edgerton, grateful to be reviewed at all, was rather pleased.) Yet, despite searching through three reference volumes, Mr Edgerton had been unable to identify the origins of the inkpot monkey and had begun to take this as a bad omen.
After another unproductive hour had gone by, its tedium broken only by the spread of an occasional ink blot upon the paper, Mr Edgerton rose and determined to amuse himself by emptying, and then refilling, his pen. Still devoid of inspiration, he wondered if there was some part of the arcane ritual of fuelling one's pen from the inkpot that he had somehow neglected to perform. He reached down and gently grasped the monkey in order to raise the lid, but something pricked his skin painfully. He drew back his hand immediately and examined the wounded digit. A small, deep cut lay across the pad of his index finger, and blood from the abrasion was running down the length of his pen and congregating at the nib, from which it dripped into the inkpot with soft, regular splashes. Mr Edgerton began to suck the offended member, meanwhile turning his attention to the monkey in an effort to ascertain the cause of his injury. The lamplight revealed a small raised ridge behind the creature's neck, where a section of curved spine had burst through its tattered fur. A little of Mr Edgerton's blood could be perceived on the yellowed pallor of the bone.
The unfortunate writer retrieved a small bandage from his medicine cabinet, then cleaned and bound his finger before resuming his seat at his desk. He regarded the monkey warily as he filled his pen, then put it to paper and began to write. At first, the familiarity of the act overcame any feelings of surprise at its sudden return, so that Mr Edgerton had dispensed with two pages of close script and was about to embark upon a third before he paused and looked in puzzlement first at his pen, then at the paper. He reread what he had written, the beginning of a tale of a man who sacrifices love at the altar of success, and found it more than satisfactory; it was, in fact, as fine as anything he had ever written, although he was baffled as to the source of his inspiration. Nevertheless, he shrugged and continued writing, grateful that his old talent had apparently woken from its torpor. He wrote long into the night, refilling his pen as required, and so bound up was he in his exertions that he failed entirely to notice that his wound had reopened and was dripping blood on to pen and page and, at those moments when he replenished his instrument, into the depths of the small Chinese inkpot.
Mr Edgerton slept late the following morning, and awoke to find himself weakened by his efforts of the night before. It was, he supposed, the consequence of months of inactivity, and after coffee and some hot buttered toast he felt much refreshed. He returned to his desk to find that the inkpot monkey had fallen from its perch and now lay on its back amid his pencils and pens. Gingerly, Mr Edgerton lifted it from the desk and found that it weighed considerably more than the inkpot itself and that physics, rather than any flaw in the inkpot's construction, had played its part in dislodging the monkey from its seat. He also noted that the creature's fur was far more lustrous than it had appeared in the window of the antique shop, and now shimmered healthily in the morning sunlight.
And then, quite suddenly, Mr Edgerton felt the monkey move. It stretched wearily, as though waking from some long slumber, and its mouth opened in a wide yawn, displaying small blunt teeth. Alarmed, Mr Edgerton dropped the monkey and heard it emit a startled squeak as it landed on the desk. It lay there for a moment or two, then slowly raised itself on its haunches and regarded Mr Edgerton with a slightly hurt expression before ambling over to the inkpot and squatting down gently beside it. With its left hand, it raised the lid of the inkpot and waited patiently for Mr Edgerton to fill his pen. For a time, the bewildered writer was unable to move, so taken aback was he at this turn of events. Then, when it became clear that he had no other option but to begin writing or go mad, he reached for his pen and filled it from the well. The monkey watched him impassively until the reservoir was replenished and Mr Edgerton had begun to write, then promptly fell fast asleep.
Despite his unnerving encounter with the newly animated monkey, Mr Edgerton put in a most productive day and quickly found himself with the bulk of five chapters written, none of them requiring more than a cursory rewrite. It was only when the light had begun to fade and Mr Edgerton's arm had started to ache that the monkey awoke and padded softly across a virgin page to where Mr Edgerton's pen lay in his hand. The monkey grasped his index finger with its tiny hands, then placed its mouth against the cut and began to suck. It took Mr Edgerton a moment to realize what was occurring, at which point he rose with a shout and shook the monkey from his finger. It bounced against the inkpot, striking its head soundly upon its base, and lay unmoving upon a sheet of paper.
At once, Mr Edgerton reached for it and raised it in the palm of his left hand. The monkey was obviously stunned, for its eyes were now half-closed and it moved its head slowly from side to side as it tried to focus. Instantly, Mr Edgerton was seized with regret at his hasty action. He had endangered the monkey, which he now acknowledged to be the source of his new-found inspiration. Without it, he would be lost. Torn between fear and disgust, Mr Edgerton reluctantly made his decision: he squeezed together his thumb and forefinger, causing a droplet of blood to emerge from the cut and then, his gorge rising, allowed it to drip into the monkey's mouth.
The effect was instantaneous. The little mammal's eyes opened fully, it rose on to its haunches, and then reached for, and grasped, the wounded finger. There it suckled happily, undisturbed by the revolted Mr Edgerton, until it had taken its fill, whereupon it burped contentedly and resumed its slumbers. Mr Edgerton gently laid it beside the inkpot and then, taking up his pen, wrote another two chapters before retiring early to his bed.
