Our Lady of the Flowers (9 page)

The priest looked at her.

She was smiling in the shiny floor at her antipodal reflection which made her the Queen of Spades, the ill-omened widow.

“Don't shrug your shoulders, my friend. I'm not crazy.”

And she wasn't crazy.

“Lou Culafroy is going to die shortly. I feel it. He's going to die, I can tell.”

“He's going to die, I can tell,” was the expression torn alive–and helping her to fly–from a book, and bleeding, like a wing from a sparrow (or from an angel, if it can bleed crimson), and murmured with horror by the heroine of that cheap novel printed in tiny type in newsprint–which, so they say, is as spongy as the consciences of those nasty gentlemen who debauch children.

“So, I'm dancing the dirge.”

He therefore had to die. And in order for the pathos of the act to be more virulent, she herself would have to be the cause of his death. Here, to be sure, morality is not involved, nor the fear of prison, or of hell. With remarkable precision, the whole mechanism of the drama presented itself to Ernestine's mind, and thereby to
mine. She would simulate a suicide. “I'll say he killed himself.” Ernestine's logic, which is a stage logic, has no relationship with what is called verisimilitude, verisimilitude being the disavowal of unavowable reasons. Let us not be surprised, we shall be all the more astonished.

The presence of a huge army revolver at the back of a drawer was enough to dictate her attitude. This is not the first time that things have been the instigators of an act and must alone bear the fearful, though light, responsibility for a crime. This revolver became–or so it seemed–the indispensable accessory of her gesture. It was a continuation of her heroine's outstretched arm, in fact It haunted her, since there's no denying it, with a brutality that burned her cheeks, just as the girls of the village were haunted by the brutal swelling of Alberto's thick hands in his pockets. But–just as I myself would be willing to kill only a lithe adolescent in order to bring forth a corpse from his death, though a corpse still warm and a shade sweet to hug, so Ernestine agreed to kill only on condition that she avoid the horror that the here below would not fail to inspire in her (convulsions, squirting blood and brain, reproaches in the child's dismayed eyes), and the horror of an angelic beyond, or perhaps to make the moment more stately–she put on her jewels. So in the past I would inject my cocaine with a cut-glass syringe shaped like the stopper of a decanter and put a huge diamond on my index finger. She was not aware that by going about it in this way she was aggravating her gesture, changing it into an exceptional gesture, the singularity of which threatened to upset everything. Which is what happened. With a kind of smooth sliding, the room descended till it blended with a luxurious apartment, adorned with gold, the walls hung with garnet-red velvet, the furniture heavy but toned down with red faille curtains; here and there were
large beveled mirrors, adorned with candelabra and their crystal pendants. From the ceiling–an important detail–hung a huge chandelier. The floor was covered with thick blue and violet carpets.

One evening, during her honeymoon in Paris, Ernestine had glimpsed from the street, through the curtains, one of those elegant, well-heated apartments, and as she walked demurely with her arm in her husband's–demurely still–she longed to die there of love (phenobarbital and flowers) for a Teutonic knight. Then, as she had already died four or five times, the apartment had remained available for a drama more serious than her own death.

I'm complicating things, getting involved, and you're talking of childishness. It
is
childishness. All prisoners are children, and only children are underhanded, wily, open, and confused. “What would top it all,” thought Ernestine, “would be for him to die in a fashionable city, in Cannes or Venice, so that I could make pilgrimages to it.”

To stop at a Ritz, bathed by the Adriatic, wife or mistress of a Doge; then, her arms full of flowers, to climb a path to the cemetery, to sit down on a simple flagstone, a white, slightly curved stone, and, all curled up in fragrant grief, to brood!

Without bringing her back to reality, for she never left reality, the arrangement of the setting obliged her to shake off the dream. She went to get the revolver, which had long since been loaded by a most considerate Providence, and when she held it in her hand, weighty as a phallus in action, she realized she was big with murder, pregnant with a corpse.

You, you have no idea of the superhuman or extra-lucid state of mind of the blind murderer who holds the knife, the gun, or the phial, or who has already released the movement that propels to the precipice.

Ernestine's gesture might have been performed quickly, but, like Culafroy in fact, she is serving a text she knows nothing about, a text I am composing whose
dénoument
will occur when the time is ripe. Ernestine is perfectly aware of how ridiculously literary her act is, but that she has to submit to cheap literature makes her even more touching in her own eyes and ours. In drama, as in all of life, she escapes vainglorious beauty.

Every premeditated murder is always governed by a preparatory ceremonial and is always followed by a propitiatory ceremonial. The meaning of both eludes the murderer's mind. Everything is in order. Ernestine has just time to appear before a Star Chamber. She fired. The bullet shattered the glass of a frame containing an honorary diploma of her late husband. The noise was frightful. Drugged by sleeping pills, the child heard nothing. Nor did Ernestine. She had fired in the apartment with the garnet-red velvet, and the bullet, shattering the beveled mirrors, the pendants, the crystals, the stucco, the stars, tearing the hangings–in short, destroying the structure which collapsed–brought down not sparkling powder and blood, but the crystal of the chandelier and the pendants, a gray ash on the head of Ernestine, who swooned.

She came back to her senses amidst the debris of her drama. Her hands, freed from the revolver, which disappeared beneath the bed like an ax at the bottom of a pond, like a prowler into a wall, her hands, lighter than thoughts, fluttered about her. Since then, she has been waiting.

That was how Darling saw her, intoxicated with the tragic. He was intimidated by her, for she was beautiful and seemed mad, but especially because she was beautiful. Did he, who himself was handsome, have to fear her? I'm sorry to say I know too little (nothing) about the secret relations between people who are handsome
and know it, and nothing about the seemingly friendly but perhaps hostile contacts between handsome boys. If they smile at each other over a trifle, is there, unknown to them, some tenderness in their smile, and do they feel its influence in some obscure way? Darling made a clumsy sign of the cross over the coffin. His constraint gave the impression that he was deep in thought; and his constraint was all his grace.

Death had placed its mark, which weighs like a lead seal at the bottom of a parchment, on the curtains, the walls, the rugs. Particularly on the curtains. They are sensitive. They sense death and echo it like dogs. They bark at death through the folds that open, dark as the mouth and eyes of the masks of Sophocles, or which bulge like the eyelids of Christian ascetics. The blinds were drawn and the candles lighted. Darling, no longer recognizing the attic where he had lived with Divine, behaved like a young man on a visit.

His emotion beside the coffin? None. He no longer remembered Divine.

The undertaker's assistants arrived almost immediately and saved him from further embarrassment.

In the rain, this black cortege, bespangled with multicolored faces and blended with the scent of flowers and rouge, followed the hearse. The fiat round umbrellas, undulating above the ambulating procession, held it suspended between heaven and earth. The passersby did not even see it, for it was so light that it was already floating ten yards from the ground; only the maids and butlers might have noticed it, but at ten o'clock the former were bringing the morning chocolate to their mistresses and the latter were opening the door to early visitors. Besides, the cortege was almost invisible because of its speed. The hearse had wings on its axle. The abbé emerged first into the rain singing the
dies irae.
He tucked up his cassock and cope, as be had been taught to do at the
seminary when the weather was bad. His gesture, though automatic, released within him, with a placenta of nobility, a series of sad and secret creatures. With one of the flaps of the black velvet cope, the velvet from which are made Fantômas’ masks and those of the Doges’ wives, he tried to slip away, but it was the ground that gave way under him, and we shall see the trap into which he fell. Just in time, he prevented the cloth from hiding the lower part of his face. Bear in mind that the abbé was young. You could tell that under his funereal vestments he had the lithe body of a passionate athlete. Which means, in short, that he was in travesty. In the church–the whole funeral service having been merely the “do this in memory of me"–approaching the altar on tiptoe, in silence, he had picked the lock of the tabernacle, parted the veil like someone who at midnight parts the double curtains of an alcove, held his breath, seized the ciborium with the caution of an ungloved burglar, and finally, having broken it, swallowed a questionable host.

From the church to the cemetery, the road was long and the text of the breviary too familiar. Only the dirge and the black, silver-embroidered cope exuded charms. The abbé plodded through the mud as he would have done in the heart of the woods. “Of what woods?” he asked himself. In a foreign country, a forest of Bohemia. Or rather of Hungary. In choosing this country, he was no doubt guided by the precious suspicion that Hungarians are the only Asiates in Europe. Huns. The Hunis. Attila burning the grass, and his soldiers warming between their brutal and colossal thighs (like those, and perhaps even larger than those, of Alberto, Darling, and Gorgui) and their horses’ flanks the raw meat that they will eat. It is autumn. It is raining in the Hungarian forest.

Every branch that he has to push aside wets the priest's forehead. The only sound is the patter of the drops on
the wet leaves. Since it is evening, the woods become more and more alarming. The priest draws the gray coat more tightly about his splendid loins, the great cape, like his cope of today, which envelops him over there.

In the forest is a sawmill; two young men work it and hunt. They are unknown in the region. They have (the abbé knows this as one knows things in dreams without having learned them) been around the world. And so here the abbé was chanting the dirge as he would have sung it there when he met one of the strangers, the younger, who had the face of the butcher of my village. He was on his way back from hunting. In the corner of his mouth, an unlit butt. The word “butt” and the taste of the sucked tobacco made the abbé's spine stiffen and draw back with three short jerks, the vibrations of which reverberated through all his muscles and on to infinity, which shuddered and ejaculated a seed of constellations.

The woodcutter's lips came down on the abbé's mouth, where, with a thrust of the tongue more imperious than a royal order, they drove in the butt. The priest was knocked down, bitten, and he expired with love on the soggy moss. After having almost disrobed him, the stranger caressed him, gratefully, almost fondly, thought the abbé. With a heave, he shouldered his game bag, which was weighted down with a wildcat, picked up his gun, and went off whistling a raffish tune.

The abbé was winding his way among mausoleums; the queens were stumbling over the stones, getting their feet wet in the grass, and among the graves were being angelicized. The choir boy, a puny lad with ringworm, who hadn't the slightest suspicion of the adventure the abbé had just had, asked him whether he might keep his skullcap on. The abbé said yes. As he walked, his leg made the movement peculiar to dancers (with one hand in their pocket) as they finish a tango. He bent forward
on his leg, which was slightly advanced on the tip of the toe; he slapped his knee against the cloth of the cassock, which flapped back and forth like the bell-bottomed trousers of a swaying sailor or a gaucho. Then he began a psalm.

When the procession arrived at the hole which had already been dug, perhaps by the gravedigger Divine used to see from her window, they lowered the coffin in which Divine lay wrapped in a white lace sheet. The abbé blessed the grave and handed his sprinkler to Darling, who blushed to feel it so heavy (for he had to some degree returned, after and beyond Divine, to his race, which was akin to that of young gypsies, who are willing to jerk you off, but only with their feet), then to the queens, who turned the whole area into a squealing of pretty cries and high giggles. Divine departed as she would have desired, in a mixture of fantasy and sordidness.

Divine is dead, is dead and buried . . .

. . .
is dead and buried.

Since Divine is dead, the poet may sing her, may tell her legend, the Saga, the annals of Divine. The Divine Saga should be danced, mimed, with subtle directions. Since it is impossible to make a ballet of it, I am forced to use words that are weighed down with precise ideas, but I shall try to lighten them with expressions that are trivial, empty, hollow, and invisible.

What is involved for me who is making up this story? In
reviewing my life, in tracing its course, I fill my cell with the pleasure of being what for want of a trifle I failed to be, recapturing, so that I may hurl myself into them as into dark pits, those moments when I strayed through the trap-ridden compartments of a subterranean sky. Slowly displacing volumes of fetid air, cutting
threads from which hang bouquets of feelings, seeing the gypsy for whom I am looking emerge perhaps from some starry river, wet, with mossy hair, playing the fiddle, diabolically whisked away by the scarlet velvet portiere of a cabaret.

I shall speak to you about Divine, mixing masculine and feminine as my mood dictates, and if, in the course of the tale, I shall have to refer to a woman, I shall manage, I shall find an expedient, a good device, to avoid any confusion.