A cigarette was later to play her a shabby trick. As she walked down the main street of the village, she passed a young tough, one of those twenty faces I have cut out of magazines. He was whistling; a cigarette was stuck in the corner of his little mug. When he came abreast of Ernestine, he lowered his head, and the nodding gesture made him look as if he were ogling her tenderly. Ernestine thought that he was looking at her with “impertinent interest,” but the fact is he was going against the wind, which blew the smoke into his eyes and made them smart, thus causing him to make this gesture. He screwed up his eyes and twisted his mouth, and the expression passed for a smile. Ernestine drew herself up with a sudden movement, which she quickly repressed and sheathed, and that was the end of the adventure, for at that very moment the village hood, who had not even seen Ernestine, felt the corner of his mouth smiling and his eye winking. With a tough-guy gesture, he hitched up, his pants, thereby showing what the position of his true head made of him.
Still other expressions excited her, just as you would be moved and disturbed by the odd coupling of certain words, such as “bell and candle,” or better still, “a Tartar ball-hold,” which she would have liked to whistle and dance to the air of a java. Thinking of her pocket, she would say to herself: “My pouch.”
While visiting a friend: “Get a load of that.” “She got the works.” About a good-looking passerby: “I gave him a hard-on.”
Don't think that Divine took after her in being thrilled by slang, for Ernestine was never caught using it. “To get damned sore,” coming from the cute mouth of an urchin, was enough to make both mother and son regard the one who said it as a sulking little mug, slightly husky, with the crushed face of a bulldog (that of the young English boxer Crane, who is one of my twenty on the wall).
Darling was growing pale. He knocked out a pink-cheeked Dutchman to rob him. At the moment, his pocket is full of florins. The garret knows the sober joy that comes from security. Divine and Darling sleep at night. During the day, they sit around naked and eat snacks, they squabble, forget to make love, turn on the radio, which drools on and on, and smoke. Darling says shit, and Divine, in order to be neighborly, even more neighborly than Saint Catherine of Siena, who passed the night in the cell of a man condemned to death, on whose prick her head rested, reads Detective Magazine. Outside the wind is blowing. The garret is cosily heated by a system of electric radiators, and I should like to give a short respite, even a bit of happiness, to the ideal couple.
The window is open on the cemetery.
Five A.M.
Divine hears church bells ringing (for she is awake). Instead of notes, which fly away, the chimes are strokes, five strokes, which drop to the pavement, and, on that wet pavement, bear Divine with them, Divine who three years before, or perhaps four, at the same hour, in the streets of a small town, was rummaging through a garbage can for bread. She had spent the night wandering through the streets in the drizzling rain, hugging the walls so as to get less wet, waiting for the angelus (the bells are now ringing low mass, and Divine relives the anguish of the days without shelter, the days of the bells) which announces that the churches are open to old maids, real sinners, and tramps. In the scented attic, the morning angelus violently changes her back into the poor wretch in damp tatters who has just heard mass and taken communion in order to rest her feet and be less cold. Darling's sleeping body is warm and next to hers. Divine closes her eyes; when the lids join and separate her from the world which is emerging from the dawn, the rain begins to fall, releasing within her a sudden happiness so perfect that she says aloud, with a deep sigh: ‘'I'm happy.” She was about to go back to sleep, but the better to attest her marital happiness she recalled without bitterness the memories of the time when she was Culafroy, when, having run away from the slate house, she landed in a small town, where, on golden, pink, or dreary mornings, tramps with souls–which, to look at them, one would call naïve–of dolls, accost each other with gestures one would also call fraternal. They have just got up from park benches on which they have been sleeping, from benches on the main square, or have just been born from a lawn in the public park. They exchange secrets dealing with Asylums, Prisons, Pilfering, and State Troopers. The milkman hardly disturbs them. He is one of them. For a few days Culafroy was also one of them. He fed on crusts, covered with hair, that he found in garbage cans. One night, the night he was most hungry, he even wanted to kill himself. Suicide was his great preoccupation: the song of phenobarbital! Certain attacks brought him so close to death that I wonder how he escaped it, what imperceptible shock–coming from whom?–pushed him back from the brink. But one day there would be, within arm's reach, a phial of poison, and I would have only to put it to my mouth; and then to wait. To wait, with unbearable anguish, for the effect of the incredible act, and marvel at the wondrousness of an act so madly irremediable, that brings in its wake the end of the world which follows from so casual a gesture. I had never been struck by the fact that the slightest carelessness–sometimes even less than a gesture, an unfinished gesture, one you would like to take back, to undo by reversing time, a gesture so mild and close, still in the present moment, that you think you can efface it–Impossible!–can lead, for example, to the guillotine, until the day when I myself–through one of those little gestures that escape you involuntarily, that it is impossible to abolish–saw my soul in anguish and immediately felt the anguish of the unfortunate creatures who have no other way out than to confess. And to wait. To wait and grow calm, because anguish and despair are possible only if there is a visible or secret way out, and to trust to death, as Culafroy once trusted the inaccessible snakes.
Up to that time, the presence of a phial of poison or a high-tension wire had never coincided with periods of dizziness, but Culafroy, and later Divine, will dread that moment, and they expect to encounter it very soon, a moment chosen by Fate, so that death may issue irremediably from their decision or their lassitude.
There were random walks through the town, along dark streets on sleepless nights. He would stop to look through windows at gilded interiors, through lacework illustrated with elaborate designs: flowers, acanthus leaves, cupids with bows and arrows, lace deer; and the interiors, hollowed out in massive and shadowy altars, seemed to him veiled tabernacles. In front of and beside the windows, taper-like candelabra mounted a guard of honor in still leafy trees which spread out in bouquets of enamel, metal, or cloth lilies on the steps of a basilica altar. In short, they were the surprise packages of vagrant children for whom the world is imprisoned in a magic lattice, which they themselves weave about the globe with toes as hard and agile as Pavlova's. Children of this kind are invisible. Conductors do not notice them on trains, nor do policemen on docks; even in prison they seem to have been smuggled in, like tobacco, tattooing ink, moonbeams, sunbeams, and the music of a phonograph. Their slightest gesture proves to them that a crystal mirror, which their fist sometimes bespangles with a slivery spider, encages the universe of houses, lamps, cradles, and baptisms, the universe of humans. The child we are concerned with was so far removed from this that later on all he remembered of his escapade was: “In town, women in mourning are very smartly dressed.” But his solitude made it possible for him to be moved by petty miseries: a squatting old woman who, when the child suddenly appeared, pissed on her black cotton stockings; in front of restaurant windows bursting with lights and crystals and silverware, but still empty of diners, he witnessed, spellbound, the tragedies being performed by waiters in full dress who were dialoguing with a great flourish and debating questions of precedence until the arrival of the first elegant couple which dashed the drama to the floor and shattered it; homosexuals who would give him only fifty centimes and run off, full of happiness for a week; in stations at major junctions he would observe at night, from the waiting rooms, male shadows carrying mournful lanterns along multitudes of tracks. His feet and shoulders ached; he was cold.
Divine muses on the moments which are most painful for the vagabond: a
t night, when a car on the road suddenly spotlights his poor rags.
Darling's body is burning. Divine is lying in its hollow. I do not know whether she is already dreaming or merely reminiscing: “One morning (it was at the crack of dawn), I knocked at your door. I was weary of wandering through the streets, bumping into ragpickers, stumbling over garbage. I was seeking your bed, which was hidden in the lace, the lace, the ocean of lace, the universe of lace. From the far end of the world, a boxer's fist sent me sprawling into a tiny sewer.” Just then, the angelus tolled. Now she is asleep in the lace, and their married bodies are afloat.
Here am I this morning, after a long night of caressing my beloved couple, torn from my sleep by the noise of the bolt being drawn by the guard who comes to collect the garbage. I get up and stagger to the latrine, still entangled in my strange dream, in which I succeeded in getting my victim to pardon me. Thus, I was plunged to the mouth in horror. The horror entered me. I chewed it. I was full of it. My young victim was sitting near me, and his bare leg, instead of crossing his right, went through the thigh. He said nothing, but I knew without the slightest doubt what he was thinking: “I've told the judge everything, you're pardoned. Besides, it's me sitting on the bench. You can confess. And you don't have to worry. You're pardoned.” Then, with the immediacy of dreams, he was a little corpse no bigger than a figurine in an Epiphany pie, than a pulled tooth, lying in a glass of champagne in the middle of a Greek landscape with truncated ringed columns, around which long white tapeworms were twisting and streaming like coils, all this in a light seen only in dreams. I no longer quite remember my attitude, but I do know that I believed what he told me. Upon waking, I still had the feeling of baptism. But there is no question of resuming contact with the precise and tangible world of the cell. I lie down again until it's time for bread. The atmosphere of the night, the smell rising from the blocked latrines, overflowing with shit and yellow water, stir childhood memories which rise up like a black soil mined by moles. One leads to another and makes it surge up; a whole life which I thought subterranean and forever buried rises to the surface, to the air, to the sad sun, which give it a smell of decay; in which I delight. The reminiscence that really tugs at my heart is that of the toilet of the slate house. It was my refuge. Life, which I saw far off and blurred through its darkness and smell–an odor that filled me with compassion, in which the scent of the elders and the loamy earth was dominant, for the outhouse was at the far end of the garden, near the hedge–life, as it reached me, was singularly sweet, caressing, light, or rather lightened, delivered from heaviness. I am speaking of the life which was things outside the toilet, whatever in the world was not my little retreat with its worm-eaten boards. It seemed to me as if it were somewhat in the manner of floating, painted dreams, whereas I in my hole, like a larva, went on with a restful nocturnal existence, and at times I had the feeling I was sinking slowly, as into sleep or a lake or a maternal breast or even a state of incest, to the spiritual center of the earth. My periods of happiness were never luminously happy, my peace never what men of letters and theologians call a “celestial peace.” That's as it should be, for I would be horrified if I were pointed at by God, singled out by Him; I know very well that if I were sick, and were cured by a miracle, I would not survive it. Miracles are unclean; the peace I used to seek in the outhouse, the one I am going to seek in the memory of it, is a reassuring and soothing peace.
At times it would rain. I would hear the patter of the drops on the zinc roofing. Then my sad well-being, my morose delectation, would be aggravated by a further sorrow. I would open the door a crack, and the sight of the wet garden and the pelted vegetables would grieve me. I would remain for hours squatting in my cell, roosting on my wooden seat, my body and soul prey to the odor and darkness; I would feel mysteriously moved, because it was there that the most secret part of human beings came to reveal itself, as in a confessional. Empty confessionals had the same sweetness for me. Back issues of fashion magazines lay about there, illustrated with engravings in which the women of 1910 always had a muff, a parasol, and a dress with a bustle.
It took me a long time to learn to exploit the spell of these nether powers, who drew me to them by the feet, who flapped their black wings about me, fluttering them like the eyelashes of a vamp, and dug their branchlike fingers into my eyes.
Someone has flushed the toilet in the next cell. Since our two latrines are adjoining, the water stirs in mine, and a whiff of odor heightens my intoxication. My stiff penis is caught in my underpants; it is freed by the touch of my hand, strikes against the sheet, and forms a little mound. Darling! Divine! And I am alone here.
It is Darling whom I cherish most, for you realize that, in the final analysis, it is my own destiny, be it true or false, that I am draping (at times a rag, at times a court robe) on Divine's shoulders.
Slowly but surely I want to strip her of every vestige of happiness so as to make a saint of her. The fire that is searing her has already burned away heavy bonds; new ones are shackling her: Love. A morality is being born, which is certainly not the usual morality (it is consonant with Divine) though it is a morality all the same, with its Good and Evil. Divine is not beyond good and evil, there where the saint must live. And I, more gentle than a wicked angel, lead her by the hand.
Here are some “Divinariana” gathered expressly for you. Since I wish to show the reader a few candid shots of her, it is up to him to provide the sense of duration, of passing time, and to assume that during this first chapter she will be between twenty and thirty years of age.
DIVINARIANA
Divine to Darling: “You're my Maddening Baby!”
–Divine is humble. She is aware of luxury only through a certain mystery which it secretes and which she fears. Luxury hotels, like the dens of witches, hold in thrall aggressive charms which a gesture of ours can free from marble, carpets, velvet, ebony, and crystal. As soon as she accumulated a little money, thanks to an Argentine, Divine trained herself in luxury. She bought leather and steel luggage saturated with musk. Seven or eight times a day, she would take the train, enter the Pullman car, have her bags stacked in the baggage racks, settle down on the cushions until it was time for the train to leave, and, a few seconds before the whistle blew, would call two or three porters, have her things removed, take a cab and have herself driven to a fine hotel, where she would remain long enough to install herself discreetly and luxuriously. She played this game of being a star for a whole week, and now she knows how to walk on carpets and talk to flunkeys, who are luxury furnishings. She has domesticated the charms and brought luxury down to earth. The sober contours and scrolls of Louis XV furniture and frames and woodwork sustain her life–which seems to unroll more nobly, a double stairway–in an infinitely elegant air. But it is particularly when her hired car passes a wrought-iron gate or makes a delicious swerve that she is an Infanta.
–Death is no trivial matter. Divine already fears being caught short for the solemnity. She wants to die with dignity. Just as that air-force lieutenant went into combat in his dress uniform so that, if the death that flies overtook him in the plane, it would find and transfix him as an officer and not a mechanic, so Divine always carries in her pocket her oily gray diploma for advanced study.
–He's as dumb as a button, as a button on . . . (Mimosa is about to say: your boot).
Divine, blandly: on your fly.
–She always had with her, up her sleeve, a small fan made of muslin and pale ivory. Whenever she said something that disconcerted her, she would pull the fan from her sleeve with the speed of a magician, unfurl it, and suddenly one would see the fluttering wing in which the lower part of her face was hidden. Divine's fan will beat lightly about her face all her life. She inaugurated it in a poultry shop on the Rue Lepic. Divine had gone down with a sister to buy a chicken. They were in the shop when the butcher's son entered. She looked at him and clucked, called the sister and, putting her index finger into the rump of the trussed chicken that lay on t
he stall, she cried out: “Oh, look! Beauty of Beauties!” and her fan quickly fluttered to her blushing cheeks. She looked again with moist eyes at the butcher's son.
–On the boulevard, policemen have stopped Divine, who is tipsy. She is singing the Veni Creator in a shrill voice. In all the passersby are born little married couples veiled in white tulle who kneel on tapestried prayer stools; each of the two policemen remembers the time he was best man at a cousin's wedding. In spite of this, they take Divine to the station. Along the way she rubs against them, and they each get a hard-on, squeeze her more tightly, and stumble on purpose in order to tangle their thighs with hers. Their huge cocks are alive and rap sharply or push with desperate, sobbing thrusts against the door of their blue woolen pants. They bid them open, like the clergy at the closed church door on Palm Sunday. The little queens, both young and old, scattered along the boulevard, who see Divine going off, borne away to the music of the grave nuptial hymn, the Veni Creator, cry out:
“They're going to put her in irons!”
“Like a sailor!”
“Like a convict!”