As the cheekbones began to appear, as smooth and lifeless as carved foam, applause rang out from the guests seated on the terrace. Five minutes later, when Van Eyck’s glider swooped down on to the lake, I could see that he had excelled himself. Lit by the searchlights, and with the overture to Tristan sounding from the loudspeakers on the slopes of the mesa, as if inflating this huge bauble, the portrait of Leonora moved overhead, a faint rain falling from it. By luck the cloud remained stable until it passed the shoreline, and then broke up in the evening air as if ripped from the sky by an irritated hand.
Petit Manuel began his ascent, sailing in on a dark-edged cloud like an urchin accosting a bad-tempered matron. He soared to and fro, as if unsure how to shape this unpredictable column of vapour, then began to carve it into the approximate contours of a woman’s head. He seemed more nervous than I had ever seen him. As he finished a second round of applause broke out, soon followed by laughter and ironic cheers.
The cloud, sculptured into a flattering likeness of Leonora, had begun to tilt, rotating in the disturbed air. The jaw lengthened, the glazed smile became that of an idiot’s. Within a minute the gigantic head of Leonora Chanel hung upside down above us.
Discreetly I ordered the searchlights switched off, and the audience’s attention turned to Nolan’s black-winged glider as it climbed towards the next cloud. Shards of dissolving tissue fell from the darkening air, the spray concealing whatever ambiguous creation Nolan was carving. To my surprise, the portrait that emerged was wholly lifelike. There was a burst of applause, a few bars of Tannhauser, and the searchlights lit up the elegant head. Standing among her guests, Leonora raised her glass to Nolan’s glider.
Puzzled by Nolan’s generosity, I looked more closely at the gleaming face, and then realized what he had done. The portrait, with cruel irony, was all too lifelike. The downward turn of Leonora’s mouth, the chin held up to smooth her neck, the fall of flesh below her right cheek – all these were carried on the face of the cloud as they had been in his painting in the studio.
Around Leonora the guests were congratulating her on the performance. She was looking up at her portrait as it began to break up over the lake, seeing it for the first time. The veins held the blood in her face.
Then a firework display on the beach blotted out these ambiguities in its pink and blue explosions.
Shortly before dawn Beatrice Lafferty and I walked along the beach among the shells of burnt-out rockets and catherine wheels. On the deserted terrace a few lights shone through the darkness on to the scattered chairs. As we reached the steps a woman’s voice cried out somewhere above us. There was the sound of smashed glass. A french window was kicked back, and a dark-haired man in a white suit ran between the tables.
As Nolan disappeared along the drive Leonora Chanel walked out into the centre of the terrace. She looked at the dark clouds surging over the mesa, and with one hand tore the jewels from her eyes. They lay winking on the tiles at her feet. Then the hunched figure of Petit Manuel leapt from his hiding place in the bandstand. He scuttled past, racing on his deformed legs.
An engine started by the gates. Leonora began to walk back to the villa, staring at her broken reflections in the glass below the window. She stopped as a tall, blond-haired man with cold and eager eyes stepped from the sonic statues outside the library. Disturbed by the noise, the statues had begun to whine. As Van Eyck moved towards Leonora they took up the slow beat of his steps.
The next day’s performance was the last by the cloud-sculptors of Coral D. All afternoon, before the guests arrived, a dim light lay over the lake. Immense tiers of storm-nimbus were massing behind the mesa, and any performance at all seemed unlikely.
Van Eyck was with Leonora. As I arrived Beatrice Lafferty was watching their sand-yacht carry them unevenly across the lake, its sails whipped by the squalls.
‘There’s no sign of Nolan or little Manuel,’ she told me. ‘The party starts in three hours.’
I took her arm. ‘The party’s already over. When you’re finished here, Bea, come and live with me at Coral D. I’ll teach you to sculpt the clouds.’
Van Eyck and Leonora came ashore half an hour later. Van Eyck stared through my face as he brushed past. Leonora clung to his arm, the day-jewels around her eyes scattering their hard light across the terrace.
By eight, when the first guests began to appear, Nolan and Petit Manuel had still not arrived. On the terrace the evening was warm and lamplit, but overhead the storm-clouds sidled past each other like uneasy giants. I walked up the slope to where the gliders were tethered. Their wings shivered in the updraughts.
Barely half a minute after he rose into the darkening air, dwarfed by an immense tower of storm-nimbus, Charles Van Eyck was spinning towards the ground, his glider toppled by the crazed air. He recovered fifty feet from the villa and climbed on the updraughts from the lake, well away from the spreading chest of the cloud. He soared in again. As Leonora and her guests watched from their seats the glider was hurled back over their heads in an explosion of vapour, then fell towards the lake with a broken wing.
I walked towards Leonora. Standing by the balcony were Nolan and Petit Manuel, watching Van Eyck climb from the cockpit of his glider three hundred yards away.
To Nolan I said: ‘Why bother to come? Don’t tell me you’re going to fly?’
Nolan leaned against the rail, hands in the pockets of his suit. ‘I’m not – that’s exactly why I’m here, major.’
Leonora was wearing an evening dress of peacock feathers that lay around her legs in an immense train. The hundreds of eyes gleamed in the electric air before the storm, sheathing her body in their blue flames.
‘Miss Chanel, the clouds are like madmen,’ I apologized. ‘There’s a storm on its way.’
She looked up at me with unsettled eyes. ‘Don’t you people expect to take risks?’ She gestured at the storm-nimbus that swirled over our heads. ‘For clouds like these I need a Michelangelo of the sky ... What about Nolan? Is he too frightened as well?’
As she shouted his name Nolan stared at her, then turned his back to us. The light over Lagoon West had changed. Half the lake was covered by a dim pall.
There was a tug on my sleeve. Petit Manuel looked up at me with his crafty child’s eyes. ‘Major, I can go. Let me take the glider.’
‘Manuel, for God’s sake. You’ll kill –’
He darted between the gilt chairs. Leonora frowned as he plucked her wrist.
‘Miss Chanel …’ His loose mouth formed an encouraging smile. ‘I’ll sculpt for you. Right now, a big storm-cloud, eh?’
She stared down at him, half-repelled by this eager hunchback ogling her beside the hundred eyes of her peacock train. Van Eyck was limping back to the beach from his wrecked glider. I guessed that in some strange way Manuel was pitting himself against Van Eyck.
Leonora grimaced, as if swallowing some poisonous phlegm. ‘Major Parker, tell him to –’ She glanced at the dark cloud boiling over the mesa like the effuvium of some black-hearted volcano. ‘Wait! Let’s see what the little cripple can do!’ She turned on Manuel with an over-bright smile. ‘Go on, then. Let’s see you sculpt a whirlwind!’
In her face the diagram of bones formed a geometry of murder.
Nolan ran past across the terrace, his feet crushing the peacock feathers as Leonora laughed. We tried to stop Manuel, but he raced ahead up the slope. Stung by Leonora’s taunt, he skipped among the rocks, disappearing from sight in the darkening air. On the terrace a small crowd gathered to watch.
The yellow and tangerine glider rose into the sky and climbed across the face of the storm-cloud. Fifty yards from the dark billows it was buffeted by the shifting air, but Manuel soared in and began to cut away at the dark face. Drops of black rain fell across the terrace at our feet.
The first outline of a woman’s head appeared, satanic eyes lit by the open vents in the cloud, a sliding mouth like a dark smear as the huge billows boiled forwards. Nolan shouted in warning
from the lake as he climbed into his glider. A moment later little Manuel’s craft was lifted by a powerful updraught and tossed over the roof of the cloud. Fighting the insane air, Manuel plunged the glider downwards and drove into the cloud again. Then its immense face opened, and in a sudden spasm the cloud surged forward and swallowed the glider.
There was silence on the terrace as the crushed body of the craft revolved in the centre of the cloud. It moved over our heads, dismembered pieces of the wings and fuselage churned about in the dissolving face. As it reached the lake the cloud began its violent end. Pieces of the face slewed sideways, the mouth was torn off, an eye exploded. It vanished in a last brief squall.
The pieces of Petit Manuel’s glider fell from the bright air.
Beatrice Lafferty and I drove across the lake to collect Manuel’s body. After the spectacle of his death within the exploding replica of their hostess’s face, the guests began to leave. Within minutes the drive was full of cars. Leonora watched them go, standing with Van Eyck among the deserted tables.
Beatrice said nothing as we drove out. The pieces of the shattered glider lay over the fused sand, tags of canvas and broken struts, control lines tied into knots. Ten yards from the cockpit I found Petit Manuel’s body, lying in a wet ball like a drowned monkey.
I carried him back to the sand-yacht.
‘Raymond!’ Beatrice pointed to the shore. Storm-clouds were massed along the entire length of the lake, and the first flashes of lightning were striking in the hills behind the mesa. In the electric air the villa had lost its glitter. Half a mile away a tornado was moving along the valley floor, its trunk swaying towards the lake.
The first gust of air struck the yacht. Beatrice shouted again: ‘Raymond! Nolan’s there – he’s flying inside it!’
Then I saw the black-winged glider circling under the umbrella of the tornado, Nolan himself riding in the whirlwind. His wings held steady in the revolving air around the funnel. Like a pilot fish he soared in, as if steering the tornado towards Leonora’s villa.
Twenty seconds later, when it struck the house, I lost sight of him. An explosion of dark air overwhelmed the villa, a churning centrifuge of shattered chairs and tiles that burst over the roof. Beatrice and I ran from the yacht, and lay together in a fault in the glass surface. As the tornado moved away, fading into the storm-filled sky, a dark squall hung over the wrecked villa, now and then flicking the debris into the air. Shreds of canvas and peacock feathers fell around us.
We waited half an hour before approaching the house. Hundreds of smashed glasses and broken chairs littered the terrace. At first I could see no signs of Leonora, although her face was everywhere, the portraits with their slashed profiles strewn on the damp tiles. An eddying smile floated towards me from the disturbed air, and wrapped itself around my leg.
Leonora’s body lay among the broken tables near the bandstand, half-wrapped in a bleeding canvas. Her face was as bruised now as the storm-cloud Manuel had tried to carve.
We found Van Eyck in the wreck of the marquee. He was suspended by the neck from a tangle of electric wiring, his pale face wreathed in a noose of light bulbs. The current flowed intermittently through the wiring, lighting up the coloured globes.
I leaned against the overturned Rolls, holding Beatrice’s shoulders. ‘There’s no sign of Nolan – no pieces of his glider.’
‘Poor man. Raymond, he was driving that whirlwind here. Somehow he was controlling it.’
I walked across the damp terrace to where Leonora lay. I began to cover her with the shreds of canvas, the torn faces of herself.
I took Beatrice Lafferty to live with me in Nolan’s studio in the desert near Coral D. We heard no more of Nolan and never flew the gliders again. The clouds carry too many memories. Three months ago a man who saw the derelict gliders outside the studio stopped near Coral D and walked across to us. He told us he had seen a man flying a glider in the sky high above Red Beach, carving the strato-cirrus into images of jewels and children’s faces. Once there was a dwarf’s head.
On reflection, that sounds rather like Nolan, so perhaps he managed to get away from the tornado. In the evenings Beatrice and I sit among the sonic statues, listening to their voices as the fair-weather clouds rise above Coral D, waiting for a man in a dark-winged glider, perhaps painted like candy now, who will come in on the wind and carve for us images of seahorses and unicorns, dwarfs and jewels and children’s faces.
1967
WHY I WANT TO FUCK RONALD REAGAN
During these assassination fantasies
Ronald Reagan and the conceptual auto-disaster. Numerous studies have been conducted upon patients in terminal paresis (G.P.I.), placing Reagan in a series of simulated auto-crashes, e.g. multiple pile-ups, head-on collisions, motorcade attacks (fantasies of Presidential assassinations remained a continuing preoccupation, subjects showing a marked polymorphic fixation on windshields and rear trunk assemblies). Powerful erotic fantasies of an anal-sadistic character surrounded the image of the Presidential contender. Subjects were required to construct the optimum auto-disaster victim by placing a replica of Reagan’s head on the unretouched photographs of crash fatalities. In 82 per cent of cases massive rear-end collisions were selected with a preference for expressed faecal matter and rectal haemorrhages. Further tests were conducted to define the optimum model-year. These indicate that a three-year model lapse with child victims provide the maximum audience excitation (confirmed by manufacturers’ studies of the optimum auto-disaster). It is hoped to construct a rectal modulus of Reagan and the auto-disaster of maximized audience arousal.
Tallis became increasingly obsessed
Motion picture studies of Ronald Reagan reveal characteristic patterns of facial tonus and musculature associated with homoerotic behaviour. The continuing tension of buccal sphincters and the recessive tongue role tally with earlier studies of facial rigidity (cf., Adolf Hitler, Nixon). Slow-motion cine-films of campaign speeches exercised a marked erotic effect upon an audience of spastic children. Even with mature adults the verbal material was found to have minimal effect, as demonstrated by substitution of an edited tape giving diametrically opposed opinions. Parallel films of rectal images revealed a sharp upsurge in anti-Semitic and concentration camp fantasies.
with the pudenda of the Presidential contender
Incidence of orgasms in fantasies of sexual intercourse with Ronald Reagan. Patients were provided with assembly kit photographs of sexual partners during intercourse. In each case Reagan’s face was superimposed upon the original partner. Vaginal intercourse with ‘Reagan’ proved uniformly disappointing, producing orgasm in 2 per cent of subjects. Axillary, buccal, navel, aural and orbital modes produced proximal erections. The preferred mode of entry overwhelmingly proved to be the rectal. After a preliminary course in anatomy it was found that caecum and transverse colon also provided excellent sites for excitation. In an extreme 12 per cent of cases, the simulated anus of post-colostomy surgery generated spontaneous orgasm in 98 per cent of penetrations. Multiple-track cine-films were constructed of ‘Reagan’ in intercourse during (a) campaign speeches, (b) rear-end auto-collisions with one and three-year-old model changes, (c) with rear-exhaust assemblies, (d) with Vietnamese child-atrocity victims.
mediated to him by a thousand television screens.
Sexual fantasies in connection with Ronald Reagan. The genitalia of the Presidential contender exercised a continuing fascination. A series of imaginary genitalia were constructed using (a) the mouth-parts of Jacqueline Kennedy, (b) a Cadillac rear-exhaust vent, (c) the assembly kit prepuce of President Johnson, (d) a child-victim of sexual assault. In 89 per cent of cases, the constructed genitalia generated a high incidence of self-induced orgasm. Tests indicate the masturbatory nature of the Presidential contender’s posture. Dolls consisting of plastic models of Reagan’s alternate genitalia were found to have a disturbing effect on deprived children.
The motion picture studies of Ronald Reagan
&
nbsp; Reagan’s hairstyle. Studies were conducted on the marked fascination exercised by the Presidential contender’s hairstyle. 65 per cent of male subjects made positive connections between the hairstyle and their own pubic hair. A series of optimum hairstyles were constructed.
created a scenario of the conceptual orgasm,
The conceptual role of Reagan. Fragments of Reagan’s cinetized postures were used in the construction of model psychodramas in which the Reagan-figure played the role of husband, doctor, insurance salesman, marriage counsellor, etc. The failure of these roles to express any meaning reveals the non-functional character of Reagan. Reagan’s success therefore indicates society’s periodic need to re-conceptualize its political leaders. Reagan thus appears as a series of posture concepts, basic equations which re-formulate the roles of aggression and anality.
a unique ontology of violence and disaster.
Reagan’s personality. The profound anality of the Presidential contender may be expected to dominate the United States in the coming years. By contrast the late J.F. Kennedy remained the prototype of the oral object, usually conceived in pre-pubertal terms. In further studies sadistic psychopaths were given the task of devising sex fantasies involving Reagan. Results confirm the probability of Presidential figures being perceived primarily in genital terms; the face of L.B. Johnson is clearly genital in significant appearance – the nasal prepuce, scrotal jaw, etc. Faces were seen as either circumcised (JFK, Khrushchev) or uncircumcised (LBJ, Adenauer). In assembly kit tests Reagan’s face was uniformly perceived as a penile erection. Patients were encouraged to devise the optimum sex-death of Ronald Reagan.