The Cthulhu Mythos Megapack (40 Modern and Classic Lovecraftian Tales) (103 page)

“That was Marta,” said Cyprian. “She is half Irish, half Italian. A good model; but my new sculptures seem to be making her a little nervous.” He laughed abruptly, with a mirthless, jarring note that was like the cachinnation of a sorcerer.

“In God’s name, what are you trying to do here?” I burst out. “What does it all mean? Do such abominations really exist, on earth or in any hell?”

He laughed again, with an evil subtlety, and became evasive all at once. “Anything may exist, in a boundless universe with multiple dimensions. Anything may be real—or unreal. Who knows? It is not for me to say. Figure it out for yourself, if you can—there’s a vast field for speculation—and perhaps for more than speculation.”

With this, he began immediately to talk of other topics. Baffled, mystified, with a sorely troubled mind and nerves that were more unstrung than ever by the black enigma of it all, I ceased to question him. Simultaneously, my desire to leave the studio became almost overwhelming—a mindless, whirlwind panic that prompted me to run pell-mell from the room and down the stairs into the wholesome normality of the common, Twentieth Century streets. It seemed to me that the rays which fell through the skylight were not those of the sun, but of some darker orb; that the room was touched with unclean webs of shadow where shadow should not have been; that the stone Satans, the bronze lamias, the terracotta satyrs, and the clay gargoyles had somehow increased in number and might spring to malignant life at any instant.

Hardly knowing what I said, I continued to converse for a while with Cyprian. Then, excusing myself on the score of a nonexistent luncheon appointment, and promising vaguely to return for another visit before my departure from the city, I took my leave.

I was surprised to find my cousin’s model in the lower hall, at the foot of the stairway. From her manner, and her first words, it was plain that she had been waiting.

“You are Mr. Philip Hastane, aren’t you?” she said, in an eager, agitated voice. “I am Marta Fitzgerald. Cyprian has often mentioned you, and I believe that he admires you a lot.

“Maybe you’ll think me crazy,” she went on, “but I had to speak to you. I can’t stand the way that things are going here, and I’d refuse to come to the place any more, if it wasn’t that I—like Cyprian so much.

“I don’t know what he has done—but he is altogether different from what he used to be. His new work is so horrible—you can’t imagine how it frightens me. The sculptures he does are more hideous, more hellish all the time. Ugh! those drooling, dead-gray monsters in that new group of his—I can hardly bear to be in the studio with them. It isn’t right for anyone to depict such things. Don’t you think they are awful, Mr. Hastane? They look as if they had broken loose from hell—and make you think that hell can’t be very far away. It is wrong and wicked for anyone to—even imagine them; and I wish that Cyprian would stop. I am afraid that something will happen to him—to his mind—if he goes on. And I’ll go mad, too, if I have to see those monsters many more times. My God! No one could keep sane in that studio.”

She paused, and appeared to hesitate. Then:

“Can’t you do something, Mr. Hastane! Can’t you talk to him, and tell him how wrong it is, and how dangerous to his mental health? You must have a lot of influence with Cyprian—you are his cousin, aren’t you? And he thinks you are very clever, too. I wouldn’t ask you, if I hadn’t been forced to notice so many things that aren’t as they should be.

“I wouldn’t bother you, either, if I knew anyone else to ask. He has shut himself up in that awful studio for the past year, and he hardly ever sees anybody. You are the first person that he has invited to see his new sculptures. He wants them to be a complete surprise for the critics and the public, when he holds his next exhibition.

“But you’ll speak to Cyprian, won’t you, Mr. Hastane? I can’t do anything to stop him—he seems to exult in the mad horrors he creates. And he merely laughs at me when I try to tell him the danger. However, I think that those things are making him a little nervous sometimes—that he is growing afraid of his own morbid imagination. Perhaps he will listen to you.”

If I had needed anything more to unnerve me, the desperate pleading of the girl and her dark, obscurely baleful hintings would have been enough. I could see that she loved Cyprian, that she was frantically anxious concerning him, and hysterically afraid; otherwise, she would not have approached an utter stranger in this fashion.

“But I haven’t any influence with Cyprian,” I protested, feeling a queer embarrassment. “And what am I to say to mine. His new sculptures are magnificent—I have never seen anything more powerful of the kind. And how could I advise him to stop doing them? There would be no legitimate reason; he would simply laugh me out of the studio. An artist has the right to choose his own subject-matter, even if he takes it from the nether pits of Limbo and Erebus.”

The girl must have pleaded and argued with me for many minutes in that deserted hall. Listening to her, and trying to convince her of my inability to fulfill her request, was like a dialog in some futile and tedious nightmare. During the course of it, she told me a few details that I am unwilling to record in this narrative; details that were too morbid and too shocking for belief, regarding the mental alteration of Cyprian, and his new subject-matter and method of work. There were direct and oblique hints of a growing perversion; but somehow it seemed that much more was being held back; that even in her most horrifying disclosures she was not wholly frank with me. At last, with some sort of hazy promise that I would speak to Cyprian, would remonstrate with him, I succeeded in getting away from her, and returned to my hotel.

The afternoon and evening that followed were tinged as by the tyrannous adumbration of an ill dream. I felt that I had stepped from the solid earth into a gulf of seething, menacing, madness-haunted shadow, and was lost henceforward to all rightful sense of location or direction. It was all too hideous—and too doubtful and unreal. The change in Cyprian himself was no less bewildering, and hardly less horrifying, than the vile phantom of the bookshop, and the demon sculptures that displayed a magisterial art. It was as if the man had become possessed by some satanic energy or entity.

Everywhere that I went, I was powerless to shake off the feeling of an intangible pursuit, of a frightful, unseen vigilance. It seemed to me that the worm-gray face and sulfurous eyes would reappear at any moment; that the semi-canine mouth with its gangrene-dripping fangs might come to slaver above the restaurant table at which I ate, or upon the pillow of my bed. I did not dare to reopen the purchased Goya volume, for fear of finding that certain pages were still defiled with a spectral slime.

I went out and spent the evening in cafés, in theaters, wherever people thronged and lights were bright. It was after midnight when I finally ventured to brave the solitude of my hotel bedroom. Then there were endless hours of nerve-wrung insomnia, of shivering, sweating apprehension beneath the electric bulb that I had left burning. Finally, a little before dawn, by no conscious transition and with no premonitory drowsiness, I fell asleep.

I remember no dreams—only the vast, incubus-like oppression that persisted even in the depth of slumber, as if to drag me down with its formless, ever-clinging weight into gulfs beyond the reach of created flight or the fathoming of organized entity.

It was almost noon when I awoke, and found myself staring into the verminous, apish, mummy-dead face and hell-illumined eyes of the gargoyle that had crouched before me in the corner at Toleman’s. The thing was standing at the foot of my bed; and behind it as I stared, the wall of the room, which was covered with a floral paper, dissolved in an infinite vista of grayness, teeming with ghoulish forms that emerged like monstrous, misshapen bubbles from plains of undulant ooze and skies of serpentining vapor. It was another world, and my very sense of equilibrium was disturbed by an evil vertigo as I gazed. It seemed to me that my bed was heaving dizzily, was turning slowly, deliriously toward the gulf; that the feculent vista and the vile apparition were swimming beneath me; that I would fall toward them in another moment and be precipitated forever into that world of abysmal monstrosity and obscenity.

In a start of profound alarm, I fought my vertigo, fought the sense that another will than mine was drawing me, that the unclean gargoyle was luring me by some unspeakable mesmeric spell, as a serpent is said to lure its prey. I seemed to read a nameless purpose in its yellow-slitted eyes, in the soundless moving of its oozy lips; and my very soul recoiled with nausea and revulsion as I breathed its pestilential fetor.

Apparently, the mere effort of mental resistance was enough. The vista and the face receded; they went out in a swirl of daylight. I saw the design of tea roses on the wallpaper beyond; and the bed beneath me was sanely horizontal once more. I lay sweating with my terror, all adrift on a sea of nightmare surmise of unearthly threat and whirlpool madness, till the ringing of the telephone bell recalled me automatically to the known world.

I sprang to answer the call. It was Cyprian, though I should hardly have recognized the dead, hopeless tones of his voice, from which the mad pride and self-assurance of the previous day had wholly vanished.

“I must see you at once,” he said. “Can you come to the studio?”

I was about to refuse, to tell him that I had been called home suddenly, that there was no time, that I must catch the noon train—anything to avert the ordeal of another visit to that place of mephitic evil—when I heard his voice again.

“You simply must come, Philip. I can’t tell you about it over the phone, but a dreadful thing has happened: Marta had disappeared.”

I consented, telling him that I would start for the studio as soon as I had dressed. The whole nightmare had closed in, had deepened immeasurably with his last words; but remembering the haunted face of the girl, her hysteric fears, her frantic plea and my vague promise, I could not very well decline to go.

I dressed and went out with my mind in a turmoil of abominable conjecture, of ghastly doubt, and apprehension all the more hideous because I was unsure of its object I tried to imagine what had happened, tried to piece together the frightful, evasive, half-admitted hints of unknown terror into a tangible coherent fabric, but found myself involved in a chaos of shadowy menace.

I could not have eaten any breakfast, even if I had taken the necessary time. I went at once to the studio, and found Cyprian standing aimlessly amid his baleful statuary. His look was that of a man who has been stunned by the blow of some crushing weapon, or has gazed on the very face of Medusa. He greeted me in a vacant manner, with dull, toneless words. Then, like a charged machine, as if his body rather than his mind were speaking, he began at once to pour forth the atrocious narrative.

“They took her,” he said, simply. “Maybe you didn’t know it, or weren’t sure of it; but I have been doing all my new sculptures from life—even that last group. Marta was posing for me this forenoon—only an hour ago—or less. I had hoped to finish her part of the modeling today; and she wouldn’t have had to come again for this particular piece. I hadn’t called the Things this time, since I knew she was beginning to fear them more and more. I think she feared them on my account more than her own—and they were making me a little uneasy too, by the boldness with which they sometimes lingered when I had ordered then to leave, and the way they would sometimes appear when I didn’t want them.

“I was busy with some of the final touches on the girl figure, and wasn’t even looking at Marta, when suddenly I knew that the Things were there. The smell told me, if nothing else—I guess you know what the smell is like. I looked up and found that the studio was full of them—they had never before appeared in such numbers. They were surrounding Marta, were crowding and jostling each other, were all reaching toward her with their filthy talons; but even then, I didn’t think that they could harm her. They aren’t material beings, in the sense that we are, and they really have no physical power outside their own plane. All that they do have is a sort of snaky mesmerism, and they’ll always try to drag you down to their own dimension by means of it. God help anyone who yields to them; but you don’t have to go, unless you are weak, or willing. I’ve never had any doubt of my power to resist them, and I didn’t really dream they could do anything to Marta.

“It startled me, though, when I saw the whole crowding hell-pack, and I ordered them to go pretty sharply. I was angry—and somewhat alarmed, too. But they merely grimaced and slavered, with that slow, twisting movement of their lips that is like a voiceless gibbering, and then they closed in on Marta, just as I represented them doing in that accursed group of sculpture. Only there were scores of them now, instead of merely seven.

“I can’t describe how it happened, but all at once their foul talons had reached the girl; they were pawing her, were pulling at her hands, her arms, her body. She screamed and I hope I’ll never hear another scream so full of black agony and soul-unhinging fright. Then I knew that she had yielded to them—either from choice, or from excess of terror—and knew that they were taking her away.

“For a moment, the studio wasn’t there at all—only a long, gray, oozing plain, beneath skies where the fumes of hell were writhing like a million ghostly and distorted dragons. Marta was sinking into that ooze, and the Things were all about her, gathering in fresh hundreds from every side, fighting each other for place, sinking with her like bloated, misshaped fen-creatures into their native slime. Then everything vanished—and I was standing here in the studio, all alone with these damned sculptures.”

He paused for a little, and stared with dreary, desolate eyes at the floor. Then:

“It was awful, Philip, and I’ll never forgive myself for having anything to do with those monsters. I must have been a little mad, but I’ve always had a strong ambition to create some real stuff in the field of the grotesque and visionary and macabre. I don’t suppose you ever suspected, back in my stodgy phase, that I had a veritable appetence for such things. I wanted to do in sculpture what Poe and Lovecraft and Baudelaire have done in literature, what Rops and Goya did in pictorial art.