The Enormous Room - E. E. Cummings (sci fi books to read .TXT) 📗

very powerful and she is generous; I fell on my knees before her, and implored her in the name of my wife and Le Bon Dieu to intercede in my behalf; and she has made a note of it, and she told me she would write the Belgian King and I will be free in a few weeks, free!”

The little Machine-Fixer, I happen to know, did finally leave La Ferté⁠—for Précigne.

… In the kitchen worked a very remarkable person. Who wore sabots. And sang continuously in a very subdued way to himself as he stirred the huge black kettles. We, that is to say, B. and I, became acquainted with Afrique very gradually. You did not know Afrique suddenly. You became cognisant of Afrique gradually. You were in the cour, staring at ooze and dead trees, when a figure came striding from the kitchen lifting its big wooden feet after it rhythmically, unwinding a particoloured scarf from its waist as it came, and singing to itself in a subdued manner a jocular, and I fear, unprintable ditty concerning Paradise. The figure entered the little gate to the cour in a businesslike way, unwinding continuously, and made stridingly for the cabinet situated up against the stone wall which separated the promenading sexes⁠—dragging behind it on the ground a tail of ever-increasing dimensions. The cabinet reached, tail and figure parted company; the former fell inert to the limitless mud, the latter disappeared into the contrivance with a jack-in-the-box rapidity. From which contrivance the continuing ditty

“le paradis est une maison.⁠ ⁠…”

—Or again, it’s a lithe pausing poise, intensely intelligent, certainly sensitive, delivering dryingly a series of sure and rapid hints that penetrate the fabric of stupidity accurately and whisperingly; dealing one after another brief and poignant instupidities, distinct and uncompromising, crisp and altogether arrowlike. The poise has a cigarette in its hand, which cigarette it has just pausingly rolled from material furnished by a number of carefully saved butts (whereof Afrique’s pockets are invariably full). Its neither old nor young, but rather keen face hoards a pair of greyish-blue witty eyes, which face and eyes are directed upon us through the open door of a little room. Which little room is in the rear of the cuisine; a little room filled with the inexpressibly clean and soft odour of newly cut wood. Which wood we are pretending to split and pile for kindling. As a matter of fact we are enjoying Afrique’s conversation, escaping from the bleak and profoundly muddy cour, and (under the watchful auspices of the Cook, who plays sentinel) drinking something approximating coffee with something approximating sugar therein. All this because the Cook thinks we’re boches and being the Cook and a boche lui-même is consequently peculiarly concerned for our welfare.

Afrique is talking about les journaux, and to what prodigious pains they go to not tell the truth; or he is telling how a native stole up on him in the night armed with a spear two metres long, once on a time in a certain part of the world; or he is predicting that the Germans will march upon the French by way of Switzerland; or he is teaching us to count and swear in Arabic; or he is having a very good time in the Midi as a tinker, sleeping under a tree outside of a little town.⁠ ⁠…

Afrique’s is an alert kind of mind, which has been and seen and observed and penetrated and known⁠—a bit there, somewhat here, chiefly everywhere. Its specialty being politics, in which case Afrique has had the inestimable advantage of observing without being observed⁠—until La Ferté; whereupon Afrique goes on uninterruptedly observing, recognising that a significant angle of observation has been presented to him gratis. Les journaux and politics in general are topics upon which Afrique can say more, without the slightest fatigue, than a book as big as my two thumbs.

“Why yes, they got water, and then I gave them coffee,” Monsieur, or more properly Mynheer le chef, is expostulating; the planton is stupidly protesting that we are supposed to be upstairs; Afrique is busily stirring a huge black pot, winking gravely at us and singing softly

“Le bon Dieu, Soûl comme un cochon.⁠ ⁠…”

VI Apollyon

The inhabitants of The Enormous Room whose portraits I have attempted in the preceding chapter, were, with one or two exceptions, inhabiting at the time of my arrival. Now the thing which above all things made death worth living and life worth dying at La Ferté Macé was the kinetic aspect of that institution; the arrivals, singly or in groups, of nouveaux of sundry nationalities whereby our otherwise more or less simple existence was happily complicated, our putrescent placidity shaken by a fortunate violence. Before, however, undertaking this aspect I shall attempt to represent for my own benefit as well as the reader’s certain more obvious elements of that stasis which greeted the candidates for disintegration upon their admittance to our select, not to say distinguished, circle. Or: I shall describe, briefly, Apollyon and the instruments of his power, which instruments are three in number: Fear, Women and Sunday.

By Apollyon I mean a very definite fiend. A fiend who, secluded in the sumptuous and luxurious privacy of his own personal bureau (which as a rule no one of lesser rank than the Surveillant was allowed, so far as I might observe⁠—and I observed⁠—to enter) compelled to the unimaginable meanness of his will by means of the three potent instruments in question all within the sweating walls of La Ferté⁠—that was once upon a time human. I mean a very complete Apollyon, a Satan whose word is dreadful not because it is painstakingly unjust, but because it is incomprehensibly omnipotent. I mean, in short, Monsieur le Directeur.

I shall discuss first of all Monsieur le Directeur’s most obvious