The Nightmare Factory (91 page)

Despite their ostensibly mad or credulous origins, these testimonies, it seemed to me, deserved more than a cursory hearing. The legendary conflict between the factory and the grayish territory surrounding it may very well have been a fabrication of individuals who were lost in the advanced stages of either physical or psychic deterioration. Nonetheless, it was my theory, and remains so, that the Red Tower was not always that peculiar color for which it ultimately earned its fame. Thus the
encrimsoning
of the factory was a betrayal, a breaking-off, for it is my postulation that this ancient structure was in long-forgotten days the same pale hue as the world which encompassed it. Furthermore, with an insight born of dispassion to the point of total despair, I envisioned that the Red Tower was never solely devoted to the lowly functions of an ordinary factory.

Beneath the three soaring stories of the Red Tower were two, possibly three, other levels. The one immediately below the ground floor of the factory was the nexus of a unique distribution system for the goods which were manufactured on all three of the floors above. This first subterranean level in many ways resembled, and functioned in the manner of, an old-fashioned underground mine. Elevator compartments enclosed by a heavy wire mesh, twisted and corroded, descended far below the surface into an expansive chamber which had been crudely dug out of the rocky earth and was haphazardly perpetuated by a dense structure of supports, a criss-crossing network of posts and pillars, beams and rafters, that included a variety of materials—wood, metal, concrete, bone, and a fine sinewy webbing that was fibrous and quite firm. From this central chamber radiated a system of tunnels that honeycombed the land beneath the gray and desolate country surrounding the Red Tower. Through these tunnels the goods manufactured by the factory could be carried, sometimes literally by hand, but more often by means of small wagons and carts, reaching near and far into the most obscure and unlikely delivery points.

The trade that was originally produced by the Red Tower was in some sense remarkable, but not, at first, of an extraordinary or especially ambitious nature. These were a gruesome array of goods that could perhaps best be described as novelty items. In the beginning there was a chaotic quality to the objects and constructions produced by the machinery at the Red Tower, a randomness that yielded formless things of no consistent shape or size or apparent design. Occasionally there might appear a particular ashen lump that betrayed some semblance of a face or clawing fingers, or perhaps an assemblage that looked like a casket with tiny irregular wheels, but for the most part the early productions seemed relatively innocuous. After a time, however, things began to fall into place, as they always do, rejecting a harmless and uninteresting disorder—never an enduring state of affairs—and taking on the more usual plans and purposes of a viciously intent creation.

So it was that the Red Tower put into production its terrible and perplexing line of unique novelty items. Among the objects and constructions now manufactured were several of an almost innocent nature. These included tiny, delicate cameos that were heavier than their size would suggest, far heavier, and lockets whose shiny outer surface flipped open to reveal a black reverberant abyss inside, a deep blackness roaring with echoes. Along the same lines was a series of lifelike replicas of internal organs and physiological structures, many of them evidencing an advanced stage of disease and all of them displeasingly warm and soft to the touch. There was a fake disembodied hand on which fingernails would grow several inches overnight, every night like clockwork. Numerous natural objects, mostly bulbous gourds, were designed to produce a long deafening scream whenever they were picked up or otherwise disturbed in their vegetable stillness. Less scrutable were such things as hardened globs of lava into whose rough igneous forms were set a pair of rheumy eyes that perpetually shifted their gaze from side to side like a relentless pendulum. And there was also a humble piece of cement, a fragment broken away from any street or sidewalk, that left a most intractable stain, greasy and green, on whatever surface it was placed. But such fairly simple items were eventually followed, and ultimately replaced, by more articulated objects and constructions. One example of this complex type of novelty item was an ornate music box that, when opened, emitted a brief gurgling or sucking sound in emulation of a dying individual’s death rattle. Another product manufactured in great quantity at the Red Tower was a pocket watch in a gold casing which opened to reveal a curious timepiece whose numerals were represented by tiny quivering insects while the circling “hands” were reptilian tongues, slender and pink. But these examples hardly begin to hint at the range of goods that came from the factory during its novelty phase of production. I should at least mention the exotic carpets woven with intricate abstract patterns that, when focused upon for a certain length of time, composed themselves into fleeting phantasmagoric scenes of the kind which might pass through a fever-stricken or even permanently damaged brain.

As it was revealed to me, and as I have already revealed to you, the means of distributing the novelty goods fabricated at the Red Tower was a system of tunnels located on the first level, not the second (or, possibly, third), that had been excavated below the three-story factory building itself. It seems that these subterranean levels were not necessarily part of the original foundation of the factory but were in fact a perverse and unlikely development that might have occurred only as the structure known as the Red Tower underwent, over time, its own mutation from some prior state until it finally became a lowly site for manufacturing. This mutation would then have demanded the excavating—whether from above or below I cannot say—of a system of tunnels as a means for distributing the novelty goods which, for a time, the factory produced.

As the unique inventions of the Red Tower achieved their final forms, they seemed to have some peculiar location to which they were destined to be delivered, either by hand or by small wagons or carts pulled over sometimes great distances through the system of underground tunnels. Where they might ultimately pop up was anybody’s guess. It might be in the back of a dark closet, buried under a pile of undistinguished junk, where some item of the highest and most extreme novelty would lie for quite some time before it was encountered by sheer accident or misfortune. Conversely, the same invention, or an entirely different one, might be placed on the night-table beside someone’s bed for near-immediate discovery. Any delivery point was possible, none was out of the reach of the Red Tower. There has even been testimony, either intensely hysterical or semi-conscious, of items from the factory being uncovered within the shelter of a living body, or one not long deceased. I know that such an achievement was within the factory’s powers, given its later production history. But my own degenerate imagination is most fully captured by the thought of how many of those monstrous novelty goods produced at the Red Tower had been scrupulously and devoutly delivered—solely by way of those endless underground tunnels—to daringly remote places where they would never be found, nor ever could be.

Just as a system of distribution tunnels had been created by the factory when it developed into a manufacturer of novelty goods, an expansion of this system was required as an entirely new phase of production gradually evolved. Inside the wire-mesh elevator compartment that provided access between the upper region of the factory and the underground tunnels, there was now a special lever installed which, when pulled back, or possibly pushed forward (I do not know such details), enabled one to descend to a second subterranean level. This latterly excavated area was much smaller, far more intimate, than the one directly above it, as could be observed the instant the elevator compartment came to a stop and a full view of things was attained. The scene which now confronted the uncertain minds of witnesses was, in many ways, like that of a secluded graveyard, one surrounded by a rather crooked fence of widely spaced pickets held together by rusty wire. The headstones inside the fence all closely pressed against one another and were quite common, though somewhat antiquated, in their design. However, there were no names or dates inscribed on these monuments, nothing at all, in fact, with the exception of some rudimentary and abstract ornamentation. This could be verified only when the subterranean graveyard was closely approached, for the lighting at this level was dim and unorthodox, provided exclusively by the glowing stone walls enclosing the area. These walls seemed to have been covered with phosphorescent paint which bathed the graveyard in a cloudy, grayish haze. For the longest time—how long I cannot say—my morbid reveries were focused on this murky vision of a graveyard beneath the factory, a subterranean graveyard surrounded by a crooked picket fence and suffused by the highly defective illumination given off by phosphorescent paint applied to stone walls. For the moment I must emphasize the vision itself, without any consideration paid to the utilitarian purposes of this place, that is, the function it served in relation to the factory above it.

The truth is that at some point all of the factory functions were driven underground to this graveyard level. Long before the complete
evaporation
of machinery in the Red Tower, something happened to require the shut-down of all operations in the three floors of the factory which were above ground level. The reasons for this action are deeply obscure, a matter of contemplation only when a state of hopeless and devouring curiosity has reached its height, when the burning light of speculation becomes so intense that it threatens to incinerate everything on which it shines. To my own mind it seems entirely valid to reiterate at this juncture the longstanding tensions that existed between the Red Tower, which I believe was not always stigmatized by such a hue and such a title, and the grayish landscape of utter desolation that surrounded this structure on all sides, looming around and above it for quite incalculable distances. But below the ground level of the factory was another matter: it was here that its operations at some point retreated; it was here, specifically at this graveyard level, that they continued.

Clearly the Red Tower had committed some violation or offense, its clamoring activities and unorthodox products—perhaps its very existence—constituting an affront to the changeless quietude of the world around it. In my personal judgment there had been a betrayal involved, a treacherous breaking of a bond. I can certainly picture a time before the existence of the factory, before any of its features blemished the featureless country that extended so gray and so desolate on every side. Dreaming upon the grayish desolation of that landscape, I also find it quite easy to imagine that there might have occurred a lapse in the monumental tedium, a spontaneous and inexplicable impulse to deviate from a dreary perfection, perhaps even an unconquerable desire to risk a move toward a tempting defectiveness. As a concession to this impulse or desire
out of nowhere
, as a minimal surrender, a creation took place and a structure took form where there had been nothing of its kind before. I picture it, at its inception, as a barely discernible irruption in the landscape, a mere sketch of an edifice, possibly translucent when making its first appearance, a gray density rising in the grayness, embossed upon it in a most tasteful and harmonious design. But such structures or creations have their own desires, their own destinies to fulfil, their own mysteries and mechanisms which they must follow at whatever risk.

From a gray and desolate and utterly featureless landscape a dull edifice had been produced, a pale, possibly translucent tower which, over time, began to develop into a factory and to produce, as if in the spirit of the most grotesque belligerence, a line of quite morbid and disgusting novelty goods. In an expression of defiance, at some point, it reddened with an enigmatic passion for betrayal and perversity. On the surface the Red Tower might have seemed a splendid complement to the grayish desolation of its surroundings, a unique, picturesque composition that served to define the glorious essence of each of them. But in fact there existed between them a profound and ineffable hostility. An attempt was made to reclaim the Red Tower, or at least to draw it back toward the formless origins of its being. I am referring, of course, to that show of force which resulted in the
evaporation
of the factory’s dense arsenal of machinery. Each of the three stories of the Red Tower had been cleaned out, purged of its offending means of manufacturing novelty items, and the part of the factory that rose above the ground was left to fall into ruins.

Had the machinery in the Red Tower
not
been evaporated, I believe that the subterranean graveyard, or something very much like it, would nonetheless have come into existence at some point or another. This was the direction in which the factory had been moving, as was suggested by some of its later models of novelty items. Machines were becoming obsolete as the diseased mania of the Red Tower intensified and evolved into more experimental, even visionary projects. I have previously reported that the headstones in the factory’s subterranean graveyard were absent of any names of the interred, or dates of birth and death. This fact is also confirmed by numerous accounts rendered in borderline-hysterical gibberish. The reason for these blank headstones is entirely evident as one gazes upon them standing crooked and closely packed together in the phosphorescent haze given off by the stone walls covered with luminous paint. None of these graves, in point of fact, could be said to have anyone buried in them whose names and dates of birth and death would require inscription on the headstones. These were not what might be called
burying graves
. This is to say that these were in no sense graves for burying the dead, quite the contrary: these were graves of a highly experimental design from which the newest productions of the Red Tower were to be born.