Steven Millhauser - Dangerous Laughter

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Dangerous Laughter: краткое содержание, описание и аннотация

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From the Pulitzer Prize — winning author hailed by
as “a virtuoso of waking dreams” comes a dazzling new collection of darkly comic stories united by their obsession with obsession. In
, Steven Millhauser transports us to unknown universes that uncannily resemble our own.
The collection is divided into three parts that fit seamlessly together as a whole. It opens with a bang, as “Cat ’n’ Mouse” reimagines the deadly ritual between cartoon rivals in a comedy of dynamite and anvils — a masterly prologue that sets the stage for the alluring, very grown-up twists that follow.
Part one, “Vanishing Acts,” features stories of risk and escape: a lonely woman disappears without a trace; a high school boy becomes entangled with his best friend’s troubled sister; and a group of teenagers play a treacherous game that pushes them deep into “the kingdom of forbidden things.”
Excess reigns in the vivid, haunting places of Part two’s “Impossible Architectures,” where domes enclose whole cities, and a king’s master miniaturist creates objects so tiny that soon his entire world is invisible.
Finally, “Heretical Histories” presents startling alternatives to the remembered past. “A Precursor of the Cinema” proposes a new, enigmatic form of illusion. And in the astonishing “The Wizard of West Orange” a famous inventor sets out to simulate the sense of touch — but success brings disturbing consequences.
Sensual, mysterious,
is a mesmerizing journey through brilliantly realized labyrinths of mortal pleasures that stretch the boundaries of the ordinary world to their limits — and occasionally beyond.

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It wasn’t long after this visit that I saw Clara Schuler at one of the laugh parlors we’d formed, in imitation of those we had heard about or perhaps had invented in order to lure ourselves into deeper experiments. Helen Jacoby sat on the bed and held Clara’s wrists while a friend of Helen’s held Clara’s ankles. A blond-haired girl I’d never seen before bent over her with hooked fingers. Five of us watched the performance. It began with a sudden shiver, as the short blunt fingers darted along her ribs and thighs. Clara Schuler’s head began to turn from side to side; her feet in her white socks stiffened. As laughter rushed through her in sharp shuddering bursts, one of her shoulders lifted as if to fold itself across her neck. Within ten minutes her eyes had grown glassy and calm. She lay almost still, even as she continued to laugh. What struck us was that eerie stillness, as if she’d passed beyond struggle to some other place, where laughter poured forth in pure, vigorous streams.

Someone asked nervously if we should stop. The blond-haired girl glanced at her watch and bent over Clara Schuler more intently. After half an hour, Clara began breathing in great wracking gulps, accompanied by groans torn up from her throat. Helen asked her if she’d had enough; Clara shook her head harshly. Her face was so wet that she glowed in the lamplight. Stains of wetness darkened the bedspread.

When the session had lasted just over an hour, the blond-haired girl gave up in exhaustion. She stood shaking her wrists, rubbing the fingers of first one hand and then the other. On the bed Clara Schuler continued stirring and laughing, as if she still felt the fingers moving over her. Gradually her laughter grew fainter; and as she lay there pale and drained, with her head turned to one side, her eyes dull, her lips slack, strands of long hair sticking to her wet cheek, she looked, for a moment, as if she’d grown suddenly old.

It was at this period, when Clara Schuler became queen of the laugh parlors, that I first began to worry about her. One day, emerging from an unusually violent and prolonged series of gasps, she lay motionless, her eyes open and staring, while the fingers played over her skin. It took some moments for us to realize she had lost consciousness, though she soon revived. Another time, walking across a room, she thrust out an arm and seized the back of a chair as her body leaned slowly to one side, before she straightened and continued her walk as if nothing had happened. I understood that these feverish games, these lavish abandonments, were no longer innocent. Sometimes I saw in her eyes the restless unhappiness of someone for whom nothing, not even such ravishments, would ever be enough.

One afternoon when I walked to Main Street to return a book to the library, I saw Clara Schuler stepping out of Cerino’s grocery store. I felt an intense desire to speak to her; to warn her against us; to praise her extravagantly; to beg her to teach me the difficult art of laughter. Shyness constrained me, though I wasn’t shy — but it was as if I had no right to intrude on her, to break the spell of her remoteness. I kept out of sight and followed her home. When she climbed the wooden steps of her porch, one of which creaked like the floor of an attic, I stepped boldly into view, daring her to turn and see me. She opened the front door and disappeared into the house. For a while I stood there, trying to remember what it was I had wanted to say to Clara Schuler, the modest girl with a fierce, immodest gift. A clattering startled me. Along the shady sidewalk, trembling with spots of sunlight, a girl with yellow pigtails was pulling a lollipop-red wagon, which held a jouncing rhinoceros. I turned and headed home.

That night I dreamed about Clara Schuler. She was standing in a sunny backyard, looking into the distance. I came over to her and spoke a few words, but she did not look at me. I began to walk around her, speaking urgently and trying to catch her gaze, but her face was always turned partly away, and when I seized her arm it felt soft and crumbly, like pie dough.

About this time I began to sense among us a slight shift of attention, an inner wandering. A change was in the air. The laugh parlors seemed to lack their old aura of daring — they’d grown a little familiar, a little humdrum. While one of us lay writhing in laughter, the rest of us glanced toward the windows. One day someone pulled a deck of cards from a pocket, and as we waited our turn on the bed we sat down on the floor to a few hands of gin rummy.

We tried to conjure new possibilities, but our minds were mired in the old forms. Even the weather conspired to hold us back. The heat of midsummer pressed against us like fur. Leaves, thick as tongues, hung heavily from the maples. Dust lay on polished furniture like pollen.

One night it rained. The rain continued all the next day and night; wind knocked down tree branches and telephone wires. In the purple-black sky, prickly lines of lightning burst forth with troubling brightness. Through the dark rectangles of our windows, the lightning flashes looked like textbook diagrams of the circulation of the blood.

The turn came with the new sun. Mist like steam rose from soaked grass. We took up our old games, but it was as if something had been carried off by the storm. At a birthday party in a basement playroom with an out-of-tune piano, a girl named Janet Bianco, listening to a sentimental song, began to behave strangely. Her shoulders trembled, her lips quivered. Mirthless tears rolled along her cheeks. Gradually we understood that she was crying. It caught our attention — it was a new note. Across the room, another girl suddenly burst into tears.

A passion for weeping seized us. It proved fairly easy for one girl to set off another, who set off a third. Boys, tense and embarrassed, gave way slowly. We held weep-fests that left us shaken and thrilled. Here and there a few laugh parties and laugh clubs continued to meet, but we knew it was the end of an era.

Clara Schuler attended that birthday party. As the rage for weeping swept over us, she appeared at a few gatherings, where she stood off to one side with a little frown. We saw her there, looking in our direction, before she began to shimmer and dissolve through our abundant tears. The pleasures of weeping proved more satisfying than the old pleasures of laughter, possibly because, when all was said and done, we weren’t happy, we who were restless and always in search of diversion. And whereas laughter had always been difficult to sustain, weeping, once begun, welled up in us with gratifying ease. Several girls, among them Helen Jacoby, discovered in themselves rich and unsuspected depths of unhappiness, which released in the rest of us lengthy, heartfelt bouts of sorrow.

It wasn’t long after the new craze had swept away the old that we received an invitation from Clara Schuler. None of us except Helen Jacoby had ever set foot in her house before. We arrived in the middle of a sunny afternoon; in the living room it was already dusk. A tall woman in a long drab dress pointed vaguely toward a carpeted stairway. Clara, she said, was waiting for us in the guest room in the attic. At the top of the stairs we came to a hallway covered with faded wallpaper, showing repeated waterwheels beside repeated streams shaded by willows. A door with a loose knob led up to the attic. Slowly we passed under shadowy rafters that slanted down over wooden barrels and a big bear in a chair and a folded card-table leaning against a tricycle. Through a half-open door we entered the guest room. Clara Schuler stood with her hands hanging down in front of her, one hand lightly grasping the wrist of the other.

It looked like the room of someone’s grandmother, which had been invaded by a child. On a frilly bedspread under old lace curtains sat a big rag doll wearing a pink dress with an apron. Her yellow yarn hair looked as heavy as candy. On top of a mahogany chest of drawers, a black-and-white photograph of a bearded man sat next to a music box decorated with elephants and balloons. It was warm and dusty in that room; we didn’t know whether we were allowed to sit on the bed, which seemed to belong to the doll, so we sat on the floor. Clara herself looked tired and tense. We hadn’t seen her for a while. We hardly thought about her. It occurred to me that we’d begun to forget her.

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