The Atrocity Exhibition Page 2

  Eurydice in a Used Car Lot. Margaret Travis paused in the empty foyer of the cinema, looking at the photographs in the display frames. In the dim light beyond the curtains she saw the dark-suited figure of Captain Webster, the muffled velvet veiling his handsome eyes. The last few weeks had been a nightmare – Webster with his long-range camera and obscene questions. He seemed to take a certain sardonic pleasure in compiling this one-man Kinsey Report on her … positions, planes, where and when Travis placed his hands on her body – why didn't he ask Catherine Austin? As for wanting to magnify the photographs and paste them up on enormous billboards, ostensibly to save her from Travis … She glanced at the stills in the display frames, of this elegant and poetic film in which Cocteau had brought together all the myths of his own journey of return. On an impulse, to annoy Webster, she stepped through the side exit and walked past a small yard of cars with numbered windshields. Perhaps she would make her descent here. Eurydice in a used car lot?

  The Concentration City. In the night air they passed the shells of concrete towers, blockhouses half buried in rubble, giant conduits filled with tyres, overhead causeways crossing broken roads. Travis followed the bomber pilot and the young woman along the faded gravel. They walked across the foundation of a guard-house into the weapons range. The concrete aisles stretched into the darkness across the airfield. In the suburbs of Hell Travis walked in the flaring light of the petrochemical plants. The ruins of abandoned cinemas stood at the street corners, faded billboards facing them across the empty streets. In a waste hi of wrecked cars he found the burnt body of the white Pontiac. He wandered through the deserted suburbs. The crashed bombers lay under the trees, grass growing through their wings. The bomber pilot helped the young woman into one of the cockpits. Travis began to mark out a circle on the concrete target area.

  How Garbo Died. ‘The film is a unique document,’ Webster explained, as he led Catherine Austin into the basement cinema. ‘At first sight it seems to be a strange newsreel about the latest tableau sculptures – there are a series of plaster casts of film stars and politicians in bizarre poses – how they were made we can't find out, they seem to have been cast from the living models, LBJ and Mrs Johnson, Burton and the Taylor actress, there's even one of Garbo dying. We were called in when the film was found.’ He signalled to the projectionist. ‘One of the casts is of Margaret Travis – I won't describe it, but you'll see why we're worried. Incidentally, a touring version of Kienholz's “Dodge 38” was seen travelling at speed on a motorway yesterday, a wrecked white car with the plastic dummies of a World War III pilot and a girl with facial burns making love among a refuse of bubblegum war cards and oral contraceptive wallets.’

  War-Zone D. On his way across the car park Dr Nathan stopped and shielded his eyes from the sun. During the past week a series of enormous signs had been built along the roads surrounding the hospital, almost walling it in from the rest of the world. A group of workmen on a scaffolding truck were pasting up the last of the displays, a hundred-foot-long panel that appeared to represent a section of a sand-dune. Looking at it more closely, Dr Nathan realized that in fact it was an immensely magnified portion of the skin over the iliac crest. Glancing at the billboards, Dr Nathan recognized other magnified fragments: a segment of lower lip, a right nostril, a portion of female perineum. Only an anatomist would have identified these fragments, each represented as a formal geometric pattern. At least five hundred of the signs would be needed to contain the whole of this gargantuan woman, terraced here into a quantified sand-sea. A helicopter soared overhead, its pilot supervising the work of the men on the track. Its down-draught ripped away some of the paper panels. They floated across the road, an eddying smile plastered against the radiator grille of a parked car.

  The Atrocity Exhibition. Entering the exhibition, Travis sees the atrocities of Vietnam and the Congo mimetized in the ‘alternate’ death of Elizabeth Taylor; he tends the dying film star, eroticizing her punctured bronchus in the over-ventilated verandas of the London Hilton; he dreams of Max Ernst, superior of the birds; ‘Europe after the Rain’; the human race – Caliban asleep across a mirror smeared with vomit.

  The Danger Area. Webster ran through the dim light after Margaret Travis. He caught her by the entrance to the main camera bunker, where the cheekbones of an enormous face had been painted in faded Technicolor across the rust-stained concrete. ‘For God's sake-’ She looked down at his strong wrist against her breast, then wrenched herself away. ‘Mrs Travis! Why do you think we've taken all these photographs?’ Webster held the torn lapel of his suit, then pointed to a tableau figure in the uniform of a Chinese infantryman standing at the end of the conduit. ‘The place is crawling with the things – you'll never find him.’ As he spoke a searchlight in the centre of the airfield lit up the target areas, outlining the rigid figures of the mannequins.

  The Enormous Face. Dr Nathan limped along the drainage culvert, peering at the huge figure of a dark-haired woman painted on the sloping walls of the blockhouse. The magnification was enormous. The wall on his right, the size of a tennis court, contained little more than the right eye and cheekbone. He recognized the woman from the billboards he had seen near the hospital – the screen actress, Elizabeth Taylor. Yet these designs were more than enormous replicas. They were equations that embodied the relationship between the identity of the film actress and the audiences who were distant reflections of her. The planes of their lives interlocked at oblique angles, fragments of personal myths fusing with the commercial cosmologies. The presiding deity of their lives the film actress provided a set of operating formulae for their passage through consciousness. Vet Margaret Travis's role was ambiguous. In some way Travis would attempt to relate his wife's body, with its familiar geometry, to that of the film actress, quantifying their identities to the point where they became fused with the elements of time and landscape. Dr Nathan crossed an exposed causeway to the next bunker. He leaned against the dark décolleté. When the searchlight flared between the blockhouses he put on his shoe. ‘No …’ He was hobbling towards the airfield when the explosion lit up the evening air.

  The Exploding Madonna. For Travis, the ascension of his wife's body above the target area, exploding madonna of the weapons range, was a celebration of the intervals through which he perceived the surrounding continuum of time and space. Here she became one with the madonnas of the billboards and the ophthalmic films, the Venus of the magazine cuttings whose postures celebrated his own search through the suburbs of Hell.

  Departure. The next morning, Travis wandered along the gunnery aisles. On the bunkers the painted figure of the screen actress mediated all time and space to him through her body. As he searched among the tyres and coils of barbed wire he saw the helicopter rising into the sky, the bomber pilot at the controls. It made a leftward turn and flew off towards the horizon. Half an hour later the young woman drove away in the white Pontiac. Travis watched diem leave without regret. When they had gone the corpses of Dr Nathan, Webster, and Catherine Austin formed a small tableau by the bunkers.

  A Terminal Posture. Lying on the worn concrete of the gunnery aisles, he assumed the postures of the film actress, assuaging his past dreams and anxieties in the dune-like fragments of her body.

  Apocalypse.

  ‘Eniwetok and Luna Park’ may seem a strange pairing, the H-bomb test site in the Marshall Islands with the Paris fun-fair loved by the surrealists. But the endless newsreel clips of nuclear explosions that we saw on TV in the 1960s (a powerful incitement to the psychotic imagination, sanctioning everything) did have a carnival air, a media phenomenon which Stanley Kubrick caught perfectly at the end of Dr Strangelove. I imagine my mental patients conflating Freud and Liz Taylor in their Warhol-like efforts, unerringly homing in on the first signs of their doctor's nervous breakdown. The Atrocity Exhibition's original dedication should have been To the Insane'. I owe them everything.

  Notes Towards a Mental Breakdown.

  The many lists in The Atrocity Exh
ibition were produced by free association, which accounts for the repetition but I hope, makes more sense of them.

  ‘Garden Airplane Traps.’ ‘Voracious gardens in turn devoured by a vegetation that springs from the debris of trapped airplanes.’ Max Ernst Informal Life. The nightmare of a grounded pilot.

  Why a white Pontiac? A British pop-star of the 1960s, Dickie Valentine, drove his daughter in a white Pontiac to the same school that my own children attended near the film studios at Shepperton. The car had a powerful iconic presence, emerging from all those America! movies into the tranquil TV suburbs. Soon after, Valentine died in a car accident By chance a telescoped Pontiac starred in my 1969 exhibition of crashed cars at the New Arts Laboratory in London.

  The Weapons Range.

  Weapons ranges have a special magic, all that destructive technology concentrated on the production of nothing, the closest we can get to certain obsessional states of mind. Even more strange are the bunkers of the Nazi Atlantic Wall, most of which are still standing, and are far larger than one expects. Space-age cathedrals, they threaten the surrounding landscape like lines of Teutonic knights, and are examples of cryptic architecture, where form no longer reveals function. They seem to contain the codes of some mysterious mental process. At Utah Beach, the most deserted stretch of the Normandy coast they stare out over the washed sand, older than the planet On visits with my agent and his wife, I used to photograph them compulsively.

  Serial Deaths.

  ‘The war the film companies had restarted in Vietnam.’ Written in 1966, this was a prophetic leap in the dark To date no Vietnam movie has been shot on the original battlegrounds, but I'm confident it will happen, and might even get out of control. Spielberg returned to Shanghai for Empire of the Sun, an eerie sensation for me – even more so were the scenes shot near Shepperton, using extras recruited from among my neighbours, many of whom have part-time jobs at the studios. I can almost believe that I came to Shepperton thirty years ago knowing unconsciously that one day I would write a novel about my wartime experiences in Shanghai, and that it might well be filmed in these studios. Deep assignments run through all our lives; there are no coincidences.

  Casualties Union.

  The so-called Casualties Union existed in London in the 1960s, probably inspired by the nuclear disarmament movement. Putting on the cosmetic wounds was a messy business, and a recruitment leaflet reassured volunteers: ‘Death is simply a matter of lying prone.’

  Pirate Radio.

  Tsingtao, on the north China coast near Peking, was a German naval base during World War I, and later became a popular beach resort where I spent the summers in the 1930s. As a seven-year-old I was deeply impressed by the huge blockhouses and the maze of concrete tunnels where the tourist guides pointed to the bloody handprints of (they claimed) wounded German gunners driven mad by the British naval bombardment For some reason these were far more moving than the dead Chinese soldiers in the battlegrounds around Shanghai which I visited with my parents, though they were sad enough.

  Marey's Chronograms.

  ‘An individual is a four-dimensional object of greatly elongated form; in ordinary language we say that he has considerable extension in time and insignificant extension in space.’ Eddington, Space, Time and Gravitation.

  The Lost Symmetry of the Blastosphere.

  Elizabeth Taylor was staying at the Hilton during the shooting of Cleopatra, when she contracted pneumonia and was given a tracheotomy. The Hilton's balconies remind Travis of the actress's lost gill-slits (which we all develop embryonically as we briefly recapitulate our biological past).

  Eurydice in a Used Car Lot

  ‘Where and when Travis placed his hands on her body.’ The poet Paul Eluard, describing his wife Gala, who later left him to marry Dali, said; ‘Her body is the shape of my hands.’

  How Garbo Died.

  The sculptor George Segal has made a number of plaster casts of prominent art patrons, mostly New York bankers and their wives. Frozen in time, these middle-aged men and women have a remarkable poignancy, figures from some future Pompeii.

  The Enormous Face.

  Elizabeth Taylor, the last of the old-style Hollywood actresses, has retained her hold on the popular imagination in the two decades since this piece was written, a quality she shares (no thanks to myself) with almost all the public figures in this book – Marilyn Monroe, Reagan, Jackie Kennedy among others. A unique collision of private and public fantasy took place in the 1960s, and may have to wait some years to be repeated, if ever. The public dream of Hollywood for the first time merged with the private imagination of the hyper-stimulated 60s TV viewer. People have sometimes asked me to do a follow-up to The Atrocity Exhibition, but our perception of the famous has changed – I can't imagine writing about Meryl Streep or Princess Di, and Margaret Thatcher's undoubted mystery seems to reflect design faults in her own self-constructed persona, One can mechanically spin sexual fantasies around all three, but the imagination soon flags. Unlike Taylor, they radiate no light.

  A kind of banalisation of celebrity has occurred: we are now offered an instant ready-to-mix fame as nutritious as packet soup. Warhol's screen-prints show the process at work. His portraits of Marilyn Monroe and Jackie Kennedy drain the tragedy from the lives of these desperate women, while his day-glo palette returns them to the innocent world of the child's colouring book.

  CHAPTER TWO

  THE UNIVERSITY OF DEATH

  The Conceptual Death. By now these seminars had become a daily inquisition into Talbot's growing distress and uncertainty. A disturbing aspect was the conscious complicity of the class in his long anticipated breakdown. Dr Nathan paused in the doorway of the lecture theatre, debating whether to end this unique but unsavoury experiment. The students waited as Talbot stared at the photographs of himself arranged in sequence on the blackboard, his attention distracted by the elegant but severe figure of Catherine Austin watching from the empty seats beside the film projector. The simulated newsreels of auto-crashes and Vietnam atrocities (an apt commentary on her own destructive sexuality) illustrated the scenario of World War III on which the students were ostensibly engaged. However, as Dr Nathan realized, its real focus lay elsewhere. An unexpected figure now dominated the climax of the scenario. Using the identity of their own lecturer, the students had devised the first conceptual death.

  Auto-erotic. As he rested in Catherine Austin's bedroom, Talbot listened to the helicopters flying along the motorway from the airport. Symbols in a machine apocalypse, they seeded the cores of unknown memories in the furniture of the apartment, the gestures of unspoken affections. He lowered his eyes from the window. Catherine Austin sat on the bed beside him. Her naked body was held forward like a bizarre exhibit, its anatomy a junction of sterile cleft and flaccid mons. He placed his palm against the mud-coloured areola of her left nipple. The concrete landscape of underpass and overpass mediated a more real presence, the geometry of a neural interval, the identity latent within his own musculature.

  Obscene Mannequin. ‘Shall I lie down with you?’ Ignoring her question, Talbot studied her broad hips, with their now empty contours of touch and feeling. Already she had the texture of a rubber mannequin fitted with explicit vents, an obscene masturbatory appliance. As he stood up he saw the diaphragm in her handbag, useless cache-sexe. He listened to the helicopters. They seemed to alight on an invisible landing zone in the margins of his mind. On the garage roof stood the sculpture he had laboriously built during the past month; antennae of metal aerials holding glass faces to the sun, the slides of diseased spinal levels he had taken from the laboratory. All night he watched the sky, listening to the time-music of the quasars.

  Left Orbit and Temple. Below the window a thickset young man, wearing the black military overcoat affected by the students, was loading a large display billboard into a truck outside the Neurology department, a photo reproduction of Talbot's left orbit and temple. He stared up at the sculpture on the roof. His sallow, bearded face had pu
rsued Talbot for the past weeks during the conception of the scenario. It was at Koester's instigation that the class were now devising the optimum death of World War III's first casualty, a wound profile more and more clearly revealed as Talbot's. A marked physical hostility existed between them, a compound of sexual rivalry over Catherine Austin and homo-erotic jealousy.

  A Sophisticated Entertainment. Dr Nathan gazed at the display photographs of terminal syphilitics in the cinema foyer. Already members of the public were leaving. Despite the scandal that would ensue he had deliberately authorized this ‘Festival of Atrocity Films,’ which Talbot had suggested as one of his last coherent acts. Behind their display frames the images of Nader and JFK, napalm and air crash victims revealed the considerable ingenuity of the film makers. Yet the results were disappointing; whatever Talbot had hoped for had clearly not materialized. The violence was little more than a sophisticated entertainment. One day he would carry out a Marxist analysis of this lumpen intelligentsia. More properly, the programme should be called a festival of home movies. He lit a gold-tipped cigarette, noticing that a photograph of Talbot had been cleverly montaged over a reproduction of Dali's ‘Hypercubic Christ.’ Even the film festival had been devised as part of the scenario's calculated psycho-drama.