The Gargoyle - Couverture souple

I.

Accidents ambush the unsuspecting, often violently, just like love.

It was Good Friday and the stars were just starting to dissolve into the dawn. As I drove, I stroked the scar on my chest, by habit. My eyes were heavy and my vision unfocused, not surprising given that I’d spent the night hunched over a mirror snorting away the bars of white powder that kept my face trapped in the glass. I believed I was keening my reflexes. I was wrong.

To one side of the curving road was a sharp drop down the mountain’s slope, and on the other was a dark wood. I tried to keep my eyes fixed ahead but I had the overwhelming feeling that something was waiting to ambush me from behind the trees, perhaps a troop of mercenaries. That’s how drug paranoia works, of course. My heart hammered as I gripped the steering wheel more tightly, sweat collecting at the base of my neck.

Between my legs I had wedged a bottle of bourbon, which I tried to pull out for another mouthful. I lost my grip on the bottle and it tumbled into my lap, spilling everywhere, before falling to the floorboard. I bent down to grab it before the remaining alcohol leaked out, and when my eyes were lifted I was greeted by the vision, the ridiculous vision, that set everything into motion. I saw a volley of burning arrows swarming out of the woods, directly at my car. Instinct took over and I jerked the steering wheel away from the forest that held my invisible attackers. This was not a good idea, because it threw my car up against the fencepost wires that separated me from the drop. There was the howl of metal on metal, the passenger door scraping against taut cables, and a dozen thuds as I bounced off the wood posts, each bang like electricity through a defibrillator.

I overcompensated and spun out into the oncoming lane, just missing a pickup truck. I pulled back too hard on the wheel, which sent me once again towards the guardrail. The cables snapped and flew everywhere at once, like the thrashing tentacles of a harpooned octopus. One cracked the windshield and I remember thinking how glad I was that it hadn’t hit me as the car fell through the arms of the convulsing brute.

There was a brief moment of weightlessness: a balancing point between air and earth, dirt and heaven. How strange, I thought, how like the moment between sleeping and falling when everything is beautifully surreal and nothing is corporeal. How like floating towards completion. But as often happens in that time between existing in the world and fading into dreams, this moment over the edge ended with the ruthless jerk back to awareness.

A car crash seems to take forever, and there is always a moment in which you believe that you can correct the error. Yes, you think, it’s true that I’m plummeting down the side of a mountain in a car that weighs about three thousand pounds. It’s true that it’s a hundred feet to the bottom of the gully. But I’m sure that if only I twist the steering wheel very hard to one side, everything will be okay.

Once you’ve spun that steering wheel around and found it doesn’t make any difference, you have this one clear, pure thought: Oh, shit. For a glorious moment, you achieve the empty bliss that Eastern philosophers spend their lives pursuing. But following this transcendence, your mind becomes a supercomputer capable of calculating the gyrations of your car, multiplying that by the speed of the fall over the angle of descent, factoring in Newton’s laws of motion and, in a split second, coming to the panicked conclusion that this is gonna hurt like hell.

Your car gathers speed down the embankment, bouncing. Your hypothesis is quickly proven correct: it is, indeed, quite painful. Your brain catalogues the different sensations. There is the flipping end over end, the swirling disorientation, and the shrieks of the car as it practices its unholy yoga. There’s the crush of metal, pressing against your ribs. There’s the smell of the devil’s mischievousness, a pitchfork in your ass and sulfur in your mouth. The Bastard’s there, all right, don’t doubt it.

I remember the hot silver flash as the floorboard severed all my toes from my left foot. I remember the steering column sailing over my shoulder. I remember the eruption of glass that seemed to be everywhere around me. When the car finally came to a stop, I hung upside down, seatbelted. I could hear the hiss of various gases escaping the engine and the tires still spinning outside, above, and there was the creak of metal settling as the car stopped rocking, a pathetic turtle on its back.

Just as I was beginning my drift into unconsciousness, there was the explosion. Not a movie explosion but a small real-life explosion, like the ignition of an unhappy gas oven that holds a grudge against its owner. A flash of blue flame skittered across the roof of the car, which was at a slanted angle underneath my dangling body. Out of my nose crawled a drop of blood, which jumped expectantly into the happy young flames springing to life beneath me. I could feel my hair catch fire; then I could smell it. My flesh began to singe as if I were a scrap of meat newly thrown onto the barbecue, and then I could hear the bubbling of my skin as the flames kissed it. I could not reach my head to extinguish my flaming hair. My arms would not respond to my commands.

I imagine, dear reader, that you’ve had some experience with heat. Perhaps you’ve tipped a boiling kettle at the wrong angle and the steam crept up your sleeve; or, in a youthful dare, you held a match between your fingers for as long as you could. Hasn’t everyone, at least once, filled the bathtub with overly hot water and forgot to dip in a toe before committing the whole foot? If you’ve only had these kinds of minor incidents, I want you to imagine something new. Imagine turning on one of the elements of your stove--let’s say it’s the electric kind with black coils on top. Don’t put a pot of water on the element, because the water only absorbs the heat and uses it to boil. Maybe some tiny tendrils of smoke curl up from a previous spill on the burner. A slight violet tinge will appear, nestled there in the black rings, and then the element assumes some reddish-purple tones, like unripe blackberries. It moves towards orange and finally--finally!--an intense glowing red. Kind of beautiful, isn’t it? Now, lower your head so that your eyes are even with the top of the stove and you can peer through the shimmering waves rising up. Think of those old movies where the hero finds himself looking across the desert at an unexpected oasis. I want you to trace the fingertips of your left hand gently across your right palm, noting the way your skin registers even the lightest touch. If someone else were doing it, you might even be turned on. Now, slam that sensitive, responsive hand directly onto that glowing element.

And hold it there. Hold it there as the element scorches Dante’s nine rings right into your palm, allowing you to grasp Hell in your hand forever. Let the heat engrave the skin, the muscles, the tendons; let it smolder down to the bone. Wait for the burn to embed itself so far into you that you don’t know if you’ll ever be able to let go of that coil. It won’t be long until the stench of your own burning flesh wafts up, grabbing your nose hairs and refusing to let go, and you smell your body burn.

I want you to keep that hand pressed down, for a slow count of sixty. No cheating. One Mis-sis-sip-pi, two Mis-sis-sip-pi, three Mis-sis-sip-pii.i.i.i At sixty Mis-sis-sip-pi, your hand will have melted so that it now surrounds the element, becoming fused with it. Now rip your flesh free.

I have another task for you: lean down, turn your head to one side, and slap your cheek on the same element. I’ll let you choose which side of your face. Again sixty Mississippis; no cheating. The convenient thing is that your ear is right there to capture the snap, crackle, and pop of your flesh.

Now you might have some idea of what it was like for me to be pinned inside that car, unable to escape the flames, conscious enough to catalogue the experience until I went into shock. There were a few short and merciful moments in which I could hear and smell and think, still documenting everything but feeling nothing. Why does this no longer hurt? I remember closing my eyes and wishing for complete, beautiful blackness. I remember thinking that I should have lived my life as a vegetarian.

Then the car shifted once more, tipping over into the creek upon whose edge it had been teetering. Like the turtle had regained its feet and scurried into the nearest water source.
This occurrence--the car falling into the creek--saved my life by extinguishing the flames and cooling my newly broiled flesh.
***

Accidents ambush the unsuspecting, often violently, just like love.

I have no idea whether beginning with my accident was the best decision, as I’ve never written a book before. Truth be told, I started with the crash because I wanted to catch your interest and drag you into the story. You’re still reading, so it seems to have worked.

The most difficult thing about writing, I’m discovering, is not the act of constructing the sentences themselves. It’s deciding what to put in, and where, and what to leave out. I’m constantly second-guessing myself. I chose the accident, but I could just as easily have started with any point during my thirty-five years of life before that. Why not start with: “I was born in the year 19----, in the city of----”?

Then again, why should I even confine the beginning to the time frame of my life? Perhaps I should start in Nurnberg in the early thirteenth century, where a woman with the most unfortunate name of Adelheit Rotter retreated from a life that she thought was sinful ...

An extraordinary debut novel of love that survives the fires of hell and transcends the boundaries of time

The narrator of The Gargoyle is a very contemporary cynic, physically beautiful and sexually adept, who dwells in the moral vacuum that is modern life. As the book opens, he is driving along a dark road when he is distracted by what seems to be a flight of arrows. He crashes into a ravine and suffers horrible burns over much of his body. As he recovers in a burn ward, undergoing the tortures of the damned, he awaits the day when he can leave the hospital and commit carefully planned suicide—for he is now a monster in appearance as well as in soul.

A beautiful and compelling, but clearly unhinged, sculptress of gargoyles by the name of Marianne Engel appears at the foot of his bed and insists that they were once lovers in medieval Germany. In her telling, he was a badly injured mercenary and she was a nun and scribe in the famed monastery of Engelthal who nursed him back to health. As she spins their tale in Scheherazade fashion and relates equally mesmerizing stories of deathless love in Japan, Iceland, Italy, and England, he finds himself drawn back to life—and, finally, in love. He is released into Marianne's care and takes up residence in her huge stone house. But all is not well. For one thing, the pull of his past sins becomes ever more powerful as the morphine he is prescribed becomes ever more addictive. For another, Marianne receives word from God that she has only twenty-seven sculptures left to complete—and her time on earth will be finished.

Already an international literary sensation, the Gargoyle is an Inferno for our time. It will have you believing in the impossible.