Voices in the dead house, p.1
Voices in the Dead House, page 1
SELECT PRAISE FORNorman Lock’s American Novels Series
___________________________
“Shimmers with glorious language, fluid rhythms, and complex insights.” —NPR
“Lock writes some of the most deceptively beautiful sentences in contemporary fiction. Beneath their clarity are layers of cultural and literary references, profound questions about loyalty, race, the possibility of social progress, and the nature of truth … to create something entirely new—an American fable of ideas.”
—Shelf Awareness “[A] consistently excellent series.… Lock has an impressive ear for the musicality of language, and his characteristic lush prose brings vitality and poetic authenticity to the dialogue.” —Booklist
On The Boy in His Winter
“[Lock] is one of the most interesting writers out there. This time, he re-imagines Huck Finn’s journeys, transporting the iconic character deep into America’s past—and future.”
—Reader’s Digest
On American Meteor
“[Walt Whitman] hovers over [American Meteor], just as Mark Twain’s spirit pervaded The Boy in His Winter.… Like all Mr. Lock’s books, this is an ambitious work, where ideas crowd together on the page like desperate men on a battlefield.”
—Wall Street Journal
On The Port-Wine Stain
“Lock’s novel engages not merely with [Edgar Allan Poe and Thomas Dent Mütter] but with decadent fin de siècle art and modernist literature that raised philosophical and moral questions about the metaphysical relations among art, science and human consciousness. The reader is just as spellbound by Lock’s story as [his novel’s narrator] is by Poe’s.… Echoes of Wilde’s The Picture of Dorian Gray and Freud’s theory of the uncanny abound in this mesmerizingly twisted, richly layered homage to a pioneer of American Gothic fiction.” —New York Times Book Review
On A Fugitive in Walden Woods
“A Fugitive in Walden Woods manages that special magic of making Thoreau’s time in Walden Woods seem fresh and surprising and necessary right now.… This is a patient and perceptive novel, a pleasure to read even as it grapples with issues that affect the United States to this day.”
—Victor LaValle, author of The Ballad of Black Tom and The Changeling
On The Wreckage of Eden
“The lively passages of Emily’s letters are so evocative of her poetry that it becomes easy to see why Robert finds her so captivating. The book also expands and deepens themes of moral hypocrisy around racism and slavery.… Lyrically written but unafraid of the ugliness of the time, Lock’s thought-provoking series continues to impress.”
—Publishers Weekly
On Feast Day of the Cannibals
“Lock does not merely imitate 19th-century prose; he makes it his own, with verbal flourishes worthy of Melville.” —Gay & Lesbian Review
On American Follies
“Ragtime in a fever dream.… When you mix 19th-century racists, feminists, misogynists, freaks, and a flim-flam man, the spectacle that results might bear resemblance to the contemporary United States.” —Library Journal (starred review)
On Tooth of the Covenant
“Splendid.… Lock masters the interplay between nineteenth-century [Nathaniel] Hawthorne and his fictional surrogate, Isaac, as he travels through Puritan New England. The historical details are immersive and meticulous.”
—Foreword Reviews (starred review)
Other Books in the American Novels Series
Tooth of the Covenant
American Follies
Feast Day of the Cannibals
The Wreckage of Eden
A Fugitive in Walden Woods
The Port-Wine Stain
American Meteor
The Boy in His Winter
Also by Norman Lock
Love Among the Particles (stories)
VOICESin the
DEAD HOUSE
Norman Lock
Bellevue Literary Press
New York
First published in the United States in 2022
by Bellevue Literary Press, New York
For information, contact:
Bellevue Literary Press
90 Broad Street
Suite 2100
New York, NY 10004
www.blpress.org
© 2022 by Norman Lock
This is a work of fiction. Characters, organizations, events, and places (even those that are actual) are either products of the author’s imagination or are used fictitiously.
Library of Congress Cataloging-in-Publication Data
Names: Lock, Norman, author.
Title: Voices in the dead house / Norman Lock.
Description: First edition. | New York: Bellevue Literary Press, 2022. | Series: American novels series
Identifiers: LCCN 2021033510 | ISBN 9781954276017 (paperback) | ISBN 9781954276024 (epub)
Subjects: LCGFT: Historical fiction.
Classification: LCC PS3562.O218 V65 2022 | DDC 813/.54--dc23/ eng/20211012
LC record available at https://lccn.loc.gov/2021033510
All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a print, online, or broadcast review.
Bellevue Literary Press would like to thank all its generous donors—individuals and foundations—for their support.
This project is supported in part by an award from the National Endowment for the Arts.
This publication is made possible by the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature.
Book design and composition by Mulberry Tree Press, Inc.
Bellevue Literary Press is committed to ecological stewardship in our book production practices, working to reduce our impact on the natural environment.
♾ This book is printed on acid-free paper.
Manufactured in the United States of America
First Edition
135798642
paperback ISBN: 978-1-954276-01-7
ebook ISBN: 978-1-954276-02-4
To Helen
On Our Fiftieth Wedding Anniversary
As I list to the dirge, the voices of men and women wreck’d.
—Walt Whitman
… and one lay stark and still with covered face, as a comrade gave his name to be recorded before they carried him away to the dead house.
—Louisa May Alcott
WALT WHITMAN
___________________________
Washington CityDECEMBER 21, 1862–JANUARY 21, 1863
After the news from Fredericksburg, I went in search of my brother George, whose name had been listed among the wounded in the Tribune. Dead or dying men lay everywhere, as well as what could scarcely be called men, having been reshaped by cannon and musket shot into what is more often seen in butchers’ stalls. On perfect terms of equality, the victorious and the defeated—those no longer quick—were being translated into meat, while the maimed hankered to be done with their mortal part and to put behind them their shattered bones. The noise of armies having ebbed away, the stunned birds had found their songs and the river its voice, which sounded raw and chiding, as it was carried windward across Virginian fields whose winter harvest would be ample for what gnaws.
I sat on the ground and, like Shakespeare’s Richard II, would have told myself sad stories of the death of kings, if not for the amputated arms and legs heaped beneath a tree. Astonishment will sometimes numb the grated nerve and staunch the flood of sharp sensations, as a jet of blood is by a cauterizing iron. I was too overcome for stories. I had believed myself to be inured to gore and stench, having dressed the awful wounds of streetcar drivers caught in the mangle of their trade, at the New York Hospital, near Broadway, where Anthony Trollope, famous for his Barchester Towers, once fainted dead away during a tour of the city’s underworld. I was not inured. I could have roomed in a charnel house and still have been unmanned by the Battle of Fredericksburg’s bloody aftermath—nearly thirteen thousand Union casualties, and not an acre of ground given by Lee’s shabby graybacks.
Meanwhile, unconcerned by men’s folly, the December sun shone on the blasted town, the harrowed fields, and the icy waters of the Rappahannock.
I found George in a field hospital across the river in Falmouth. He had a hole in his cheek from a bullet shot clean through it. Otherwise, he was fit and raring to have another go at Johnny Reb. I kept him company over Christmas—joyless and bleak—and on the twenty-eighth, I left him at Falmouth, where Ambrose Burnside’s battered Union army would winter. Together with some of the most gravely wounded, I rode in an uncovered railway wagon to Aquia Landing, on the western bank of the broad Potomac. From there, we traveled by government steamer forty-five miles upriver to Washington City and the Sixth Street wharf.
At Falmouth, in the Lacy mansion requisitioned by the Union army, I had watched Clara Barton comfort the stricken boys waiting for their smashed limbs to be added to the reeking pile. There I took it into my head to make myself useful at one or another of the impromptu hospitals that have sprung up like puffballs in the rain of blood that has been falling on our young men ever since the skedaddle at First Bull Run bruised the Union’s vanity. The best of them, Armory Square Hospita
Now by the gray sun’s rays dispersed by rows of grimy panes, I watch Death work on the flesh of boys who were once beautiful to me. For in tranquil days, I knew and loved them—or those so very like them as to be their brothers, as they are mine. I was with them in the rough-and-tumble surf off Paumanok when the Atlantic turned incarnadine and, later, when the water and the sky blackened. At Coney Island, I consorted with robust youths who had come over on the boats from Manhattan to fish, dig for quahog and razor clams, and disport themselves—affectionate and manly—in Eddy and Hart’s hotel, beside Gravesend Bay. On Gowanus Creek’s willowed shore, I loafed with clerks and with butchers’ boys still dressed in their killing clothes. And on flying picnics to Greenport, I bathed in the Peconic, invigorated by the company of soap-locked roughs from the Bronx, as well as clean-limbed, industrious fellows employed by the custom house. I made no distinction—I make none now. They are with me, men of a generation, and ever so many generations hence. They and I are atoms of the one great soul, plebeians of the rude democracy of these States and territories, which shall not end until the kosmos itself ends in fiery dissolution.
I, too, have felt my shoulders ache after a day’s walk behind the plow, my face tanned by the sun or, having labored in the foundry, by the Bessemer furnace. At night, returning home on the streetcar, my ears have rung with the roar of the rotary presses—my fingers black with news of calamity. (Joys were few and far between amid the jostling items.) On towpaths and the decks of sailing ships, I’ve felt the hawser bite my palms, and on the pavements, the weight of a heavy sack jammed with oysters raked up from the bay to sell to the barrooms of Brooklyn Heights and Red Hook. I’ve stopped at cheap eateries to savor their delicious flesh with my comrades. I have drunk as heartily as they in East Side saloons before going to watch an Irishman and a German lay waste to each other with bare-knuckled aplomb. I enter high and low alike. I am not put off by the demos nor daunted by manifestations of great wealth. Nothing is beneath my dignity—no man, woman, or purpose, no venue or assembly where joy and freedom are entertained. Nor does the supercilious look of an Astor or a Vanderbilt abash me. I keep my hat on and push in.
Death, too, is democratic and makes no distinction.
Walt, you make too much of yourself! Instead of singing lauds to your imperturbability, descant upon the “nightingales” who do for the sick and wounded, drawing compassion by the bucketful from the well of kindness with bloody hands.
I MARVEL AT THE WOMEN who go about their business amid Death’s grim warrants, bathing soiled or putrid bodies, changing dressings, anointing wounds with powders and unguents. They talk admiringly of the expert needlework of the surgeons, whose material is not cambric or even silk, but finer stuff. (Silk cannot blush or grow expectant in the presence of a beloved.) See how the woman lies across the man’s body while the surgeon saws the devastated arm, or how lovingly she encircles a boy’s narrow shoulders with her arms while the calm practitioner removes a minié ball from his thigh. They do not shirk in their appalling transactions with Death—these women who bestow chaste kisses on the lips of my camerados! I swear you are lovelier to me than the debutante waltzing with the heir to a fortune in ships or coal—lovelier even than the mother, her new babe in her arms, exhausted by her long accouchement. Wearing your soiled aprons, you are as radiant as mothers and outshine the glamour of debutantes!
The dark-haired nurse I saw at Union Hospital this morning didn’t flinch when Death wrung from the boyish captain of artillery the last drop of life, although the delicate nostrils betrayed her loathing and gentility. She is new to the wards and will soon be unaffected by the contents of chamber pots and slop pails, if she sticks. I think she will. She did not have the look of someone who will turn and run. I’ve seen other well-meaning persons overcome by the grisly sights and foul odors. But that imposing young woman, her hands chapped by carbolic, she will stick. I saw the resolve in her black eyes. Twice she glanced at me, as if she knew me. Perhaps she had seen my likeness somewhere.
Walt, will you never tire of yourself? You’re a humbug—truth be told—and the truth—the whole of it—can never be told in verse or prose, no matter how the book may shock by its gritty particulars. You remind me of a stage actor who, having raised his purple-togaed arm to salute the Roman mob, glances at his hand, and adjusts it. It’s all an attitude, Whitman, a pose. Leaves of Grass is not the frank embrace of the world that you claim for it, but a pool into which Narcissus gazes, enraptured by his own beauty.
“Of the world?” When have you ever been modest? In Leaves of Grass, you would wind your arms around the kosmos, and you will not finish with it till you’ve annexed every nook and cranny of creation—I won’t say “God’s.” I don’t think he says my name. (I agree with Thomas Paine that He, who has a million worlds to oversee, would not have bothered to send His son to Earth and an earthly death to chastise Adam and Eve for the sake of one purloined apple.)
Thou P. T. Barnum of the Word, why are you here? Are there no good works to be done in Brooklyn? Does the East Side want for casualties? Everywhere wretchedness is at the flood. You can take your pick of a suffering humanity to cosset. You did what you had set out to do: You found your brother in a shebang after the Union army took a shellacking below Marye’s Heights. Go home, Whitman! There’s nothing for you here in Washington. If you enjoy the sight of swine in the streets (I mean those on the hoof, not the jackanapes in striped trousers who root in the troughs of patronage), you can return to Long Island and muck about in the farmers’ sties. What does Manhattan lack that the capital possesses? You can see swindlers in yellow shoes there as easily as in the District of Columbia. The rats wear the same silk hats on Wall Street as they do on Pennsylvania Avenue. As for splendor, why I’d sooner see the sun rise out of the sea off Orient Point than the glister of sewage and dead cats floating in the Washington City Canal!
“I swear I’m no humbug!” The asservation jumped from my mouth.
“Bugger you!” says a young soldier, eyeing me warily from where he lies on his cot.
“Sorry, I didn’t mean to disturb you.” I approach the wounded man—he is hardly more than a boy. I push the long brown hair aside. I touch the feverish brow. “Your forehead’s damp.”
“My jism’s backed up for lack of cunt. Any chance you have one in your pantaloons?”
“That’s the fever talking.”
“I don’t care a fuck!”
Walt, you are more than twoscore years. You’ve been abroad in the world since you were twelve. You’ve gone among press operators and surly editors, who do not spare a young fellow’s ears. You visited maimed stage drivers at New York Hospital and dressed the wounds of soldiers sent north to mend after the bloody blunders committed by Generals McClellan, Pope, and Burnside. Good Anglo-Saxon words can’t jar the troubadour of democracy.
The young man growls. “It’s hotter in here than Old Nick’s poker!”
I mop the sweat from his forehead with a handkerchief.
“I don’t like nobody touching me ‘less I say so!” he snarls.
“I meant no harm. You’re poorly and liable to a chill.” I begin to wonder whether or not I hate this young Tartar for his lack of gratitude.
“A six-pounder blew my leg off. I guess no ‘chill’ is gonna do me any harm!”
I would be tender with him were it not for his anger, the contempt in which he plainly holds me, and the screaming of another poor bugger being partitioned by a surgeon’s saw.
