第14章 Appendix

I started to write short pieces when I was living in a room too small to write a novel in. So the size of my room modified what I did inside it and it was the same with the pieces themselves. The limited trajectory of the short narrative concentrates its meaning. Sign and sense can fuse to an extent impossible to achieve among the multiplying ambiguities of an extended narrative. I found that, though the play of surfaces never ceased to fascinate me, I was not so much exploring them as making abstractions from them, I was writing, therefore, tales.

Though it took me a long time to realise why I liked them, Id always been fond of Poe, and Hoffman -- Gothic tales, cruel tales, tales of wonder, tales of terror, fabulous narratives that deal directly with the imagery of the unconscious -- mirrors; the externalised self; forsaken castles; haunted forests; forbidden sexual objects. Formally the tale differs from the short story in that it makes few pretences at the imitation of life. The tale does not log everyday experience, as the short story does; it interprets everyday experience through a system of imagery derived from subterranean areas behind everyday experience, and therefore the tale cannot betray its readers into a false knowledge of everyday experience.

The Gothic tradition in which Poe writes grandly ignores the value systems of our institutions; it deals entirely with the profane. Its great themes are incest and cannibalism. Character and events are exaggerated beyond reality, to become symbols, ideas, passions. Its style will tend to be ornate, unnatural -- and thus operate against the perennial human desire to believe the word as fact. Its only humour is black humour. It retains a singular moral function -- that of provoking unease.

The tale has relations with subliterary forms of pornography, ballad and dream, and it has not been dealt with kindly by literati. And is it any wonder? Let us keep the unconscious in a suitcase, as Pere Ubu did with his conscience, and flush it down the lavatory when it gets too troublesome. So I worked on tales. I was living in Japan; I came back to England in 1972. I found myself in a new country. It was like waking up, it was a rude awakening. We live in Gothic times. Now, to understand and to interpret is the main thing; but my method of investigation is changing. These stories were written between 1970 and 1973 and are arranged in chronological order, as they were written. There is a small tribute to Defoe, father of the bourgeois novel in England, inserted in the story "Master".