Radiance

“But that’s not how it is in real life, Rinny. Real life is all beginnings. Days, weeks, children, journeys, marriages, inventions. Even a murder is the beginning of a criminal. Perhaps even a spree. Everything is prologue. Every story has a stutter. It just keeps starting and starting until you decide to shut the camera off. Half the time you don’t even realise that what you’re choosing for breakfast is the beginning of a story that won’t pan out till you’re sixty and staring at the pastry that made you a widower. No, love, in real life you can get all the way to death and never have finished one single story. Or never even get one so much as half-begun.”

“Papa, you’re babbling. Ada says you have to stop that. She says you’re full of hot air.”

“I’m full of many things, I’m sure. Very well, you do so love rules! I shall make some up for you on the spot, so that my little moppet is not forced to wander the world in a soup of stories without laws. A tale may have exactly three beginnings: one for the audience, one for the artist, and one for the poor bastard who has to live in it.”

A bright cascade of giggles splashes out over the crackle of the phonograph. The child lowers her voice to a whisper: “I like it when you swear.”

And at that moment the child leaps out of the phantasmal throng of dancing ghosts, out of the frame, out of The Spectres of Mare Nubium, and shimmers into the shape of the Venusian boy, his serious expression so like hers, turning in endless circles on a grey lawn.

Her name is Severin Unck. She is ten years old. She is talking to her father, Percy.

She is dead. Almost certainly dead. Nearly conclusively dead. She is, at the very least, not answering her telephone.

Welcome. This beginning is your beginning. We have saved it specially for you. Shall we?

Oh, Those Scandalous Stars!

Places, Everyone!, 3rd July 1919

Editor’s Note

My darlings, if only I could have brought you all with me! Just gathered you up in my arms out of your parlours and kitchens, still in your aprons and overcoats, and spirited you to the glittering premiere of Percival Unck’s latest thrilling picture, Hope Has No Master! How I would have loved to play Father Christmas and appear on the cobalt carpet with a sackful of my readers—nay, my friends—so that you could see the brilliant and the beautiful for yourselves, spilling out of their long cream-coloured limousines, cars clean and bright and glittering as though they’d just passed through a storm of diamonds instead of our lowly lunar raindrops.

Well, if I am not Father Christmas, who is? Gather round! The beard is quite real, I assure you. Here is an orange for each of you girls and a plum for each of you boys! Watch me string up the stars for you like lights on a tree, each one prettier than the last.

Limelight, 12th October 1947

My hungry gossip-hounds, today there can be no happy games of fetch between us. I come to you hat in hand to report the doings of the day, but I take no pleasure in it. My hat is black, and I know that yours is, too.

I personally attended the strange funeral of Severin Lamartine Unck, born 1914, aged but thirty-one (if the sub-light transits are all rounded down, as one ought to do for a lady) and passed out of our hard, bright sphere too soon. Whatever the truth, her gravestone will forever read thirty-one, and thirty-one she will, in all likelihood, remain. Her filmography stands tragically firm at a scant five: Self-Portrait with Saturn; The Famine Queen of Phobos; And the Sea Remembered, Suddenly; The Sleeping Peacock; and her final, deeply upsetting work, The Radiant Car Thy Sparrows Drew.

A sea of black greeted your humble whisper-collector as the empty coffin was interred in the marble halls of the newest edifice in Tsukuyomi Cemetery, the hastily built Unck family mausoleum. Poor Percy must have thought he would have more time to see to such affairs, or that his daughter herself would attend to them for his own eternal rest.

We assembled as if for a shoot…which of course it was, in a manner of speaking. Extras, dramatic faces, chosen professional mourners to round out the big crowd scene. Black, black everywhere. We did not know whether or not to cry—what was to be our cue, our script? What sort of Unck flick had hired us on: the father’s, or the daughter’s?

Now look there, children—Maud Locksley and her dashing companion, Wadsworth Shevchenko, fresh from the set of his sure-to-enthral historical epic, Cross of Stone. Maud ravishes as always in a sleek strapless number that rustles silver in the popping lights. When she turns, flashes of the palest pink feath

ers flutter beneath the hem. A slim triangle of dyed crocodile scales soars up to a daring rosette of amethyst and devilish croc teeth at the point of the gown’s plunging, bare back. How she smirks over her rounded shoulder! The smirk that cost a thousand contracts, if you know what I mean, and I think you do. Wadsworth’s charcoal arm never leaves her waist, his trim, severe Eichendorff suit revealing its own surprise as the power couple pose: The tails of his tuxedo descend into a weave of raven feathers, stiffly, glossily pointing earthward. Our coal-tressed leading man finishes it all off with an onyx lapel pin in the shape of a lunar peony. I’m certain we can all envy Maud Locksley her journey home—save that a little bird informs your humble Father Christmas that Master Shevchenko’s burning gaze strays ever so occasionally from her charms to those of his co-star, Dante de Vere. But we know better than to listen to little birds, don’t we?

We suppose she is dead, though none of us can be sure. She is not here, though she is not there, either, so far as anyone can tell. What transpired that awful autumn on those far Venusian shores? What happened to her? Did she share the horrid fate of the ruined village, the very one she sought to uncover and explain? We cannot know. We know only that we will see her no more, and that, my loyal readers, must break every heart in two.

We all came together Saturday last to pretend we know what happened and can feel certain about burying her. The seven ex-Unckwives and erstwhile stepmothers of the young Severin stood at his side, their beautiful faces drawn in the refined sort of grief only those who have trained since birth to live upon the screen can produce, reflecting our feeling back to us like lunar emotions, softer and more silver, colder and more delicate.

And would I shock anyone if I nodded my head toward an eighth statuesque figure who had been standing a fair way off, a black veil shielding her face from any eyes like mine that might guess at some maternal similarity to the vanished documentarian in the angle of her nose or the heft of her hair? To that very filmmaker whose fairy-tale coffin, all empty crystal and plush red pillow (with no head pressing the velvet, no feet beneath the shroud), decorated with ivory sparrow wings and onyx myrtle boughs, lay before us, prayed over by all the radiant men Severin ever loved.

I do believe she would have loathed that coffin.

But tear your eyes from the twin comets of Locksley and Shevchenko and look upon the real stars of the evening! Percival Unck and his devastatingly adorable daughter, Severin. Not quite five years old, she runs boldly onto the carpet, laughing, her black curls bouncing, the tiny bustle of her red velvet Barbauld dress stitched with rough garnet chips that do not glitter so much as burn against her childish waist. She’ll be a beauty one day if her father has a thing to do with it. She reaches back and beckons for him. He is, as always, shy and bemused, wearing a positively scrumptious red suit to match his girl. Notice the ivory-plated Venusian myrtle flower tucked into his lapel—perhaps hinting to us as to the setting of his next masterpiece! Unck adjusts his scarlet-tinted glasses and follows his daughter, the long tails of his own late-season Eichendorff fluttering with sparrow feathers dyed a spectacular orange. (I, for one, am positively enchanted with the new avian direction in men’s fashion this season. I expect I’ll be putting in for my own double-breasted parrot suit soon enough!) Little Severin dances up the aisle, reaching into her silk purse to throw real Venusian tamarind blossoms before her, a little goddess managing handily her own worship. Her giggles and her smile track into a dozen microphones and cameras, certain to be pored over by yours truly and yours truly’s competition for evidence of the child’s mysterious mother—which starlet, which studio head’s wife, which socialite’s untoward Saturday night gave us this disarmingly impish companion to Tinseltown’s greatest director?

Severin’s long-time lover, the cinematographer Erasmo St. John, was present and accounted for, shockingly thinned down from his once-prizefighter physique. His winnowed hand clutched the fingers of that boy we have all begged to interview, even for a minute or two—that child brought back from Adonis in Severin’s place, the creature we here in Tinseltown must face instead of our old friend. As of the writing of this column the child has not yet shown any ability to speak whatever. What frustration for our little community, for whom speaking is a necessity of life. We could sooner stop breathing than stop telling our life stories—and yet he says nothing, and St. John will not compel him.

Having reported a lifetime ago upon the premiere of The Red Beast of Saturn, when old Percy first appeared with a little bundle wrapped in graphite-coloured silk swaddling designed by Foscolo, I hold the decidedly odd position of having documented most of the famous documenter’s life. But I am afraid that this old woman must draw her account of that wretched soul to a close early, being overcome by the whole business. Would that it had unfolded in some other way, some way which did not conclude in a rainy Saturday and a hollow glass box.

I adjourn. Though it is my custom to close by inviting you all to share the empty seat in my box, that seat must be reserved for the dead tonight. Look up at that persistent little limelight in the evening sky: Venus, who alone knows the secrets we poor chattering monkeys covet so.

Halfrid H

Editor-in-chief