Stone after grey stone; and a sense of the heaving skywards of great blocks, one upon another in a climbing weight, ponderous and yet alive with the labour of dead days. Yet, at the same time,
Was there something about these vertical acres of stone that mouthed of a stillness that was more complete, a silence that lay
For
It was as though, at any moment some inanimate Thing must surely move; a door open upon its own, or a clock start whirling its hands: the stillness was too vast and charged to be content to remain in this titanic atrophy – the tension must surely find a vent – and burst suddenly, violently, like a reservoir of water from a smashed dam – and the shields fall from their rusty hooks, the mirrors crack, the boards lift and open and the very castle tremble, shake its walls like wings; yawn, split and crumble with a roar.
But nothing happened. Each hall a mouth that gaped and could not close. The stone jaws prised and aching. The doors like eye-teeth missing from the bone! There was no sound and nothing human happened.
What moved in these great caves? A shifting shadow? Only where sunlight through the south wing wandered. What else? No other movement?
Only the deathly padding of the cats. Only the soundlessness of the dazed cats – the line of them – the undulating line as blanched as linen, and lorn as the long gesture of a hand.
Where, in the wastes of the forsaken castle, spellbound with stone lacunas – where could they find their way? From hush to hush. All was unrooted. Life, bone and breath; echo and movement gone …
They flowed. Noiselessly and deliberately they flowed. Through doors ajar they flowed on little feet. The stream of them. The cats.
Under the welkin of the flaking cherubs doming through shade, they ran. The pillars narrowing in chill perspective formed them their mammoth highway. The refectory opened up its tracts of silence. Over the stones they ran. Along a corridor of fissured plaster. Room after hollow room – hall after hall, gallery after gallery, depth after depth, until the acres of grey kitchen opened. The chopping blocks, the ovens and grills, stood motionless as altars to the dead. Far below the warped beams they flowed in a white band. There was no hesitation in their drift. The tail of the white line had disappeared, and the kitchen was as barren as a cave in a lunar hillside. They were swarming up cold stairs to other lands.
Where has she gone? Through the drear sub-light of a thousand yawns, they ran, their eyes like moons. Up winding stairs to other worlds again, threading the noonday dusk. And they could find no pulse and she was gone.
Yet there was no cessation. League after league, the swift, unhurried padding. The pewter room slid by, the bronze room and the iron. The armoury slid by on either side – the passageways slid by – on either side – and they could find no breath in Gormenghast.
The doorway of the Hall of the Bright Carvings was ajar. As they slid through the opening it was as though a long, snow-soft serpent had appeared, its rippling body sown with yellow eyes. Without a pause it streamed among the carvings lifting hundreds of little dust clouds from the floor. It reached the hammock at the shuttered end, where, like a continuation of silence and stillness in a physical form, dozed the curator, the only living thing in the castle apart from the feline snake that was flooding past him and was even now on its way back to the door. Above it, the coloured carvings smouldered. The golden mule – the storm grey child – the wounded head with locks of chasmic purple.
Rottcodd dozed on, entirely unaware, not only that his sanctum had been invaded by her ladyship’s cats, but unaware also that the castle was empty below him and that it was the day of the Earling. No one had told him of the Earl’s disappearance for no one had climbed to the dusty Hall since Mr Flay’s last visit.
