‘Yes! Yes, love! Well done!’ someone was shrieking. ‘Rage, that’s what we’re looking for! Let me feel your anger!’
Yana dreamt she was in her studio painting a picture while a team of visiting sponsors watched over her shoulder. She hurled paint at the canvas with increasing desperation, aware that she had lost control of the composition long ago.
‘Good! Good! More red! The colour of anger, the colour of new blood!’ One of the sponsors was bellowing in her ear as though determined to rupture the drum.
‘But not too much red,’ put in another. ‘Remember the décor. We want it to blend.’
‘To hell with blending!’ screamed the first. ‘We’re paying for art, not interior design! We want something that says to our clients, We dare! We dare!’
‘Could you put something shocking in the bottom left hand corner? There’ll be a rather unsightly water dispenser to the right of the picture, and we need to distract our clients’ attention from it, to draw away their eyes, as it were…’
‘Don’t listen to him, love, he’s a philistine. We want you to feel free to unleash the rage that made you famous. This year everybody who’s anybody in the city is looking for the return of raw power to the canvas. We’ll supply the publicity. You supply the terror. Terrify us again!’
She was aware that she had used up all the colours on her palette. She looked around for more tubes of paint, but could see nothing but plates full of macadamia nuts and half-empty glasses of champagne.
‘Almost finished, love? I’m only asking because we’re expecting the delegates from Tokyo at twelve, and of course they’ll want to see the finished picture.’
She mumbled something about more paint.
‘Paint, love? Why didn’t you say so? You can have all the paint you want. Come with me to the factory and choose the hues for yourself.’
As she turned away from the painting she noticed that there were hundreds of tiny, boneless creatures squirming under the oily surface like maggots in rotting flesh.
Accompanied by a crowd of sponsors she hurried out into the street. Together they all rushed along a few inches above the pavement, without any visible means of propulsion. All around them the city was in flames. Groups of women carrying babies and pulling small children by the hand darted round the corners of tower-blocks. Soldiers followed them. Cars exploded by the side of the road. A man ran up to a shop window and threw a brick through it, then ran away. Alarms went off up and down the street, and as he ran the headlights of the cars he passed began to flash, while car-alarms wailed in sympathy with the electronic shrieks from the vandalized building. A posse of policemen burst out of a side-alley and closed in on the fugitive. The last she saw as she rushed away was a mass of truncheons and shiny boots rising and falling where the man had been.
Now she found herself in a street lined with glass buildings and empty of people. Newspapers blew along it opening and closing, revealing and concealing silently raving headlines and grainy photographs of bewildered teenagers with enormous breasts. A tank rolled forward at the other end of the street: she heard its tracks crack the tarmac.
Just as her crowd of sponsors hurried her through sliding doors in one of the glass facades she noticed that a little girl had wandered into the path of the tank, clutching a doll. ‘Wait!’ she shouted, and struggled to free herself from the hands that gripped her by the elbows.
‘No time, no time!’ barked the sponsors in unison. And now she was inside the factory, and the noise blotted out her memories of the street, all but the ache of loss that always grew more acute as her dreams went on.
High overhead, a network of steel girders defined an invisible glass roof. The net was held in place by thick steel pillars. Lower down, metal walkways led from pillar to pillar, along which ambled men in overalls with long steel poles in their hands. Conveyor-belts moved between the walkways, with elongated sacks dangling from hooks at intervals along them. Now and then one of the men leaned over the metal railings and used the prong at the tip of his pole to shift a sack that had drifted too close to one of its neighbours. On the concrete floor below the conveyor belts vast witches’ cauldrons bubbled and fumed. From the streams of brilliantly coloured liquid that ran down the sides, she guessed they were full of paint.
‘You see, this is where the paint comes from,’ said one of the sponsors, rushing her up a metal stairway onto a platform near a vat full of dark red pigment. ‘We have every conceivable shade of black and brown, a wide range of yellows and greens, a somewhat limited supply of azure – it’s very expensive to produce – and of course a lot of red. Would you like to see how it’s done?’
She had no wish to see how it was done, but her tongue (which had been sluggish since the dream began) refused to obey her. The sponsor signalled to a nearby foreman with a moulded plastic helmet. The man leaned out over the railing as the others had done and with a twist of the little claw at the end of his pole snared one of the dangling sacks. A deft slicing movement, and the sack split open.
Inside hung the naked corpse of a young black woman. Her eyes seemed to gaze mournfully at them as the belt jerked her past.
‘There you have it,’ said the sponsor. ‘A fine rich chestnut, wouldn’t you say? This particular colour-source is destined for that vat over there, where it’ll be separated, melted down and carefully strained. Our colours are renowned the world over, and now you know the secret of their brilliance. Nothing like animal products for putting life into paint. Some might say it’s cruel, but our methods are really very humane, and there honestly isn’t any substitute for good old-fashioned flesh and blood. We import much of our yellow ochre from Southeast Asia, so that’s why the tubes cost more – we have to pay tax on our carbon footprint. The green is relatively simple to produce: we simply wait for the bodies to fester, then extract the mould. Ultramarine, cobalt and indigo we have to distil from our sources’ eyes, and as you can imagine it’s difficult to get hold of cheap azure eyes in the current state of the global economy. As for red; well, red is the easiest of all. If you please, foreman?’
The foreman moved to the other side of his walkway and reached out for another sack.
This one wriggled and kicked as he split it open. Tarek hung inside. As soon as he saw her he started to yell: ‘Yana! Yana, for pity’s sake! Help me!’
Tarek was moving in long jerks towards the vat of dark red paint near the platform she stood on. As he approached, a circular blade on the end of a jointed metal arm emerged from a tangle of machinery and stretched out lazily to greet him. She turned to the sponsor. ‘For God’s sake! That’s my husband! There’s been a terrible mistake!’
‘No indeed,’ said the sponsor, turning to her. ‘We want you to give us rage. We need the power of rage to lift the economy out of recession. Your husband will help you supply us with what we need.’
And now she saw that the sponsor had no eyes, only gaping holes with ragged edges. ‘You see, we all have to make sacrifices,’ he explained with a sidelong smile. ‘My eyes were a beautiful shade of blue, I tell you. A beautiful, beautiful shade of blue.’