Everything's Eventual

can remember being inspired to write a story based on an actual picture was 'The House on Maple Street,' based on a black- andwhite drawing by Chris Van Allsburg. That story is in Nightmares and Dreamscapes. I also wrote a novel about a picture that changes. It's called Rose Madder, and is probably the best read of my novels (no movie, either). In that story, the Road Virus is named Norman.

Richard Kinnell wasn't frightened when he first saw the picture at the yard sale in Rosewood.

   He was fascinated by it, and he felt he'd had the good luck to find something which might be very special, but fright? No. It didn't occur to him until later ('not until it was too late,' as he might have written in one of his own numbingly successful novels) that he had felt much the same way about certain illegal drugs as a young man.

   He had gone down to Boston to participate in a PEN/New England conference titled 'The Threat of Popularity.' You could count on PEN to come up with such subjects, Kinnell had found; it was actually sort of comforting. He drove the two hundred and sixty miles from Derry rather than flying because he'd come to a plot impasse on his latest book and wanted some quiet time to try to work it out.

   At the conference, he sat on a panel where people who should have known better asked him where he got his ideas and if he ever scared himself. He left the city by way of the Tobin Bridge, then got on Route

1. He never took the turnpike when he was trying to work out problems; the turnpike lulled him into a state that was like dreamless, waking sleep. It was restful, but not very creative. The stop-and-go traffic on the coast road, however, acted like grit inside an oyster—it created a fair amount of mental activity . . . and sometimes even a pearl.

   Not, he supposed, that his critics would use that word. In an issue of Esquire last year, Bradley Simons had begun his review of Nightmare City this way: 'Richard Kinnell, who writes like Jeffrey Dahmer cooks, has suffered a fresh bout of projectile vomiting. He has titled this most recent mass of ejecta Nightmare City.'

   Route 1 took him through Revere, Malden, Everett, and up the coast to Newburyport. Beyond Newburyport and just south of the Massachusetts–New Hampshire border was the tidy little town of Rosewood. A mile or so beyond the town center, he saw an array of cheap-looking goods spread out on the lawn of a two-story Cape. Propped against an avocado-colored electric stove was a sign reading YARD SALE. Cars were parked on both sides of the road, creating one of those bottlenecks which travellers unaffected by the yard sale mystique curse their way through. Kinnell liked yard sales, particularly the boxes of old books you sometimes found at them. He drove through the bottleneck, parked his Audi at the head of the line of cars pointed toward Maine and New Hampshire, then walked back.

   A dozen or so people were circulating on the littered front lawn of

the blue-and-gray Cape Cod. A large television stood to the left of the cement walk, its feet planted on four paper ashtrays that were doing absolutely nothing to protect the lawn. On top was a sign reading MAKE AN OFFER—YOU MIGHT BE SURPRISED. An electrical cord, augmented by an extension, trailed back from the TV and through the open front door. A fat woman sat in a lawn chair before it, shaded by an umbrella with CINZANO printed on the colorful scalloped flaps. There was a card table beside her with a cigar box, a pad of paper, and another hand- lettered sign on it. This sign read ALL SALES CASH

                                                              , ALL SALES FINAL. The TV was on, tuned to an afternoon soap opera where two beautiful young people looked on the verge of having deeply unsafe sex. The fat woman glanced at Kinnell, then back at the TV. She looked at it for a moment, then looked back at him again. This time her mouth was slightly sprung.

   Ah, Kinnell thought, looking around for the liquor box filled with paperbacks that was sure to be here someplace, a fan.

   He didn't see any paperbacks, but he saw the picture, leaning against an ironing board and held in place by a couple of plastic laundry baskets, and his breath stopped in his throat. He wanted it at once.

   He walked over with a casualness that felt exaggerated and dropped to one knee in front of it. The painting was a watercolor, and technically very good. Kinnell didn't care about that; technique didn't interest him (a fact the critics of his own work had duly noted). What he liked in works of art was content, and the more unsettling the better. This picture scored high in that department. He knelt between the two laundry baskets, which had been filled with a jumble of small appliances, and let his fingers slip over the glass facing of the picture. He glanced around briefly, looking for others like it, and saw none—only the usual yard sale art collection of Little Bo Peeps, praying hands, and gambling dogs.

   He looked back at the framed watercolor, and in his mind he was already moving his suitcase into the backseat of the Audi so he could slip the picture comfortably into the trunk.

   It showed a young man behind the wheel of a muscle car—maybe a Grand Am, maybe a GTX, something with a T-top, anyway—cross ing the Tobin Bridge at sunset. The T-top was off, turning the black car into a half-assed convertible. The young man's left arm was cocked on the door; his right wrist was draped casually over the wheel. Behind him, the sky was a bruise-colored mass of yellows and grays, streaked with veins of pink. The young man had lank blond hair that spilled over his low forehead. He was grinning, and his parted lips revealed teeth which were not teeth at all but fangs.

   Or maybe they're filed to points, Kinnell thought. Maybe he's supposed to be a cannibal.

   He liked that; liked the idea of a cannibal crossing the Tobin Bridge at sunset. In a Grand Am. He knew what most of the audience at the PEN panel discussion would have thought—Oh, yes, great picture for Rich Kinnell; he probably wants it for inspiration, a feather to tickle his tired old gorge into one more fit of projectile vomiting—but most of those folks were ignoramuses, at least as far as his work went, and what was more, they treasured their ignorance, cossetted it the way some people inexplicably treasured and cossetted those stupid, mean-spirited little dogs that yapped at visitors and sometimes bit the paperboy's ankles. He hadn't been attracted to this painting because he wrote horror stories; he wrote horror stories because he was attracted to things like this painting. His fans sent him stuff—pictures, mostly— and he threw most of them away, not because they were bad art but because they were tiresome and predictable. One fan from Omaha had sent him a little ceramic sculpture of a screaming, horrified monkey's head poking out of a refrigerator door, however, and that one he had kept. It was unskillfully executed, but there was an unexpected juxtaposition there that lit up his dials. This painting had some of the same quality, but it was even better. Much better.

   As he was reaching for it, wanting to pick it up right now, this second, wanting to tuck it under his arm and proclaim his intentions, a voice spoke up behind him: 'Aren't you Richard Kinnell?'

   He jumped, then turned. The fat woman was standing directly behind him, blotting out most of the immediate landscape. She had put on fresh lipstick before approaching, and now her mouth had been transformed into a bleeding grin.

'Yes, I am,' he said, smiling back.

   Her eyes dropped to the picture. 'I should have known you'd go right to that,' she said, simpering. 'It's so you.'

   'It is, isn't it?' he said, and smiled his best celebrity smile. 'How much would you need for it?'

   'Forty-five dollars,' she said. 'I'll be honest with you, I started it at seventy, but nobody likes it, so now it's marked down. If you come back tomorrow, you can probably have it for thirty.' The simper had grown to frightening proportions. Kinnell could see little gray spitbuds in the dimples at the corners of her stretched mouth.

   'I don't think I want to take that chance,' he said. 'I'll write you a check right now.'