The Enormous Room

by E. E. Cummings

“M’sieu’ Jean, a woman.”

I recall perfectly being in the kitchen one day, hiding from the eagle-eye of the Black Holster and enjoying a talk on the economic consequences of war, said talk being delivered by Afrique. As a matter of fact, I was not in the cuisine proper but in the little room which I have mentioned previously. The door into the kitchen was shut. The sweetly soft odour of newly cut wood was around me. And all the time that Afrique was talking I heard clearly, through the shut door and through the kitchen wall and through the locked door of the cabinot situated directly across the hall from la cuisine, the insane gasping voice of a girl singing and yelling and screeching and laughing. Finally I interrupted my speaker to ask what on earth was the matter in the cabinot?—“C’est la femme allemande qui s’appelle Lily,” Afrique briefly answered. A little later BANG went the cabinot door, and ROAR went the familiar coarse voice of the Directeur. “It disturbs him, the noise,” Afrique said. The cabinot door slammed. There was silence. Heavily steps ascended. Then the song began again, a little more insane than before; the laughter a little wilder…. “You can’t stop her,” Afrique said admiringly. “A great voice Mademoiselle has, eh? So, as I was saying, the national debt being conditioned—”

But the experience à propos les femmes, which meant and will always mean more to me than any other, the scene which is a little more unbelievable than perhaps any scene that it has ever been my privilege to witness, the incident which (possibly more than any other) revealed to me those unspeakable foundations upon which are builded with infinite care such at once ornate and comfortable structures as La Gloire and Le Patriotisme—occurred in this wise.

The men, myself among them, were leaving le cour for The Enormous Room under the watchful eye (as always) of a planton. As we defiled through the little gate in the barbed-wire fence we heard, apparently just outside the building whither we were proceeding on our way to The Great Upstairs, a tremendous sound of mingled screams, curses and crashings. The planton of the day was not only stupid—he was a little deaf; to his ears this hideous racket had not, as nearly as one could see, penetrated. At all events he marched us along toward the door with utmost plantonic satisfaction and composure. I managed to insert myself in the fore of the procession, being eager to witness the scene within; and reached the door almost simultaneously with Fritz, Harree and two or three others. I forget which of us opened it. I will never forget what I saw as I crossed the threshold.

The hall was filled with stifling smoke; the smoke which straw makes when it is set on fire, a peculiarly nauseous choking, whitish-blue smoke. This smoke was so dense that only after some moments could I make out, with bleeding eyes and wounded lungs, anything whatever. What I saw was this: five or six plantons were engaged in carrying out of the nearest cabinot two girls, who looked perfectly dead. Their bodies were absolutely limp. Their hands dragged foolishly along the floor as they were carried. Their upward white faces dangled loosely upon their necks. Their crumpled fingers sagged in the planton’s arms. I recognised Lily and Renée. Lena I made out at a little distance tottering against the door of the kitchen opposite the cabinot, her hay-coloured head drooping and swaying slowly upon the open breast of her shirt-waist, her legs far apart and propping with difficulty her hinging body, her hands spasmodically searching for the knob of the door. The smoke proceeded from the open cabinot in great ponderous murdering clouds. In one of these clouds, erect and tense and beautiful as an angel—her wildly shouting face framed in its huge night of dishevelled hair, her deep sexual voice, hoarsely strident above the din and smoke, shouting fiercely through the darkness—stood, triumphantly and colossally young, Celina. Facing her, its clenched, pinkish fists raised high above its savagely bristling head in a big, brutal gesture of impotence and rage and anguish—the Fiend Himself paused quivering. Through the smoke, the great bright voice of Celina rose at him, hoarse and rich and sudden and intensely luxurious, quick, throaty, accurate, slaying deepness:

CHIEZ, SI VOUS VOULEZ, CHIEZ,

and over and beneath and around the voice I saw frightened faces of women hanging in the smoke, some screaming with their lips apart and their eyes closed, some staring with wide eyes; and among the women’s faces I discovered the large, placid, interested expression of the Gestionnaire and the nervous clicking eyes of the Surveillant. And there was a shout—it was the Black Holster shouting at us as we stood transfixed—

“Who the devil brought the men in here? Get up with you where you belong, you….”

—And he made a rush at us, and we dodged in the smoke and passed slowly up the hall, looking behind us, speechless to a man with the admiration of Terror till we reached the further flight of stairs; and mounted slowly, with the din falling below us, ringing in our ears, beating upon our brains—mounted slowly with quickened blood and pale faces—to the peace of The Enormous Room.

I spoke with both balayeurs that night. They told me, independently, the same story: the four incorrigibles had been locked in the cabinot ensemble. They made so much noise, particularly Lily, that the plantons were afraid the Directeur would be disturbed. Accordingly the plantons got together and stuffed the contents of a paillasse in the cracks around the door, and particularly in the crack under the door wherein cigarettes were commonly inserted by friends of the entombed. This process made the cabinot air-tight. But the plantons were not taking any chances on disturbing Monsieur le Directeur. They carefully lighted the paillasse at a number of points and stood back to see the results of their efforts. So soon as the smoke found its way inward the singing was supplanted by coughing; then the coughing stopped. Then nothing was heard. Then Celina began crying out within—“Open the door, Lily and Renée are dead”—and the plantons were frightened. After some debate they decided to open the door—out poured the smoke, and in it Celina, whose voice in a fraction of a second roused everyone in the building. The Black Holster wrestled with her and tried to knock her down by a blow on the mouth; but she escaped, bleeding a little, to the foot of the stairs—simultaneously with the advent of the Directeur who for once had found someone beyond the power of his weapon, Fear, someone in contact with whose indescribable Youth the puny threats of death withered between his lips, someone finally completely and unutterably Alive whom the Lie upon his slavering tongue could not kill.