Back Gormenghast
Chapters (50)
  1. ABOUT THE BOOK
  2. ABOUT THE AUTHOR
  3. TITLE PAGE
  4. INTRODUCTION
  5. A NOTE ON THE ILLUSTRATIONS
  6. TITUS GROAN
  7. The Hall of the Bright Carvings
  8. The Great Kitchen
  9. Swelter
  10. The Stone Lanes
  11. ‘The Spy-Hole’
  12. Fuchsia
  13. ‘Tallow and Birdseed’
  14. A Gold Ring for Titus
  15. Sepulchrave
  16. Prunesquallor’s Knee-Cap
  17. The Attic
  18. The Frivolous Cake
  19. ‘Mrs Slagg By Moonlight’
  20. Keda
  21. ‘First Blood’
  22. ‘Assemblage’
  23. ‘Titus is Christened’
  24. Means of Escape
  25. ‘A Field of Flagstones’
  26. ‘Over the Roofscape’
  27. ‘Near and Far’
  28. ‘Dust and Ivy’
  29. ‘The Body by the Window’
  30. ‘Ullage of Sunflower’
  31. Soap for Greasepaint
  32. At the Prunesquallors
  33. A Gift of the Gab
  34. While the Old Nurse Dozes
  35. Flay Brings a Message
  36. The Library
  37. In a Lime-Green Light
  38. Reintroducing the Twins
  39. ‘The Fir-Cones’
  40. Keda and Rantel
  41. The Room of Roots
  42. ‘Inklings of Glory’
  43. ‘Preparations for Arson’
  44. The Grotto
  45. Knives in the Moon
  46. ‘The Sun Goes Down Again’
  47. ‘Meanwhile’
  48. ‘The Burning’
  49. And Horses Took Them Home
  50. COVER

She is standing within a foot of him. The air is heavy with her presence.

Her voice is very husky when she speaks. ‘I was going to strike him down,’ she says heavily. ‘That is what I intended to do with him. To break him.’

He lifts his eyes. The white cat is within a few inches of him. He watches the hairs of its back; each one has become a bristle and the back is a hummock of sharp white grass.

The Countess begins to talk again in a louder voice, but it has become so choked that Flay cannot understand what she is saying. At last he can make out the words: ‘You are no more, no more at all. You are ended.’

Her hand, as it moves gently over the body of the white cat, is trembling uncontrollably. ‘I have finished with you,’ she says. ‘Gormenghast has finished with you.’ It is hard for her to draw the words from her great throat. ‘You are over … over.’ Suddenly she raises her voice. ‘Crude fool!’ she cries. ‘Crude, broken fool and brute! Out! Out! The Castle throws you. Go!’ she roars, her hands upon the cat’s breast. ‘Your long bones sicken me.’

Flay lifts his small bony head higher into the air. He cannot comprehend what has happened. All he knows is that it is more dreadful than he can feel, for a kind of numbness is closing in on his horror like a padding. There is a greenish sheen across the shoulders of his greasy black suit, for the morning light has of a sudden begun to dance through the bay window. Steerpike, with a blood-drenched handkerchief wound about his face, is staring at him and rapping the top of a table with his nails. He cannot help but feel that there is something very fine about the old creature’s head. And he had been very quick. Very quick indeed. Something to remember, that: cats for missiles.

Flay moved his little eyes around the room. The floor is alive and white behind the Countess, around whose feet lies the stilled froth of a tropic tide, the azure carpet showing now here and now there. He feels he is looking at it for the last time and turns to go, but as he turns he thinks of the Breakfast. He is surprised to hear his own mirthless voice saying: ‘Breakfast.’

The Countess knows that her husband’s first servant must be at the Breakfast. Had he killed every white cat in the world he must still be at the Breakfast in honour of Titus, the 77th Earl of Gormenghast, to be. Such things are cardinal.

The Countess turns herself about and moves to the bay window after making a slow detour of the room and picking up from a rack near the fireplace a heavy iron poker. As she reaches the window her right arm swings slowly back and forward with the deliberation of a shire-mare’s bearded hoof as it falls into a rain pool. There is a startling split and crash, a loud cascading of glass upon the flag-stones outside the window, and then silence.