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It was the very shank of winter - a blustery day in the city, a miasmic city full of Existential fury. It was now lunch hour for the business crowd. The masses of businessmen and women went about their appointed rounds. The skyscrapers were edified against a cerulean sky and their jutting shadows dwarfed the rushing crowds on the street. The stifling traffic, cabs and trucks, honking and bleating, crept past the young derelict choking on exhaust fumes.
The man shivered with fright and cold. His chest spasmed with pain. He coughed violently as masses of passersby walked over and around him. He lay facedown on the street drain. His blonde crew cut was tainted with filth, his bare ankles blistered beneath scuffed-up dress shoes. Death seemed to lurk over his dry-heaving body. Panic glazed his eyes. He wasn't unconscious, but silent and still.
A hot-dog vendor, who had been watching the prone man for twenty minutes, walked up to where he lay motionless.
"Hey? You all right?"
"No."
"You want me to call a cop or something?"
"I am Sergei," mumbled the man. "I have been to the Isle of the Dead. You know?"
"What are you saying?"
No answer.
"Okay." The vendor shrugged and muttered, "Crackhead." He slowly walked back to his cart.
The young man had been sleeping in a hotel near 45th until he was kicked out; then it was Central Park - until the cops forced him to move on. He couldn't remember his last meal. His face was handsome.
He'd been nodding in and out of narcoleptic stages when two medics from nearby Saint Luke's Hospital appeared, dispatched in response to a concerned 911 call. They approached him slowly and cautiously.
"Hey, Mister. Mister . . . Come along with us."
He didn't move. The medic spoke again.
The young man lifted his head.
"That's it. . . . Get yourself up, now. . . . Gooood . . . That's it, now."
The man managed to stand up with their help. They walked him to the ambulance. He mumbled, "Isle of the Dead. . ."
The driver radioed in to his dispatcher:
"We've got a Caucasian male, no identification, early twenties. He probably hasn't eaten - really out of it. Dehydrated, emaciated, irregular breathing, not responding much . . . possibly drugs. Low pulse rate, blood pressure ninety over sixty."
At the emergency room of St. Lukes, a hospital gown replaced his torn clothing, and they put him on an IV drip.
"Yeah, he's dehydrated," assessed the nurse.
He sobbed on the bed. He tried to speak but only slurred in intervals.
"Rachmaninoff . . . have . . . been to . . . Isle of the Dead."
"Okay, that's fine," coached the nurse. "Now, is that your name? Where do you live?"
He didn't understand.
"You look like you haven't eaten for a while. You don't look like a druggie to me. Mental illness, maybe? Who knows?"
"What have we got here?" asked the doctor, picking up the patient's printout off the end of the bed
"Seems to be delusional. All he seems to say is 'I am Rachmaninoff,' or some Russian-sounding name like that. Like Sergei something. That might be his name, right?"
"Probably not. Don't you know your composers, Gwen?"
"A shopkeeper said he saw him busting into businesses, raving about the Isle of the Dead or something. Saying he was going to be on the cover of Time magazine. Then they saw him lay in the gutter all morning. Said they figured him for dead. He has no wallet, nothing."
"Looks emaciated, way underweight," said Dr. Kennedy, looking at his patient whose blank expression silently spoke of mental anguish. His pale face was a portrait of tortured features.
"So, he thinks he is Rachmaninoff, eh?" the doctor continued. "It's okay there, young man. We'll take care of you. Give him a change of clothes, and we'll get him transferred to Behavioral if he starts coming around. No medical insurance here, obviously. If he doesn't eat in a while, he's a goner. Keep that intravenous drip for a good while."
"Yes, Dr. Kennedy. I'll finish up his chart in just a minute and bring it back to you," she said.
"Good."
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Most Helpful Customer Reviews
1 of 1 people found the following review helpful:
4.0 out of 5 stars
Review from Necropsy,
By Ms. Olaf Stapledon, Jr "Jane's Bertie Wells" (A flat in the Honduras) - See all my reviews
This review is from: Rachmaninoff's Ghost (Paperback)
Facing the Music
A Review of M. F. Korn's Early Work, Rachmaninoff's Ghost By Jim Reyome Korn, M. F., Rachmaninoff's Ghost. Lansdowne, PA: Silver Lake Press, 2002. 146p. As a (frustrated) writer myself, long at work on the Great American Novel--and who among us isn't--it's always fascinating to look at the early work of an established author. Kinda like looking at one of Van Gogh's finger paintings. Not that I belong in the same league, but I could do the same sort of with my own work. I save pretty much everything I write, and that's stacks and stacks of notebooks and furiously typed pages, most of which are in envelopes which have been sealed, opened briefly, and resealed dozens of times. These envelopes invariably have warning labels of some sort on them reading TOXIC! or BIOHAZARD! or NOT SAFE FOR HUMAN CONSUMPTION. Often I wonder what manner of pharmaceuticals I was on when I spewed some of that crap. Mind you, that was back in the 80s, so it could have been just about anything. So, I can still read my early works. I just choose not to do so very often--it's far too wince provoking. Joe Lansdale couldn't elicit more sincere (unintentional) retches, and as such I would not recommend it to anyone without a stout constitution. That anyone would allow folks to read their early works is, to me, surprising at the least, and that they would actually publish such a work is positively shocking. Thus, I must conclude that Michael Korn is a far, far better man than I. Or at least he has a stronger stomach, for with the publication of Rachmaninoff's Ghost he has put an early (vintage 1984) work out for public display. Onward, then: a shambling, disheveled man staggers down the sidewalks of New York City, near death. Taken for a drunk, he's eventually removed to a hospital to be treated for his maladies, one of which is apparently mental: he insists his name is Sergei Rachmaninoff. Flashback to six months prior and we meet the principal character, one Mark Conner, a former engineering student at Louisiana State University who transfers to a smaller school to study music, an opportunity he likely wouldn't have qualified for at LSU. He is a talented piano player, but not extraordinarily so, and on his first audition at Southeastern it's suggested he major in something other than piano. Mark is, needless to say, devastated, and goes to extreme measures to improve himself. No self-help course will do, no Roy Clark's Big Note Songbook for him; no, Mark Conner turns to another, more sinister book: the Necronomicon. It seems he has experience with this sort of thing; his mother turned him on to the Occult as a child and with Lovecraft's volume and others obtained at a local used bookstore (great atmosphere there, by the way) he pays a visit to a local bone orchard to summon Rachmaninoff his own self. The summoning works swimmingly, if painfully. Presto gooey gumbo, Mark Conner can play. So much for bad auditions. Unfortunately, things don't exactly stop there (but then you knew that was coming, didn't you?). Mark doesn't merely channel the talents of Rachmaninoff; he actually becomes the legendary pianist. It happens in bits and pieces; first he gets his hair done in a crew cut; he takes to wearing an old, long trench coat; he stops eating and starts drinking. Heavily. He even redecorates his dorm room in a style befitting someone of his stature, much to the dismay of his roommate. All the while he is impressing and even astounding everyone around him with his 88 key virtuosity. Well, not exactly everyone. But Junior Treacher's not telling. He's the one person in Hemdale who knows of Mark's misadventures. Junior, you see, happened to be in the cemetery polishing the headstone of his "Mama Ida" the night Mark did his summoning. Junior never did much talking, at least any that ever made much sense. But he's doing some talking now: "Rachmaninoff must die! Rachmaninoff must die!" Even more curiously, Junior can suddenly play the piano. Clumsily, not as elegantly as the well trained Mark Conner, but nonetheless he can play. No lessons, no Big Note Songbook, nothing except a whammy from beyond the grave. And he knows about whammies too, does Junior Treacher. Mama Ida taught him, along with a few other things, which are left unsaid but implied. Interesting stuff, this. This neat little subplot is interrupted abruptly and in a wonderfully gruesome manner. A pity. Meanwhile, Mark's fame grows and grows until it's too big for Southeastern, too big for Louisiana. He's invited to audition for the Julliard, his picture's taken for the cover of Time, and he's ready to check himself into an insane asylum. He knows there's something wrong. He just doesn't know what to do about it. He never plays even a single note at the audition, and finally we come full circle, with Mark roaming the streets of New York, insisting he's Sergei Rachmaninoff. He's eventually returned to Louisiana for treatment, and it's in this institution where the story reaches a gooey climax that is awfully rushed and ultimately unsatisfying after an otherwise engrossing read. The loose ends are mostly tied up (with one obvious exception being Mark's child) but that's about it. No happy ending here--not much of a surprise, that--but not unhappy either. Here's where Rachmaninoff's Ghost slips for me: I didn't care much about Mark Conner. He was just a lynchpin, an axle around which the story turned. Necessary, but not very engaging. Some character development would've made a big difference here. The most interesting character is Junior Treacher, who plays all too small a role. I was also disconcerted by the repeated references to the teeth of some of the characters. Teeth, of all things. Tiny teeth. Tiny white teeth. Well, at least they practice good dental hygiene. Having said all that, I must also note that I really did enjoy this book, and as I have yet to end a review of a book I enjoyed on a downer, I will note some strong points. Conner's life as a music student and as a performer with and without the aid of Rachmaninoff is well presented. Here, Korn's own passion for music is evident, and it's what truly carries the story. Someone less educated musically couldn't have pulled this off and made it work. Also, the basic concept of the tale, while not entirely original, is carried off so well that it's hard not to enjoy it. And then there's the novelty of reading the early work of a budding horror writer. That's pretty neat for those of us who forever seem to struggle in obscurity. Michael Korn has a talent I will enjoy watching him build, and Rachmaninoff's Ghost is a more than adequate foundation upon which to build it.
1 of 1 people found the following review helpful:
4.0 out of 5 stars
A Review,
By A Customer
This review is from: Rachmaninoff's Ghost (Paperback)
-------------------------------------------------------
About THE AUTHOR of twelve novels and 240 published stories: Three of MF Korn's books, CONFESSIONS OF A GHOUL AND OTHER STORIES, and ALIENS, MINIBIKES AND OTHER STAPLES OF SUBURBIA, and also SKIMMING THE GUMBO NUCLEAR were mentioned in The Year's Best Fantasy & Horror: Fifteenth Annual Collection. CONFESSIONS OF A GHOUL AND OTHER STORIES was mentioned in The Mammoth Book Of Best New Horror edited by Stephen Jones. RACHMANINOFF'S GHOST was also mentioned in The Mammoth Book Of Best New Horror edited the following year. ---------------------------------------------------------- ACTUAL REVIEW BELOW: -------------------------------------------------- A reviewer, June 26, 2003, Review in Baton Rouge ADVOCATE Newspaper Rachmaninoff's Ghost. M. F. Korn. Sliver Lake Publishing, 2003. 146 p. Local author and pianist M. F. Korn combines two things he loves--classical music and horror--in his most recently published novel. Rachmaninoff's Ghost is a story of possession which is set mostly in Hammond, Louisiana, on the campus of Southeastern University. In this tale, Mark Connor forgoes his parents' dream that he study engineering at Louisiana State University to pursue his own of studying the piano. But alas, while Mark plays well enough, his talents only earn him conditional acceptance to a program at Southeastern. While finding his way around the university, Mark indulges in another passion of his, looking for obscure books on the occult in used book stores. He hits pay dirt when he finds a copy of the Necronomicon, the allegedly fictitious book of the dead mentioned in the writing of H. P. Lovecraft. Later he uses one of the spells found in the book to conjure the spirit of Sergei Rachmaninoff. The problem is that Rachmaninoff doesn't just appear to Mark; he takes possession of him. Suddenly Mark's playing becomes inspired, and someone from Time magazine comes to hear him play. But doom ultimately awaits the person who believes he can channel the dead and emerge unscathed: when Mark conjured the spirit of his favorite composer in order to take advantage of his talent, he did not realize that there is a terrible price to pay, as a living body cannot successfully host two spirits at once. Ultimately Mark collapses into a shambling lunatic, thus ending his piano career. Rachmaninoff's Ghost is Korn's first novel, written in 1984, soon after the author graduated from college with a degree in piano, but it was not published until 2003. The influence of the classic ghost story on his early writing is evident, and people wishing to read a relatively gentle tale of possession will be pleased. As a whole, this novel isn't very gory when compared with other works in the horror genre, and Rachmaninoff's Ghost is less subtle and atmospheric, more plot-driven, than Korn's later work. Unfortunately, anyone looking for local color will be disappointed, as Rachmaninoff's Ghost doesn't evoke a specific time and place as poignantly as does his previous novel, Skimming the Gumbo Nuclear. Skimming the Gumbo Nuclear, set in Baton Rouge in the early 1980s, accurately recreates the Chimes Street and LSU culture of that era, as well as evoking the malaise of that decade, leaving readers with the image of zombies running rampant through the now defunct Bon Marche Mall. Rachmaninoff's Ghost, however, doesn't do the same for Hammond. ---June Pulliam LSU Instructor, Horror Lit, English and Gender Studies
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