1 line
99 KiB
Plaintext
1 line
99 KiB
Plaintext
===============================================
|
||
InterText Vol. 8, No. 1 / January-February 1998
|
||
===============================================
|
||
|
||
Contents
|
||
|
||
The Worse Part..................................Neal Gordon
|
||
|
||
Ox-Plum Road....................................Hollis Drew
|
||
|
||
How Joe Found a Living......................Adam Harrington
|
||
|
||
The Year Before Sleep.......................Rupert Goodwins
|
||
|
||
....................................................................
|
||
Editor Assistant Editor
|
||
Jason Snell Geoff Duncan
|
||
jsnell@intertext.com geoff@intertext.com
|
||
....................................................................
|
||
Submissions Panelists:
|
||
Bob Bush, Joe Dudley, Peter Jones, Morten Lauritsen, Rachel
|
||
Mathis, Jason Snell
|
||
....................................................................
|
||
Send correspondence to editors@intertext.com or
|
||
intertext@intertext.com
|
||
....................................................................
|
||
InterText Vol. 8, No. 1. InterText (ISSN 1071-7676) is published
|
||
electronically every two months. Reproduction of this magazine
|
||
is permitted as long as the magazine is not sold (either by
|
||
itself or as part of a collection) and the entire text of the
|
||
issue remains unchanged. Copyright 1998 Jason Snell. All stories
|
||
Copyright 1998 by their respective authors. For more information
|
||
about InterText, send a message to info@intertext.com. For
|
||
submission guidelines, send a message to guidelines@intertext.com.
|
||
....................................................................
|
||
|
||
|
||
|
||
The Worse Part by Neal Gordon
|
||
=================================
|
||
....................................................................
|
||
When does a relationship cross the line from being in trouble to
|
||
being over?
|
||
....................................................................
|
||
|
||
"I'm getting engaged, Rey," Liona says, squeezing lemon onto her
|
||
fried perch. She is a model, and her movements are fluid,
|
||
without cessation. The effect is that she always seems to be
|
||
moving. One movement becomes the next.
|
||
|
||
"But I thought that -- " I start, but I can't think of what to
|
||
say. We are in the diner on Ninth, doing what we always do
|
||
afterward. Having lunch. What can I say?
|
||
|
||
"That I'd wait for you?"
|
||
|
||
"That you _were_ waiting for me," I say leaning forward and
|
||
trying to look at her. I have long since learned the
|
||
difficulties in dating a very beautiful woman. Looking her in
|
||
the eye is difficult at best.
|
||
|
||
Liona takes a bite of her fish and says, "Rey, you're sweet, and
|
||
I'm glad you've finally made some decisions about Audra, but I'm
|
||
not going to be monogamous with you."
|
||
|
||
I push the mashed potatoes around on my plate. The mashed
|
||
potatoes I can look at. Homemade with lumps. The brown gravy is
|
||
a mix, too silky not to be. "It doesn't sound like you have
|
||
been," I say.
|
||
|
||
"No," she says and laughs, "but neither have you, if you think
|
||
about it. Regardless, I'm not going to marry you, so there's no
|
||
point in it." Then she adds, "This fish is delicious."
|
||
|
||
"Why not? We're good together," I say and manage to take a good
|
||
look at her. Like always, I want to stare.
|
||
|
||
"No, Rey, we're fun together."
|
||
|
||
"Exactly," I say. She is wearing a baseball cap and T-shirt and
|
||
jeans. Her informal dress helps. When she is dressed, I mean
|
||
_really_ dressed, it's like standing next to a person in a
|
||
spotlight. Everyone sees you, but only as an afterthought.
|
||
|
||
"No, those aren't the same thing," she says. "We wouldn't be
|
||
good together."
|
||
|
||
"What's the difference?"
|
||
|
||
"I enjoy you. You enjoy me, we have a fun time, but it's not
|
||
good."
|
||
|
||
"That sounds hypocritical."
|
||
|
||
"No, it's not. It's the truth. How could I ever trust you?"
|
||
|
||
The waitress returns and fills our water glasses. She looks at
|
||
my untouched plate and says, "Foodzallright?"
|
||
|
||
"Yes, fine," I say and stick a fork into the potatoes for her
|
||
approval. She smiles and walks away. Liona is eating her fish
|
||
and smiling at me. Everyone is smiling, dammit, and I am struck
|
||
dumb by my own unhappiness.
|
||
|
||
Liona's teeth are as white as cow's milk, whiter than pearls.
|
||
But it is her lips that call attention to her face. They are
|
||
very thin and a color that I have never seen on another woman.
|
||
The color of a peach, pink-yellow. I cannot look at them closely
|
||
without feeling as I did when I first met her: that she is much
|
||
too attractive for the likes of me.
|
||
|
||
"Have I ever lied to you?" I ask.
|
||
|
||
"Not that I know."
|
||
|
||
"Well, there you are."
|
||
|
||
"But you've shown me repeatedly how subversive you are if need
|
||
be. We've been seeing each other for nearly two years." She
|
||
rolls her eyes. Yes, much too attractive.
|
||
|
||
"You're saying that because I made a relationship with you while
|
||
I was married, you can't trust me when I'm not?"
|
||
|
||
"Don't twist the words. Eat your food," she says, reaching over
|
||
with her fork for a piece of my meatloaf.
|
||
|
||
I take a bite of the meatloaf. It is still very hot. Great
|
||
texture. "Tell me what I can do to fix this."
|
||
|
||
"This isn't the kind of thing you fix, Rey. It's the kind of
|
||
thing you recognize."
|
||
|
||
"But if there's a problem..."
|
||
|
||
"There isn't a problem. You're a nice, sweet man, and I'm very
|
||
fond of you, but we can't be serious. Eat."
|
||
|
||
I look down at my full plate. The meatloaf plate here is large
|
||
and I love it because I am usually hungry after Liona and I
|
||
spend the afternoon together. It's like the sex awakens all of
|
||
my other senses. It has always struck me funny that after sex
|
||
with her, I invariably find myself having sex with Audra. I
|
||
wonder what Audra would say if she knew that Liona was
|
||
responsible for her orgasms for the last two years. Best bet is
|
||
she wouldn't approve.
|
||
|
||
I begin to eat my meatloaf, but my heart isn't in it and I
|
||
mostly stir things around to make it look like I'm eating, the
|
||
way I used to when mom made liver or goulash. I feel the dull
|
||
ache in my privates and I can't sit comfortably.
|
||
|
||
"Sore?" she asks, with a smile.
|
||
|
||
"Tired, I guess."
|
||
|
||
"Good," she says and I expect something more but she doesn't say
|
||
anything and we eat in silence for a few minutes. I watch as
|
||
Liona delicately picks through the fish and then takes each
|
||
bite. With her tongue, she searches through the bite for bones,
|
||
then gently reaches up, takes them out and sets them down on the
|
||
plate.
|
||
|
||
Finally the waitress comes back to our table and fills the water
|
||
glasses. "You no like the meatloaf?" she asks.
|
||
|
||
"It's fine, I'm just not as hungry as I thought."
|
||
|
||
"Itsa big meal. Want I should wrap it for later?" she says with
|
||
a stray finger. "Maybe you have a late snack?"
|
||
|
||
"No, its fine, thank you."
|
||
|
||
"But you hardly eat nothing."
|
||
|
||
"It's fine, really."
|
||
|
||
"Suit yourself," she says and shrugs. "You don't want pie then?"
|
||
|
||
"No."
|
||
|
||
"Do you have any chocolate?" Liona asks. I look at her plate of
|
||
fish bones. Sharp quills as white as her teeth that lie neatly
|
||
stacked to one side of the cottage cheese ball with half a
|
||
maraschino cherry on top.
|
||
|
||
"No, but we got Boston Cream."
|
||
|
||
"That would be great," Liona says and smiles and looks down.
|
||
|
||
"Skinny thing like you eating Boston Cream." The woman laughs
|
||
and turns toward the kitchen.
|
||
|
||
I know Liona is a little embarrassed because I used to watch her
|
||
put on her makeup when we first met. We had a ritual. I'd get
|
||
the room and she'd wait by the elevator. We'd ride up together
|
||
without looking at each other, then go to the room. We'd make
|
||
love and then get into the shower and talk and talk until I
|
||
could make love again. Then sex a second time, and another
|
||
shower. Then she'd sit on the vanity and fix her makeup and I'd
|
||
watch her. Married for seven years and I had no idea how a woman
|
||
put on her makeup. Powder and base and then color in her cheeks,
|
||
just a little. White shading stuff under her eyes and color over
|
||
and then a pencil and then lipstick. It takes about fifteen
|
||
minutes, all told.
|
||
|
||
|
||
|
||
At first she used to blush because she had never had a man watch
|
||
her so closely and you could see the color underneath rise up
|
||
like now. The amazing thing is, she doesn't really look any
|
||
different after, she just looks more like her. Then we'd go out
|
||
and have a meal, just like today. We've eaten in most of the
|
||
little places in town a few times, I guess.
|
||
|
||
When the waitress brings the pie and the check, I am at a loss
|
||
for words.
|
||
|
||
"You aren't going to get all weird on me, are you?" Liona asks,
|
||
taking a bite of the pie.
|
||
|
||
"Weird? No. I don't think so," I say leaning forward and taking
|
||
out my wallet.
|
||
|
||
"Do you understand why I can't keep seeing you?"
|
||
|
||
"Not at all." I start to count out the money for lunch.
|
||
|
||
"Because I want to have a real relationship."
|
||
|
||
I stop with the money and say, "I can have that," trying to look
|
||
right at her, but I can't hold it.
|
||
|
||
"No. You and I couldn't ever be more than what we are now.
|
||
Lovers."
|
||
|
||
"OK, I'll take it," I say, trying to make a joke.
|
||
|
||
"Rey, try to be serious for one minute. I'm telling you that
|
||
this afternoon was the last time."
|
||
|
||
"Why?"
|
||
|
||
"Because I have never had to trust you to be faithful, and now
|
||
that I would have to trust you, I know I can't."
|
||
|
||
"You mean that you can't be involved with me because we had an
|
||
affair."
|
||
|
||
"Basically, yes."
|
||
|
||
"Super. Just brilliant," I say. I am so pissed I can barely put
|
||
my wallet away, my hands are shaking so bad.
|
||
|
||
"Are you going back to Audra?" she says, wiping her mouth with
|
||
the paper napkin from her lap. I watch as the last of her
|
||
lipstick smears onto the napkin.
|
||
|
||
"I don't know," I say and she lifts her purse to her lap, opens
|
||
it and pulls out her lipstick.
|
||
|
||
She starts to put it on and says, "I think it would do you good
|
||
to be alone awhile." She puts on a deep red that hides her
|
||
natural color.
|
||
|
||
"Well, that I will be," I say.
|
||
|
||
"Don't worry. I'll call you at the restaurant in a few days and
|
||
make sure you're OK," she says. "Give me a kiss, then." She
|
||
leans in, but turns her head when I go to kiss her, and so I
|
||
only give her a peck on the cheek.
|
||
|
||
"Super," I say, leaning back in my chair.
|
||
|
||
"Be nice, Rey. It's not the end of the world." She stands and
|
||
turns for the door.
|
||
|
||
"No. Of course not." I say, closing my eyes and leaning my head
|
||
back, but the muscles in my neck stiffen like they are going to
|
||
cramp.
|
||
|
||
|
||
|
||
Out on the street, I'm only about four blocks from my
|
||
restaurant. I should go back and finish the afternoon list, but
|
||
I can't do it. My car is there, though, and I know that if I go
|
||
get it, I'll end up working. A restaurant is a black hole for
|
||
time: you can never work too much. Always something to be done.
|
||
|
||
It's a beautiful day: fall is here. I decide to hoof it home. I
|
||
can always get the car later, or have Carl drive it out to me. I
|
||
mean, just because my affair and my marriage are falling apart
|
||
doesn't mean that my restaurant is going anywhere, knock on
|
||
wood.
|
||
|
||
I first met Liona two years ago. She walked into the restaurant
|
||
one day while Carl and I were finishing the lunch shift. We'd
|
||
sent the two line cooks home already and we were bullshitting
|
||
and doing the afternoon list and the place was about empty and
|
||
it was one of those hellish hot days that we get around here in
|
||
August. Absolutely criminal weather, what with the haze and the
|
||
bright sun making everything glare like hell.
|
||
|
||
I was up front, and she walked through the door and the light
|
||
shone around her when the door was open. I can remember that
|
||
Carl and I both stopped still. Carl elbowed me, and I don't
|
||
know, I had had another fight with Audra or something, and the
|
||
business was going well and I felt cocky, and I knew that I
|
||
didn't have a chance in hell the moment the door closed and I
|
||
got a good look at her because she was so stunning. But I wiped
|
||
my hands on the white towel looped through my apron's tie-back,
|
||
and walked over to where she sat at the counter.
|
||
|
||
I turned over her water glass and filled it from the pitcher
|
||
covered in condensation, and she picked up the glass and drained
|
||
the whole thing. "Before you even think about a menu, you need a
|
||
stick of gum," I said.
|
||
|
||
She smiled, her white teeth shining beneath those even thin
|
||
lips. "I'm not much of a gum chewer," she said.
|
||
|
||
"But this gum is guaranteed to transport you directly to
|
||
childhood," I said and reached into my pocket. I noticed that it
|
||
was easier to speak if I didn't look directly at her, so I
|
||
leaned forward onto the counter top with one elbow. "Fruitstripe
|
||
Gum." I said and held out the package to her. I looked up into
|
||
her blue eyes as she grinned and I had one of those moments.
|
||
Religious. Angelic. Something. Carl walked across the restaurant
|
||
toward the kitchen behind her, and I remember him waving his
|
||
arms in the air and making the football referee's gesture for
|
||
"injury on the field."
|
||
|
||
I watched her hands as she unfolded the wrapper and put the
|
||
striped piece of gum in her mouth. "This gum is like fourth
|
||
grade," she said and laughed.
|
||
|
||
"Told you."
|
||
|
||
"Why are you carrying around Fruitstripe Gum?"
|
||
|
||
"Too much free time," I said.
|
||
|
||
"It's awfully sweet,"
|
||
|
||
"The gum or..."
|
||
|
||
"The gum," she said and laughed again.
|
||
|
||
"Don't worry, the flavor only lasts about five minutes."
|
||
|
||
"Probably just as well," she said. "I came in for lunch."
|
||
|
||
"I think we can handle that," I said and nodded. The place was
|
||
nearly empty.
|
||
|
||
"What do you recommend?'
|
||
|
||
"Do you eat meat?"
|
||
|
||
"It's awfully hot out," she said and looked past me to the
|
||
windows.
|
||
|
||
"Something light?"
|
||
|
||
"And cool."
|
||
|
||
"Cold fried chicken and my own special potato salad," I said and
|
||
stood up straight.
|
||
|
||
"Lemonade?"
|
||
|
||
"Definitely. My name's Rey."
|
||
|
||
"Sounds perfect, Rey."
|
||
|
||
"Save room for dessert," I said, picking up a serving plate, and
|
||
walking back to the cooler door in the back of the dining room.
|
||
When I caught the handle of the cooler, it was cold. "Hey, if
|
||
you're hot, come back here for a second," I said.
|
||
|
||
She looked at me for a moment, then got up and walked over. I
|
||
can remember thinking how beautiful she was, and noticing that I
|
||
was itching my wedding ring finger with my thumb. As if I was
|
||
turning it, but it wasn't there. I don't wear it to work because
|
||
it gets too hot over the stoves.
|
||
|
||
"What is it?" she asked.
|
||
|
||
"Coolest place around," I said and pulled open the heavy blue
|
||
door. On hot days, cool air rushes out of the walk-in cooler
|
||
like a cold wind. I flipped on the light, said, "C'mon, you're
|
||
letting the cold out," and went in. She followed and pulled the
|
||
door closed.
|
||
|
||
"Heavenly," she said.
|
||
|
||
It's actually about 40 degrees. "Feels great, doesn't it?"
|
||
|
||
"Unbelievable."
|
||
|
||
I reached into the rack and pulled out the long tray of fried
|
||
chicken I'd cooked off that morning. "I'm serving these tonight,
|
||
but I'll make an exception. Which one do you want?"
|
||
|
||
She leaned past me, over the tray and pointed. "There," she
|
||
said. I could smell her hair she was so close. I could see the
|
||
goosebumps on her shoulders. I could see the fine freckles and
|
||
short peach fuzz on the back of her neck.
|
||
|
||
I took the tongs from the side of the rack and put the piece on
|
||
the serving plate. "A fine choice. Potato salad's up front," I
|
||
said and slid the tray back into the rack.
|
||
|
||
"My name's Liona," she said, stepping back and sticking out a
|
||
thin hand to me.
|
||
|
||
"I was wondering how I was going to ask," I said, and shook her
|
||
hand. It was cold. Her hands are always ice cold.
|
||
|
||
"I think I could just stand in here all day."
|
||
|
||
"Not in that dress. You'd catch your death," I said and walked
|
||
out of the cooler.
|
||
|
||
She ate daintily and we chatted all the way through her meal. I
|
||
gave her a piece of raspberry cheesecake I'd made the night
|
||
before and asked her to go to dinner with me.
|
||
|
||
It was that easy.
|
||
|
||
|
||
|
||
My house is a beautiful old victorian that Audra inherited. When
|
||
we got it, you couldn't see across the living room because the
|
||
ceiling sagged so badly. We've worked on it for almost our
|
||
entire nine years. It's been a long haul.
|
||
|
||
I step up the stairs of the front porch and open the door. With
|
||
my hand still on the knob, I hear it. I stand stock still for a
|
||
moment, listening to Audra's groaning gradually building, and I
|
||
know from the tone that if I stand here for another five minutes
|
||
or so, I will probably hear her make that noise she makes when
|
||
she comes.
|
||
|
||
I step back onto the porch and look up and down the street for
|
||
cars. About a block down is the Jensons' green Toyota. No one. I
|
||
step back into the house and slam the door hard enough to shake
|
||
the walls. The noise overhead stops. I hear moving feet. I drop
|
||
my keys on the hall table and walk into the living room. The air
|
||
conditioning comes on. The upstairs bathroom door closes.
|
||
|
||
In a moment, "That you, Rey?" comes down the stairs. It's Carl's
|
||
voice.
|
||
|
||
"Don't come down or I'll kick your fucking ass," I say without
|
||
raising my voice. I could use a drink, and walk over to the
|
||
liquor cabinet and get a bottle of Jack Daniels from the shelf.
|
||
I start to grab a glass and don't.
|
||
|
||
"Can we talk about this?" comes the voice of my closest friend.
|
||
|
||
"No. Crawl out the damn window and jump off the back porch. Jump
|
||
off the fucking moon," I say and open the bottle and take a deep
|
||
drink. My throat gags and I cough, but I take another.
|
||
|
||
"I'm coming down," Carl says from the top of the stairs.
|
||
|
||
"Then you'll be dead and I'll be in jail," I say, and I sit down
|
||
on the sofa. I take another swig, bite back the edge of the
|
||
whiskey, kick off my shoes and put my feet up on the coffee
|
||
table. I hear Carl walk back across the upstairs, into the den
|
||
and open a window. Then I hear him on the roof. It's about a
|
||
twenty-foot drop. He'll probably break a leg if he jumps. I
|
||
don't think he will; he's not the type. At some point, I will
|
||
have to let him back in the house.
|
||
|
||
There is almost complete silence now, except for the sound of
|
||
Audra crying in the bathroom. This noise is replaced by the
|
||
sound of water running into the tub. I try to drink a few inches
|
||
of the whiskey, hoping to avoid the entire discussion that I
|
||
know will take place as soon as the water drains, but I can't.
|
||
|
||
Instead, I set the bottle on the table top, reach into my back
|
||
pocket and pull out my wallet. I take out the thick wad of
|
||
credit cards, remove the rubber band from around them, and start
|
||
flipping them over, face down on the coffee table. I start at
|
||
the top of the first row, dialing the number on the back.
|
||
Mastercard. The water stops running into the bathtub.
|
||
|
||
"Yes, I need to report my Mastercard is missing," I say to the
|
||
silky voiced young woman on the phone. "I seem to have lost my
|
||
wallet this morning and I need to have this account stopped
|
||
until I locate it," I take another drink, give the woman the
|
||
required number, say thank you, hang up and dial the number for
|
||
the Visa.
|
||
|
||
American Express, Diner's, then Macy's, Bloomingdale's, Penney's
|
||
and the local store cards. I decide to keep the Sears card and
|
||
the gas card. As I finish, the bottle is about a quarter gone,
|
||
and I hear the water from the tub gurgling through the old
|
||
plumbing. I dial the phone number of the restaurant.
|
||
|
||
"Mable's," comes the voice of the hostess.
|
||
|
||
"It's Rey, patch me back to Steve in the kitchen." I hear the
|
||
bathroom door open above me.
|
||
|
||
"Right away, Mr. Colvain." The line clicks. I hear Audra start
|
||
down the steps.
|
||
|
||
"What can I do you for, Rey," comes Steve's voice, our sous
|
||
chef. I can hear the sound of the fan in the convection oven
|
||
kick on. Cheesecakes must be in.
|
||
|
||
"I need you to finish the list, I'm not going to get back," I
|
||
say and I watch as her feet and then legs and then robe appear
|
||
through the railing banister.
|
||
|
||
"What do you want to run for specials?"
|
||
|
||
"I can't do this Steve, and I'm not going to be in tomorrow.
|
||
Probably won't see Carl either. Can you just cover till tomorrow
|
||
night?" Make no mistake, Audra is a beautiful woman in her own
|
||
right. Red hair bunched up on the back of her head. I raise a
|
||
hand for her to stop. She ignores me and walks into the kitchen.
|
||
|
||
"You OK, boss?" Steve asks.
|
||
|
||
"No, as a matter of fact, I'm fucking awful. I'll call tomorrow
|
||
sometime."
|
||
|
||
"I'll cover it."
|
||
|
||
"OK then," I say and hang up the phone.
|
||
|
||
Audra walks back into the room with a large glass of Seven-Up.
|
||
Her white robe is draped closed around her and she opens the
|
||
liquor cabinet and fishes out a glass and a coaster. She sets
|
||
the coaster on the coffee table in front of me, puts the glass
|
||
on it, and sits down on the other sofa, pulling her feet up
|
||
under her, knees together. Just like her.
|
||
|
||
"Are you planning to get a divorce, then?" I ask.
|
||
|
||
"I hadn't really thought about it."
|
||
|
||
"You should have."
|
||
|
||
"I should have when you opened Mable's."
|
||
|
||
"Don't make excuses," I say and tip an inch of whiskey into the
|
||
glass.
|
||
|
||
"Pour some of that in here, will you?" she says and holds out
|
||
her glass. I fill the top inch. Audra inserts her finger and
|
||
half stirs it, then licks her finger clean.
|
||
|
||
"Did it have to be Carl?" I ask.
|
||
|
||
"It didn't have to be anyone. I'm sorry it was Carl."
|
||
|
||
"Is he the only one?"
|
||
|
||
"Yes."
|
||
|
||
"Are you lying?"
|
||
|
||
"No," she says, but I know her well enough that she could be if
|
||
she wanted to. Of course, so could I.
|
||
|
||
I drink the whiskey without choking and set the glass down hard.
|
||
Then I repour two inches, and sip at it. "Can you tell me why?"
|
||
|
||
"Not without making excuses."
|
||
|
||
"What can you tell me?"
|
||
|
||
"That I'm lonely."
|
||
|
||
"So you fucked my best friend? Jesus," I say and lean back on
|
||
the couch. The couch is so deep that I am almost lying
|
||
horizontally and I rest the glass on my thigh.
|
||
|
||
"No, I looked for someone who would pay me some mind."
|
||
|
||
"Fucking is a strange way to make friends," I say to the
|
||
ceiling, letting my eyes close.
|
||
|
||
"Are you mad because I slept with him?"
|
||
|
||
"Didn't sound like sleeping," I snap, sitting up, and I can feel
|
||
the alcohol now, making my head spin. Making me angry.
|
||
|
||
"Or are you mad because I slept with anyone?"
|
||
|
||
"Both. But him I have to work with, dammit. I have to look at
|
||
him."
|
||
|
||
"I'm sorry about that," she says, and takes a drink of her
|
||
drink.
|
||
|
||
"Do you love him?" I ask.
|
||
|
||
"No. No more than you do."
|
||
|
||
"What does that mean?"
|
||
|
||
"You spend more time with him than you do with me."
|
||
|
||
"I run a restaurant with the guy."
|
||
|
||
"And the restaurant gets all of your attention. Even now you
|
||
called it before we spoke."
|
||
|
||
"Are you trying to blame this on the restaurant?"
|
||
|
||
"No. This isn't the kind of thing you blame on something, Rey.
|
||
It's the kind of thing you recognize."
|
||
|
||
"Yeah," I say, stunned. I drift, closing my eyes, back to Liona
|
||
and already her face is fading.
|
||
|
||
There is a long silence. I nod.
|
||
|
||
"I can't do this," Carl calls from upstairs. I spill my drink.
|
||
|
||
"Shit," I say, standing up fast.
|
||
|
||
Audra laughs.
|
||
|
||
I have to piss. "Would you deal with him?" I ask and walk off to
|
||
the toilet.
|
||
|
||
Pissing, I look at the calendar. Today is St. Michael's feast
|
||
day, September 30. My mom sent the calendar; I am long-since
|
||
lapsed. Audra and I were married Catholic. That was about the
|
||
last time I set foot in the church. I had enough from Catholic
|
||
school. I can hear Carl climbing back in the window.
|
||
|
||
Saint Mike was the general in God's army of Angels, I remember
|
||
from catechism class. He was made of snow. I guess the intended
|
||
effect was that kids would think they were safe in snowstorms,
|
||
or something. Or that he was like a blizzard to his enemies,
|
||
everywhere at once. All it ever made me think about was how when
|
||
you made a snow-man, you made a thing, but when you made a
|
||
snow-angel, you made a space: a hole.
|
||
|
||
I am pretty drunk and I wash my face in the sink, trying to
|
||
sober up a bit, but I can't get St. Mike out of my mind. Is what
|
||
Liona and I had a real thing or just a space between Audra and
|
||
me? I hear the front door close.
|
||
|
||
When I am back out in the living room, Audra is seated again.
|
||
"Is he gone?" I ask.
|
||
|
||
"Yes."
|
||
|
||
"Am I supposed to go?" I ask. I start to pick up the credit
|
||
cards.
|
||
|
||
"You don't have to," she says.
|
||
|
||
I stop what I'm doing. "Do you want me to stay?"
|
||
|
||
"If you want to stay married."
|
||
|
||
"We're married," I say, but the words sound strange to me. It's
|
||
been a long time since I really thought about being married. All
|
||
I've thought about for a long time now is getting divorced. I
|
||
sit down next to her.
|
||
|
||
"I don't want you to stay because you feel obligated," she says
|
||
and puts a hand on my knee. She has beautiful hands, I remember.
|
||
|
||
"Marriage means being obligated," I say, but I can hear how
|
||
hollow those words sound.
|
||
|
||
The house is dead quiet. In a whisper she says, "Then go."
|
||
|
||
I have wanted her to say those words for almost a year now, to
|
||
let me off the hook easy. But when they come, I know that I
|
||
don't want them. "No, that's too easy," I say.
|
||
|
||
"I don't want to fight," she says, pulling back from me.
|
||
|
||
I push my feet into the cushions on the back of the couch.
|
||
"That's not the point. The whole point of marriage is that you
|
||
can't just leave," I say, hoping that by saying the words I will
|
||
believe them, make them real.
|
||
|
||
"Yes you can, I'll give you a divorce, if that's what you want,"
|
||
she says.
|
||
|
||
"No, it doesn't matter what I want. That's not the point.
|
||
Sometimes being married is bad. But you don't just leave. That's
|
||
not being married."
|
||
|
||
"You shouldn't stay if it's that bad. If you want to leave."
|
||
|
||
"No, you still have to stay. Right now is the _worse_ part of
|
||
`for better or for worse.' This is just the worse part." I say,
|
||
trying to convince myself.
|
||
|
||
"Will there be a better part again?" she says.
|
||
|
||
"I don't know. I can't say," I answer and just look at her. We
|
||
sit a long time in silence. I try to remember the things that
|
||
made us get married. If I can only think of them, then maybe we
|
||
can have a better part again.
|
||
|
||
|
||
|
||
Neal Gordon <nbgordon@i-2000.com>
|
||
-----------------------------------
|
||
Neal Gordon teaches at the Episcopal Academy in Philadelphia and
|
||
works with the Working Writer's Group, a long-running critical
|
||
group in the Philadelphia area.
|
||
|
||
|
||
|
||
Ox-Plum Road by Hollis Drew
|
||
===============================
|
||
....................................................................
|
||
We search for meaning in life<66>s events; sometimes that search is
|
||
fruitless.
|
||
....................................................................
|
||
|
||
One thousand years ago, a holy man traveling to Hangzhou in east
|
||
central China surprised his rustic audience with the news that
|
||
their local mountain had once stood near his village back in
|
||
India. His followers quickly renamed their mountain "The
|
||
Mountain That Flew Here." Today vacationing honeymooners visit
|
||
this magical mountain to pray for prosperity and the happy
|
||
arrival of sons.
|
||
|
||
|
||
|
||
My father, Guy Woodleaf, was twelve when he chopped off his twin
|
||
brother's finger with an ax. The year was 1930. Guilt,
|
||
indignities, betrayal, and brutish circumstances were
|
||
commonplace that year. Mrs. Woodleaf sent her twins into the
|
||
henhouse early one Sunday morning to kill two chickens for
|
||
lunch. Aunt Violet has always believed Shawn only intended it as
|
||
a joke: He laid his pinkie upon the bloody chopping block while
|
||
two headless chickens flopped around in the yard.
|
||
|
||
"I dare you!" Shawn said, sneering at Guy.
|
||
|
||
"I'll do it!" Guy said, then cocked the ax above his head.
|
||
|
||
A chicken rose and staggered blindly toward the twins. Guy
|
||
jumped out of its path while Shawn hooted his youthful contempt.
|
||
The chicken wobbled off in a drunken barnyard do-si-do before it
|
||
kicked onto its side.
|
||
|
||
"Chicken!" Shawn chortled. He spit through his teeth like a
|
||
boxer.
|
||
|
||
Guy raised the ax into the air and hesitated.
|
||
|
||
Shawn shouted, "Double-dog dare!"
|
||
|
||
_Whack!_
|
||
|
||
Shawn yelped sharply, grabbed his gushing hand, and dashed
|
||
across the porch and inside the house with a torn expression of
|
||
alarm and gutsy admiration for his brother's nerve etched across
|
||
his face. It was one of the rare moments when anyone would see
|
||
Shawn cry.
|
||
|
||
Guy had been born first. He had emerged thin and unhappy and
|
||
vaguely introspective and, just like a dog or bear, rarely
|
||
stopped to consider the universe outside the bankrupt impulses
|
||
which would one day destroy him. The midwife was busy cleaning
|
||
up when Grandmother launched Shawn into the womb of time like a
|
||
slick melon seed flicked between her forefinger and thumb. The
|
||
family claims he entered the world laughing. Shawn would become
|
||
the wild child and, truth be told, his parents' favorite son. In
|
||
time, because of his toughness, he loomed as big as the
|
||
flesh-eating Minotaur. Their older sisters immediately adored
|
||
the new twins and squabbled over who would bathe them and powder
|
||
their bottoms and smear Vaseline upon their quaint nubbins.
|
||
|
||
The twins left school after finishing the eighth grade to farm
|
||
with their father in the Mississippi River bottoms. Guy said he
|
||
had enjoyed school some while it had lasted. Shawn didn't seem
|
||
to really give a damn.
|
||
|
||
Most of the other young men from the bottoms left school with
|
||
them: By then they could read and write, multiply and divide,
|
||
and knew enough history to participate in a rural democracy.
|
||
They quickly developed a respect for the lush geography that
|
||
shaped them, and understood its selectivity much better than
|
||
many who finished high school. While marginal crops and
|
||
difficult field hands often left them exhausted, the yearning
|
||
leg-clench of their women left them feverish and reverential.
|
||
They believed in determination and sacrifice, God and family and
|
||
country, and that playing by the rules really mattered. Too
|
||
emotionally distant to articulate well such deeply rooted
|
||
passions, many of those tough plowboys could kill. They would
|
||
soon make some damned good soldiers, those big glorious men.
|
||
|
||
Shawn was the first to tire of farming and joined the Merchant
|
||
Marines shortly before the Japanese attacked Pearl Harbor. Each
|
||
year at Christmas, Aunt Violet corners me between the chocolate
|
||
pie and the banana nut fruitcake to whisper a solemn foreboding,
|
||
since most Woodleaf men die so violently in their prime. (I
|
||
admit to having wondered if my father felt a nasty twitch of
|
||
what lay in store for him when the telegram announced Shawn was
|
||
lost at sea.)
|
||
|
||
Then she closes her large doleful eyes, clutches her chest as if
|
||
wringing aching hunger from tragic old memories, and repeats our
|
||
family's long bloated epiphany:
|
||
|
||
Shawn died shortly after midnight below decks in an oil tanker
|
||
torpedoed five miles off the coast of Texas in March of 1942.
|
||
The family had desperately prayed that Shawn had managed to
|
||
survive, and several brave plots were invented: Shawn had been a
|
||
gifted Sunday-afternoon athlete who loved competition and
|
||
bruises and glory; surely such a young bull could easily swim
|
||
five miles in a calm sea.
|
||
|
||
But the War Department had sent the tanker's lone survivor, a
|
||
badly scarred young sailor who had stood watch on the bow that
|
||
fateful night, to assure the family that Shawn had died quickly
|
||
in his sleep. The young seaman had stuttered; and he had spoken
|
||
sadly, and with great guilt, about his brave comrades who had
|
||
died in their sleep, while he had been blown clear of most of
|
||
the sizzling oil. Aunt Violet says she knew from the look in his
|
||
one good eye, he wished he had perished with Shawn.
|
||
|
||
The ship went down quickly. "N-n-no, there w-w-were no
|
||
s-s-screams; j-j-j-just the hissing of the s-s-ship as it
|
||
s-s-sank b-b-beneath the wa-wa-water."
|
||
|
||
There was no more doubt about it: Shawn was gone.
|
||
|
||
Guy, married by then, had not waited on the draft, but had
|
||
enlisted only a few days after Pearl Harbor. It was the right
|
||
thing to do, just as it was the right time to be magnanimous,
|
||
and he had felt only temporary disgust for the giddy town boys
|
||
with the bright, coddled looks and smell of a vacation who had
|
||
applied for military deferments as gentlemen farmers. After
|
||
Pearl Harbor, I imagine he felt the same remote hunger he must
|
||
have felt after quitting school; he listened patiently to the
|
||
moral outrage of his crippled President, but also clearly
|
||
understood with the rapid pulse of a hunter the gut-ripping
|
||
realities of war. When the Army trained him as a medic, it was
|
||
OK with him; he had often doctored the deep wounds of stubborn
|
||
mules and careless black men. Then for several tedious months he
|
||
had escorted shell-shocked soldiers to makeshift asylums
|
||
throughout the South before he finally received word that he was
|
||
headed overseas. That night he called for his young bride, Diane
|
||
Rose.
|
||
|
||
Mother rode in an overcrowded train for eighteen hours to say
|
||
goodbye to a husband she barely knew in an obscure hotel room
|
||
somewhere in Kansas City. Her world had grown acute since Pearl
|
||
Harbor. And, although she had been physically exhausted by her
|
||
trip, she had fought back her tears to make their last night
|
||
together special, just in case something unthinkable happened to
|
||
Guy as it had to Shawn.
|
||
|
||
Guy had a secret plan. Since the last thing Diane Rose wanted
|
||
was a child to raise alone, Guy had secretly snipped off the tip
|
||
of his condom. Getting the beautiful Diane Rose pregnant made
|
||
urgent sense to this laconic man more accustomed to the swoosh
|
||
of a plow than the deep drumbeat of war.
|
||
|
||
Afterwards, she was outraged to discover Guy's cheap deception
|
||
and thrummed her indignation to everyone in the family who would
|
||
listen. But on that night my father wasn't moved by her anger
|
||
and righteous tears; if a man was about to die in his prime, his
|
||
wife should at least have a baby. So, like millions of other
|
||
wartime brides, my mother discovered her husband was as capable
|
||
of dishonesty as the next horny man.
|
||
|
||
"If it's a boy, name him Aaron!" he shouted to Diane Rose as his
|
||
troop train pulled away from the loading platform early the next
|
||
morning, leaving her shivering and anxious and alone in the
|
||
bitter teeth of a February snowstorm.
|
||
|
||
It was almost three years before Guy returned home, exhausted by
|
||
terrible visions on Guadalcanal and changed forever by the awful
|
||
momentum of those years. While he served overseas, Grandfather
|
||
had died from cirrhosis of the liver brought on by a bout with
|
||
hepatitis, and Grandmother had moved off the farm and in with
|
||
his sister in Clarksdale, Mississippi.
|
||
|
||
Wartime photographs of my father dressed in his sleek, green
|
||
Army uniform show a serious young man with dark eyes and heavy
|
||
eyebrows. His military hat is cocked back upon the top of his
|
||
head. In those old photographs, which I love, he glows virtuous
|
||
and ripping and timeless.
|
||
|
||
He soon found work as an automobile mechanic at the Ford
|
||
dealership in Lazich and convinced Diane Rose they needed
|
||
another child, my sister, Hanna. We rode with him when he died
|
||
violently on a cold Sunday afternoon.
|
||
|
||
|
||
|
||
January that year had opened with several warm, vagrant days
|
||
that promised much more than the month could deliver, then
|
||
turned raw as an ice storm knocked out the electrical power for
|
||
three bitter days. Many in bundled Lazich staggered before a
|
||
surgical wind that cracked open their tired old bones. My father
|
||
had just reluctantly agreed to serve as a pallbearer for a
|
||
distant cousin whom he had not seen in years. Since it also
|
||
meant hauling all of us over one hundred miles into Mississippi
|
||
to sleep in a strange, lumpy bed, he saw little reason to feel
|
||
honored. But, still, Minnie was family.
|
||
|
||
Hanna and I had raged like heathens at the cemetery that
|
||
afternoon, and Hanna had almost pitched headlong into Cousin
|
||
Minnie's open grave during a game of tag with our young
|
||
Mississippi cousins. Our father snapped his fingers at our
|
||
mother and pointed us toward our car, but Mother was too busy
|
||
snuffing out her grief with a frilly handkerchief to notice. So,
|
||
he marched us out behind a cedar tree and thrashed us with his
|
||
belt.
|
||
|
||
When we returned, Cousin Minnie's casket had been lowered into
|
||
her grave, and the funeral party was breaking up before the
|
||
biting wind. My father tossed a handful of dirt onto the coffin
|
||
as an earnest though feeble salute, but the coffin lid drummed
|
||
back unkindly. Sullen gravediggers in heavy gray overalls and
|
||
gray cowhide gloves tweaked their shovels impatiently in a mound
|
||
of waiting dirt. It quickly became obvious he was just in the
|
||
way.
|
||
|
||
As we meekly climbed into the backseat of our car, he mumbled to
|
||
our mother, "The only reason God gives us kids is to humble us!"
|
||
|
||
He rushed us through Memphis and across the turbid Mississippi
|
||
River. Shafts of filtered sunlight pierced the afternoon's eerie
|
||
grayish-green cast. When we turned onto a familiar narrow county
|
||
road that lead toward our home in Lazich, I had regained enough
|
||
courage to ask, "Momma, tell me again why it's called Ox-Plum
|
||
Road."
|
||
|
||
Mother smiled. She had been blessed with charm and the gift of
|
||
words. And even if she had granted my frequent requests and
|
||
retold a story a thousand times, I always wanted to hear it
|
||
again:
|
||
|
||
"Back toward that line of trees over there," she said, sweeping
|
||
her hand to the open fields outside the car in a gesture so
|
||
subtly defined each of us, even my father, turned our gaze to
|
||
the distant line of leafless trees, "Two brothers once farmed
|
||
several acres of land, land that had once belonged to their
|
||
father, and before that to their father's father, and even his
|
||
father before him." She paused to allow the sweep of such
|
||
history to etch our souls.
|
||
|
||
"Being brothers, and naturally competitive, each brother wanted
|
||
to make a flamboyant mark to win the hand of a young widow both
|
||
brothers loved. The older brother had planted a prized plum
|
||
orchard that almost everyone agreed made the best plum jelly in
|
||
the county. Like a cider famous for its sweetness, the juice
|
||
from these plums was unlike all others. Its crystal amber was
|
||
described as something fit for the table of the gods.
|
||
|
||
"Well, the younger brother couldn't be outdone, and he cherished
|
||
a stout ox, which he had lovingly raised from soon after its
|
||
birth. Some said he loved this ox almost as much as he loved the
|
||
pretty widow -- and maybe even more than his brother loved his
|
||
wild plums, if that was possible.
|
||
|
||
"Each fall, when he showed the ox at the fair, he always brought
|
||
home a blue ribbon. Just as his older brother brought home blue
|
||
ribbons for his plum jelly.
|
||
|
||
"Then one day something happened to the ox. Everyone had a
|
||
theory. Some said maybe a swarm of bees stung it. Others said it
|
||
drank poisoned water. Nobody really knew. But something happened
|
||
to the ox, and it broke through a fence and raged throughout the
|
||
plum orchard, where it destroyed all of the prized plum trees.
|
||
The angry farmer, in a wild rage, then killed his brother's ox
|
||
with an ax.
|
||
|
||
"When confronted by his young brother, the farmer, still reeling
|
||
from anger at his losses, boasted of his deed. The two brothers
|
||
then cursed the day the other had been born. The younger brother
|
||
stormed off after swearing he would soon get revenge.
|
||
|
||
Late that night the ox's owner slipped through a window in his
|
||
brother's cabin and killed his brother in his sleep. Some said
|
||
he used the ax that killed his ox. Others said, instead, he
|
||
strangled his brother with a strand of rusty wire.
|
||
|
||
"A mob of angry neighbors didn't wait for a trial, but hanged
|
||
the younger brother from a large cottonwood tree that grew along
|
||
this road. Then they burned his body and left him hanging for
|
||
days as an example to others of how unchecked greed will spoil
|
||
their hearts. And that's how this road got its name."
|
||
|
||
I fell back against the seat and thought about the sweet taste
|
||
of wild plum jelly and how awful it would feel to be strangled
|
||
with rusty barbed wire.
|
||
|
||
We were almost home when a large black car blocked our passage.
|
||
I watched the other car hog the road. Strong gusts of wind
|
||
buffeted it across the center line, then back against the hard
|
||
gravel shoulder making it impossible for us to safely pass.
|
||
Ox-Plum Road had been built many decades earlier down the
|
||
turn-rows at the ends of long cotton fields; it was a dangerous
|
||
road, which twisted and galvanized itself into a treacherous
|
||
tangle.
|
||
|
||
My mother gripped the dashboard with her long, red fingernails,
|
||
meant to mimic the long, sensuous nails of her idol, Bette
|
||
Davis. "He's drunk, Guy!" Mother said, biting her bottom lip in
|
||
annoyance while thrusting out her chin.
|
||
|
||
"Nigger!" my father growled. He jerked impatiently at the knot
|
||
on the wide tie I had chosen for him at Christmas.
|
||
|
||
I cowered against the backseat. Mother had once warned me to
|
||
never use the word "nigger" around the "coloreds" because they
|
||
could retaliate by calling me a "bastard." (Bastard? --
|
||
something, no doubt, ugly, dark, and sticky as a goat turd; she
|
||
had secretly whispered the word bastard with her lips pressed
|
||
tightly against my ear.)
|
||
|
||
I kneaded the clay-colored corduroy upholstery of our car with
|
||
my fingers and thumb and sniffed cautiously at the odor of my
|
||
fear -- a fruitlike dankness akin to that of the sallow dirt
|
||
scoured from the depths of Cousin Minnie's grave; I glanced
|
||
cautiously at my father's eyes reflected in the rear-view
|
||
mirror. His coal black eyes snapped open, then blinked softly
|
||
shut, just like a turtle's lazy crescent eyes do as it crunches
|
||
the head off a water moccasin.
|
||
|
||
The absolute tone in his voice was the same one he had used
|
||
earlier that morning when he had caught me looking up Aunt
|
||
Sarah's dress from my hiding place under the breakfast table.
|
||
(The day before I had overheard my father tell some men at the
|
||
funeral home that it was a pity that Sarah had never remarried;
|
||
she might be his sister-in-law, but he wasn't blind. The woman
|
||
had some fine, long legs.) Kapop! Kapop! Kapop! The belt had
|
||
slashed with quirky authority across my butt. Don't cry! Don't
|
||
cry! my father had warned.
|
||
|
||
I listened closely to the coupling of the accelerator, gear, and
|
||
clutch -- an ingenious mastery of an unforgiving machine. Mother
|
||
gripped the strap on the passenger door. Her pinched expression
|
||
showed the grim complicity of the rattled. Hanna played with the
|
||
wide-eyed doll she had received for Christmas. An annoying bug
|
||
when at her best, Hanna was too young to really matter.
|
||
|
||
My father retreated twenty yards. His jaw had stiffened into a
|
||
scowling determination. His red-scrubbed mechanic hands gripped
|
||
the steering wheel. Grease in the lines of his knuckles had been
|
||
cast into braids of gray lace. His wonderful magic made the
|
||
engine roar. Then he smiled at me in the rear-view mirror, a
|
||
brief smile full of child-like conspiracy: Watch this one,
|
||
Spooner! (Spooner was his pet name for a child who shoveled in
|
||
his oatmeal at breakfast.)
|
||
|
||
The black car up ahead swerved slowly to the right. Father saw
|
||
his chance and slammed the gas pedal against the floor. Our old
|
||
Ford responded with such a splendid leap my father grunted
|
||
eagerly. Then the other car danced back across the center line
|
||
just as my father dug a hard left to pass.
|
||
|
||
Our cars brushed in a soft, clumsy kiss. Time crawled up in one
|
||
long, insidious jiggle until I was thrown free. Our car sent up
|
||
a great ball of white dust and gravel as it rolled beneath me. I
|
||
could have easily reached out and touched the power lines
|
||
nearby, but I remembered mother's warning that electricity could
|
||
kill me. Then my face plowed into the hard gravel on the
|
||
shoulder of the road.
|
||
|
||
The other driver backed his car to a stop beside me. A tall
|
||
woman opened the passenger door and stepped out to tower above
|
||
me. She was young, maybe seventeen or eighteen, and she wore a
|
||
white letter sweater over a white blouse and black skirt. A gold
|
||
letter D was sewn onto her sweater and three gold chevrons
|
||
adorned one sleeve. Her long brown legs ended in a pair of
|
||
tattered shoes. She wore no socks over her sharp ankles. She
|
||
stepped cautiously toward me like a lanky, guarded bird.
|
||
|
||
I sat up with great effort. Needles of pain stabbed my face. I
|
||
tried to stand, but my foot was twisted at a crazy angle and
|
||
couldn't bear my weight. The abstracted face of the young woman
|
||
stiffened, as if she was studying something quizzical or
|
||
something unreal or something mighty troubling. She slapped
|
||
herself sharply with both arms and rocked from her waist. She
|
||
opened her lips to emit a low, painful moan. Then she pinned her
|
||
bottom lip beneath her upper teeth as she moaned. She nodded
|
||
slowly and rocked deeply -- like old women in a trance sometimes
|
||
do in a fundamentalist church service.
|
||
|
||
I reached up for her hand. "Help me," I asked. She quit rocking
|
||
to pull me to my feet. I stood for a shaky moment, but fell back
|
||
into the hard, loose gravel. She then walked toward the hunkered
|
||
wreckage of our car. The battered hood dangled from the front of
|
||
the car like an exhausted tongue. The front passenger door was
|
||
ripped away. Dirt and gravel and strips of metal were pelted up
|
||
and down the highway like silver jacks. Steam hassled up from
|
||
the wounded radiator in marvelous frosty plumes. The rancid
|
||
stench of gasoline hung low in the air. My father's right leg
|
||
was pinned under the wreck.
|
||
|
||
Mother straddled my father's chest, and she reminded me of a
|
||
mechanical bird in a carnival booth dipping for a shallow drink
|
||
from the rim of a water glass. They seemed caught up in a game
|
||
of roughhouse we sometimes played on the living room rug. She
|
||
clutched his shirt below the collar. My proud Christmas tie was
|
||
twisted behind his neck. "Wake up, Guy!" she shouted. "You've
|
||
gotta wake up now."
|
||
|
||
The young woman who stood above them nudged my father with her
|
||
shoe, but, like a cold viper, he didn't move. I glanced through
|
||
the open door at the man in the front seat of the big black car.
|
||
A faded cotton quilt had slid onto the floor of the car in a
|
||
soiled heap. An old guitar was propped up against the front
|
||
seat. Its long neck poked into the air, and the driver whumped
|
||
it sideways with his arm as he leaned in my direction. "Come
|
||
on!" he shouted through her open door. I flinched and glanced
|
||
quickly away before he noticed me.
|
||
|
||
Then the man clumsily shoved open his door and stood with his
|
||
elbow wedged against his car. "Come on! Quick!" It was the young
|
||
woman and not me he wanted.
|
||
|
||
"They need help," the woman called. She pronounced it _hep._
|
||
|
||
"Git yore black ass back in this goddamned car!" he shouted. He
|
||
jerked his cupped hand across his chest.
|
||
|
||
The woman turned away. Her long brown hand floated down to
|
||
gently touch Mother's shoulder. Mother looked quizzically up
|
||
into the young woman's face. "He won't wake up," Mother said.
|
||
She shook Father's shoulders again. "You've gotta wake up, Guy!
|
||
You quit teasin' me and wake up!"
|
||
|
||
The driver lurched toward the young woman. She jerked backward
|
||
when he grabbed her sweater and yanked her away from the wreck.
|
||
He waved his big brown hand again in the direction of his car.
|
||
"Hurry!" But he didn't sound as angry as before.
|
||
|
||
"Why?" the young woman persisted. She seemed drowsy, half-awake.
|
||
|
||
He snapped the heel of his fist against her shoulder and spun
|
||
her around. "Do it now! Before somebody comes!" But the woman
|
||
wouldn't leave.
|
||
|
||
The man stared past her for a moment deciding. He squatted
|
||
beside my father and studied my father's face. My mother looked
|
||
at the man but did not speak. The cold wind whipped the man's
|
||
dark flannel trousers around his legs. He breathed heavily
|
||
through his nostrils, like something cornered after a long chase
|
||
over high ground. He looked across his shoulder along Ox-Plum
|
||
Road which stretched out toward Lazich. He rubbed his fingers
|
||
anxiously across his lips. He stood quickly. I heard his knees
|
||
pop. Then he walked past the wreckage of our car and stooped to
|
||
lift something that shimmered brightly in the road. Then I saw
|
||
it, too. It was the silver-plated pistol my father always
|
||
carried in the car when we traveled.
|
||
|
||
The young woman stared at the pistol in the man's hand. "Whacha
|
||
gone do?" the woman asked.
|
||
|
||
"Move!" he shouted at the woman. I crabbed backward from the
|
||
edge of the road; I was really afraid of him then.
|
||
|
||
He stood for a long moment deciding. He glanced both ways down
|
||
the long empty road. The young woman squealed and turned to run
|
||
back toward his big black car. She turned and stood beside the
|
||
open door with her hand pressed across her mouth. The man cocked
|
||
the hammer on the pistol.
|
||
|
||
I heard it click -- as solid as a lock snapping shut. My heart
|
||
froze in my throat. I was young but I knew what my father's
|
||
pistol could do: I had watched it shatter glass jugs from my
|
||
father's well-placed shots, and, on a crisp autumn morning, drop
|
||
a two hundred pound hog to its knees before a steaming washpot.
|
||
|
||
"Don't!" I shouted at the man.
|
||
|
||
The man jumped. Maybe he was scared, too. He looked at me.
|
||
"Don't, mister," I said. "Don't hurt my momma." I rolled up onto
|
||
my hands and knees. The hard gravel on the shoulder of the road
|
||
dimpled my palms. He studied me carefully, then looked down at
|
||
Mother. I thought he spent a long time thinking about what he
|
||
must do. Mother hummed a tune that had been playing all week on
|
||
the radio in our living room. The man uncocked the pistol before
|
||
he dropped it into his coat pocket.
|
||
|
||
The man crossed the road in front of me and glanced down at me
|
||
as he passed. The gravel crunched under the soles of his
|
||
brown-and-white oxford shoes. I looked quickly away and pushed
|
||
myself further from his car. When he reached the driver's door,
|
||
he slid inside. "Hurry!" he said again to the young woman.
|
||
|
||
She shoved the guitar back upright and scrambled inside. The
|
||
soiled quilt bunched up under her feet. The man slammed his door
|
||
shut and hit the starter button roughly with his thumb. The
|
||
engine groaned, then fired. The young woman looked over at me
|
||
for the last time as the driver shifted into first gear. Then
|
||
she closed the door as they sped away.
|
||
|
||
I cautiously pulled myself through the gravel until I reached
|
||
Mother. She still rocked back and forth upon my father's chest,
|
||
but with deeper, more agitated movements than she had earlier.
|
||
My father's head rolled in my direction. I touched his huge, red
|
||
hand. It felt like the chilled rubbery cap of a mushroom. His
|
||
eyes were open, but had puddled into cold, black pools.
|
||
|
||
I heard a soft, thumping noise and turned to watch Hanna crawl
|
||
though a crack under the front seat, which had been torn loose
|
||
from its tracks. She pulled her Christmas doll behind her. She
|
||
waddled over and sat beside me. Her gray bonnet had been twisted
|
||
on her head. When I reached to straighten it, she slapped at my
|
||
hand.
|
||
|
||
Hanna and I waited patiently beside our father, while the
|
||
shrill, plaintive cries of a killdeer in a nearby field of
|
||
cotton stubble arched neatly through the cold, green air. The
|
||
bird screeched at us, as if through force it could finally be
|
||
heard, then urgently raced away on some new mission.
|
||
|
||
It seemed as if we waited forever before help came. Then cars
|
||
suddenly appeared on both sides of the road. People jabbered and
|
||
tripped over themselves to glimpse or poke or caress. Someone in
|
||
the crowd announced proudly that he had called the Law.
|
||
Strangers stuck their bright red faces before mine and ordered
|
||
me not to move with thick husky voices, like they were choking
|
||
on milk, while others kept a safe, gawking distance between
|
||
themselves and the wreck. Maybe they thought we were contagious,
|
||
because they pressed their young children so tightly against
|
||
their legs. "It happens just like that!" some old beetle-faced
|
||
philosopher barked, loudly snapping her fingers to clarify the
|
||
sweet brevity of life. I felt strangely excited and proud, like
|
||
our family had done something clever enough to win respect from
|
||
these strangers.
|
||
|
||
A young schoolteacher from Lazich brought Hanna and me from the
|
||
cold into the backseat of her car. She couldn't touch us enough
|
||
with her tender fingers. Her husband revved his car engine, and
|
||
the warm air from the car heater caused my nose to run. The
|
||
teacher reached over the front seat and touched my face with a
|
||
soft, silk handkerchief. She grimaced when she lifted it away.
|
||
"Jesus! Sweet Jesus!" she whispered. The handkerchief was
|
||
stained with blood.
|
||
|
||
"Ouch!"
|
||
|
||
"Sorry!" she said. "Do you remember me, Aaron? I am Mrs.
|
||
Forshey, from school..." She smiled.
|
||
|
||
I remembered. She taught the older children in fifth grade.
|
||
"What's wrong with my daddy?" I asked.
|
||
|
||
Mrs. Forshey glanced outside the car window toward the wreck.
|
||
Then she glanced at her husband. "It'll be OK," she said gently
|
||
while patting my hand.
|
||
|
||
I heard a thin wail skip across the fields like a flat stone
|
||
across water, then grow with startling intensity as an ambulance
|
||
pulled up beside the wreck. The crowd had reluctantly parted to
|
||
let the ambulance through, then tightly pulled back in upon
|
||
itself in order to see.
|
||
|
||
I searched anxiously through the weaving legs of the crowd until
|
||
I saw my mother crumpled in the gravel at the edge of the road.
|
||
She didn't look real but more like something hastily daubed onto
|
||
canvas. Someone had tucked his suit coat around her shoulders to
|
||
keep her warm. Several men were working to free my father's
|
||
pinned leg, while a fat man in dirty overalls struggled to lift
|
||
the car with a crippled jack that slipped down one notch for
|
||
every two it gained. He finally motioned for the pressing crowd
|
||
to move back.
|
||
|
||
"I want out," I said to Mrs. Forshey.
|
||
|
||
"Me, too!" Hanna piped up in sweet, hot mimicry.
|
||
|
||
Mrs. Forshey shook her head. "We must get you to a doctor,
|
||
Aaron," she said. Her admonishment would have worked on the
|
||
schoolyard, but not today. I grabbed for the door handle, but
|
||
Mrs. Forshey gently held my shoulder. "You can't walk," she
|
||
said. I struggled to break free. Hanna burst into tears.
|
||
|
||
"I'll carry him back," Mr. Forshey said.
|
||
|
||
"No, let me."
|
||
|
||
Mrs. Forshey reluctantly placed me at Mother's side. I reached
|
||
out and touched her elbow. "Momma?" I asked. She slowly turned
|
||
her face in my direction, then back at the men struggling with
|
||
the car jack. Unable to resuscitate the old realities and unable
|
||
to break herself free, she hummed softly, something playful and
|
||
dreamy, but to herself, while the cold evening breeze whistled
|
||
musically across the broken shards of our car's windshield with
|
||
a faint, mocking lamentation -- like the uncertain resonance of
|
||
an aeolian harp.
|
||
|
||
Mrs. Forshey knelt beside her in the gravel. "Your children are
|
||
with us," she said, pointing back over her shoulder to her car.
|
||
"We'll take care of them for you, Mrs. Woodleaf." She reached
|
||
out to touch one of Mother's hands.
|
||
|
||
"I don't have children," Mother said with an odd shake of her
|
||
head. The words rose from the roots of her throat and
|
||
crystallized into feathery white blossoms as they spilled into
|
||
the air.
|
||
|
||
Mrs. Forshey lifted me back up into her arms. I struggled again
|
||
but more weakly than before. This time she pulled me close to
|
||
her chest. "We're going now," she said firmly. Mother looked
|
||
away.
|
||
|
||
When we reached the car, Mrs. Forshey eased me into the back
|
||
seat with Hanna. Hanna pointed a tiny finger at my face.
|
||
|
||
"Don't!" I said. I touched the torn flesh along my cheek, but
|
||
quickly jerked my fingers from the gritty, zippered skin.
|
||
|
||
The late winter light had seeped deep melon hues across the
|
||
evening sky. Although kind adults protected me, I knew my father
|
||
was dead. But I was only seven. I was too young to comprehend
|
||
how his death, like Shawn's, would soon become another gooey,
|
||
wormy marker among the eternal mysteries of the universe.
|
||
|
||
|
||
|
||
Hollis Drew <jamesrcox@aol.com>
|
||
---------------------------------
|
||
Hollis Drew lives in Jackson, Mississippi, where he is gainfully
|
||
unemployed. This story is based on the actual events of his
|
||
life.
|
||
|
||
|
||
|
||
How Joe Found a Living by Adam Harrington
|
||
==============================================
|
||
....................................................................
|
||
Who says they don't tell fairy tales any more? The characters
|
||
have just changed, that's all.
|
||
....................................................................
|
||
|
||
1. In which Joe leaves home to find his fortune.
|
||
--------------------------------------------------
|
||
|
||
One light and bright day as excited spring breezes danced around
|
||
the new green shoots in the meadow, Joe's mother hooshed Joe out
|
||
of the house with the end of her broom.
|
||
|
||
"You're old enough to find a living now," she said. "Go to the
|
||
town and get one."
|
||
|
||
Joe pulled on his boots and wrapped some bread, some apples and
|
||
the money his mother gave him to carry through a rainy day in a
|
||
red-striped handkerchief and tied it to the end of a stick. He
|
||
slung it over his shoulder and set off for the town.
|
||
|
||
At the first house near the town he politely knocked on the door
|
||
and stepped back with his hands behind him.
|
||
|
||
"Hello," said the fat man who opened the door. "What can I do
|
||
for you?"
|
||
|
||
"I'm looking for a living, sir," said Joe. "Do you know where I
|
||
can find one?"
|
||
|
||
"Not here, son, at any rate. Good day." He shut the door none
|
||
too gently.
|
||
|
||
Joe picked up his stick and walked to the next house.
|
||
|
||
"Good morning sir," he called up to a thatcher patting down the
|
||
cut straw on a barn roof. "Do you need any help? I'm looking for
|
||
a living."
|
||
|
||
"Good morning to you, my boy. Have you any experience in
|
||
thatching?"
|
||
|
||
"No, but I'm quick to learn."
|
||
|
||
"So are hundreds of others. I need an experienced thatcher --
|
||
I'm competing against all the other thatchers in the area for
|
||
speed, quality and price. I can't afford to teach anyone."
|
||
|
||
"Surely if no one is teaching thatching, when you retire there
|
||
will be no more thatchers."
|
||
|
||
The thatcher shrugged. "That won't be my problem, son. Good luck
|
||
finding a living."
|
||
|
||
Joe walked on to the next house, chewing a sweet grass stem and
|
||
whistling.
|
||
|
||
"Good morning madam," he called over the garden fence to the
|
||
woman tending her flower beds.
|
||
|
||
"Good morning young man," said the woman. "What can I do for
|
||
you?"
|
||
|
||
"Please madam, could you tell me wherever and ever I can find a
|
||
living?"
|
||
|
||
"Ooh, now you're asking," she said. "There's not been any of
|
||
those in these parts for years. Why don't you try the center of
|
||
town?" So Joe thanked the woman and walked to the center of
|
||
town.
|
||
|
||
He came on a house with a few broken windows and in desperate
|
||
need of paint.
|
||
|
||
"Good afternoon, sir," Joe said as the owner-occupier slowly
|
||
opened the door. "I see that your house needs some renovation --
|
||
would you be willing to hire me?"
|
||
|
||
"Only if it costs nothing," said the man, who was wearing a
|
||
dirty vest. "This isn't the only house in town that's about to
|
||
disintegrate. Nobody has any money to fix such things because
|
||
very few of us have jobs. All the family's money is going on the
|
||
mortgage. I'm sorry, but we can't afford you."
|
||
|
||
Joe then went to the town hall and found the director of public
|
||
works.
|
||
|
||
"Good afternoon, sir," said Joe. "Your marketplace is awfully
|
||
dirty -- I can clean it for you if you like."
|
||
|
||
"That's very good of you, young man. Very public-spirited.
|
||
There's a mop in that cupboard there."
|
||
|
||
"How much would you be willing to pay?" said Joe, who wasn't
|
||
stupid, even though he wasn't from the ABC1 social group.
|
||
|
||
"Oh no, we can't pay. We don't get enough taxes anymore because
|
||
nobody is buying or selling anything and nobody has a job. You
|
||
can use the mop for free, if you want."
|
||
|
||
"That's not quite the point," said Joe.
|
||
|
||
"Oh well. The market will have to stay dirty, then."
|
||
|
||
Joe found a queue leading up to a grand old house near the
|
||
market square.
|
||
|
||
"What's the queue for?" Joe asked a man at the back of the
|
||
queue.
|
||
|
||
"The Duchess lives here -- she's the only one with any money in
|
||
these parts and she hires people to do things for her. She takes
|
||
in ten people at a time and finds out who of them will do her
|
||
work the cheapest. Sometimes she only has to pay a few pennies
|
||
for a whole week's work."
|
||
|
||
"That's silly," said Joe.
|
||
|
||
"That's life," said the man, looking dejected.
|
||
|
||
"I'm going to find out why this has happened."
|
||
|
||
"Well," chorused the queue, "when you find out, come back and
|
||
tell us please, 'cause we're in as mighty a high dudgeon about
|
||
it as you are."
|
||
|
||
Joe sat on the steps of the market cross as the moon rose and
|
||
wondered where to start. 'The King is bound to know,' thought
|
||
Joe. 'He has more advisors than you could shake a stick at.' He
|
||
curled up in the doorway to a house and fell asleep.
|
||
|
||
|
||
2. In which Joe meets Blackberry the Squirrel.
|
||
------------------------------------------------
|
||
|
||
In the early morning he set off down the road to the big city.
|
||
He had to walk through the Dark Forest, which was so big that he
|
||
had to stop in the middle to rest on a tree stump.
|
||
|
||
From within the tree stump came muffled protests. A squirrel
|
||
popped through a door and squeaked up at Joe, "Get off my roof!
|
||
Get _off_ my roof! You're cracking the ceiling, you great oaf! I
|
||
don't go 'round cracking your ceilings! Oh, look what you've
|
||
done! Look _what_ you've done! Deary me, deary _deary_ me."
|
||
|
||
"I'm sorry, Mr. Squirrel," said Joe, hastily getting off the
|
||
tree stump. "I didn't know squirrels lived in tree stumps."
|
||
|
||
"They don't usually, and the name's not Mr. Squirrel. It's
|
||
Blackberry, and I'm a Mrs."
|
||
|
||
"Oh, I am sorry."
|
||
|
||
"Never mind. If you go and get some sticks about _this_ long,"
|
||
and Blackberry gestured with her two front paws, "I'll shore up
|
||
the ceiling. Bring some white mud from the creek and some grass
|
||
too. Hurry _hurry!_"
|
||
|
||
Joe dashed into the woods to get the sticks, mud and grass for
|
||
Blackberry. When he returned, she asked him to place the sticks
|
||
inside the stump by shoving his hand through the front door
|
||
under her directions of "Left a bit, a bit more, stop, right a
|
||
bit, in a bit... that's it!"
|
||
|
||
"Why on earth do you live in a tree stump?" asked Joe.
|
||
|
||
"Some gray squirrels moved into my old neighborhood. Brought the
|
||
tone of the entire tree down -- they're not really the Oak type,
|
||
you know. Don't get me wrong, some of my best friends are grays,
|
||
but honestly, they are lazy, smelly thieves who have no sense of
|
||
decency. They should go back where they came from, in my view."
|
||
|
||
"Where do they come from?"
|
||
|
||
Blackberry made a _brrrrr_ noise as she thought.
|
||
|
||
"Not sure exactly. Somewhere down south, I think. What are you
|
||
doing in this neck of the woods?"
|
||
|
||
"I was looking for a living, but to do that I need to find out
|
||
why there aren't any left."
|
||
|
||
"If you humans lived like us animals then you wouldn't have this
|
||
problem. None of us ever need to look for a living."
|
||
|
||
"Yes, but lots of you animals die in gruesomely horrible ways --
|
||
disease, starvation, cold, being someone else's dinner..."
|
||
|
||
"That is a bit of a downer, I must admit. Where do you plan to
|
||
go?"
|
||
|
||
"I thought the King might know why there are no livings left."
|
||
|
||
"Perhaps, but have you tried the famous Three Economists yet?"
|
||
|
||
"No. Where are they?"
|
||
|
||
"They live in the ever-so-middlest of the forest at the top of
|
||
an Ivory Tower. They know everything, they say, and Kings and
|
||
Chancellors come from all over the world to consult them."
|
||
|
||
So Joe and Blackberry, who said she needed a holiday, set off by
|
||
hill and scented valley, down wide cart tracks, muddy paths and
|
||
hidden greenways to the Ivory Tower. The journey went on and on,
|
||
rather like most wanderings in fairy tales, and I won't bore you
|
||
with it.
|
||
|
||
|
||
3. In which Joe meets the Famous Three Economists.
|
||
----------------------------------------------------
|
||
|
||
At last they came to the tower and climbed the Ivory steps to
|
||
the Ivory top where the venerable Three Economists sat reading
|
||
authoritative books on the nature of economic strategies in the
|
||
incredibly real real world in today's real world.
|
||
|
||
"Good day, venerable economists," said Joe, "I have a question
|
||
for you."
|
||
|
||
"Let's discuss the fee first," said the first economist, who was
|
||
smoking a pipe.
|
||
|
||
"Surely we can leave such vulgarities until later," said the
|
||
second economist, who was bald but had a mustache.
|
||
|
||
"I really don't think that's the issue," said the third, who
|
||
wore gold-rimmed spectacles.
|
||
|
||
"Let the boy speak," said the first economist.
|
||
|
||
"I suppose we ought to settle the fee first, actually," said the
|
||
second economist.
|
||
|
||
The third economist tutted and rolled his eyes. "The boy
|
||
manifestly has no money."
|
||
|
||
"Then he ought to go and earn some like the rest of us," said
|
||
the first economist.
|
||
|
||
Joe tried to interject but only got to say "That's..." before
|
||
the second economist interrupted.
|
||
|
||
"Perhaps that's why he's here. We've got no appointments until
|
||
three this afternoon -- why not entertain him for a while?"
|
||
|
||
"I agree wholeheartedly," said the third economist. "Except that
|
||
I have an appointment at two."
|
||
|
||
The economists sat in silence watching Joe expectantly.
|
||
|
||
Blackberry nudged Joe. "Go on, then," she whispered.
|
||
|
||
"Ah," started Joe. "I would like to know why ever and ever there
|
||
are no livings left."
|
||
|
||
"Easy-peasy," said the first economist.
|
||
|
||
"As plain as the nose on your face," said the second economist.
|
||
|
||
"Its far too complex to explain to a layman," said the third.
|
||
|
||
"The paucity of economic opportunity is a symptom of the decline
|
||
of a fat, exhausted and overpriced economy in which we have
|
||
efficiencied ourselves out of a job. Consider: A bank that used
|
||
to employ twenty cashiers now only needs two employees and a
|
||
cash machine. This makes things cheaper for the consumer until
|
||
such a point that the consumer also loses his job through
|
||
mechanization. Hence a very streamlined supply side of the
|
||
economy and eventually no demand, because everybody has been
|
||
streamlined out of the supply side, which is the side offering
|
||
all the jobs. My suggestion is that you become a machine, son."
|
||
|
||
"Nonsense," said the second economist. "We had boom-and-bust
|
||
cycles before mechanization. It's part of the natural --
|
||
possibly even invigorating -- cycles of life and death, summer
|
||
and winter, day and night. It happens and will continue to
|
||
happen. Such factors as stock market crashes, unemployment,
|
||
deflation of both economy and currency et cetera are but
|
||
symptoms of this decline, not the cause. The cause is innate in
|
||
the system -- the cause _is_ the system."
|
||
|
||
"Oh come on now," said the third economist. "The reason is that
|
||
we, meaning us the country and us the business community, have
|
||
built economic successes on ever-expanding credit. When the
|
||
debts are called in, panic ensues because nobody can pay without
|
||
calling in their debts. Everybody goes into a frenzy demanding
|
||
debts and deferring payment of their own until they go bankrupt;
|
||
confidence in the system is lost and investment slows, if not
|
||
ceases. No investment, no business, no jobs. Added to this
|
||
effect is the effect of allying our economy with Europe, whose
|
||
economies run on different lines -- when Germany decides to put
|
||
up interest rates to encourage foreign investment to pay for
|
||
their internal affairs, so do we, because we have to, to keep
|
||
our currency at the tagged rate, benefiting creditors and
|
||
damaging debtors until the debtors default and everybody goes
|
||
bust."
|
||
|
||
"Does that answer your question, son?" said the first economist.
|
||
|
||
"Which of you is right?" asked Joe.
|
||
|
||
"We all are," said the second economist.
|
||
|
||
"But you all gave different reasons. You can't all be right."
|
||
|
||
"Economics is a very complex science, a multi-layered flow of
|
||
variable interlocking currents which traverse the whole world,"
|
||
said the third economist expansively.
|
||
|
||
"Well, whose fault is all this?" asked Joe.
|
||
|
||
"Progress and capitalism," said the first economist.
|
||
|
||
"Nobody's. It's chaos theory in action," said the second
|
||
economist.
|
||
|
||
"It's the government," said the third economist.
|
||
|
||
"So how are we to get out of this hole?" asked Joe.
|
||
|
||
"Move to the far east," said the first economist.
|
||
|
||
"God only knows. Wait for a change in the weather, I suppose,"
|
||
said the second economist.
|
||
|
||
"Oh, the usual, encourage the growth of business through lower
|
||
taxes, firm currency control, a suitable interest rate and
|
||
such," said the third economist.
|
||
|
||
"So it's going to get better, then," said Joe.
|
||
|
||
"I doubt it," said the first economist. "Our economies are
|
||
overloaded galleons just waiting to capsize."
|
||
|
||
"Oh, it will, given time, but no one will know why or when,"
|
||
said the second economist.
|
||
|
||
"When the government pays back the legislative debt, undoing all
|
||
the damage of the last few years and providing a background
|
||
amenable to business," said the third economist.
|
||
|
||
"It's not surprising that the King doesn't have a clue how to
|
||
run the economy if he has you lot for advisors," said Joe.
|
||
|
||
"Harumph," said the first economist. "I am emeritus professor of
|
||
fiscal psychology at the University of Bad Znuckensitzen, I'll
|
||
have you know. Have you never heard of Europe's Ersatz TV
|
||
economist? You know, I'm on Drang nach Osten. It's particularly
|
||
popular with the Germans."
|
||
|
||
"I hold the Piaf memorial chair of Apology Negation at the
|
||
University of Sansculotte, and they don't call me Mr. Money, Our
|
||
Economist Who's Friendly and Funny for nothing," said the second
|
||
economist.
|
||
|
||
"And I am senior advisor to Herr Doktor Doktor Doktor
|
||
Gemeinschaft of Bank Swabia, Switzerland," said the third
|
||
economist. "I have a regular program on Radio Ryokaplatz beamed
|
||
across Scandinavia and the Baltic. So don't tell me my advice is
|
||
no good."
|
||
|
||
"Thank you," said Joe, who was quite polite even when dealing
|
||
with self-important second-raters.
|
||
|
||
As they descended the ivory steps Blackberry made a face.
|
||
|
||
"They weren't very useful, were they?" she said.
|
||
|
||
"Oh, I don't know. At least we know that _nobody_ has a clue
|
||
what's going on. Whom do you suggest now?"
|
||
|
||
"Let's forget about _why_ this has happened. Why not find the
|
||
famous Three Personnel Consultants and see what they have got to
|
||
say about finding a career?"
|
||
|
||
"Where do they live?" asked Joe.
|
||
|
||
"They live behind a huge wooden door with gold leaf lettering
|
||
deep in the forest which can only be found by following a narrow
|
||
winding six-lane motorway which runs in a huge circle and is
|
||
permanently clogged with slowly-shunting traffic, depressed
|
||
husbands, hysterical wives and vomiting children."
|
||
|
||
"Sounds fun," said Joe, unconvinced.
|
||
|
||
|
||
4. In which Joe meets the Famous Three Personnel Consultants.
|
||
---------------------------------------------------------------
|
||
|
||
Joe knocked at the door Blackberry had led him to. On it was
|
||
written The Famous Three Personnel Consultants -- Please Knock
|
||
and Enter, so Joe did. The Famous Three Personnel Consultants
|
||
sat behind a leather-topped desk and all wore glasses and were
|
||
bald, including the woman, though she wore a wig.
|
||
|
||
"Good morning," said the leftmost Consultant. "Did you have a
|
||
good journey?"
|
||
|
||
"Well..." Joe started.
|
||
|
||
"Good, good," said the middlemost Consultant. "Did you have a
|
||
good journey?"
|
||
|
||
"Not bad..." Joe started.
|
||
|
||
"Can I take your coat?" said the rightmost and most female
|
||
consultant, the one who wore a wig.
|
||
|
||
"But I'm not wearing..." Joe started.
|
||
|
||
"Good, good," said the leftmost Consultant. He flipped over a
|
||
notepad sheet and chewed the end of his pencil. "What experience
|
||
can you bring to this post?"
|
||
|
||
Joe looked surprised. All three personnel consultants looked at
|
||
him in the friendly-yet-expectant manner they had been taught to
|
||
use, and which had driven their respective spouses to the verge
|
||
of a violent divorce.
|
||
|
||
"I, er, er," Joe thought hard. "I know how to cut down apple
|
||
trees."
|
||
|
||
There was a long and meaningful pause which was supposed to
|
||
elicit further details from the interrogee. Usually this
|
||
resulted in a stream of meaningless babble and the Consultants
|
||
knew with satisfaction that they had managed to humiliate the
|
||
quivering heap of pathetic flesh that lay damp and snickering in
|
||
front of them.
|
||
|
||
"Ye-es," said the rightmost and most female Consultant
|
||
lengthily, marking something off slowly and deliberately on her
|
||
checksheet. "In what way do you suppose the skills of arboreal
|
||
pruning can be _transferred_ to the post of filing clerk and
|
||
general dogsbody?" She stressed _transferred_ because this was
|
||
an In word and she really desperately wanted to be a fashionable
|
||
Personnel Consultant.
|
||
|
||
"None really," said Joe in a fatal flash of veracity. "Actually,
|
||
I came here to..."
|
||
|
||
"I see from your CV that you only scored 90 percent in your
|
||
end-of-term spelling test ten years ago. Why was that?" said the
|
||
leftmost Consultant.
|
||
|
||
Joe drew his brows together. "Um..."
|
||
|
||
"Don't you think you may be a little overqualified for this
|
||
post?" said the middlemost Consultant.
|
||
|
||
"Too young?" said the leftmost Consultant.
|
||
|
||
"Too old?" said the middlemost Consultant.
|
||
|
||
"Too middling?" said the rightmost and most female Consultant.
|
||
|
||
There was another pregnant-yet-sympathetic pause. Joe was lost.
|
||
|
||
"No, I don't think so," he said.
|
||
|
||
They flipped their notepads and marked something down.
|
||
|
||
"I see you have done a lot of travelling," said the leftmost
|
||
Consultant.
|
||
|
||
"A bit, here and there," said Joe.
|
||
|
||
"Aha! Do you really think you are ready to settle down now?"
|
||
said the rightmost and most female Consultant with a
|
||
doubtful-but-questioning set of the nose.
|
||
|
||
"That's good; it shows _initiative_," said the middlemost
|
||
Consultant, using his most favorite word.
|
||
|
||
"Where do you see yourself in ten years' time?" asked the
|
||
rightmost and most female consultant.
|
||
|
||
"I don't," said Joe firmly. There ensued another nailbitingly
|
||
firm-but-approachable pause.
|
||
|
||
"I see," said the middlemost Consultant. "We have five other
|
||
candidates to see today. Why should we choose you?"
|
||
|
||
"Five thousand actually," said the leftmost Consultant.
|
||
|
||
"Five million actually," said the rightmost and most female
|
||
Consultant.
|
||
|
||
"All of whom have years and years of exactly the experience we
|
||
want, at least two degrees, are under nineteen years old,
|
||
willing to work for peanuts and all the hours that God gives.
|
||
They have no family, mortgage or social life and are driven only
|
||
by the terror of poverty. What can you offer?"
|
||
|
||
"I've got most of those, except the experience and the two
|
||
degrees," said Joe.
|
||
|
||
"We don't really need the two degrees, actually," admitted the
|
||
middlemost Consultant, "but it appears a slightly less random
|
||
method of choosing than pinning on a donkey's tail."
|
||
|
||
"What we really need is someone who has spent twenty years
|
||
filing in gray steel cabinets and making five cups of coffee,
|
||
two white only, two with sugar only and one with both every half
|
||
an hour at 17 minutes past and 13 minutes to the hour except
|
||
during lunch and who is under nineteen, and preferably pliant,"
|
||
said the leftmost Consultant.
|
||
|
||
"But that's not possible," said Joe.
|
||
|
||
"Ah, but you see, there are five million people out there to
|
||
choose from. There's bound to be someone." said the rightmost
|
||
and most female Consultant.
|
||
|
||
"Then they're lying," said Joe.
|
||
|
||
"I think _we_ can tell a liar when we see one, young man," said
|
||
the leftmost Consultant in some dudgeon.
|
||
|
||
"I think you misunderstand our purpose. You think we're here to
|
||
_employ_ people don't you?" said the middlemost Consultant.
|
||
|
||
"Well, aren't you?" said Joe. The Consultants laughed in the
|
||
friendly-yet-pedagogical manner they had refined through their
|
||
years of overvalued employment.
|
||
|
||
"Oh, no," said the rightmost and most female Consultant. "We are
|
||
concerned with _not_ employing people and when they are
|
||
employed, with _not_ sacking them. Out of the many options we
|
||
have to pick the best. For instance, we have to glance through
|
||
several hundred CVs for each post; the ones with spelling
|
||
mistakes are immediately discarded. We don't have enough time to
|
||
check any deeper."
|
||
|
||
"If you don't have time, how come you can check for spelling
|
||
mistakes?" said Joe.
|
||
|
||
"We have time enough for that," snapped the middlemost
|
||
Consultant.
|
||
|
||
"So you are being entirely negative in your search then?" said
|
||
Joe.
|
||
|
||
"Oh, no, no" they chorused. "No, oh no." _Negative_ was a deeply
|
||
unfashionable word in personnel circles, like _luck_ and
|
||
_mistake_.
|
||
|
||
"We choose on the basis of instinct," said the leftmost
|
||
Consultant. "You can't buck human nature. Our decision is made
|
||
within the first three minutes of meeting the applicant."
|
||
|
||
"What, depending on whether they're pretty or not?" said Joe.
|
||
|
||
"I wouldn't put it _exactly_ like that," said the rightmost and
|
||
most female Consultant. The other Consultants waited politely
|
||
for her to say how _exactly_ she would put it, but she didn't.
|
||
|
||
"So what's the point in the pseudo-science of personnel if it
|
||
comes down to basic instincts anyway?"
|
||
|
||
The Consultants shuffled uncomfortably. "We have to choose
|
||
_some_ way. I think we have more refined instincts than most and
|
||
understand people better," said the middlemost Consultant.
|
||
|
||
"I beg to differ there," said Joe. "It's incontrovertible that
|
||
some incompetents do get hired and some talented, hard-working
|
||
people don't."
|
||
|
||
"But it's inevitable that some mistakes occur. We don't claim to
|
||
be superhuman," said the leftmost Consultant.
|
||
|
||
"By that logic," said Joe, "air traffic controllers should be
|
||
forgiven causing a few aircraft to collide. The difference is
|
||
that air traffic control is an applied science with objective
|
||
standards, and personnel is a load of baloney. To make matters
|
||
worse, it's not merely a matter of a _few_ incompetents in jobs
|
||
and a few of the unfortunate talented out of work, it's
|
||
thousands, if not millions."
|
||
|
||
Joe was now warming to his subject. "And those incompetents make
|
||
the employment situation worse precisely because they're
|
||
incompetent at running an efficient business. It often seems
|
||
that the only qualification required to get a high-powered job
|
||
is that you should be a self-seeking grasping liar with
|
||
connections in the right places who is willing to acquiesce to
|
||
any of the notions of your direct boss, however daft or
|
||
fraudulent."
|
||
|
||
The Consultants licked their lips nervously. "I thought _we_
|
||
were conducting the interview. You're not keeping to the
|
||
commonly accepted standards of interview techniques," said the
|
||
rightmost and most female consultant.
|
||
|
||
"Are you saying, then, that personnel selection procedures are
|
||
no better than random?" asked the leftmost Consultant.
|
||
|
||
"Worse," said Joe. "Because the specifications on which someone
|
||
is hired is uniformly arbitrary and _not_ random. For instance
|
||
you won't hire young women because they might get pregnant."
|
||
|
||
"Well, it's _possible__," said the rightmost and most female
|
||
Consultant a bit wistfully.
|
||
|
||
"You won't hire people over 50, presumably because only extreme
|
||
youth is fashionable and, by definition, you will only hire
|
||
people who can be totally at ease when under scrutiny -- which
|
||
indicates that the candidate is good at either job interviews or
|
||
lying, and those who do not qualify are permanently
|
||
unemployable."
|
||
|
||
"We have to use _some_ method," said the middlemost Consultant.
|
||
|
||
"But does it have to be uniformly the same one?"
|
||
|
||
"We must keep up to date in the incredibly competitive world of
|
||
today," said the leftmost Consultant. "In any case, if our
|
||
procedures didn't work, nobody would employ us. Businesses
|
||
aren't stupid, you know."
|
||
|
||
"But who checks? How can anyone check? You can't admit to a
|
||
mistake because you want to keep your job too and no businessman
|
||
is going to admit that all his staff were hired incompetently.
|
||
Businesses can thrive without personnel departments, you know."
|
||
|
||
"But only small ones," said the middlemost Consultant.
|
||
|
||
"Is there any evidence at all that your recruitment methods are
|
||
any better than random methods?"
|
||
|
||
There was another uncomfortable pause during which all three
|
||
coughed nervously.
|
||
|
||
"Thank you for taking the time to come," said the middlemost
|
||
Consultant.
|
||
|
||
"I'm afraid the post has already been filled," said the
|
||
rightmost and most female consultant.
|
||
|
||
"I'm afraid we will have to postpone recruitment until next
|
||
year. Do try again," said the leftmost Consultant.
|
||
|
||
The Consultants started marking things down on their checksheets
|
||
and flipping notes backward and forward.
|
||
|
||
"That's it," said Blackberry. "Pretty useless, eh?"
|
||
|
||
Joe got up from the extremely uncomfortable squeaky swivel chair
|
||
he had been sitting on.
|
||
|
||
"That's not so surprising, is it?" said Joe. "After all, it was
|
||
people like this who recruited other people like this to run big
|
||
companies."
|
||
|
||
As he left the office, a secretary passed him a note. "From the
|
||
Personnel Consultants," she said, chewing her chewing gum
|
||
noisily.
|
||
|
||
It read:
|
||
|
||
"To find a job you must:
|
||
Look for a job tailored to your experience.
|
||
Sell yourself.
|
||
(Your expectations are too high.
|
||
You have no self-confidence.)"
|
||
|
||
"But I haven't got any experience to tailor anything to!" said
|
||
Joe. "And why should I sell myself? Isn't that just smooth
|
||
lying? I've never claimed to be a salesman and never wanted a
|
||
sales job. My expectation is just to get a job; is that too
|
||
high? If I have no self-confidence, isn't that because I can't
|
||
even fulfill the basic expectation of getting a job?"
|
||
|
||
"Don't have conniptions," said Blackberry. "That's what they
|
||
want. They want you to feel it's all your fault because then
|
||
they won't have to do anything about it. Let's try the three
|
||
politicians."
|
||
|
||
"Politicians?" said Joe. "Oh dear."
|
||
|
||
|
||
5. In which Joe meets the Famous Three Politicians.
|
||
-----------------------------------------------------
|
||
|
||
The Famous Three Politicians lived in a beautiful neo-gothic
|
||
palace on the banks of a big river. Joe was directed down dark,
|
||
wallpapered corridors, past wooden trifolium ornamentation and
|
||
over-luxurious woolen carpets toward a broad double door behind
|
||
which could be heard the sound of a convention of axe-murderers.
|
||
|
||
"Tres William Morris," said Blackberry admiringly from Joe's
|
||
pocket as she eyed up the dark green organic design on the
|
||
walls.
|
||
|
||
"Ordah ordah!" shouted someone. The noise continued. "Oh, fer
|
||
chrissake shut up! Shut up! Shut up! Please!"
|
||
|
||
Joe opened the door.
|
||
|
||
"Did so!" shouted a man in a suit.
|
||
|
||
"Did not!" shouted another.
|
||
|
||
"Didididididididididididid!" shouted the first.
|
||
|
||
"Didndidndidndidndidn't!" shouted the other.
|
||
|
||
"I'll agree with anyone who'll agree with me," said a third.
|
||
|
||
"Oh, shut up," said the other two.
|
||
|
||
"I will not have such language..." started a woman with a blue
|
||
rinse from the back of the playpen.
|
||
|
||
"Go stick it in your ear," said the first.
|
||
|
||
"Whaddayou want?" asked the second, facing Joe.
|
||
|
||
"A job, actually," said Joe.
|
||
|
||
"Well stop whining and go and look for one!" said the first,
|
||
cursing as he dropped his briefcase and thousands of stock
|
||
certificates slid out.
|
||
|
||
"See! See!" said the second. "You see what happens when you vote
|
||
_his_ lot in!"
|
||
|
||
"I didn't," said Joe. "I was too young to vote the last time. I
|
||
wanted to know why I can't get a job."
|
||
|
||
"You bloody well get on your bike and look for one," said the
|
||
first politician."
|
||
|
||
"I don't have a bike," said Joe.
|
||
|
||
"Then buy one."
|
||
|
||
"I don't have any money, and in any case employers don't just
|
||
employ people who turn up on their doorsteps anymore," said Joe.
|
||
|
||
"Oh piss off, you whining git," said the first politician. "Get
|
||
a job and get out of my face."
|
||
|
||
"I can't," said Joe.
|
||
|
||
"There's no such thing as can't. You just don't want to. You'd
|
||
rather tramp to and fro across the country in an endless and
|
||
futile search for a fictional excuse for not getting a job. I
|
||
bet my _honorable_ colleague opposite would oblige you with one
|
||
of those," he sneered at the second politician. "You people make
|
||
me sick. Don't you see?" He waved his hands around in an
|
||
encompassing gesture. "We have created a meritocratic paradise.
|
||
If you can't make it here, you can't make it anywhere."
|
||
|
||
"Piffle!" said the second politician. "Codswallop! As there is
|
||
profit in employment, there has to be profit in unemployment. If
|
||
you voted for me, the whole world would join hands and sing in
|
||
peaceful harmony..."
|
||
|
||
"Tripe!" said the first politician. "Nobody believes or trusts
|
||
you. The economy would collapse within days of you assuming
|
||
power!"
|
||
|
||
"Only because you and your friends would sabotage it!"
|
||
|
||
"Doesn't matter _why_, it just would. Who'd trust you with a
|
||
penny? You get in and I'm on a plane to Bermuda along with all
|
||
my money. And as for you, young man," he looked at Joe, "there
|
||
is no such thing as unemployment. There is merely an
|
||
unwillingness to match one's self to the requirements of the
|
||
marketplace. What do you want me to do? Cry? Piss off. I'm not
|
||
interested."
|
||
|
||
"If we had been in power," said the second, "you wouldn't be in
|
||
this state. Blame yourself."
|
||
|
||
"But..." said Joe.
|
||
|
||
You're not worth the breath it takes to ignore you," said the
|
||
first politician. "Let's face it, you're an irrelevant whining
|
||
scrounger with no money, no job, no vote, no prospects, no
|
||
connections and no point. Goodbye. And as for you, you corrupt
|
||
incompetent..."
|
||
|
||
"Who exactly are you calling a corrupt incompetent, you
|
||
self-satisfied upper class oaf?"
|
||
|
||
"How _dare_ you..."
|
||
|
||
Joe turned away from the playpen and made his own way out.
|
||
|
||
"They say that the incidence of suicide is on the increase," Joe
|
||
said to Blackberry.
|
||
|
||
Blackberry shrugged. "You should have been born a squirrel," she
|
||
said.
|
||
|
||
|
||
6. In which the gentle reader decides what happens to Joe.
|
||
------------------------------------------------------------
|
||
|
||
So what did happen to Joe? Well, there are a number of
|
||
possibilities. Armed with your knowledge and experience choose
|
||
from the following:
|
||
|
||
|
||
**a)** As Joe plodded dejectedly toward the center of town, a
|
||
long black car pulled up. A businessman wound down the window
|
||
from the back seat.
|
||
|
||
"Exactly what I've been looking for!" he said.
|
||
|
||
"Pardon?" said Joe.
|
||
|
||
"Do you want a job?" said the businessman.
|
||
|
||
"Well, er, yes," said Joe.
|
||
|
||
The businessman handed Joe his card. Montague Twistleton-Smythe,
|
||
Chartered Odd-Job man to the Astonishingly Rich. "Be at that
|
||
address tomorrow morning at nine. Twenty thousand a year.
|
||
Company Car. Stock Options. All we need is your brains," he
|
||
said.
|
||
|
||
"Wow," said Joe. "It's like a fairy tale."
|
||
|
||
"Either that, or you've finally lost it," said Blackberry.
|
||
"Otherwise I wouldn't still be here."
|
||
|
||
|
||
**b)** Joe plodded dejectedly back into town to find the dole
|
||
office.
|
||
|
||
"Help," he said to the official there.
|
||
|
||
The official sighed. "Are you now or have you ever been
|
||
unemployed?" he said.
|
||
|
||
"Yup," said Joe, "and I'm broke."
|
||
|
||
"Well, find someplace to stay, and we'll pay you."
|
||
|
||
So Joe found the friends that everyone is supposed to have in
|
||
the big city and persuaded them to let him sleep on the floor so
|
||
he could get the dole. Then the landlady found out and he was
|
||
kicked out, along with the rest of his friends, one of whom had
|
||
a job and so could rent another place. Gosh, that was lucky.
|
||
|
||
Being an unemployed young male, no landlord would offer him a
|
||
room, so in the end Joe had to give up and go home, where he
|
||
lived for years and years until he had no spirit left and
|
||
certainly had nothing to sell to the marketplace.
|
||
|
||
|
||
**c)** Joe plodded dejectedly back into town to find the dole
|
||
office.
|
||
|
||
"Help," he said to the official there.
|
||
|
||
The official sighed. "Are you now or have you ever been
|
||
unemployed?" he said.
|
||
|
||
"Yup," said Joe, "and I'm broke."
|
||
|
||
"Well, find a place to stay and we'll pay you."
|
||
|
||
"I see a fatal flaw in that plan," said Joe.
|
||
|
||
"Not my problem," said the official.
|
||
|
||
So Joe slept underneath a bridge until the police hosed his box
|
||
into the river. He lived off handouts and whisky, indulging in
|
||
the odd bit of theft and buggery until his brain had been
|
||
pickled and he smelled so bad and looked so ugly that nobody
|
||
gave a tinker's damn about what happened to him. Even the
|
||
well-meaning liberals didn't bother wringing their hands in
|
||
sympathy.
|
||
|
||
Mind you, all that whisky and dodgy crack had meant he could now
|
||
converse with Blackberry the talking Squirrel. In fact, he saw
|
||
her everywhere.
|
||
|
||
So next time you come across a man looking haggard and unshaven
|
||
holding a whisky bottle in one hand tottering underneath a
|
||
bridge and slurring "Ay! 'Vyer seen Blackbree, 'vyer, ay?" then
|
||
do say hello from me, won't you?
|
||
|
||
|
||
|
||
Adam Harrington <adam.harrington@btinternet.com>
|
||
--------------------------------------------------
|
||
Despite the impression you might get from his story, Adam
|
||
Harrington is happily employed as a computer contractor in
|
||
England. He has been a biologist, journalist, unemployed bum,
|
||
bookie's clerk and unemployed bum again -- in that order -- and
|
||
doesn't plan on retiring until his cold dead fingers are pried
|
||
from the office doorknob.
|
||
|
||
|
||
|
||
The Year Before Sleep by Rupert Goodwins
|
||
============================================
|
||
....................................................................
|
||
Losing yourself in your work is fine, so long as you remember to
|
||
come back.
|
||
....................................................................
|
||
|
||
Cecil spun his web lazily, hooking it between branches and
|
||
thorns, leaves and flakes of bark. It was early in the morning,
|
||
and he was still too cold to shake off the waking sluggishness
|
||
in his mind and limbs. He watched sun-slivered color glint
|
||
through dewdrops, watched green translucence creep down
|
||
shadow-dipped grass stems next to the bramble bush.
|
||
|
||
Eventually, the sun touched his head, then his back. His body
|
||
warmed, the plump abdomen contracting and expanding as energy
|
||
pumped through it. Gradually, the world around him grew and the
|
||
thirty-two aches in his thirty-two joints melted away. He was
|
||
alert now.
|
||
|
||
The web needed tidying. He tidied it, scuttling across it to a
|
||
ragged corner, a sulking gap near the top, a clumsy anchor on a
|
||
bramble bud.
|
||
|
||
That should do. Now, wait.
|
||
|
||
The dewdrops had gone by midday. Cecil sheltered under a leaf:
|
||
it was a clear day and there was rather too much sun. One leg
|
||
lightly touched a strand of the web; through it he could hear
|
||
his prey distantly moving through the air. Always too distant,
|
||
he thought. He wasn't hungry exactly, but he would be in a
|
||
couple of days and he didn't want to have to move. Still time to
|
||
wait.
|
||
|
||
The afternoon passed. One small blue fast-flying blur snapped
|
||
into the web, but snapped away again almost before Cecil was out
|
||
from under the leaf. He scrambled out to inspect the damage;
|
||
there was a ragged hole that couldn't be fixed neatly. He did
|
||
the best he could, and slunk back again.
|
||
|
||
Then, just as the sun touched the top of the scrubby trees at
|
||
the far end of the clearing, he got a hit. He heard it coming: a
|
||
deep, slow buzz that made him remember with pleasure a
|
||
particularly succulent catch from weeks ago. With delight, he
|
||
noted that the buzz was getting steadily louder. It must be
|
||
heading straight for him, he thought, and then it was in the
|
||
net. The twig he was on bent slightly with the impact; he was
|
||
out in no time, cautiously circling the victim. This one wasn't
|
||
going to get away.
|
||
|
||
It was trying, though. The web bounced and strained, vibrating
|
||
with the prey's frantic bursts of motion. Cecil watched it
|
||
warily: it didn't seem to be the sort with a sting, and he
|
||
couldn't see anything too much like dangerous jaws. He checked
|
||
the tension on the web: it was good. He could wait until it
|
||
tired itself out a little more.
|
||
|
||
That took quite a long time, and the air was cooling before he
|
||
tried a quick rush over the body. It was still buzzing, but
|
||
quietly now, intermittently. One track of web over it, then
|
||
another, then another. Then in for the kill: he bit, feeling his
|
||
fangs make contact with the body, then through and into it. A
|
||
pump of venom. A final twitch. He quickly mummified it with a
|
||
single layer of web, then cut it clear of the holding strands
|
||
before tumbling it over and over with his hind legs, weaving a
|
||
thick, glistening cover. It was bigger than he was even before
|
||
he finished.
|
||
|
||
Satisfied with his work, he dragged it back to his haunt under
|
||
the leaf, sticking it carefully to the junction with the twig.
|
||
Night was no time to do anything. He'd wait until morning, then
|
||
consume his meal and think -- yes, definitely -- about moving to
|
||
a new site.
|
||
|
||
When daylight touched the world about him, everything seemed as
|
||
it should be. Things to do formed in his night-slowed mind.
|
||
Repair the web, or move. Eat. Yes, eat. He shuddered with slow
|
||
waking, and made to move toward the waiting package.
|
||
|
||
He didn't move. He tried again; his complaining legs made the
|
||
right aches, his body bumped away from the twig, but slumped
|
||
back down again. His legs strained harder. Something was holding
|
||
them fast. There came a colder thought, paralysing him just by
|
||
the shapes it made in his head -- wasps! He knew of them; the
|
||
memory of them had always been there. Small things, predatory,
|
||
always hungry, who flew at night and laid their eggs in living
|
||
flesh, leaving it aware and immobile. Was that it?
|
||
|
||
"No, we're not wasps."
|
||
|
||
Cecil had enjoyed a long and successful life. He had survived
|
||
many of the dangers that could wipe out the toothsome; had
|
||
hidden and run, had outwitted most of the rapaciously hungry
|
||
animals that would otherwise have added him to their list of
|
||
meals consumed. He had seen three seasons, been flooded, baked,
|
||
blown away by the wind and nearly frozen. Never, in all this,
|
||
had he ever had a thought that was not his own. The shock of it
|
||
held him tight as any bright-eyed mouse.
|
||
|
||
"Come on, Cecil. You're no spider. We're no fly. Look up, look
|
||
at yesterday's catch."
|
||
|
||
He still couldn't separate out these alien voices from his own;
|
||
but if a thought said "look up," you should look up. He looked
|
||
at the bundle of sticky thread on the twig. It was as he
|
||
remembered it.
|
||
|
||
Except.
|
||
|
||
Except there was a neat hole halfway up, perfectly round. There
|
||
was something dark sticking out of it, and a bright red thread
|
||
ran from the hole to the twig. It ended up in a neat loop,
|
||
encircling the twig and two of his legs, holding them fast
|
||
together. Then it ran under his body. He couldn't see where it
|
||
ended.
|
||
|
||
"That's it. Talk to us, Cecil."
|
||
|
||
The shock subsided. He thought back at the voices. "What are
|
||
you? How are you in me? You are wasps. You will kill me."
|
||
|
||
"Not wasps. Friends. Cecil, we've been looking for you. We were
|
||
worried."
|
||
|
||
"Friends. Worried. No, no, no. Wasps." Cecil hadn't ever thought
|
||
much about what it would be like to be a living host to wasps.
|
||
Not something to dwell on. But now he thought about it; it must
|
||
be like this. Once the eggs were in your body, their thoughts
|
||
must be in your mind. Made sense. Horrid sense. He wished he'd
|
||
eaten the fly last night now. A last meal to keep him going a
|
||
bit longer.
|
||
|
||
"Forget the wasps, Cecil!" The voice was louder. Sounded quite
|
||
upset.
|
||
|
||
"...wasps..." he mumbled, trying to see if he could feel where
|
||
the eggs were. Everything felt normal. The sun would be on him
|
||
soon. Perhaps he'd have the strength to get to the fly then.
|
||
|
||
"It's not a fly! Oh, for heaven's sake..." There was an
|
||
indistinct conversation. He caught the odd phrase: "How much
|
||
more damage can we do? He thinks he's an orb spider, for..."
|
||
"Well, why not?" Then it went quiet. Cecil waited, for sunlight
|
||
or for death.
|
||
|
||
"Cecil. Cecil Sharpley."
|
||
|
||
The last word hit him as the sun touched his head. A burst of
|
||
light, inside and out.
|
||
|
||
"Frederic." he said. "Cecil Frederic Sharpley. That's me."
|
||
|
||
"Well done! Cecil, this is Greerly. We're here to get you..."
|
||
But his mind was filled with babble; he was quite unable to tell
|
||
what was his, what was the voice. The noises merged, collided,
|
||
fell apart. He felt his body vibrate, his legs pumping him up
|
||
and down, escape the bird that way, escape the bird that way,
|
||
escape...
|
||
|
||
Inside his mind, a burning. A man came awake. A thirty-seven
|
||
year old man, warm, with a wife, with a fascination for
|
||
arachnids. A man who made models, a man who wanted to make, who
|
||
made, the ultimate field trip. A man who got lost, who forgot
|
||
the way out of the field. A man who went to sleep, and woke up
|
||
one day not as a man, who slept again.
|
||
|
||
Now he was awake. Just for a second. Just long enough to feel
|
||
the spider body around him and, in the distance, a body that had
|
||
been home. He felt the thorax with the legs sprouting from it
|
||
bursting through his chest, the distended abdomen where his
|
||
stomach was, the mess of fangs and eyes and hair merging with
|
||
his warm, smooth, man's face. An excruciating ugliness that the
|
||
sunlight could never warm.
|
||
|
||
Later that afternoon, an ichneumon wasp found the spider. It
|
||
settled on the leaf above it, and carefully made its way down,
|
||
antennae scanning. But the body was cold and had already started
|
||
to decay. Unsuited for the purpose.
|
||
|
||
There would be others.
|
||
|
||
The wasp flew away.
|
||
|
||
|
||
|
||
Rupert Goodwins <rupertgo@aol.com>
|
||
------------------------------------
|
||
|
||
Large, shambling, ground-dwelling primate. Reclusive, but
|
||
habitat thought to be restricted to temperate zones in North
|
||
London. Feeding and mating habits: Obscure, and deservedly so.
|
||
Evidence for existence may be found in PC Magazine UK, and in a
|
||
weekend diary on <http://www.zdnet.co.uk/news/>
|
||
|
||
|
||
|
||
FYI
|
||
=====
|
||
...................................................................
|
||
|
||
InterText's next issue will be released in April 1998.
|
||
|
||
...................................................................
|
||
|
||
|
||
Back Issues of InterText
|
||
--------------------------
|
||
|
||
Back issues of InterText can be found via anonymous FTP at:
|
||
|
||
<ftp://ftp.etext.org/pub/Zines/InterText/>
|
||
|
||
On the World Wide Web, point your WWW browser to:
|
||
|
||
<http://www.etext.org/Zines/InterText/>
|
||
|
||
|
||
Submissions to InterText
|
||
--------------------------
|
||
|
||
InterText's stories are made up _entirely_ of electronic
|
||
submissions. Send submissions to <submissions@intertext.com>.
|
||
For a copy of our writers' guidelines, send e-mail to
|
||
<guidelines@intertext.com>.
|
||
|
||
|
||
Subscribe to InterText
|
||
------------------------
|
||
|
||
To subscribe to InterText, send a message to
|
||
<subscriptions@intertext.com> with a subject of one of the
|
||
following:
|
||
|
||
ascii
|
||
pdf
|
||
notification
|
||
|
||
For more information about these three options, mail
|
||
<subscriptions@intertext.com> with either a blank subject line
|
||
or a subject of "subscribe".
|
||
|
||
....................................................................
|
||
|
||
Help! I'm being held prisoner in a Chinese electronic magazine
|
||
factory!
|
||
|
||
..
|
||
|
||
This issue is wrapped as a setext. For more information send
|
||
e-mail to <setext@tidbits.com>, or contact the InterText staff
|
||
directly at <editors@intertext.com>.
|
||
|
||
$$
|