3017 lines
136 KiB
Plaintext
3017 lines
136 KiB
Plaintext
Living in such a state taTestaTesTaTe etats a hcus ni gniviL
|
||
of mind in which time sTATEsTAtEsTaTeStA emit hcihw ni dnim of
|
||
does not pass, space STateSTaTeSTaTeStAtE ecaps ,ssap ton seod
|
||
does not exist, and sTATeSt oFOfOfo dna ,tsixe ton seod
|
||
idea is not there. STatEst ofoFOFo .ereht ton si aedi
|
||
Stuck in a place staTEsT OfOFofo ecalp a ni kcutS
|
||
where movements TATeSTa foFofoF stnemevom erehw
|
||
are impossible fOFoFOf elbissopmi era
|
||
in all forms, UfOFofO ,smrof lla ni
|
||
physical and nbEifof dna lacisyhp
|
||
or mental - uNBeInO - latnem ro
|
||
your mind is UNbeinG si dnim rouy
|
||
focusing on a unBEING a no gnisucof
|
||
lone thing, or NBeINgu ro ,gniht enol
|
||
a lone nothing. bEinGUn .gnihton enol a
|
||
You are numb and EiNguNB dna bmun era ouY
|
||
unaware to events stneve ot erawanu
|
||
taking place - not iSSUE ton - ecalp gnikat
|
||
knowing how or what 4/27/98 tahw ro who gniwonk
|
||
to think. You are in FORTY-FiVE ni era uoY .kniht ot
|
||
a state of unbeing.... ....gniebnu fo etats a
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
CONTENTS OF THiS iSSUE
|
||
=----------------------=
|
||
|
||
EDiTORiAL Kilgore Trout
|
||
|
||
LETTERS TO THE EDiTOR
|
||
|
||
STAFF LiSTiNGS
|
||
|
||
|
||
[=- ARTiCLES -=]
|
||
|
||
|
||
A FOOL Patchwork
|
||
|
||
A BEAUTiFUL DAY iN iNSANiTY Bixenta Moonchild
|
||
|
||
|
||
[=- POETASTRiE -=]
|
||
|
||
|
||
FADiNG MAGiCiAN AND THE SiCKNESS Bixenta Moonchild
|
||
|
||
HUZZAH HUZZAH Kilgore Trout
|
||
|
||
JACKPOT Japhy Ryder
|
||
|
||
|
||
[=- FiCTiON -=]
|
||
|
||
|
||
CiTYSCAPE Morrigan
|
||
|
||
PARABLE OF THE AMPHiBiAN I Wish My Name Were Nathan
|
||
|
||
A DARKWiNGED ANGEL Howler in the Shadows
|
||
|
||
SAViNG FACE Kilgore Trout
|
||
|
||
EVAN GETS HiS ASS KiCKED I Wish My Name Were Nathan
|
||
|
||
BATHTUB Bixenta Moonchild
|
||
|
||
ANESTHESiA DREAMS Morrigan
|
||
|
||
A PERFECT SKY Kilgore Trout
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
EDiTORiAL
|
||
by Kilgore Trout
|
||
|
||
First off, I'm gonna make a recommendation. If you're one of those
|
||
people that only reads stuff from the writers you know (and I know who some of
|
||
you are), please make sure you read Morrigan's "Anesthesia Dreams." I really
|
||
like it, and I think you should, too, especially since she almost didn't
|
||
submit it. I should also say that you should read the whole zine after you
|
||
read her story, but I just thought I'd mention that since I really liked it.
|
||
|
||
And after you're done doing that, you should drop by #unbeing some night
|
||
and join in all of the frivolities that take place there. It's quite
|
||
entertaining, and it keeps all of us insomniacs from going crazy. Watch Ansat
|
||
molest the bot, watch Clockwork and me discuss the guests on Art Bell and come
|
||
up with conspiracy theories, watch Nathan get k-lined the first time he ever
|
||
gets on IRC, and watch Morrigan speed by on her T3. Yes, you too can be a
|
||
part of the endless party that stretches from California to Bulgaria.
|
||
|
||
And then, if IRC hasn't sucked your mind dry at 4:30 in the morning while
|
||
you're editing your own zine, why don't you write something for the zine? A
|
||
little creativity is a great way to end an IRC session full of intellectual
|
||
debates where things are posited, hypothesized, postulated, and squabbled
|
||
over.
|
||
|
||
And if you've survived all of that, then maybe by next week you'll be
|
||
able to download the second audio issue, which clock has been diligently and
|
||
masterfully editing. Having heard much of it pre-release, I can assure you
|
||
that the download time is definitely worth it. We'll be sending out a message
|
||
when it comes out (and Clockwork has said by next weekend at the latest) so
|
||
you can all be drooling until then.
|
||
|
||
So, enjoy the issue, and if you have any comments or questions, they'll
|
||
have to wait since I'm going to bed. Good night.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
LETTERS TO THE EDiTOR
|
||
|
||
From: crackmonkey
|
||
To: kilgoret@geocities.com
|
||
Subject: ha ha ha
|
||
|
||
ok....a couple brief notes......who is this Oxyde de Carbone person? you
|
||
can't just let him be an official groupie without taking the nessesary
|
||
steps to groupieness. just cause he can cook, yes i can cook too and
|
||
very well i might add, doesn't mean he gets to be a groupie. thats just
|
||
not the way things work. oh well....anyways i'd appreciate his email
|
||
address so i can do things in a more official mannor.
|
||
|
||
#2 you put brianna's name in the groupie section not oxyde's. you might
|
||
want to fix that for lack of confusion. ok. thats about all the
|
||
complaining i have ot do for today. later guys.
|
||
|
||
[actually, it's a she. and we've already thrashed clock with the cat o' nine
|
||
tails for that mix-up last issue. the ACP bureaucracy is studiously working
|
||
on drawing up contingency papers for groupie disagreements and how they should
|
||
be settled, so once the specs are written, we'll be sure to get those out to
|
||
you so the matter can official be resolved. i worry about that committee,
|
||
though, since there seems to be a lot of snickering coming from that
|
||
boardroom.]
|
||
|
||
|
||
--SoB--
|
||
|
||
|
||
From: Styx
|
||
To: kilgore@sage.net
|
||
Subject: sob
|
||
|
||
|
||
Umm.. After all that blabbing, poor ole' Oxide DeCarbonaide didn't even
|
||
get onto the officla groupie list. some bumbling fool put the other chick
|
||
on there. Poor OC2 will probably go throw away her life into a pan of
|
||
zuchini or some guy's truck.
|
||
|
||
love ya,
|
||
brian
|
||
|
||
[well, hearty old chum, we have rectified the situation, and all is in order.
|
||
as to the whereabouts of OC2, well, only time will tell. that is, if
|
||
crackmonkey doesn't get to her first. who says you can't have an exciting
|
||
life being an SoB groupie?]
|
||
|
||
--SoB--
|
||
|
||
To: kilgore@sage.net
|
||
From: Dan Dzenkowski
|
||
Subject: SoB Mailing list
|
||
|
||
I should be added to the list for one main reason.
|
||
I sent a reply to an acquaintance stating how rationalism is dead
|
||
and she should be as well. She replied that I was a' precocious little fuck'
|
||
and that I should check out your site. I took a look at it and it seems
|
||
interesting. I am a philosophy major at the University of Wisconsin and
|
||
have spent 3 years doing a critical study of Nietzsche.
|
||
I am interested in arguing with other 'precocious little fucks' like
|
||
myself.
|
||
|
||
Thank you for your time
|
||
Dan Dzenkowski
|
||
|
||
[actually, "precocious little fucks" was one of the original names we were
|
||
choosing from when starting up the zine, but we decided that we'd rather let
|
||
people get to know us bit by bit instead of just saying, "Hi, we're a bunch
|
||
of assholes." Either people haven't caught on yet or we've changed and
|
||
gotten a bit soft. But we still like to argue. Just ask Takeem.]
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
STAFF LiSTiNG
|
||
|
||
EDiTOR
|
||
Kilgore Trout
|
||
|
||
CONTRiBUTORS
|
||
Bixenta Moonchild
|
||
Howler in the Shadows
|
||
I Wish My Name Were Nathan
|
||
Japhy Ryder
|
||
Morrigan
|
||
Patchwork
|
||
|
||
GUESSED STARS
|
||
crackmonkey
|
||
Dan Dzenkowski
|
||
Styx
|
||
|
||
SoB OFFiCiAL GROUPiE
|
||
crackmonkey
|
||
Oxyde de Carbone
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- ARTiCLES -=]
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A FOOL
|
||
by Patchwork
|
||
|
||
The bottle is held firm in my hands, and the keyboard lies before me, and
|
||
I whisper sweet nothings to my fingers as they tap elegantly on the keys,
|
||
expressing my mind and heart through these words. Again, I think of her.
|
||
Still, I'm stuck on her. It's all I think about. I remember the night I
|
||
slept over at my friend's house on the floor -- I remembered having dreams
|
||
about her being there, beside me, in my arms, just like she used to be so long
|
||
ago. When I woke up he was looking at me rather strangely. Did I whisper
|
||
things about her in my sleep? Something far worse? It disturbs me so, how
|
||
now even my subconscious turns on me. Why? Because I can't tell her. She's
|
||
there, in front of me, and my mouth can't form the words, I can't pierce this
|
||
coating around my heart and spill to her all about how I feel. I simply
|
||
cannot do it.
|
||
|
||
It's taken me a long time to face the fact that I'm lonely. I fear being
|
||
alone, but it takes so much to hold onto another. Soon, says a friend,
|
||
the desire to be intimate with one of the opposite sex will so much
|
||
overtake me that I will have no other choice than to act on it. I am
|
||
still a virgin -- I am not ashamed of it, I have had chances, but I chose
|
||
to wait. Yet I should have with her. I want my first time to be with
|
||
someone I care about, and I can't think of anyone I care more about than
|
||
her. Her beautiful face, her flowing hair, her wondrous chin, her
|
||
tender lips: all so inviting, all so irresistible. How could I let this
|
||
go? How could I turn my back on her after she was so patient with me, so
|
||
caring? She won. I let a great thing go.
|
||
|
||
I am such a fool.
|
||
|
||
Such a fool.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"For the temporary relief of minor aches, pains, headache, muscular
|
||
aches, sore throat pain, and fever associated with a cold or flu."
|
||
--Nyquil, Hot Therapy
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A BEAUTiFUL DAY iN iNSANiTY
|
||
by Bixenta Moonchild
|
||
|
||
What do I do if I have learned the secret of it all? I will stay very
|
||
still. I do not wish to let my colossal secret spill out through a glint in
|
||
my eye or a twitch of my lip. I feel that the universe is unfit to be endowed
|
||
with the ability to perceive itself in truth.
|
||
|
||
What do I do if I do hold the key to our undoing in my mind?
|
||
|
||
I will let the doing work its wonders inside myself, for if I disclose it
|
||
to the outside world, my outside world, the one I have so victoriously
|
||
captured in the apex of human consciousness, all consciousness of all
|
||
existence, then it would turn to poison at the moment I let go, and it would
|
||
surely destroy their world which does not operate on truth.
|
||
|
||
No, no, their world is my world. Has not my inner world come to a
|
||
perfect mirror image of the one outside? Foolish human brain, with your
|
||
imperfect thoughts.
|
||
|
||
Ah, and not just an image, but I have stolen the ultimate energies of the
|
||
outside world into myself where they can be good instead of poison.
|
||
|
||
But which is the poison? How do you judge two opposites when you have
|
||
nothing to measure them by? Could it be that I am a creature of celestial
|
||
poison?
|
||
|
||
Blast this simple brain of mine! This magnificent new reality I have
|
||
found must not have replaced all of the many silly ideas that came to occupy
|
||
my thought boxes to long ago. I must not let myself be consumed by simple
|
||
human thoughts. I must not forget that I and I alone have come this far to be
|
||
the guardian of the mystical forces that rule the cosmos, that I am now the
|
||
ruler of. Yes, I am the master; I have given my captive universe a new life,
|
||
a new era of existence inside myself, for all is inside myself, for I am it
|
||
all. But because I am its master, all must be separate from my greatness and
|
||
under my control, my brilliant control that has created the goodness in
|
||
everything to follow my own perfection.
|
||
|
||
But wasn't the world alive and well before this discovery of mine,
|
||
without my help? No, no, I have reinvented the world to be the eternal
|
||
treasure only a God could have made, made by me. See? Look! Look at it all
|
||
now! All these happenings happen because I just happen to wish them, to
|
||
command them into being. The world is my slave and would disappear if I so
|
||
desired. Nothing escapes my powers.
|
||
|
||
Wait, help, I cannot escape my own powers. I am a slave to myself, to my
|
||
wishes, and I do not know where my wishes come from. But where could they
|
||
come from if there is nothing greater than I, nothing beyond my reach, nothing
|
||
outside of my omnipotence?
|
||
|
||
Stop! This burst of illogical logic is sounding like that which comes
|
||
from the humans that amuse me so with their stupidity. I am not an ordinary
|
||
human. Ah, I see, there is an infinitely small part of me that is human,
|
||
because I am infinity. But I must have always seen and always known and
|
||
always understood everything, including this. It is impossible that something
|
||
has just escaped my wisdom. I am not flawed. But if infinity is my domain,
|
||
are there not flaws included? No, no, when any random, helpless entity
|
||
becomes part of me, any imperfections are dissolved. But no, they were always
|
||
a part of me, because there is never anything but me!
|
||
|
||
Help me, my secret is tearing me apart! No! I am the one with the
|
||
divine ability and all else is helpless. And only I can choose to help or
|
||
destroy or ignore a thing in its tiny reality that only I can choose to give
|
||
meaning to.
|
||
|
||
But I have no choice! Where is the ultimate me that is the decisions
|
||
that I make, the desires that I feel, the creations I distribute, the ideas
|
||
that I uncover, and the manager of them all and everything in between?
|
||
|
||
You don't understand; I have triumphed. I am the change in my thoughts
|
||
and the movements of the moments and the stillness of the rest and the
|
||
determination of every detail in the never-ending flow.
|
||
|
||
But I am whole and I am one, but this all-encompassing wholeness is
|
||
breaking me into pieces.
|
||
|
||
Leave me alone! All of me!
|
||
|
||
Help me! I just can't see the end. I just don't know. No! I know! I
|
||
know everything! There is no end. And I am everything and I am the end.
|
||
|
||
Everything is me! I am all there is. I am it all.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- POETASTRiE -=]
|
||
|
||
"The poets? They stink. They write badly. They're idiots you see, because
|
||
the strong people don't write poetry.... They become hitmen for the Mafia.
|
||
The good people do the serious jobs."
|
||
--Charles Bukowski
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
FADiNG MAGiCiAN AND THE SiCKNESS
|
||
by Bixenta Moonchild
|
||
|
||
In my lonely confusion wrapped in dry, quiet, cushioning garbage
|
||
the empty things rub against each other a little too hard again
|
||
Time is gone while I share myself with the
|
||
different black patches stationed in the air around me
|
||
When a clean, brilliant view tumbles through me
|
||
its magic gets drowned back into the way things used to happen
|
||
Somewhere near the center there's a windmill
|
||
scratching the edges of my thoughts
|
||
but I can't feel the breeze because I've sunk too far down
|
||
into my ice-covered flower bed of isolation
|
||
Waiting has gotten too easy, only the promised hidden universes aren't
|
||
getting any closer
|
||
I wonder how everything can stay so still
|
||
And now the garbage man has forgotten a few things behind the horizon
|
||
The whiteness of the blur of my memories
|
||
makes me forget how much I'd hoped for that magic wand
|
||
and those white sparkles that could be the cure
|
||
Outside the wind begins and the prophets are buried under the sand
|
||
Forget about real courage; it's the thought that counts.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"If you want to know the truth, I don't know what I think about it. I'm
|
||
sorry I told so many people about it. About all I know is, I sort of
|
||
_miss_ everybody I told. It's funny. Don't ever tell anybody anything.
|
||
If you do, you start missing everybody."
|
||
--j.d. salinger, _the catcher in the rye_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
HUZZAH HUZZAH
|
||
by Kilgore Trout
|
||
|
||
huzzah huzzah
|
||
|
||
pleasure-based mind control aphrodisiac superhuman erotica swaying
|
||
technology waning spirituality showcase of major trends eroding the elbow
|
||
grease of society proof that fish swim because of their location longer
|
||
necks equate natural selection bumblebees horseflies and orangutans take
|
||
over the world hallow be thy name charlatan heretical faith healer of
|
||
human concepts and baseball statistics manipulators of cancer and aids
|
||
and the plague and tooth decay of the nuclear family power plants the
|
||
seeds in the wet warm soiled diapers discarded in discord reggae hipsters
|
||
tripping on beats of soldier police riot squads with batons and shields
|
||
protect the guilty
|
||
|
||
huzzah huzzah
|
||
|
||
biology kills god damn she says mourning the loss of identacled nightmare
|
||
gunshot harmonies freeing the soulless species living dark and swarthy
|
||
insectoid jobs eyesight craters shroud the opulent moon cities dead in
|
||
l.a. waiting for earthquake bingo masturbating pigs and chicken
|
||
foodstuffs carried in tractor trailer trucks a simple reduction of
|
||
individual to number punching calculators glorified slide rules of man
|
||
challenged in court jesters juggling balls of fire the end is nigh saith
|
||
the lord
|
||
|
||
huzzah huzzah
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"So much to turn down in these Babylonian times...."
|
||
--Max Blagg
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
JACKPOT
|
||
by Japhy Ryder
|
||
|
||
I died in America tonight
|
||
Lay down in the technicolor nightmare
|
||
Las Vegas vomited neon melange of electric tracers
|
||
and bright sequined tortures like popping flashbulbs
|
||
from a vicious paparazzi.
|
||
|
||
Gone run down dead under tires
|
||
of the green Babylon City Works garbage truck,
|
||
the intersection of gated white rib and red crushed
|
||
glint from dead chrome and 1$ Sahara chips,
|
||
and comped whiskeys and betting heavy on 14 against
|
||
the dealer's upturned Ace.
|
||
|
||
Strange things have grown in the desert,
|
||
things that would make Caligula blush, such Xanadus
|
||
and El Dorados that would give Cortez a hard on like
|
||
Montezuma never could, such little middlewestern Montgomerys
|
||
out in the desert ready to lose big at their own personal El Alamein,
|
||
and greedy geriatrics up from Phoenix blowing their Social Security
|
||
and dreams of an RV.
|
||
|
||
And all of America is debt,
|
||
a great cascade of nothing built on nothing--
|
||
driving Maximas and Camrys and looking to trade
|
||
up to a Volvo or Beamer--middle management waiting
|
||
to get old so, they can respectfully latch onto Town Car,
|
||
or 5th Avenue, or king-hell Cadapussy Broughm.
|
||
|
||
So in Circus Circus little wolverine-
|
||
faced children cruise the casino floor through the pits
|
||
and long rows of Pavlovian dream machines grooving
|
||
to the aggressive ching ching ching ching, chunk chunk
|
||
of tokens splatting into the tills and hypnotic rush
|
||
of bells and spinning prayerwheels--feral children
|
||
sidling up to parents (who are looking for about $2000
|
||
worth of fun) and saying, hands upraised,
|
||
"Please, Sir,
|
||
can I have some more?
|
||
Please, Sir?"
|
||
|
||
More in the neon vortex desert frontier night--all free
|
||
fluorescence and oxygen on the timeless casino floor,
|
||
and fantasy capitalism barking out its mating call:
|
||
11, 11, 11, Lucky 'leven, c'mon hit baby yeah--
|
||
double down bust, bets please,
|
||
Craps
|
||
hard 8, hard 8, hard 8,
|
||
No Field 5
|
||
ching ching ching ching, chunk chunk chunk
|
||
JACKPOT!!
|
||
and a wild roar erupts from the Craps tables,
|
||
and it's Hard Head by a nose at Santa Anita,
|
||
and it's the clattertrap rattle of the Wheel of Fortune,
|
||
a spinning mandala of love, and the warm caress of
|
||
Franklins and Jacksons
|
||
bust baby Craps, bets please!
|
||
Yo 'leven!
|
||
Comp me. Comp me. Gimme more!
|
||
|
||
More in Dick Clark's Bandstand disco all-American
|
||
Rockin' Eve, in tight, spangled jumpsuits and short shorts
|
||
and Bonne Bell cherry lip gloss, a carniverous smile behind
|
||
a popping bubblegum boomtown, and the obscure chant
|
||
"Wayne, Wayne, Wayne, Wayne" settles like dust over the Strip--
|
||
and in the Hanging Gardens a d<>class<73> Jesus pitboss hands
|
||
out blessings and benedictions and double odds on Come bets
|
||
to the knowing gambler; and a black velvet Elvis gorges
|
||
himself in the buffet line--and this is the old fat Elvis, of course,
|
||
with his super bell bottoms and atrophied rhinestone bestudded
|
||
cape--and there's Liberace wangling his dick out so Illinois
|
||
tourists can rub it for good luck.
|
||
|
||
And there's long rows of women who lovingly fondle
|
||
the thin chrome shafts of the slots--yank and crank and caress,
|
||
jerking in hopes of a beautiful golden shower ejaculation
|
||
of More and Now, grinding into their stools open-mouthed,
|
||
wet with intensity, and deep in the carnal knowledge that
|
||
this lover far from being a bandit is the sugardaddy
|
||
of all sugardaddy King of Diamonds who'll spin and pop
|
||
their cherries, whisper lemon nothings with nitrous oxide
|
||
breath:
|
||
"Jackpot, baby. More. Now. Jackpot, honey.
|
||
Gimme some more. Jackpot, My Sweet,
|
||
I need some more, now."
|
||
And they answer with Need, this petite bourgeoisie,
|
||
their thin lips painted full red, and garish jewelry,
|
||
color-coordinated Nieman togs--sweaters and stretchpants
|
||
or tennis gear and shamblewear.
|
||
|
||
And the men, should-be Kubla Khans
|
||
or lonely Travis Bickels, split queens at the $25 tables,
|
||
and dream of impossible blowjobs in the Keno Parlor
|
||
by improbable dancers with an all-over body tan and pencil-eraser
|
||
hard nipples saying,
|
||
"oh my, you're sooooo big.
|
||
Unh, you're sooooo good."
|
||
And they bust out with a smile after hitting on 12.
|
||
And what's a little less of More in the Pleasure Dome
|
||
when we have sex by proxy--this wad of money we've blown
|
||
in social orgasm, because there's always more, and more now, and
|
||
|
||
|
||
|
||
O brothers and sisters I have sinned before you.
|
||
I have visited the dens of iniquity
|
||
and have indulged in pleasures of the flesh.
|
||
O my brothers and sisters, I have placed myself
|
||
a stumbling block in your righteous path.
|
||
I have lusted in my heart and in my actions,
|
||
but cannot pluck the offending eye from its socket.
|
||
I stand before you repentant in Sodom, bathed
|
||
in the blood of Gomorrah as the Almighty cleansed
|
||
that evil Place with fire. I have sinned! I have sinned!
|
||
I have split Jacks and I have split 9's and I have
|
||
laid the 5 for 1 Any Seven sucker bet and the Hop bet,
|
||
and 5-number bet with a 7.89 vig for the casino.
|
||
And brothers and sisters and sports fans of all ages
|
||
I have wanted More and have laid down in front of More
|
||
and have rubbed More's feet, and I have died
|
||
an American Death every night in the desert--
|
||
cash heat death--and I am bleached bones
|
||
at the poison watering hole, and I need more
|
||
and I need it in a pretty big fucking hurry, don't you?
|
||
And I'll do what it takes, won't you?
|
||
And I'll kill if I have to, wouldn't you?
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
[=- FiCTiON -=]
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
CiTYSCAPE
|
||
by Morrigan
|
||
|
||
A city. A vast racing network of faces and cars and food and music and
|
||
pavement and fat birds. There, a small patch of green, at first glance
|
||
completely out of place, accepted because of the sidewalks running through
|
||
it and torn paper fluttering, mimicking absent leaves. Benches act as
|
||
beds as well as chairs, and grass is appreciated as a pillow more often
|
||
than as decoration. Hearts beat to the constant thrum of high heels and
|
||
wingtips and worn sneakers. Cigarette smoke floats against a clear
|
||
un-blue sky.
|
||
|
||
* * * * *
|
||
|
||
Alice hurries behind her boyfriend. She struggles to keep up with his
|
||
long strides while trying not to trip on her heels, specially designed to
|
||
force a dignified pace. She internally whines, reluctant to voice her
|
||
annoyance but equally hesitant to accept the minor discomfort. Her will power
|
||
weakens, though, and after half a block she proclaims her complaints firmly.
|
||
"Slow down. Why are you walking so fast? It's hard for me to keep up in
|
||
these shoes. My feet hurt already and we still have three blocks to go. Why
|
||
won't you slow down?"
|
||
|
||
Anthony keeps his silence until she pauses and then turns to her
|
||
incredulously. "We're hurrying because you were late and if we don't get to
|
||
the restaurant on time, they'll give someone else our table. I was hoping to
|
||
take you out for a nice lunch on your birthday, but you're making it more
|
||
painful than enjoyable so far."
|
||
|
||
"Oh," Alice murmurs, temporarily placated by the knowledge that the
|
||
fuss is for her.
|
||
|
||
* * * * *
|
||
|
||
She strides down the sidewalk, easily rolling to the beat of the Ani
|
||
DiFranco song resonating through her headphones, her trench coat waving in the
|
||
breeze of her passing. Meg hums and half-sings a favorite line and a few
|
||
choice chords. Anticipation of a concert two months from now brings an
|
||
unrepressed gay glint to her eyes. As she notices a bench with a free space
|
||
her path instantly shifts and she flops loosely onto its graffiti-carved
|
||
slats. Meg executes a quick rummage in her backpack with all the finesse of a
|
||
zealous puppy, ending in the triumphant removal of a new book. She snuggles
|
||
contentedly into the bench with her feet tucked in beside her and continues to
|
||
hum.
|
||
|
||
* * * * *
|
||
|
||
A gaggle of girls skips and twirls its way along the crowded pavement.
|
||
Forgotten bubble gum falls from a laughing mouth and without fanfare becomes
|
||
merely another trampled stain on the cement. They turn a corner and jostle
|
||
into a small shop, lit by neon. After sharing their gossip with the girl
|
||
behind the counter, they emerge sipping pale pink milkshakes.
|
||
|
||
"Did you see that guy with the tight jeans and the cowboy hat?"
|
||
|
||
"He belonged on a horse with some cows, not here in the city!"
|
||
|
||
"I think he was lost or something. Maybe we should have given him
|
||
directions: West's that way."
|
||
|
||
"How do people like that end up in cities, anyway?"
|
||
|
||
Their laughter lets the conversation drift to other topics. Perched on
|
||
benches, they slurp the last few inches of their milkshakes without missing a
|
||
single word.
|
||
|
||
"Wait, there he is again!"
|
||
|
||
"Who, the cowboy?"
|
||
|
||
"Hey, you're right."
|
||
|
||
As he passes them, he tips his hat with a smile amid delighted giggles
|
||
and clapping.
|
||
|
||
* * * * *
|
||
|
||
His freshly polished wingtips press firmly into the sidewalk. Their
|
||
soles carefully avoid any cracks thanks to long years of superstitious and
|
||
subconscious conditioning. Jake's conscious mind is wandering far from his
|
||
mother's back, though. A glance catches the briefcase swinging at his side
|
||
and a thoughtful look wanders across his face as he fleetingly lets himself
|
||
mull over his next case. As soon as he catches his mind sneaking towards
|
||
work, he sheepishly pulls it back to the issue at hand: the problem of how to
|
||
fit in a trip to the jewelers for his wife and his son's orthodontist
|
||
appointment between his daughter's soccer game and a hearing that begins in an
|
||
hour. Long practice helps Jake to come up with a solution quickly, at which
|
||
point he unleashes his mind to sprint back to the tantalizing new client he
|
||
signed only yesterday and the predicament that said client caught himself in
|
||
due to lack of knowledge. He happily ponders the options for untangling the
|
||
legal mess that interstate tax laws have created. Routine prompts his glance
|
||
to fall on his watch. What he sees startles him into a long striding run
|
||
toward his office.
|
||
|
||
* * * * *
|
||
|
||
A pigeon lands on the awning of a restaurant while its cousin pecks
|
||
around a bench in a park as its brother gets caught in an empty styrofoam
|
||
milkshake cup and his mother glares at a man who has almost run over her tail
|
||
in his hurry to get somewhere else.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"But usually we're busy denying death. We have some wonderfully evasive
|
||
expressions for this purpose, like, 'If something happens to me....'
|
||
It ain't *if*, it's *when*, and it ain't *something*, it's *curtains*."
|
||
-- Dean Sluyer, _Why the Chicken Crossed the Road
|
||
and Other Hidden Enlightenment Teachings_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
PARABLE OF THE AMPHiBiAN
|
||
by I Wish My Name Were Nathan
|
||
|
||
Languidly drowning, the hitching of the lungs alerts me to my danger.
|
||
Limbs flailing, mind racing, the surreally slow movement underwater beckons me
|
||
to give up, feast on the strangeness, dwell in the depths, and die.
|
||
Concentration is at a premium here, and control seems to be a faint memory,
|
||
but somehow I remember breathing once, and walking, happy. That's all I can
|
||
believe in. Before my tired mind's grasp on credulity slips, I must
|
||
experience that again, if only to remind myself it was true once.
|
||
|
||
I have a goal, and I start to remember. Arms thrusting in unison with my
|
||
legs, pointing up, straight up, this is so damned hard without breath, should
|
||
I just give up now? How much farther is it? Why bother.... At once my eyes
|
||
open and I can see dimly through the murky expanse of water some other people
|
||
trying to get out, but I cannot but doubt my senses. Looking down, I realize
|
||
I have just ascended from a pile of corpses, heaped on the ocean floor, with
|
||
an occasional free arm lazily rocking in the undercurrent. My attention is
|
||
distracted and I feel myself sinking again, in horrific wonder, until it
|
||
becomes clear that the arms are actually reaching, grasping, and trying to
|
||
pull -- me! Oh no! Not again!
|
||
|
||
I redouble my efforts and refuse to think about what I have left behind,
|
||
wanting only to leave the water and find out what I faintly remember about
|
||
breathing and walking. My lungs are aching, my mind is reeling in hopeful
|
||
frenzy, and I am sure my heart will burst from its terrified throbbing, but as
|
||
I ascend, the pressure decreases and everything gets brighter, or is that just
|
||
a trick of my mind?
|
||
|
||
I glance back down and am caught in unexpected wonder, for everything
|
||
around me is positively shining. Why hadn't I noticed that before? Had my
|
||
eyes been shut tight in concentration? Something then beckons me to look up
|
||
again. Before moving a muscle I know what it will be.
|
||
|
||
Light.
|
||
|
||
Rapture.
|
||
|
||
Ecstasy.
|
||
|
||
My head pops out of the water like a bubble and I take in a tremendous
|
||
gulp of air, the whole universe utters a sigh of relief. I notice the glowing
|
||
orb of light far above me. The sun! How could I have ever forgotten! It is
|
||
all too apparent, of course, what had been distracting my attention, and I can
|
||
only laugh at myself for having been a fool. The sun is warm too, so warm,
|
||
but for the moment my wet skin only shivers from the contrast.
|
||
|
||
Startled, I forget to tread and am taken underwater again. I didn't need
|
||
to remember what it was like, but my terror burns into my mind a reason why I
|
||
should. The heavy water which presses equally at all points makes one forget
|
||
that it is still a brutally constant force. A lot like air, I reflect, but
|
||
remember that breathing is a romantic exchange, a give and take, which doesn't
|
||
drown.
|
||
|
||
My mind is set and settled and I rise to the surface once more to do the
|
||
work of reaching shore. It's so easy to see through air, no one ever believes
|
||
that, but I can merely turn my head and take in everything around me. I see
|
||
that I have emerged remarkably close to land. Land is something else no one
|
||
will believe in, and I had almost dismissed myself the belief in the fabled
|
||
foundation upon which one could rest. But I understand something about this
|
||
piece of land. Aside for a small accidental ledge, it is a mountain, and the
|
||
mountain meets the water at such a steep angle that underwater, with the
|
||
effect of erosion, it can seem to be nothing more than an impassable wall.
|
||
Had I not had some hint myself, I wouldn't have even been able to convince
|
||
myself that climbing the wall was the only way out.
|
||
|
||
I swim to shore and recoil in pleasant surprise at the touch of sand and
|
||
rock, which is positively burning under the sun's rays. I intuit my next step
|
||
and pull myself to shore and lay down on the small ledge. Instantly I feel
|
||
utter calm and safety and have to laugh at how easy it is. Had I really
|
||
resigned myself to dying underwater? If anything, I would choose to die here,
|
||
happy, and not writhing and panicking... but that's what the water makes
|
||
impossible to avoid. Unburdened, I soon fall fast asleep.
|
||
|
||
* * * * *
|
||
|
||
I woke up hungry and sore and knowing that somehow this ledge was not
|
||
anywhere to be. I toyed facetiously with the idea of walking around the
|
||
mountain and staking a claim to sea level but knew intuitively that the only
|
||
way was up.
|
||
|
||
I had no clothes, no shoes, no hat. I knew I'd had some before or made
|
||
some or something like that but they'd got lost underwater. I think I can
|
||
remember insolently tossing them off as unnecessary baggage. I felt quite
|
||
stupid about that but my mindset was not at all defeatist. With my
|
||
well-deserved sleep I only felt more earnest to continue forward. I would
|
||
merely have to be careful scaling the rocks, and avoid sunburn, and be
|
||
sensible. Or, I could be reckless and just thrive on the joy of being on the
|
||
mountain. There was something vaguely repellent about that, though.
|
||
|
||
Up! I remembered. I sensed a definite danger of forgetting everything
|
||
again, since I was in such relative ease. But I had no food and no clothes
|
||
and couldn't subsist here any better than underwater.
|
||
|
||
As if to dissolve any lingering doubts, with an accidental peremptory
|
||
glance around me, I noticed other people on the mountain. "I knew it!" I
|
||
thought, as if I wouldn't have, but my memory was coming back to me. My
|
||
anxiety was quelled and I called merrily to some other figures far ahead of
|
||
me. I could feel them smiling back although few of them said much. I felt
|
||
silly again, sensing that they needed their concentration on their tricky
|
||
paths. I joyously started to climb.
|
||
|
||
It was a bit tricky to learn how to find footholds and secure
|
||
outcroppings to grab onto. Kind of a disappointment coming from the
|
||
uniformity of the water, which gave no illusions about its nature, but no
|
||
compromises either. While starting out I impetuously grabbed onto several
|
||
rocks that gave way when I pulled on them and could have spelled my doom. With
|
||
an appropriate balance of fear and determination, though, I drove on forward,
|
||
higher and higher.
|
||
|
||
The memory pains me but it is important to recount. I had been climbing
|
||
for several hours with nary a rest, so proud of myself that I didn't consider
|
||
to stop once. My uncovered feet were bleeding because I had told myself with
|
||
bravado, "no pain, no gain." The sun had been burning into my skin the whole
|
||
time since I hadn't thought of circling the mountain and climbing in the
|
||
shade. And without any food or water, my mind alone was keeping my body
|
||
going. I was moving forth, step by step, knowing I was doing something wrong,
|
||
but making up excuses for continuing. Indeed, in my frenzy, I was actively
|
||
convincing myself that this amount of hard work and labor was the discipline
|
||
I'd been lacking. Yes, I thought, I need this pain so I won't forget to keep
|
||
trying, just look at all those people who give up when it's easy. I was so
|
||
sure of myself that I decided to howl at the sun in mockery of its relentless
|
||
heat and stamp on the mountain to taunt its immovability and spit into the air
|
||
to mock its ephemerality.
|
||
|
||
And I fell.
|
||
|
||
And as I fell, it became clear that the ephemeral air would not restrain
|
||
me, and the immovable mountain would not reach out to grab me, and burning sun
|
||
would only look dumbly down and blind me. And while the air was empty and the
|
||
water was soothingly constant, while falling, the plane between them was hard
|
||
enough to break bones.
|
||
|
||
I don't know how I survived. Finding myself drifting downward through
|
||
the water, breathless, all that came to mind was anger. Nothing else mattered
|
||
but to express my rage at the injustice done to me. Hadn't I earned anything
|
||
with all that, for it to be so pointlessly taken away? How could that
|
||
possibly have happened? Hadn't I been trying, giving it a hundred and fifty
|
||
percent? I couldn't believe how unjust it was that these morons drowning down
|
||
here in their own apathy would feel less pain than me, and I couldn't stand
|
||
the thought of them watching my broken body drift down into the heap to join
|
||
the others. I didn't deserve this, not at all!
|
||
|
||
Oh, but was the point anyway? All the effort of finding my way to the
|
||
surface, swimming to shore, climbing so high, so easily whisked away by the
|
||
dumb and blind force of gravity. I couldn't stop gravity, could I? Well,
|
||
fuck it then. Fuck it all. Forget it, gravity, you win. I'll just sink down
|
||
here, I'll take my last breath of salt water and listen to my lungs hitch up
|
||
and watch my brain stop and curse you the whole way to my death. You can make
|
||
me fall but you can't take away my will.
|
||
|
||
In my orgy of self-righteous anger, of course, there was no way I could
|
||
really accept the humiliation of giving up, but the fantasy of cursing gravity
|
||
to the very end seemed so very sweet....
|
||
|
||
I whipped my head around to sneer at any of the drowning idiots who might
|
||
be grinning slyly at my demise when I realized that I was still far higher
|
||
than I'd been before. I was amazed. I couldn't see a single one of the
|
||
desperately grabbing hands reaching up from the depths. In fact, cold light
|
||
still shone around me. What could explain this? I noticed dumbly that I was
|
||
still madly treading water.
|
||
|
||
Before I could laugh at myself, I found myself pulled to the surface.
|
||
This was more startling than coming up by myself. I'd never imagined that
|
||
anyone would bother to rescue me. I was confused and angry, still grasping
|
||
onto the fading plan to die indignantly, and I was about to transfer my anger
|
||
to my rescuer when I saw how serene she was.
|
||
|
||
"You had a nasty fall there."
|
||
|
||
"Who are you?"
|
||
|
||
"I'll pull you to the shore."
|
||
|
||
She wrapped her arm around my chest and swam me up to the ledge. I was
|
||
baffled and still entertaining the idea of pushing her aside and claiming my
|
||
death. What did this mean? She didn't say anything else, and I didn't
|
||
either, not sure whether to thank her or curse her.
|
||
|
||
On the narrow shore-ledge, she wrapped bandages around my feet and rubbed
|
||
a cream over my neck, shoulders, and back. She gave me water and I didn't
|
||
understand at first that I should ingest it. I hadn't fathomed the concept
|
||
before -- I had lived in it! But this water was different. It didn't burn
|
||
and it seemed to dispel the heat. I drank it greedily.
|
||
|
||
I was grateful but confused, angry, and depressed. I thought it was all
|
||
over. I was on land again, and I knew all I could do was learn to climb. It
|
||
seemed entirely out of the question to go underwater again. I'd thought I
|
||
would die there.
|
||
|
||
"I don't want to climb."
|
||
|
||
"You're in shock."
|
||
|
||
"I hate the sun. It will just burn me and blind me. It's evil."
|
||
|
||
"You need to rest."
|
||
|
||
"I hate climbing. It's too hard. It doesn't get me anywhere."
|
||
|
||
"You don't know that."
|
||
|
||
I sighed. But part of me couldn't believe with what indigence I had
|
||
changed my mind and thrown away all the possibility I had only recently
|
||
rediscovered. But I felt humiliated. I shouldn't have fallen at all. If I
|
||
hadn't fallen, I wouldn't have had to go through the humiliation of being
|
||
rescued. I didn't want this woman to see me naked and injured. It was
|
||
terrible.
|
||
|
||
I sat in silence and thought about my rescue. This woman seemed so
|
||
comfortable and prepared. She had shoes and clothing and she was happy. I
|
||
knew instinctively that she didn't need me whatsoever and would probably soon
|
||
leave me here. But instead of resenting her, I too started to calm down and
|
||
rethink my actions. She had that effect.
|
||
|
||
"Did I really climb all that way without shoes?"
|
||
|
||
"You did. I wish you hadn't."
|
||
|
||
"You don't want me up there." The words escaped me, I didn't mean them.
|
||
|
||
"I want everyone up there."
|
||
|
||
I thought about this and marveled at her naivete. There was no way that
|
||
would ever happen. I figured. "Is that what you really want?"
|
||
|
||
"Absolutely."
|
||
|
||
"Then why don't you --"
|
||
|
||
"It's not *my* job."
|
||
|
||
The way she said it, I again realized how unimportant I was to her. And
|
||
only then did I also realize that there was no reason I should have been
|
||
important to her. It wasn't her place to fish everyone out. Unless they
|
||
already wanted to, she would let them stay. I decided then that it was in my
|
||
best interests to continue climbing. Not just as an alternative to dying in
|
||
the water like most did, not just because it was different and exhilarating,
|
||
but because I wanted to. I knew somehow that good would come of it.
|
||
|
||
"Do you have any shoes?" I asked.
|
||
|
||
"Thought you'd never ask. Here," she said, taking off her own shoes,
|
||
which surprisingly fit me. "I can't offer you a shirt just yet. Until you
|
||
get one, climb in the shadows."
|
||
|
||
"Makes sense," I said. "Thank you."
|
||
|
||
In spite of my relief and remounting joy, I couldn't help but notice that
|
||
she seemed a bit tired of me, again pointing out that I was nothing to her.
|
||
So, I decided to accept my humility. At once, she stood up and took her
|
||
leave.
|
||
|
||
"See you on top!" she said, beaming.
|
||
|
||
At that moment, I couldn't discount the feeling that I had only been
|
||
projecting.
|
||
|
||
* * * * *
|
||
|
||
I start climbing again after circling around to the shady side of the
|
||
mountain, where I find to my surprise the slope is less steep, although it
|
||
will be a longer climb. I am still amazed to see so many other people up
|
||
there and I hope to know them all some day.
|
||
|
||
I look up and the sun is hidden behind the mountains. I will find later
|
||
to my dismay that the sun disappears, but reappears again. All the people on
|
||
the mountain attest that this cycle never ends. I have my doubts. I doubt
|
||
even that the mountain will be here forever. And everything else? But I am
|
||
sure that I won't be around to find out otherwise. So as I take my first
|
||
steps back up, I put my trust in the support of the mountain, which may give
|
||
me slippery slopes or loose rocks to keep me aware. I put my trust in the
|
||
life force of the air, which may blow me uncomfortably loose from the face of
|
||
the rock and grow thin as I climb higher. I put my trust in the warmth and
|
||
light of the sun, which may burn my skin and tax my body and disappear when I
|
||
want it most. And I put my trust in the sustenance of the water, from which I
|
||
came, and to which I must return.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"There are many people and many tribes, but only so many stories."
|
||
--Neal Stephenson, _The Diamond Age_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A DARKWiNGED ANGEL
|
||
by Howler in the Shadows
|
||
|
||
A steady gust of wind blew from the south, forcing the rain to hit and
|
||
reflect off the wall of the Chicago North Star Regency's wall, creating a
|
||
small haven from the water at its base. A teenage girl huddled in that haven,
|
||
scanning the passing crowd. Her hair would have been the color of fire if it
|
||
had been dry, but the water turned it almost auburn and matted it in thick
|
||
tangles down almost to her shoulders. She wore an old, brown polo shirt with
|
||
tan bands at the end of the short sleeves. The shirt had a tear from the last
|
||
button to the upper part of her left breast, and another across her midriff.
|
||
The shirt tucked into a faded pair of blue jeans with a single tear from the
|
||
knee to the upper thigh of her left leg. She had a large, black cloth bag
|
||
pressed between the small of her back and the hotel wall. Her wandering eyes
|
||
suddenly halted, locking onto a single figure in the crowd. A man in the
|
||
beginning stages of middle age walked quickly toward the hotel. Holding an
|
||
umbrella over his head was a massive man wearing mirror shades and a suit that
|
||
looked two sizes too small for him.
|
||
|
||
Anticipation and queasiness filled the girl's belly as the men drew
|
||
closer. The smaller man slowed to a stop as they came even with her, the
|
||
larger stopping a foot behind and to the right. Her light brown eyes met his
|
||
dark green ones. His eyes widened a little in surprise. He smiled at the
|
||
little bit of fear that had sparked in her eyes. His gaze traveled hungrily
|
||
down her body, taking in exposed flesh of her slim, athletic figure, her wet
|
||
clinging shirt, her bare feet and most importantly, her ringless hands. She
|
||
could almost read his thoughts.
|
||
|
||
"Guildless," he would be thinking, "this girl has no Family."
|
||
|
||
"Girl," he said, breaking her train of thoughts, "you look cold."
|
||
|
||
She nodded mechanically, her eyes locked onto his face. It was not an
|
||
ugly face: dark, sun worn, with stress lines disappearing into graying
|
||
stubble. His dark emerald eyes seemed to shine with life,
|
||
|
||
"You're soaking wet, girl," he said, his kindly expression ruined by the
|
||
excitement in his eyes.
|
||
|
||
"Would you like to come upstairs?" He licked his lips. "Maybe get
|
||
something to eat?"
|
||
|
||
He was enjoying her nervousness, but worried that he might scare her off.
|
||
The girl paused, as if considering, then grabbed her bag and slipped her arm
|
||
around the man's side. After a moment's hesitation, the man's arm slipped
|
||
around her shoulder in a warm, if confining grip.
|
||
|
||
"Sir, I don't think this is such a good--" the larger man began.
|
||
|
||
"You worry too much, Davis, relax," the man responded.
|
||
|
||
"After this morning?" the man retorted.
|
||
|
||
Irritation filled the man's eyes, he looked at the girl for a moment and
|
||
then at Davis. Finally, he smiled.
|
||
|
||
"Fine then. You can search her when we get up stairs."
|
||
|
||
Davis did not respond.
|
||
|
||
If anyone in the North Star's Lobby thought it strange that this man
|
||
should walk in, arm in arm with a barefoot and soaking street girl, they kept
|
||
it to themselves. The man directed them into one of the elevators and seemed
|
||
relieved when the doors closed without anyone else entering. She could
|
||
already see his erection through his pants and his arm had somehow drifted
|
||
down so that his finger tips rested lightly on her breast. After what seemed
|
||
like an eternity, the elevator chimed and the doors opened. He led her out of
|
||
the elevator and down the hall, stopping at the fifth door. He released her
|
||
and dug in his pockets, finally producing a card key. He swiped the card,
|
||
cursed when the lock buzzed angrily at him, clumsily reversed the card and
|
||
swiped it again. He sighed when the light turned green, pushed the door open
|
||
and gestured for her to enter. She stepped in and looked around. It was a
|
||
nice room, making it a very expensive room. It was large, and filled with
|
||
quality synth-wood furniture. In a corner stood a high-res holo-tank with
|
||
very real looking coy swimming lazily about in it.
|
||
|
||
The man stepped inside and closed the door after slipping a "do not
|
||
disturb" sign on the outside knob.
|
||
|
||
Davis stepped up to her. "I would like to search her now, sir," he said,
|
||
laying a large hand on her shoulder. The man nodded irritably and walked over
|
||
to the desk where he began shuffling through some papers. Davis did a quick,
|
||
thorough search of her. When finished, he grabbed her bag, dumped the contents
|
||
on the floor and dug through them.
|
||
|
||
"She's clear sir."
|
||
|
||
The man turned to face her. He watched as she squatted down and
|
||
carefully packed all her belongings back into the cloth bag.
|
||
|
||
"What's your name?" he asked, meeting her gaze.
|
||
|
||
"Angel," she responded in a quavering voice, dropping her gaze.
|
||
|
||
"You certainly look the part," he said, smiling. "Why don't you go sit
|
||
on the bed while I make a phone call."
|
||
|
||
"Can I have my food and my shower first?" she asked, her voice almost
|
||
cracking.
|
||
|
||
She flinched when his gaze snapped back on her. His anger melted away
|
||
quickly and he smiled.
|
||
|
||
"Of course. You were thinking I'd have my way with you and then have
|
||
Davis throw you out, weren't you?" he laughed, his eyes betraying that he
|
||
had been thinking just that.
|
||
|
||
"Go take your shower and I'll order us some dinner," his impatience had
|
||
reappeared in his voice.
|
||
|
||
She nodded and walked quickly into the bathroom, closing and locking the
|
||
door behind her. She stripped off her clothes, wrung them out in the sink and
|
||
draped them over the towel rack to dry.
|
||
|
||
She reveled in the jet of hot water that hit her in the face when she
|
||
stepped into the shower. She found a disposable razor wrapped in plastic and
|
||
a small wax-paper wrapped bar of soap sitting in the soap dish. She used them
|
||
to shave her legs and armpits. She washed and combed her hair and then just
|
||
stood under the spray of water until it started to turn cold. She turned off
|
||
the water and stepped out of the tub, toweling herself dry. She heard a faint
|
||
knock at the outside door and Davis's muffled voice saying something.
|
||
|
||
She found a large white robe hanging on the back of the door and slipped
|
||
it on. It was too large for her and had the letters N.S.R. embroidered in
|
||
gold on the left breast. She opened the door and stepped out into the living
|
||
room.
|
||
|
||
The man sat at the table that room service had wheeled in, eating a very
|
||
rare vat-grown beefsteak and sipping a Japanese beer. Davis had resumed his
|
||
place to the left of the front door. The man watched between bites as she
|
||
walked over to the table and sat down opposite him, drawing her legs up under
|
||
her. She took a few nibbles of the sandwich he had ordered for her. She
|
||
glanced up nervously, cast a glance over at Davis, and back to the man.
|
||
|
||
"He's not going to watch is he?" she said, blushing.
|
||
|
||
The man laughed. "You hear that, Davis? The little girl's shy."
|
||
|
||
Her face turned scarlet. Davis did not react.
|
||
|
||
"He he makes me nervous. I would like it better if you sent him
|
||
outside." Her blush deepened.
|
||
|
||
The man laughed again, "well, sweet, innocent little angel of mine, when
|
||
you're ready, I'll send him outside." He placed a large, sun-darkened hand on
|
||
her pale knee.
|
||
|
||
She smiled, her face changing back to its normal color, and began eating
|
||
again. The man didn't eat much. He simply sat and watched her, seemingly
|
||
enthralled. When she had finished, she smiled, stood up, walked past him to
|
||
the bedroom door and paused, looking back. The combination of innocent and
|
||
seductress in her eyes filled him with desire. He stood up so quickly that
|
||
the dishes rattled and his beer tipped over. He cursed and picked it up,
|
||
throwing a napkin over the spreading puddle of beer.
|
||
|
||
"Davis, wait outside," he said, following her as she disappeared into the
|
||
bedroom. She stood facing the wall, waiting. When she heard Davis close the
|
||
outside door behind him she undid her robe and let it slip to the floor.
|
||
|
||
"Oh yes, you certainly look the part," the man said in a breathy voice,
|
||
standing closely behind her.
|
||
|
||
He grabbed her with the intent of twisting her into an embrace, but when
|
||
she spun, she swung an open knife-hand strike to his throat. He gasped and
|
||
stepped back a bit, hurt and startled. She didn't wait for him to recover.
|
||
She spun again and landed a wheel kick to his throat, crushing his wind pipe.
|
||
He gasped like a fish out of water and struggled for the door. She swept him,
|
||
stepped over him, and planted her heel on his neck, breaking his spine. He
|
||
lay face down in the plush carpet.
|
||
|
||
Angel's mind raced. All traces of nervousness had evaporated. She
|
||
grabbed her cloth bag and dumped its contents onto the bed. She pulled out
|
||
the liner and removed several small plastic wrapped packages containing an
|
||
expensive, if conservative business suit. She retraced her route through the
|
||
apartment, removing all traces of her presence. Once satisfied, she changed
|
||
into the outfit and pulled her hair into the severe bun that was in style for
|
||
upper-level business women.
|
||
|
||
She reentered the bedroom, picked up her bag and flipped it inside out
|
||
revealing a brown suede synth-leather surface. She carefully repacked her
|
||
belongings. When she finished, she pulled off the false skin she'd been
|
||
wearing on her hands and stuffed them into her bag. She retrieved a plain
|
||
gold band with a clinched fist engraved on it from her pocket and pushed it
|
||
onto her left ring finger. Finally, she slipped on a pair of white gloves.
|
||
|
||
Her new persona complete, she ran into the bathroom, pulled open the
|
||
under-sink cabinet and cursed. She had paid the cleaning lady five-hundred
|
||
creds to tape a Tranq pistol and ammo to the back of the pipes. It wasn't
|
||
there. There was no time to wonder why. She would deal with that later. She
|
||
momentarily felt sorry for the body guard, but let it go. Her mind raced. A
|
||
man like her target did not go about unarmed, body guard or no. He would have
|
||
it somewhere he could easily get to, but not on his person -- too easy to get
|
||
caught that way. She spotted a metal briefcase in the open closet. She
|
||
rushed over and cracked it open, dumping out the multitude of documents. It
|
||
would have a false bottom. Her hands found a cleverly disguised latch and
|
||
triggered it. She cursed again. Inside the compartment was a snub-nosed
|
||
needler with a clip of needles and several spare air cartridges. Next to that
|
||
were five gold bars each about four by seven inches across and two inches
|
||
thick. She grabbed the bars and threw them into her bag, then picked up the
|
||
pistol. It had a full clip, but the air cartridge, needed to propel the darts,
|
||
was half empty. Her target was either very busy or very sloppy; she was
|
||
willing to bet on the latter. She exchanged cartridges, double checked the
|
||
settings, and plugged the pistol's fiber-optic lead into a subtle hook-up in
|
||
her wrist. She became aware of the pistol more as an extension of her hand,
|
||
than as a separate object. Her targeting hardware was state of the art. The
|
||
gun kicked and let off a truncated hiss as she put a test shot into the body
|
||
of her former target. She smiled, shouldered her bag, and headed for the
|
||
door.
|
||
|
||
She leaned against the door with her left hand on the handle and her
|
||
right holding the needler pointed at the ceiling. The door would open in,
|
||
therefore Davis would be on the left side. That way, if the door opened, he
|
||
could tackle anyone coming out. Angel slowed her breathing and listened.
|
||
Silence. She hoped that meant the hall was clear except for Davis. She
|
||
turned the knob, threw her weight onto her right foot, opened the door and
|
||
pivoted with it exposing only her arm and her face. The gun hissed once, and
|
||
Davis collapsed onto the floor. The needle had hit him in the left eye,
|
||
piercing his brain and killing him. She checked the hall. Seeing that it was
|
||
clear, she grabbed her bags and left. When she reached the elevator, she
|
||
disconnected the gun and dropped it down a garbage chute. She called an
|
||
elevator and calmly waited for it.
|
||
|
||
As the elevator traveled down, she let her language software kick in,
|
||
sinking deeper into her new persona. By the time the car reached the lobby,
|
||
the real Angel had sunk completely out of sight. She walked purposefully up
|
||
to the front desk and called for the clerk's attention.
|
||
|
||
"Checking out Ma'am?" he asked, placing a ring-print scanner on the
|
||
counter.
|
||
|
||
"Yes," she said, her German accent heavy. She slowly pulled the glove
|
||
off her left hand and placed it palm down on the pad. The computer in the pad
|
||
scanned her prints and ran them against those stored in the microprocessor
|
||
embedded in her ring. Finding a match, it checked her out and settled her
|
||
bill.
|
||
|
||
The clerk was looking at his screen.
|
||
|
||
"According to my records, your luggage was brought down last night, as
|
||
per your request, and our driver, Reginald, is waiting out front to take you
|
||
to the airport. Was everything to your satisfaction, Ms. Leiberstaad?"
|
||
|
||
"Well, there is one thing," she said smiling, her accent making it hard
|
||
for the clerk to understand, "the room directly above mine -- they made much
|
||
noise."
|
||
|
||
The clerk smiled apologetically. "Well, I hope you will accept our
|
||
apologies, ma'am. I will send someone up right away," he said typing, no
|
||
doubt making sure that no priority guest was in that room. She nodded curtly
|
||
and headed to the door, ignoring anything else the clerk might have said.
|
||
|
||
She did not completely relax until she was in the limo and on her way.
|
||
Once on the highway, she picked up the phone and let it connect to her ring.
|
||
She dialed up the number of a dry cleaner in Seattle. The answering machine
|
||
picked up.
|
||
|
||
"Seen the sights, be home soon," was all she said before hanging up.
|
||
|
||
She dialed the number of a flower shop in Sacramento. A marionette -- a
|
||
program designed to imitate a human -- answered.
|
||
|
||
"I'd like to have an arrangement delivered. I want a single white rose
|
||
in a green glass vase. No card. I am forwarding you the address now," she
|
||
said. She selected an address off a menu prompt on the phone, and forwarded
|
||
it to the shop's computer.
|
||
|
||
She hung up. The ring's microprocessor settled the bill for the flower
|
||
and the two phone calls then disconnected. She sat back and began to think,
|
||
analyzing her performance, noting those aspects that could have gone better.
|
||
She got to the gold bars and paused. Clan Law dictated that the bars were
|
||
clan property. She should surrender them to her superior upon her return.
|
||
Her thoughts drifted back to the job just completed and she wondered, not for
|
||
the first time, how much longer she would want to stay in this line of work.
|
||
|
||
"Driver," she said, waiting until she saw his eyes in the rearview mirror
|
||
before continuing. "What is the largest bank in Chicago?"
|
||
|
||
"That would be the Chicago Trans-Global, ma'am."
|
||
|
||
"Would you please take me there?"
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"Give humans motive, opportunity, and a mechanism for being unpleasant,
|
||
and they will be."
|
||
--Peter Jackson
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
SAViNG FACE
|
||
by Kilgore Trout
|
||
|
||
She smelled of sweat. Paul could feel her nearby, watching him, trying
|
||
to anticipate her next move. She's not in my mind yet, he thought and
|
||
blindly swung the aluminum baseball bat in the darkness. Nothing. He heard
|
||
her breathe, but he couldn't judge where she was. The size and acoustics of
|
||
the room toyed with Paul's senses, and he was on the verge of breaking. Paul
|
||
gripped the handle of the bat tightly, readying himself for another strike.
|
||
|
||
It's not fair, he thought. It's not fair that you've always been in
|
||
control.
|
||
|
||
Paul took a step forward and waited. A muffled gasp came from his left,
|
||
so he turned and smashed the bat in that direction, connecting with something
|
||
solid. He heard bones crack.
|
||
|
||
"That wasn't me," a female voice called out from above him. "Who'd you
|
||
pulp, Paul? Do you really want to know?"
|
||
|
||
Paul dropped the bat and raised his hands. "I'm tired of your games,
|
||
Melinda. I'm finished playing. It's over."
|
||
|
||
"Not until I say it is," Melinda shouted back, and then the room was
|
||
awash in a blinding white light.
|
||
|
||
* * * * *
|
||
|
||
"So, how's class going for you, Paul?" his father asked. They were
|
||
seated at the dining room table eating breakfast. Paul's mom walked in with
|
||
some bacon and sat down.
|
||
|
||
"Sucks as usual," Paul replied with a mouthful of scrambled eggs. "But I
|
||
did meet this girl in my intro to western religions class. We've been dating
|
||
a bit."
|
||
|
||
"Oh, my Paulie's finally got a girlfriend," his mother said elatedly.
|
||
|
||
Paul rolled his eyes while his father chuckled.
|
||
|
||
"Tell us all about her," she said.
|
||
|
||
"Her name's Melinda," Paul answered. "She's a sociology major. Only has
|
||
one more semester after this."
|
||
|
||
"An older woman, huh?" his father asked. "Way to go, Son. I knew you'd
|
||
get out of your shell finally."
|
||
|
||
"Dad," Paul objected.
|
||
|
||
"Well, Son, you have to admit you're usually absorbed in those strange
|
||
books you read or sitting in front of a computer. It's nice to see you get
|
||
out some, that's all."
|
||
|
||
"Your father's right, Paul," his mother explained. "We know you've got
|
||
some good friends, but it's nice to know that I might get to be a grandmother
|
||
someday."
|
||
|
||
"Jeez, Mom," Paul said. "It's not like we're about to get married.
|
||
We're just dating."
|
||
|
||
"Well, just be good to her, and she'll be good to you," his mother
|
||
advised.
|
||
|
||
* * * * *
|
||
|
||
As Paul's eyes adjusted to the bright light, he made out two burly shapes
|
||
hurrying towards him. He bent down to retrieve the bat, but a hard kick from
|
||
one of the men sent him slumping to the ground. He grabbed his belly, coughed
|
||
up some phlegm, and rolled over onto his back. He looked up at his attackers,
|
||
recognizing them as Jim, a running back on the football team, and Laurence,
|
||
his roommate.
|
||
|
||
"Help me, please," Paul gasped, trying to regain his breath.
|
||
|
||
"No can do, little man," Jim said.
|
||
|
||
"But she's crazy," Paul said. "Melinda's off her rocker."
|
||
|
||
"Not really. Not once you get to understand her."
|
||
|
||
"Yeah," Laurence agreed. "She's a lot more stable than you ever were."
|
||
|
||
"What's that supposed to mean?" Paul asked. "Look what she's done."
|
||
|
||
"What, made us stronger?" Laurence sneered. "I don't consider that a bad
|
||
thing. You could have been like us, Paul. It would have been so simple."
|
||
|
||
"Never," Paul spat out. "You're delusional. Melinda's got you by the
|
||
balls."
|
||
|
||
"Stop your inane arguing," Melinda's voice echoed from above. "You can't
|
||
turn them against me. Power has its advantages, a fact that you can't seem to
|
||
fathom."
|
||
|
||
Paul turned his head to the left and saw the limp body next to him, blood
|
||
pooling around its head. Laurence bent down and grabbed the head, lifting it
|
||
and turning it towards Paul. He saw his own face with eyes glazed over in
|
||
silence.
|
||
|
||
* * * * *
|
||
|
||
Melinda smoothed out the skin on her face and attached the clasps behind
|
||
her ears. "There," she said. "A perfect fit. This is one of my favorite
|
||
faces."
|
||
|
||
"Doesn't that hurt?" Paul asked. He was lying naked on the bed, rubbing
|
||
the socks on his feet together.
|
||
|
||
"Not really, thanks to modern painkillers," she replied, turning away
|
||
from the bathroom mirror. She was naked, too, and Paul watched her small
|
||
breasts rise as she stretched her arms upwards.
|
||
|
||
"I still don't get this whole face thing," Paul said, stroking his
|
||
hairless chest. "It kinda freaks me out."
|
||
|
||
"Understandable," she answered. "You're not having second thoughts, are
|
||
you?"
|
||
|
||
"No, no. It's just that when you said you had many different faces, I
|
||
didn't think you meant that literally. I figured it was a sordid background or
|
||
manic mood swings or something."
|
||
|
||
Melinda slid across the room and sat on the edge of the bed. Her milky
|
||
white palm caressed Paul's thigh softly. He sighed.
|
||
|
||
"It all about conquering the flesh," Melinda said. "We're forcing
|
||
evolution. We can be anybody. All we need is skin."
|
||
|
||
"But I don't understand still," he complained. "You were beautiful
|
||
before."
|
||
|
||
"That wasn't me, Paul. You've never seen me. And it's not about
|
||
beauty."
|
||
|
||
"Then what is it about?"
|
||
|
||
"Identity. Being. Control of self. Let me cut you, Paul."
|
||
|
||
"I like my face."
|
||
|
||
Melinda bent down and kissed his thigh. "For now, Paul," she said. "For
|
||
now."
|
||
|
||
* * * * *
|
||
|
||
Jim and Laurence grabbed Paul's arms and legs and hauled him out of the
|
||
room. He did not resist. They took him down a hallway with walls of peeling
|
||
plaster and into what looked like a dining room. A long, metal table with a
|
||
chair at either end was in the center of the room. The two men dropped Paul
|
||
in one of the chairs and left, locking the door behind them.
|
||
|
||
Paul ran his fingers over the cool, smooth surface of the table,
|
||
wondering whose head he had bashed in back there, wondering who was wearing
|
||
his face. He leaned forward and stared at the reflection in the table, seeing
|
||
Melinda's face glaring back at him.
|
||
|
||
"Surprised?" Melinda's voice asked from behind him. "You were so
|
||
beautiful when I cut you."
|
||
|
||
Paul whirled around, seeing Melinda with his face on. It sagged a bit at
|
||
the chin. He stood up and tried to speak, but no words came to him.
|
||
|
||
"Luckily your face was salvageable," she said, scratching the hanging
|
||
goatee. "A tad big for me, but I could get used to it."
|
||
|
||
"Who was it back there?" Paul asked. "Who did I kill?"
|
||
|
||
"We've got lots of time for your questions. How does my face feel?"
|
||
|
||
"Why? Why did you do this to me? I never wanted this."
|
||
|
||
"Come now, Paul. You are not your face. I thought you would have
|
||
figured that out by now."
|
||
|
||
"I want my face back!" Paul screamed.
|
||
|
||
Melinda walked over to Paul and knelt in front of him, unzipping his
|
||
pants. "You know, Paul, you of all people should be able to understand the
|
||
significance of what we've accomplished," she said. "Don't you understand
|
||
the power I've given you? You're free from your bondage. You're free from
|
||
yourself."
|
||
|
||
Paul stood motionless as he watched his own face give him head.
|
||
|
||
* * * * *
|
||
|
||
Paul would feign being asleep in the mornings to try and catch a glimpse
|
||
of Melinda when she was unmasked. He wasn't sure if he really wanted to see
|
||
her as she really was, but part of him wanted to see underneath her flesh.
|
||
She was always careful, though, making sure she never made herself visible.
|
||
|
||
Sometimes he thought it might be nice to be able to change faces, but he
|
||
also wondered who Melinda had really been before this, if any of the faces she
|
||
wore were her original face. Paul asked himself if Melinda had forgotten who
|
||
she had been, who she really was. After all, he could never be sure himself.
|
||
|
||
* * * * *
|
||
|
||
Paul awoke in a haze on the sidewalk, the taste of chloroform still in
|
||
his mouth. He tried to recall what had happened before he had been knocked
|
||
out, remembering that Melinda had been talking to him as Jim and Laurence held
|
||
him by the arms.
|
||
|
||
"Nobody wants to be themselves," she had explained. "If they did,
|
||
everyone would be happy. No, people always want to be something different, to
|
||
be like someone else. We've given you that power, but you still won't accept
|
||
it. You just can't see the possibilities, can you? No, of course not. I
|
||
forgot. You like your face. You are not your face, Paul. Do you know who
|
||
you really are?"
|
||
|
||
He stumbled onto his feet, balancing himself on sore legs and looked
|
||
around. The setting was downtown, but it was unfamiliar. Paul wasn't sure
|
||
what town he was in. He slowly walked over to the window of an electronics
|
||
store and tried to look at himself in the dim reflection. He didn't recognize
|
||
the face at all.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"This book should have been written three years ago.... But these truths
|
||
were a fire in me then. Now I can tell them without getting burned.
|
||
These truths do not have to be hurled in men's faces. They do not
|
||
intend to ignite fervor. I do not trust fervor. Every time it has
|
||
burst out somewhere, it has brought fire, famine, misery.... And
|
||
contempt for man. Fervor is the weapon of choice of the impotent."
|
||
-- Franz Fanon, _Black Skin, White Masks_
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
EVAN GETS HiS ASS KiCKED
|
||
by I Wish My Name Were Nathan
|
||
|
||
"Fuckin' god damn!" Tony shouted as he was walking down the sidewalk. "I
|
||
hate this!"
|
||
|
||
"What, what?" Evan asked. "What?"
|
||
|
||
"My drink, you stinkin' bum! Can't you see? It just flew out of my
|
||
hands."
|
||
|
||
"Damn."
|
||
|
||
"Right into the fuckin' sidewalk. Look at that," he cursed, throwing his
|
||
hands at the sight. Evan looked obediently and glanced back and noticed how a
|
||
tree root had upended a block of the sidewalk several years ago and conspired
|
||
through time to steal Tony's drink. "Now tell me if that ain't fucked. It's
|
||
seeping right through the pavement. Is it *thirsty*?"
|
||
|
||
Evan kept mostly silent, but offered, "The pavement is porous."
|
||
|
||
"'Porous,' eh? Porous. Por-ous. Poor us, huh? Poor goddamn us."
|
||
|
||
"Buy another drink, okay?" Evan suggested finally, a bit testily.
|
||
|
||
"Pardon me, okay, just pardon me. I don't deal well with loss or
|
||
something, okay?" Tony snapped. Evan merely shrugged. "Now all my
|
||
concentration is gone. Were we going somewhere?"
|
||
|
||
"Back to the park where Nikki and Hunter are, I figured. They might want
|
||
to see 'Lost in Space.'"
|
||
|
||
"Sure, let's go all the fuck the way back there, and me with my hands
|
||
empty and nothing to do," Tony lamented, giving angry looks at his white
|
||
palms.
|
||
|
||
"Do you always have to be holding something?"
|
||
|
||
"Alright then Evan. I'll just, oh, walk like a goddamn fairy." Tony
|
||
proceeded to walk forward, extravagantly animated, waving his arms in double
|
||
pinwheels. "Let's go, huh?"
|
||
|
||
Evan watched sullenly and muttered, "Goddamn fairy, that's good."
|
||
|
||
They continued to walk along the side of the road, where the sidewalks
|
||
eventually tapered off into chaotic sprays of gravel, and then still-muddy
|
||
foot-trails, and then subtly stamped-down grass. The blocks were wide and
|
||
underdeveloped on the edges of the town and the streets all headed into dead
|
||
ends. Before the grid of streets disappeared into overgrown grass and cactus,
|
||
a plain row of brown warehouses delineated the edge of the city, most rented
|
||
out for private storage. And a few blocks behind that, in a circle of trees,
|
||
Tony expected to find Nikki and Hunter getting stoned or skateboarding.
|
||
|
||
"I swear I'm gonna die if it gets any humider," Tony complained,
|
||
laboriously stretching the collar on his shirt and waving air in.
|
||
|
||
"Maybe your jeans will stay up for once," Evan commented.
|
||
|
||
"Maybe I'll whale on your ass, huh?"
|
||
|
||
Evan refrained from commenting but retained his sullen expression. He
|
||
hoped they could get to the movie sooner than later.
|
||
|
||
Crossing between two warehouses, Tony called out, "Yoo hoo, kids,"
|
||
capitalizing on the resonating echo effect, "movie time!" And then, "Fuckin'
|
||
no way!"
|
||
|
||
Evan stopped short and started to turn back. He knew the tone of his
|
||
voice meant they'd been ditched. Since they'd planned to borrow money for two
|
||
tickets from Nikki (and had been cautiously optimistic that she'd understood
|
||
the situation as well as they did), they were hosed.
|
||
|
||
Still facing the empty space under the trees, Tony said, in a tone oddly
|
||
triumphant, "Okay then, no goddamn movie." He laughed. "I heard it sucked
|
||
anyways." When he turned around and saw Evan receding, he cried out, "Wait
|
||
up!"
|
||
|
||
Evan continued to walk blithely on, having made up his mind to ditch Tony
|
||
and waste the day by himself for once. Tony had other ideas.
|
||
|
||
Running up behind him, Tony exclaimed, "Hey man, where you goin'? Stick
|
||
around, I can fetch up somethin' fun to do! We don't need those sorry fuckers
|
||
around!" Evan continued to ignore him, only shrugging vaguely. His
|
||
determination didn't wane. "Well at least let me follow you then," Tony
|
||
muttered.
|
||
|
||
|
||
Walking back into town, the afternoon sun blazed directly into their
|
||
faces, and for Tony this seemed to mock their failure. Ditched by their
|
||
friends, and now the humiliation of coming back with empty hands. All he
|
||
could bare to look at was the obscured silhouette of Evan's head in the way of
|
||
the sun. He bored his eyes into the back of Evan's skull and hated him.
|
||
|
||
"You know what?" he said, as if offhandedly, glaring at the black shadow
|
||
of Evan's head. "I bet we wouldn't have missed them if I didn't have to
|
||
explain to you the whole fucking complicated fact of spilling my drink."
|
||
|
||
Evan knew that Nikki and Hunter would have walked to the theater just as
|
||
doggedly as they, and there was no way they could have missed them by a
|
||
minute. "What?!" he shouted at the illogic, and instantly regretted it.
|
||
|
||
"Yes, you motherfuckin' *made* me. I was content to leave the spilt milk
|
||
behind, but you were too goddamn dense to understand."
|
||
|
||
Evan recognized and knew this pattern, triggering one of the rare moments
|
||
in which he honestly wished he were actually too dense to understand. He
|
||
braced himself and shrugged in the most noncommittal way he could.
|
||
|
||
"Fuck you!" Tony shouted and rammed his hands into Evan's back, sending
|
||
him flailing and falling into the street. "You ruin everything for me!"
|
||
|
||
For a few agonizing seconds Evan's mind raced with deciding whether to
|
||
stand or remain prone on the ground. He decided to stand up as slowly and
|
||
coolly as possible. He could feel Tony glaring down at him and he could
|
||
imagine the expression he always had on his face at these times; wide angry
|
||
eyes, flared nostrils, flushed red cheeks and nose, and a scowl infected with
|
||
a repulsively malicious half-grin. Evan resisted the urge to meet that glare
|
||
and concentrated on relaxing his eyes into a dead gaze so the stress wouldn't
|
||
make them shake. He pushed himself up by his arms and slowly brought his legs
|
||
under him until he was almost sitting. He looked silently at Tony's shoes,
|
||
ancient Adidas, the shoelaces frayed, almost hidden in the ample legs of his
|
||
baggy jeans. After a quiet moment of reflection, he carefully extended his
|
||
legs and stood up, facing Tony with an equanimous expression. Then he glanced
|
||
down, turned his head, turned his body, and continued walking.
|
||
|
||
*Six... five... four...*, Evan counted in his mind, *one...* -- nothing.
|
||
He hadn't prepared to continue walking and dazedly meandered forth, now
|
||
understanding some of the effect that the blazing sun had on his unhinged
|
||
companion. As he kept uneasily placing footstep after footstep, he
|
||
contemplated breaking into a dash and running away. /You could, you know,/ he
|
||
told himself in a ludicrously over-calm voice. /Tony would never catch up./
|
||
*Oh no.* Evan repressed the thought and noticed his walk had stiffened
|
||
likewise. *Don't.* /With those silly jeans./ *Not funny.* /He'd run and
|
||
fall./ *Stop!* /Flat on his face as he reached out to grab you./ Evan
|
||
screwed up his face and clenched his teeth. *Okay, now none of --*
|
||
/Baggy-ass motherfuckin' jeans!/ *Fuck!* His body expelled a laugh and he
|
||
was too late to morph it into a cough.
|
||
|
||
"What the *fuck* is so funny?!" Tony roared, leaping on Evan's back and
|
||
sending him into the pavement screaming. Tony hooked his arm around Evan's
|
||
neck and twisted his head to meet his frightened, pained face. "Look at me,
|
||
bitch!" Tony hissed. *Look? Let me breathe!* Evan's mind replied, wondering
|
||
if it was worth the pain of breathing to continue living. He'd never been so
|
||
conscious of each one of his ribs, nor of the orientation of his spinal cord.
|
||
|
||
"You are such a fuckin' comic genius," Tony growled. "I make you laugh.
|
||
I can make you cry too." He released his hold on Evan's neck (and his
|
||
half-grin grew while hearing Evan's spasmodic breaths) and without warning
|
||
slammed his face into the pavement (and he smiled at the crunching sound).
|
||
|
||
"I can't possibly... *thank you* for the... *influence* you've had on my
|
||
life," he continued. "You know that... without your constant... *help*, it
|
||
couldn't have possibly become... so utterly *fucked*!" Evan gasped for breath
|
||
after forcing air through his nose and mouth to clear out the blood and wished
|
||
that he actually had been so intertwined with Tony's life to fully appreciate
|
||
the significance of the moment. But the sarcasm seemed as meaningless as
|
||
everything else.
|
||
|
||
Evan saw himself at the height of impotence and wondered what it would be
|
||
like to die kissing the street and tasting blood and grime. He tried to
|
||
imagine it and found himself in a strange state where it seemed like it didn't
|
||
matter at all, in any way whatsoever, tiny or cosmic. He was ready to die,
|
||
and somehow this seemed sweet....
|
||
|
||
"Aren't you gonna fucking *fight back*, you cunt?" Tony yelled, honestly
|
||
bewildered. He started to feel kind of bad. He took his hands off of Evan's
|
||
head and saw the rivulets of blood flowing between the pieces of gravel. In a
|
||
final magnanimous gesture, he stood up and lifted Evan to his feet and
|
||
exclaimed, "Goddamn, Evan, you're taking this way too seriously! We were just
|
||
playing!"
|
||
|
||
Evan took two lolling steps forward and collapsed on in a heap on the
|
||
road. He stared at the road and let his eyes oscillate, to accompany his
|
||
dizziness and disorientation. Then suddenly he had energy again and he leapt
|
||
to his feet and sputtered, "My *GOD* you're a psychopath!"
|
||
|
||
"Why, you fuckin'...," Tony growled and jumped at Evan again. He stepped
|
||
back in time for Tony to grab hold of his shirt and rip it into shreds while
|
||
falling. Evan instinctively stiffened his leg and drove it forward into
|
||
Tony's face, eliciting a surprised grunt. "I'm going to fucking castrate you
|
||
for that!" Evan ran off, stumbling back home, knowing Tony couldn't catch
|
||
him. Or hoping.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"Slipping into madness is good for the sake of comparison."
|
||
--Anonymous
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
BATHTUB
|
||
by Bixenta Moonchild
|
||
|
||
What is this? The man who uses me daily is dragging a large bundle
|
||
towards me. It is not bath time. It is late in the night. I can sense that
|
||
something is not right. I can feel it in every grain of my perfect porcelain.
|
||
The man has a kitchen knife in the hand that also clutches the gathered-up
|
||
sheet. Those two things don't belong in here.
|
||
|
||
The man lets down the corners of that sheet, whose color is as spotlessly
|
||
white as mine, and there lies a wrinkled corpse. Its limbs drop to the floor
|
||
with the linen. It is cold, still, and lifeless by my side.
|
||
|
||
What a horrible thing to bring into my immaculate temple. A weak stench
|
||
of decay is beginning to permeate the air surrounding me. I want it to be
|
||
gone, I want to rest in the flawless dark of night, with only a narrow moon
|
||
beam illuminating my gleaming insides glazed with soap residue. I want to
|
||
revel in the absolute perfection and spotlessness of my being and of my home,
|
||
until the hour comes when I will once again show my generosity and sympathy by
|
||
cleansing a dirty, putrid human body to be ALMOST as pure and stainless as I.
|
||
|
||
But he will not take away this terrible thing that is ruining the purity
|
||
of the atmosphere of my home. Every second, I know that the smell is swimming
|
||
through the air, infecting the sterile walls of my palace and diving down
|
||
towards me.
|
||
|
||
The man is now lifting up the dreadful thing. I am washed over with a
|
||
wave of relief. I am sure that he is finally removing this source of poison
|
||
from my presence. But no, now he is moving towards me, thrusting the dead
|
||
thing closer with each of his hasty steps. He stops and leans over me with it
|
||
in his arms. As the corpse's fingers dangle back and forth, almost touching
|
||
my curved white rim, a deadness comes over me. As it hovers above me, I try
|
||
to pretend that it is not there, but it is impossible. Just the terrible
|
||
closeness of this malignant presence drains me of all hope.
|
||
|
||
Then it happens. The man releases his hold, and it falls inside of me,
|
||
hitting me with a force that knocks me out of the wonderful existence I had
|
||
just moments before.
|
||
|
||
As the pain begins to pound through me, and while the first burst of
|
||
agonizing misery penetrates my consciousness and sets in on torturing my soul,
|
||
the man raises up what will bolt this pain to my spirit for eternity and give
|
||
it the drive to constantly eat away at me in a never-ending feast.
|
||
|
||
The beam of moonlight concentrates itself on the knife he grasps above
|
||
his head, and I am hypnotized by the beautiful sheen of such an evil object as
|
||
I wait for him to scar me with it forever.
|
||
|
||
And it comes. He plunges it into the rotting flesh. He furiously saws
|
||
away, and as he withdraws the blade, a strange, thick, red water gushes from
|
||
the wound. First a glob of the odd liquid collects on a seemingly level area
|
||
near the gash from which it came. For this moment I let myself think that it
|
||
will stay there, that it will never get any nearer, and then the revolting
|
||
intruder inside of me will vanish in this frozen frame of time, and I will
|
||
soon be restored to my original purity.
|
||
|
||
The threatening substance lingers on that spot just long enough for this
|
||
naive hope to become a definite truth to me. But in an evanescent instant,
|
||
while my attention is fixed upon this foolish prophecy of mine, whatever
|
||
forces are holding up this bulge of scarlet decide to release it, and it
|
||
streams down to touch my surface.
|
||
|
||
It first blots out a small circle of my pearly shine, but it grows larger
|
||
and larger at a terrifying rate. The man continues to slice the corpse,
|
||
spilling massive amounts of the vile ooze with each tug of the knife handle.
|
||
|
||
And now comes the death of my former self; I begin to feel it penetrating
|
||
my surface, seeping through me, polluting my entire being, invading, then
|
||
contaminating my spirit, and soaking all the way through to inhabit my soul
|
||
with its filthy evil. Every particle of my being is moaning and wailing in
|
||
protest, but as the red sauce fills me and overtakes me, I am silenced and
|
||
slowly becoming calm.
|
||
|
||
I wait to be overcome with the feeling of disgust I am expecting, but I
|
||
can feel only shame. As repulsive as this atrocity is, it is now a part of
|
||
me, and I am painfully ashamed of what I have become.
|
||
|
||
I am enveloping these messy red fragments piled up in a pool of their own
|
||
juice, and the sinfulness they radiate is enveloping me. I wish he would chop
|
||
me into pieces also, because I cannot live with this torture. But there is no
|
||
more chopping, no more violent desecration, and no more chance that I will be
|
||
destroyed and set free from the horrors of reality. There is no more movement
|
||
in this room, but there is a turbulence inside me that cannot be weathered.
|
||
|
||
Now the man is pulling out the mangled remains. As dripping handfuls are
|
||
removed, I try to remember how I felt not so long ago when I was clean and
|
||
everything I knew was good, but it is nothing more to me now than a faded
|
||
fantasy.
|
||
|
||
The man's off-white hand, with not a spot of the mess on it, reaches over
|
||
to make the good, clear water shoot into me. It dissolves all that is
|
||
viciously clinging to my bottom floor. More pours down and climbs on top of
|
||
the first to come in. It grabs the stain off my walls and pulls it into
|
||
itself. It takes on a murky tint, but eventually becomes as transparent and
|
||
clean as that which falls from the faucet. And it slips out of my drain.
|
||
|
||
Now it appears that there is not a trace left of the wickedness I have
|
||
undergone. But I can feel it is still in me. The intensity with which it
|
||
constantly batters me has not been washed away.
|
||
|
||
Now I do not even bother to wish for this feeling to go away; I am
|
||
certain that it will be attached to me always and will never lose the strength
|
||
to keep its hold on me. The anguish that is haunting me deadens any thought
|
||
that comes to me other than one of this pain.
|
||
|
||
The man opens the window and the nasty, tainted outside air comes
|
||
creeping in carrying a multitude of foul things, but for the first time I do
|
||
not care. Dirt such as I cannot be made any dirtier. A spirit such as mine
|
||
that is crumbled into dust cannot break any further.
|
||
|
||
I look the same as I should, but my sanctity cannot be recreated.
|
||
|
||
This deed is ingrained in me for eternity. I can never be the same. I
|
||
am forever unclean.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"The history of saints is mainly the history of insane people."
|
||
--Mussolini
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
ANESTHESiA DREAMS
|
||
by Morrigan
|
||
|
||
When i first woke up, there was no way to tell where i was. My senses
|
||
were dulled and dim, feeling had only just returned to my cells. Only part of
|
||
the anesthetic was wearing off, though -- the part that numbs your nerves.
|
||
The part that numbs your mind lasts longer. i wish it had stayed forever.
|
||
|
||
The first thing you notice is the blood. Like i said, when you wake up,
|
||
you can't really think yet. So when you see someone pushing down on your
|
||
stomach and feel and hear and see the never ending gush of red, red blood, you
|
||
know that something's gone terribly wrong. You see yourself with the ultimate
|
||
clarity that comes with lack of full consciousness and you can't help but jump
|
||
to conclusions. You can't help but believe this is your deathbed, too. When
|
||
they tell you the procedure, go over it in careful, painstaking detail, they
|
||
never mention how it feels when the last of the warmth, the last of the blood
|
||
that you've been carefully heating in your body for the past six months flows
|
||
out, leaving a cold, hollow, still place inside of you. They never prepare
|
||
you. So your fogged mind decides that the time has come for you to pay for
|
||
the death of your beautiful little girl.
|
||
|
||
And you accept that fate because you never felt all right with
|
||
your decision in the first place. Even though most of them were supportive
|
||
and told you that you made the right choice and said you were strong, more
|
||
strong than they could have been, you feel the secret disapproval, the thought
|
||
that to be this strong is to lose part of your humanity. In the moment before
|
||
you fade out again (because consciousness comes and goes at first, after that
|
||
much anesthetic), you hear the words of that first doctor echoing in your
|
||
head: "The only way to redeem yourself is to carry your child to term and to
|
||
give it to a family that would love it. There are so few healthy white babies
|
||
born that if you have one, it is your duty to give it to a family that needs
|
||
and wants it. Otherwise you'll never be redeemed." The wording is perhaps
|
||
changed slightly, but you'll never forget her intention. The word "redeem"
|
||
will always stay with you, interjecting its doubt just when you thought you
|
||
might finally be comfortable with a decision you can't change. You slip back
|
||
into black.
|
||
|
||
* * * * *
|
||
|
||
It's a scene that you would expect to see on a bad Hallmark card. The
|
||
kind that has gold embossed lettering, a picture that's all fuzzy about the
|
||
edges, and a badly written, trite poem praising your mother or daughter or
|
||
granddaughter or aunt. But this scene is far from that poem, beautiful,
|
||
meaningful and as precious as that card is not.
|
||
|
||
You're in a park, strolling slowly down the worn dirt path that you used
|
||
to follow on your way to elementary school. This park has always been one of
|
||
your cherished places. It's not a particularly large park, covering only the
|
||
space of two city blocks. It is a grassy expanse, hemmed in on one side by a
|
||
stand of perpetually rustling aspen and on the other three sides by towering
|
||
Douglas Firs, each of them easily a hundred feet tall. One of these trees is
|
||
your special friend that you know as the "Rainbow Tree", named such for a
|
||
reason long vanished in the blur of early childhood. This is the tree that
|
||
you learned to climb in, that you had your first kiss in and that left you
|
||
with a thin scar on your hand when you jumped out of it one last time before
|
||
leaving for boarding school.
|
||
|
||
It is to this tree that you wander with the little girl who has placed
|
||
her tiny hand trustingly in yours. You look down into her upturned face,
|
||
amazed with unsuppressible motherly vanity at how much she looks like you did
|
||
at her age. Her white blond hair wisps and curls about her temples just as
|
||
yours did, and still does if you don't brush it. Her eyes are perhaps bluer
|
||
than yours were -- a pure azure unbroken by flecks of gold or green or brown.
|
||
She giggles at the story you've been telling her, a story about the sprites
|
||
and brownies who live amongst the pine cones and talk with the birds that fly
|
||
by. You offer to help her climb in the lowest branches of the tree, so that
|
||
you might find one of the little people for yourselves. You hold her tiny
|
||
waist and help her stand on the well worn limbs that are almost like stairs
|
||
this low down.
|
||
|
||
She feels so close and alive, smelling of sugar and freshly mown grass
|
||
like happy children always seem to, and you're struck anew by how much you
|
||
love and treasure her. You would never hurt her, never let her slip from your
|
||
grasp to fall even those three feet to the ground from where she now climbs.
|
||
If you had any say in the matter, there would never be any blood on that face,
|
||
those hands, those feet (both with the right number of fingers or toes, though
|
||
you had to count to make sure, of course). You'd give your life to protect
|
||
your perfect little girl from even the slightest glimmer of a thought
|
||
involving killing her. Of course, such grim images are far from your mind.
|
||
You're just standing, enjoying her company, her small-person babble. You're
|
||
her mother, she's your daughter, everything is just fine, thank you.
|
||
|
||
* * * * *
|
||
|
||
This time when you wake up, you remember where you are. You're lying in
|
||
a bed in a clinic. You think you may even remember why you're here. But
|
||
before you can focus on that thought consciousness sneaks away.
|
||
|
||
* * * * *
|
||
|
||
This time you're with a boy instead of your daughter. After almost a
|
||
year, you know him well -- well enough to trust him like she trusted you. He
|
||
was always a gentleman (except... but you've blocked out those memories. He
|
||
was always a gentleman).
|
||
|
||
You're sitting on a sagging cot in a cabin usually used for summer camp.
|
||
You're not supposed to be here, of course, especially not with a member of the
|
||
opposite sex, but you're teenagers and the years have proven that better
|
||
behavior can't reasonably be expected from you at this age. Besides, neither
|
||
of you are the type to engage in the truly forbidden activities that such
|
||
places are usually taken for. You've more than held his hand, but you've
|
||
always been more modest than most and he hasn't been able to change that. A
|
||
few weeks ago, you touched on the subject of how far your relationship might
|
||
go. He'd always preached no premarital sex, abstinence and respect and so
|
||
when he offered his acquiescence to your assertion that you wouldn't do that
|
||
now, not at this age, not in this place, not with him, you thought that the
|
||
subject was resolved and put it aside, forgot about it. You trusted him.
|
||
|
||
Yet you feel somehow nervous now. There's a touch of unfounded
|
||
apprehension in the air that lends brief hesitance to the light caress you
|
||
bestow on his shoulder as you sit together and emptily prattle. You think his
|
||
touch feels more aggressive than usual, but you write it off as your
|
||
imagination and banish such thoughts with an admonition about silliness. You
|
||
try to keep yourself convinced that his insistence is normal, that the only
|
||
place where anything's the matter is in your mind. But just as you begin to
|
||
realize that perhaps something really has changed, he gives you final proof
|
||
that all is not well.
|
||
|
||
Your protests are ignored and you're too frightened of his strength and
|
||
too bewildered by an impossibility come true to know how to fight him
|
||
effectively. All your mind can do is retreat as far away as it can get and
|
||
wonder what changed. Another corner of your mind briefly almost laughs as it
|
||
recognizes its ability for detached clear thinking that they always say is
|
||
possible in the midst of a crisis. Perhaps it was that in three more days
|
||
you'd be each going off to your separate homes, your separate lives, your
|
||
separate schools. He couldn't bear to leave you, so he did the one thing he
|
||
could think of that would ensure you'd never forget him. Perhaps the
|
||
taunting of the boys in his dorm had become too strong -- "aren't you man
|
||
enough?" But he was a gentleman and sensible and said he loved you, so it
|
||
couldn't have been either of those things. So what was it? All you can
|
||
remember from that night is the thought that you thought you'd be older.
|
||
|
||
You see a unicorn running away through the woods, frightened by your
|
||
call, your plea for help.
|
||
|
||
* * * * *
|
||
|
||
You wake up to softness against your cheek. You hold the teddy bear
|
||
closer. In this moment when you've proved your ability to be a woman, you're
|
||
a little girl again. All you need is your teddy bear and just by holding it
|
||
you know that everything is going to be all right. Comforted, you snuggle up
|
||
to sleep.
|
||
|
||
* * * * *
|
||
|
||
You're listening to the doctor who runs the clinic that you've chosen for
|
||
your operation. He's telling you why he does what he does. He tells you that
|
||
his goal is to give girls back their futures. He tells you that all he wants
|
||
to do is give you the chance to fulfill the dreams you've had. He's the first
|
||
person who doesn't moralize about the creature that's hijacked your uterus.
|
||
He leaves the moralizing to the protesters crowded outside his doors -- all he
|
||
cares about is you, your future, your chance to live the life you deserve, the
|
||
life you want to live, rather than the life that's been forced into your
|
||
hands. He lets you think, helps you think that maybe you don't have to
|
||
sacrifice yourself and your beliefs and your dreams to be redeemed, that maybe
|
||
saving yourself is redemption enough. He gives you the hope that maybe you
|
||
were right, maybe you chose the right road.
|
||
|
||
His words are in your memory. Your response was in the dream.
|
||
|
||
* * * * *
|
||
|
||
Summoning all of the energy stored up by your latest nap, you turn your
|
||
head, questing for validation of your sin. In the next bed, you see another
|
||
girl, another woman, sleeping off the same homicide as you. Somehow she pulls
|
||
open her own eyes. You see your own guilt and shame and relief reflected
|
||
there. It is enough. You go back to sleep.
|
||
|
||
* * * * *
|
||
|
||
You're with your daughter again. But this time the fuzzy halo has
|
||
vanished from her head. Your love has turned to hatred. Because in her
|
||
face, you see his. She's developing the same lisp that he had. Yesterday
|
||
she motioned with her hands to prove her point (something about
|
||
butterflies, or was it caterpillars?) and the gesture was his. You can't
|
||
forgive her for letting his genes mingle with yours. And your hatred
|
||
isn't for him or for her, it's for you, because she doesn't deserve it and
|
||
he is beyond hatred.
|
||
|
||
And you'll never be able to love her completely. Perhaps it would have
|
||
been better if she'd never been born?
|
||
|
||
* * * * *
|
||
|
||
The face you wake up to is his, too. But after that first split second,
|
||
uncertainty takes over. After another split second, the face has resolved
|
||
itself into a nurse, asking you how you feel. You start to answer, but find
|
||
yourself overwhelmed with nausea. You're not sure if your stomach's
|
||
rebellion was induced by the horror of your experience or merely the lingering
|
||
effects of the hormones and pain killers. The effort of emptying your stomach
|
||
of contents it didn't contain takes what little energy you thought you had and
|
||
you stumble back to slumber.
|
||
|
||
* * * * *
|
||
|
||
You think you're lying in your bed in the clinic. It's the same sheets,
|
||
the same gown that's perpetually sliding off of your shoulders because the
|
||
ties won't stay closed, and the same overwhelming antiseptic fumes. The
|
||
sheets under you are still stained with your blood and your muscles still ache
|
||
from contractions that were as strong as you'd been warned, but stronger than
|
||
you had thought possible. Your head is still fuzzy from anesthesia, though
|
||
your disorientation isn't quite as complete.
|
||
|
||
Yet there is one key difference that makes all of the similarities
|
||
irrelevant. In this dream, instead of holding the teddy bear that you asked
|
||
for in a hurt girl voice, you're holding the daughter that you asked for in a
|
||
content woman voice. You hold her in your lap and gaze at the face that's
|
||
finally been revealed after months of imaginings. As she shifts in her half
|
||
sleep, you lay her on your stomach and wonder at the sensation of feeling the
|
||
kicking from the outside in instead.
|
||
|
||
After long minutes spent in the same complacent state as your daughter,
|
||
her warm presence soothing any remaining tension you may have had from the
|
||
past hours' work, the door to your room opens. A couple with now familiar
|
||
faces greet you. Their eyes, almost frighteningly full of hungry love, seek
|
||
the baby girl who sleeps at your side. You exchange pleasantries and give
|
||
them permission to pick her up. From the utter connection with life that you
|
||
felt just moments ago, you now feel cut off and out in the cold, an outsider
|
||
looking in on a process that you never actually belonged to. As your
|
||
daughter's new parents coo at her, the dream that you are a mother ends and
|
||
you return to being just another seventeen year old girl. Perhaps the
|
||
nightmare of what can be done with an unbelievable situation is over, but the
|
||
magic of new life and the closest connection possible between two people is
|
||
over, too. And even if it seems like you've been separated from all that has
|
||
happened, your rational mind knows that it's not the same.
|
||
|
||
* * * * *
|
||
|
||
You come back into your physical body and start to panic as your mind
|
||
fights with what's real and what was the dream, because it feels exactly
|
||
the same. It's only your heart that belies the shift. Tears unbidden
|
||
rise and flow down your cheeks, taking consciousness with them.
|
||
|
||
* * * * *
|
||
|
||
Hope -- you once had hope. In this dream you're walking down the street
|
||
at spring break and instead of worrying about making sure that the wind
|
||
doesn't blow your shirt against your stomach, revealing an outline, you're
|
||
carefree. You left your boyfriend with promises to write often, no regret and
|
||
no resentment. Your back doesn't ache from unfamiliar weight and you haven't
|
||
changed your posture to compensate for it. You want pickles and chocolate,
|
||
but only because they've always been your favorite foods. Besides, you don't
|
||
want them together.
|
||
|
||
In this dream you didn't suffer through six months of silence, afraid to
|
||
talk to even your close friends for fear that you might reveal something
|
||
better kept hidden. You weren't worried about whether or not they'd believe
|
||
your description of his actions, much less accept the results of his choice.
|
||
You didn't spend hours poring through books on herbal medicine, trying to find
|
||
a remedy for your condition that you could implement in a free period. You
|
||
didn't delude yourself that such a remedy existed, that you could somehow
|
||
sneak into the orchard between math and history and free yourself of this
|
||
confusing shape. You didn't begin to look upon the added weight with
|
||
wonderment and love instead of loathing.
|
||
|
||
Then you recognize the distant feeling of sheets starting to dry, crusty
|
||
with blood and know what is real.
|
||
|
||
* * * * *
|
||
|
||
In the end, you place your fingers on your abdomen (ever so gently so as
|
||
to not harm the life that lies within), feeling for the little movements that
|
||
you'd come to cherish over those six long months. There's still that rush of
|
||
adrenaline, that sense of anticipation, both feelings tempered by the fear of
|
||
what they represent, what they're responding to. In a sudden burst of anger
|
||
(or is it regret? hope?) you push your fingers down.
|
||
|
||
What has happened finally sinks through all the layers of my brain. My
|
||
fingers don't find a familiar resistance. Whatever it was, I killed it. It
|
||
wasn't a child but it could have been one. I didn't allow it.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
"This magic moment, so perfect and so new
|
||
was like any other until I met you,
|
||
And then it happened, it took me by surprise.
|
||
I knew that you felt it too,
|
||
I could see it by the look in your eyes."
|
||
--Lou Reed, "This Magic Moment"
|
||
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
A PERFECT SKY
|
||
by Kilgore Trout
|
||
|
||
"I see your face in the clouds up there, high up. I see it whenever I go
|
||
outside and look. Even during thunderstorms, I can always pick you out,
|
||
hiding behind the rain. It reminds me when we were together, of when you'd
|
||
cry on my shoulder and then worry about getting my shirt wet. When I stop
|
||
seeing you up there, in the sky, I'll know things have changed, that something
|
||
has happened."
|
||
--diary excerpt, 04-10-98
|
||
|
||
* * * * *
|
||
|
||
[Monday, 04-20-98] [5:46pm]
|
||
|
||
David slammed the phone down onto the bed after listening to it ring for
|
||
eternity. Dammit, he thought, why couldn't Alice invest in an answering
|
||
machine? He swiveled around in his ratty rolling chair and booted up his
|
||
computer in order to leave her email. After connecting to his internet
|
||
provider, David loaded PINE and checked his messages, hoping that Alice had
|
||
written. She hadn't and he cursed his computer repeatedly.
|
||
|
||
He scanned through the rest of the messages, most of which were from
|
||
various mailing lists and old school buddies. David sorted those into their
|
||
appropriate folders, leaving his with one message from someone he didn't know.
|
||
He lit a cigarette and read.
|
||
|
||
|
||
Date: Mon, 20 Apr 1998 12:35:33 -600
|
||
From: unknown <fourteen@emit.com>
|
||
To: dahveed@sage.net
|
||
Subject: you.
|
||
|
||
It always begins with death, doesn't it, David? I know your plight well,
|
||
my friend, more so than you could possibly imagine. The future doesn't
|
||
believe in you, but I do. You think you were meant to suffer, but I can
|
||
change that. You've tried everything, from drugs to religion to
|
||
therapists to figure out who you are. I know who you are, and more
|
||
importantly, I know where you come from.
|
||
|
||
|
||
The cigarette hung motionless from his lips as David read the message
|
||
again, trying to figure out who the sender was. Could it just be someone
|
||
messing with his head, getting his name from a USENET posting and playing some
|
||
mind game? Maybe it was Alice, trying to get back at him. But no, David
|
||
dismissed those options shortly. It was the first phrase of the message that
|
||
bothered him. "It always begins with death." That was his mantra, the phrase
|
||
that repeated over and over every night as he went to sleep. David hadn't
|
||
ever told anybody about that, not even Alice.
|
||
|
||
He says he knows where I come from, David thought. What does he mean by
|
||
that?
|
||
|
||
David hit a key and sent a reply, asking who the sender was and what he
|
||
meant in his cryptic message. He leaned back in his chair after stubbing out
|
||
his cigarette in the ashtray and breathed in deeply. All he could do was
|
||
wait.
|
||
|
||
* * * * *
|
||
|
||
"You're acting so pissy all the time now. Why won't you let me help you?
|
||
Crawling inside your head isn't going to help any. Fuck, you can be such a
|
||
bastard when you get this way. Rachel keeps telling me to leave you, but I
|
||
can't. Now now, not when you're like this. I just want to help, and you
|
||
definitely need it."
|
||
--diary excerpt, 03-26-98
|
||
|
||
* * * * *
|
||
|
||
[Monday, 04-20-98] [5:46pm]
|
||
|
||
Alice slowly sipped warm beer through a straw as she watched the light
|
||
blink on her phone, signaling that someone was calling. She had turned off
|
||
the ringer after the first five minutes, and now she sat on the couch, holding
|
||
her bottle and waiting for the blinking to stop. It was David who was
|
||
calling, of course, but she had made up her mind to stop talking to him.
|
||
She'd put up with enough, and she'd finally taken Rachel's advice and dumped
|
||
him. After Friday night, with his berating accusations of betrayal and
|
||
deceit, she wanted no more contact with him.
|
||
|
||
There was a knock on the door, and Alice slowly got up and opened it.
|
||
Rachel stood there, rubbing her left shoulder and smiling.
|
||
|
||
"Hi," she said. "I tried calling, but I couldn't get through, so I
|
||
decided to come over. Hope that's okay."
|
||
|
||
"No prob," Alice responded. "Want a beer?"
|
||
|
||
Rachel shook her head as she came in. "Uh-oh. You're drinking. I
|
||
thought you quit."
|
||
|
||
"It's David. He keeps calling. I don't think it's sunk in that it's
|
||
over."
|
||
|
||
"Maybe he wants to apologize."
|
||
|
||
"David doesn't apologize," Alice explained, returning to her former
|
||
position on the couch. "And even if he was going to, I still wouldn't listen.
|
||
I'm through with him, and he's just going to have to accept that."
|
||
|
||
Rachel took a beer from the fridge, popped the top, and sat down next to
|
||
Alice on the couch. "Well, I, for one, am glad you finally got rid of him,"
|
||
she said. "I always thought he was a bit, um, unbalanced."
|
||
|
||
"I tried to help him," Alice said. "I really did. But he wouldn't talk
|
||
about it. He always said that it was his problem and that he was the only one
|
||
who could deal with it. I think he thought he was protecting me, but he just
|
||
made me feel alienated."
|
||
|
||
"You did more than you should have. David was always too morbid when I
|
||
was around him. A lot of that rubbed off on you, and that's definitely not a
|
||
healthy relationship to be in."
|
||
|
||
"That was just a side effect of what he was dealing with. I mean, he
|
||
should have at least talked to me. That alone probably would have helped. I
|
||
always figured it had to do with being given up for adoption. David always
|
||
said that never bothered him, but being bandied about through foster homes for
|
||
eighteen years has to leave some emotional scars."
|
||
|
||
"Well, they're his problems now. You don't have to worry about them
|
||
anymore."
|
||
|
||
Alice sighed. "I don't know if that will ever be possible," she said.
|
||
"I still love him."
|
||
|
||
* * * * *
|
||
|
||
"I remember when we first met, that night outside the sold-out concert,
|
||
looking to buy scalped tickets. You asked me for a light and I told you that
|
||
smoking would kill you. You said that was a good thing. I thought it was
|
||
just a hard-ass act, that you were just playing tough because you were too
|
||
soft inside. I still hope it is."
|
||
--diary excerpt, 04-15-98
|
||
|
||
* * * * *
|
||
|
||
[Monday, 04-20-98] [7:20pm]
|
||
|
||
After going out for a burger, David returned to his apartment. He had
|
||
totally forgotten about contacting Alice. Instead, all of his thoughts were
|
||
concentrated on trying to decipher the mysterious email. It worried him, in a
|
||
way, that this person knew something about him that no one should possibly
|
||
know. Still, the proposition intrigued him, primarily because it was so
|
||
absurd. David went into the bedroom, releasing a loud belch, and flipped on
|
||
his computer. When he checked his messages, there was a new one.
|
||
|
||
|
||
Date: Mon, 20 Apr 1998 18:44:07 -600
|
||
From: unknown <fourteen@emit.com>
|
||
To: dahveed@sage.net
|
||
Subject: Re: you.
|
||
|
||
I knew you'd be curious. I'm pleased with you, David, because I've
|
||
waited a long time for us to meet, and I wasn't sure if you'd actually be
|
||
interested. You have so many questions, and I can answer them. If you
|
||
want to meet, and I'm pretty sure you do, go down to 24th and Speedway at
|
||
midnight tonight. I'll have somebody come and pick you up. Remember,
|
||
David, I know who you are.
|
||
|
||
|
||
David sent back a message saying that he would be there. There was no
|
||
hesitation in his response because he had nothing to lose. Alice wasn't going
|
||
to answer any of his calls, so there wasn't any reason to hang around. He was
|
||
still bothered by the reminders that the sender knew who he was, and his
|
||
intuition told him not to go, that meeting strangers in the middle of the
|
||
night was not a smart thing to do. His desire to unravel the puzzle that had
|
||
been presented before him overcame common sense, and he resigned himself to
|
||
go.
|
||
|
||
The rest of the evening was spent trying to hurry time along. David
|
||
watched television unattentively until eleven o'clock and then left to catch
|
||
a bus.
|
||
|
||
* * * * *
|
||
|
||
"Why did you tell me that you never loved me? I can always see through
|
||
your lies, but it hurt just the same. I know you wanted to hurt me because
|
||
you felt that I rejected you, but will you ever realize that you've always
|
||
hurt me? I tried to be there, to be the one you could turn to. Why did you
|
||
never learn to trust?"
|
||
--diary excerpt, 04-19-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [12:02am]
|
||
|
||
David stood on the corner underneath a streetlight, glancing up and down
|
||
the road, trying to pick out the car that he was supposed to meet. A cab
|
||
rounded the corner, stopped, and a voice yelled out from the open window if he
|
||
needed a ride.
|
||
|
||
"No thanks," David replied. "I'm getting picked up."
|
||
|
||
"Well, I'm supposed to pick someone up here," the cab driver said. "Are
|
||
you David?"
|
||
|
||
David nodded.
|
||
|
||
"Get in, then. I ain't got all night."
|
||
|
||
He shrugged as he climbed into the back of the cab.
|
||
|
||
"Where are we going?" David asked as the cab pulled away from the curb.
|
||
|
||
"An old country road about an hour away. Sit back and enjoy the ride.
|
||
The fare's been taken care of."
|
||
|
||
* * * * *
|
||
|
||
I've got to stop feeling sorry for you, I know, but I can't help it.
|
||
You're on your own timeline, it seems, but I want to stick it out and make it
|
||
work. I wish I knew when your timeline and mine converge, though. It'd make
|
||
things so much easier."
|
||
--diary excerpt, 03-28-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [12:52am]
|
||
|
||
Alice awoke with a queasy feeling in her stomach, so she crawled out of
|
||
bed and half-skipped into the bathroom in the dark, barely making it to the
|
||
toilet before crashing to her knees and vomiting. She reached up to her right
|
||
after retching two more times to grab a towel, and as she wiped her face, she
|
||
promised she'd remember why she quit drinking.
|
||
|
||
Standing up and scratching her ass through her pajama pants, Alice turned
|
||
on the lights and splashed cold water on her face. She checked her short,
|
||
blonde hair for puke and found none, thankful that she had just gotten it cut.
|
||
After washing her face again and brushing her teeth, Alice shut off the light
|
||
and crawled back into bed.
|
||
|
||
"Alice. It's time."
|
||
|
||
She sat up in bed at the sound of David's voice. There was movement to
|
||
her right, something was sprayed at her, and within seconds she lost
|
||
consciousness.
|
||
|
||
* * * * *
|
||
|
||
"Rachel stopped by today and we talked a lot about you. Damn you, you've
|
||
got me drinking again. It's good that I've got friends to support me, but it
|
||
makes me sad that you don't have anyone anymore. I'm sure that there's
|
||
someone out there who can understand you. I just know that it isn't me."
|
||
--diary excerpt, 04-20-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [12:56am]
|
||
|
||
David watched the cab drive off until he couldn't see the glow of the
|
||
tail lights. He turned around and studied the old house he had been dropped
|
||
off at. It was immense, rising three stories before him, and the elegant
|
||
architecture whispered wealth. He walked up to the front door of the house
|
||
and loudly knocked on the wooded door with the knocker.
|
||
|
||
It was opened shortly by an elderly gentleman with frazzled white hair.
|
||
He smiled at David and invited him inside with a wave of his arm. "The master
|
||
of the house has been, ahhh, detained on some business," he said. "He will be
|
||
arriving in an hour. Would you care for something to drink?"
|
||
|
||
David mentioned that some coffee would be nice, and the old man nodded
|
||
and led him into a study, telling David that he would return with his
|
||
beverage. The room was huge, with floor-to-ceiling bookshelves on the walls.
|
||
A small desk and a couch were the only furnishings. David slowly paced
|
||
alongside the bookshelves, admiring the collection. Many of the books
|
||
appeared to be very old, from authors he had never heard of: Agrippa, Levi,
|
||
Dee, Mathers and others. Walking over to the desk, David noticed two books, a
|
||
bible and something called the _Sephir Yetzirah._
|
||
|
||
The old man came back in, bearing a tray with a coffee pot and cup. He
|
||
poured David a cup, handed it to him, and reassured him that his host would be
|
||
back soon.
|
||
|
||
"And who exactly is my host?" David inquired, seating himself on the
|
||
couch.
|
||
|
||
"I'd better let him explain that," he answered. "If you require anything
|
||
else, just call. I'll be near."
|
||
|
||
* * * * *
|
||
|
||
"You once told me that you were your worst enemy. I don't understand how
|
||
you can always be at odds with yourself. You are who you are, and you've just
|
||
got to accept that and learn to deal with it. Jesus, just who do you think
|
||
you are, anyway? Or are you still waiting to find out?"
|
||
--diary excerpt, 04-02-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [1:47am]
|
||
|
||
"I'm so glad you're here. Please accept my apologies for being late."
|
||
|
||
David spun around on the couch and let out an audible gasp as he stared
|
||
directly at the figure standing behind him. He looked exactly like David.
|
||
The coffee cup fell from his hand and spilled onto the carpet.
|
||
|
||
"Don't worry about that," the man consoled. "I'll get Eli to clean
|
||
that up later. Besides, your shock is quite understandable. I'd probably
|
||
react in the same way?"
|
||
|
||
"Who are you?" David stammered.
|
||
|
||
"My name is Joshua," he said. "It's good to meet you, brother."
|
||
|
||
"Brother? I don't have any brothers."
|
||
|
||
"Take a good look at me, David. How could I not be your brother?"
|
||
|
||
"You mean we're--"
|
||
|
||
"Twins, yes," Joshua interrupted. "It wasn't supposed to be like this,
|
||
of course. I was always so careful in choosing mates, but one foul up in two
|
||
millennia isn't all that bad in my book."
|
||
|
||
David stood up. "What the fuck are you talking about?" he asked.
|
||
|
||
"Calm down, calm down now," Joshua said soothingly. "Let me explain."
|
||
|
||
Joshua walked around the couch and took a seat as David sat back down.
|
||
David studied Joshua's features, getting the strange feeling that he was
|
||
looking into a mirror.
|
||
|
||
"You see, David, I'm two thousand years old," Joshua said. "And I need
|
||
your help."
|
||
|
||
"This is bullshit," David shouted. "I didn't come here to listen to kook
|
||
talk."
|
||
|
||
"Oh, this body definitely isn't that old, but what's up here is," Joshua
|
||
said, pointing a finger at his head. "Every time I procreate, my soul -- my
|
||
essence -- is transferred to the fetus. I am most assuredly older, but I
|
||
don't have any records of who I was back then."
|
||
|
||
"What kind of crap are you trying to shovel on me? I'll accept the fact
|
||
that you're my twin just by looking at you, but this immortality business is
|
||
bonkers."
|
||
|
||
"Were you expecting an explanation along the lines of vampirism or
|
||
something akin to a trashy fantasy novel? Immortality isn't that easy,
|
||
David."
|
||
|
||
"Okay, then. Who were you originally?"
|
||
|
||
"Like I said, I don't know. The memories of each incarnation aren't
|
||
transferred, so I can only go back as far as my records go. That's also why I
|
||
have to be careful when I choose to procreate. Immortality isn't worth jack
|
||
if you don't know about what you've previously done."
|
||
|
||
"Then how far do your records go back?"
|
||
|
||
"Joshua is the English transliteration of the Hebrew name *Yehesua.* You
|
||
might recognize the Greek form better: Jesus."
|
||
|
||
"You think you're Jesus?"
|
||
|
||
Joshua smiled. "I know I'm Jesus, or was, rather. See, when the new
|
||
baby is born, the old body dies, so great care must be taken to explain to the
|
||
mother exactly what is going on. That way, she can properly educate the child
|
||
as to who he really is. Otherwise, he'd grow up like you, full of internal
|
||
torment and strife, aware that he wasn't like everybody else."
|
||
|
||
"So what went wrong that time, then?" David asked, grimacing as the
|
||
reality of the situation began dawning on him.
|
||
|
||
"Apparently I didn't do a good job of explaining things, because in that
|
||
incarnation, my mother filled my head with ideas about being the son of God
|
||
and all that jazz. Superstitious bitch. She did get the immortality part
|
||
down right, though, so I made sure to impregnate Mary Magdelene before they
|
||
killed me. And no, there never was a resurrection. It was all about
|
||
revolution, but when I died, my followers turned it into a religion. Mary
|
||
escaped to England, and from then on I've been careful to insure that
|
||
something like that wouldn't happen again."
|
||
|
||
"Then why do you need me? More importantly, why am I even here? It
|
||
sounds like I never should have been born."
|
||
|
||
"Over the years, I've learned to keep a few people around me to ease the
|
||
problems of transition. Eli, for example, has been with me since 1937 over
|
||
three incarnations. Being alive, in a way, for two millennia has also ensured
|
||
me a great amount of wealth, so they live comfortably and keep my secret. The
|
||
last time, however, in 1975, the mother had twins and died during childbirth.
|
||
I always was careful in choosing mates who had no family, which could cause
|
||
unnecessary trouble, and I obviously don't have relatives, so we were given to
|
||
the state to be taken care of."
|
||
|
||
"Then how did you learn who you really were?"
|
||
|
||
"I have Eli to thank for that. He was able to track me down with a lot
|
||
of luck and kidnapped me. I was about ten when that happened, and I was
|
||
already deeply disturbed about who I was. When Eli explained everything to
|
||
me, it was a great relief, and I knew deep down that he was telling the
|
||
truth."
|
||
|
||
"Give me a break," David objected. "Did it ever occur to you that he
|
||
could be some crazy old man?"
|
||
|
||
"Of course it did," Joshua agreed. "But seeing the stacks of manuscripts
|
||
full of two thousand years of history allayed any of my doubts."
|
||
|
||
"Fabrications."
|
||
|
||
"Possibly, but they were in my handwriting. Yours, too, I'm sure."
|
||
|
||
"I still don't understand why you need me, unless you just want a family
|
||
reunion."
|
||
|
||
"Because this body is impotent," Joshua revealed, "and that is like my
|
||
worst fear come true. You see that book over there, the _Sephir Yetzirah?_
|
||
It's the book of creation, an ancient Jewish mystical text that describes the
|
||
creation of a golem. Modern medical science failed me, and so has occult
|
||
technology. You are my last hope."
|
||
|
||
"And why should I help you?"
|
||
|
||
"Because we're family -- actually, more than that. We're one and the
|
||
same in two separate bodies, even. I can only imagine the suffering you've
|
||
been through, feeling displaced and out of sync with the rest of the world,
|
||
wondering why those thoughts of being somebody else would never leave you
|
||
alone. It was bad enough for me as a child, and it must have been twice as
|
||
bad once you were able to actually understand what identity was."
|
||
|
||
"It always begins with death," David said, finally understanding.
|
||
|
||
"Yes, you're catching on now," Joshua said gleefully. "It is through
|
||
death that we are reborn. It's too bad people thought that applied to
|
||
everybody, but at least it gave them hope."
|
||
|
||
* * * * *
|
||
|
||
"You would have made a great philosopher, you know that? You were always
|
||
concerned with things bigger than yourself. That was one of the reasons that
|
||
I was attracted to you, because you seemed so mature for your age. You wanted
|
||
to know why things were and not just live day to day like most people. Now
|
||
when I look back, though, I think you consumed too much of yourself in the
|
||
process. You should have lived more, and then maybe you would have found some
|
||
joy."
|
||
--diary excerpt, 04-15-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [4:43am]
|
||
|
||
Alice groggily awakened from her forced slumber, slowly wiping the drool
|
||
from her chin. As her eyes adjusted to the darkness, she realized that she
|
||
hadn't been having a bad dream and that she was in a completely foreign
|
||
bedroom. Alice struggled to her feet, noting that she was still dressed in
|
||
pajama pants and a t-shirt. The door, naturally, was locked. Shit, she
|
||
thought, what kind of fucked up game is David playing with me?
|
||
|
||
"David!" she screamed, pounding on the door. "David, let me out of
|
||
here! What the hell do you think you're doing?"
|
||
|
||
She heard a key turn in the lock, and in a moment she was greeted by Eli.
|
||
|
||
"Good morning, madam," he said. "It is a bit early, but I could fix you
|
||
breakfast if you'd like."
|
||
|
||
"Who the hell are you?" Alice asked.
|
||
|
||
"My name is Eli. Please do not cause any trouble. As long as you are
|
||
courteous, your host will consider you a welcome guest."
|
||
|
||
"I want to leave. Now."
|
||
|
||
Two men stepped into view behind Eli.
|
||
|
||
"I'm afraid that is out of the question," Eli apologized. "How about
|
||
some breakfast?"
|
||
|
||
Alice turned and sat down on the bed, shaking her head. She watched the
|
||
door close and heard it being locked.
|
||
|
||
* * * * *
|
||
|
||
"It was really awful not seeing you today. I think it's the first time
|
||
we've been apart since we've been going out. I wish you'd call, tell me that
|
||
you're okay, something. I don't want to be kept in the dark. That's the
|
||
worst thing you could do."
|
||
--diary excerpt, 04-07-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [8:30am]
|
||
|
||
David declined a third helping of eggs from Eli, who promptly took his
|
||
plate and returned to the kitchen. Joshua was still finishing his breakfast,
|
||
so David sipped orange juice and watched the rain falling outside.
|
||
|
||
"I hope you slept well," Joshua commented, wiping his mouth with a
|
||
napkin. "If you were even worried about missing work, don't be. I've got
|
||
ample resources, if that wasn't already obvious."
|
||
|
||
"No, I hadn't even thought about that until you brought it up," David
|
||
answered. "I was just wondering when we were going to do this. Does it have
|
||
to be on a certain day? Christmas?"
|
||
|
||
Joshua chuckled as he poured himself more coffee. "Nothing like that.
|
||
It just has to be done."
|
||
|
||
"So when, then? If you die when the child is born, what's the best age
|
||
to do it at?"
|
||
|
||
"That's the immortal question, so to speak. Many factors have to be
|
||
weighed, such as the present state of economic affairs, the availability of a
|
||
suitable mate, and other things. I waited until I was 54 in the 1500s, but
|
||
that was a reckless thing to do. There is always the constant threat that you
|
||
might die before the task has been accomplished. I'd say that, given our
|
||
current circumstances, we should act as soon as possible."
|
||
|
||
"What a horrible way to exist."
|
||
|
||
"Not really. Living for two thousand years straight would drive a man
|
||
insane. The way it works, though, is like living a new life every thirty
|
||
years. Childhood is still fresh on your mind, you are always young, and you
|
||
know what your purpose is."
|
||
|
||
"And what purpose is that, to live forever?" David asked, sulking.
|
||
|
||
"Precisely," Joshua said. "Man is born to die. We die to be born."
|
||
|
||
"It just seems so pointless."
|
||
|
||
"It is not pointless. It is about self-preservation. Most people would
|
||
do anything to know these things, to know who they really are and what they
|
||
are meant to do."
|
||
|
||
"But I've done nothing."
|
||
|
||
"You will, David," Joshua icily said, glaring at him from across the
|
||
table. "Otherwise, you and I will die."
|
||
|
||
* * * * *
|
||
|
||
"I've been thinking a lot lately, wondering why we even met at all. It
|
||
was a chance encounter, and I always hoped there was a special reason that
|
||
Fate had deemed it appropriate to bring us together. The only thing I'm sure
|
||
of is that Fate can be very cruel."
|
||
--diary excerpt, 04-13-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [7:24pm]
|
||
|
||
"Alice?" David questioned. "Why Alice? Not Alice, no."
|
||
|
||
David had spent the whole day reading Joshua's manuscripts, catching up
|
||
on what he had been doing for twenty centuries. Joshua had been right about
|
||
the handwriting, which had been quite unsettling to look at. He had only been
|
||
shown one page, however, since all of the manuscripts had been transcribed
|
||
onto a computer, which made reading easier and also helped preserve the
|
||
fragile pieces of paper. But all of this was lost on David as Joshua's
|
||
suggestion captured his thoughts, replacing the newly infused "memories" he
|
||
had garnered from the manuscripts.
|
||
|
||
"But she's perfect, David," Joshua said. "She's intelligent, so she can
|
||
understand the gravity of the situation we're in. Alice is strong, too.
|
||
She'd have to be to deal with you for so long. You were going out, so it
|
||
would be natural if she got pregnant. That alone ties up a bunch of potential
|
||
problems."
|
||
|
||
"She hates me, you know. She wouldn't agree to any of this."
|
||
|
||
"You're wrong, David. She still loves you."
|
||
|
||
"And how could you possibly know that?"
|
||
|
||
"Because I've read her diary."
|
||
|
||
"But, how?"
|
||
|
||
Joshua walked over to David and handed him a small black book.
|
||
|
||
"She's here, David."
|
||
|
||
"You... kidnapped her?" David asked.
|
||
|
||
"I'm not taking any chances. I thought this was my last life, and I'll
|
||
be damned if I let something fuck it up."
|
||
|
||
"I won't do it. Not Alice. Anybody else, but not her."
|
||
|
||
"It's too late. Do you think I can just let her walk out of here? If
|
||
you don't do this, I'll have to kill her."
|
||
|
||
"You're sick. Do you realize that?"
|
||
|
||
"I'm not sick. This isn't personal. This is about self-preservation,
|
||
David."
|
||
|
||
"She won't do it. She won't agree."
|
||
|
||
"Don't worry about Alice," Joshua ordered. "Worry about yourself."
|
||
|
||
* * * * *
|
||
|
||
"Rachel sways you just need time to sort things out, to figure out your
|
||
life. I've been thinking a lot today about you, about how you looked when you
|
||
were asleep, the sweat running down your forehead and cheeks while you
|
||
dreamed. I wish you'd leave yourself alone for awhile. You need to give
|
||
yourself some breathing room so you can get straight what's important and
|
||
understand that there are people who do love you."
|
||
--diary excerpt, 04-20-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 04-21-98] [9:04pm]
|
||
|
||
It always begins with death, David thought. Joshua was right about that,
|
||
but why Alice? Why did it have to be her?
|
||
|
||
But he couldn't see any other options. Letting Alice die was absolutely
|
||
out of the question. This was about self-preservation, like Joshua had said.
|
||
Morality had no hold on this game. This was what he was meant to do. This
|
||
was his destiny, as absurd and disfigured as any destiny could possibly be.
|
||
David clutched his stomach and squelched the urge to empty his supper onto the
|
||
hallway floor.
|
||
|
||
Eli had given him the key to the door and left, saying that Alice was
|
||
ready. So now David was standing outside the door, trying unsuccessfully to
|
||
talk himself out of this, knowing that it was wrong and horrendous. He wanted
|
||
this to end, to be over, and this was the quickest way to do it. He would be
|
||
dead in nine months, and then Joshua could go back to living forever. He felt
|
||
that Joshua saw him as an abomination, as an unwelcome partner in this facade
|
||
of forced conception.
|
||
|
||
It's all about self-preservation, he thought.
|
||
|
||
David drew the key out of his pocket, sliding it into the lock and
|
||
turning it with a click. He opened the door and saw Alice naked, each limb
|
||
tied with a rope to the four corners of the bed. Her right eye was black.
|
||
She stopped struggling when she noticed David in the doorway.
|
||
|
||
"Get me out of here, David," she screamed. "What's going on?"
|
||
|
||
"I can't," he said, stepping into the room and shutting the door.
|
||
|
||
"What do you mean you can't?" she asked, resuming the futile attempt to
|
||
free herself.
|
||
|
||
"I can't," David repeated. "This is about self-preservation."
|
||
|
||
"What the fuck are you talking about? You abduct me from my apartment,
|
||
these strange men keep me locked up here and then tie me up.... What the hell
|
||
are you doing?"
|
||
|
||
"That was my brother, not me," David said, knowing somehow that it really
|
||
was him.
|
||
|
||
"Your brother? What brother?"
|
||
|
||
"I have to do this," David said, undressing. "I have to do this so he
|
||
can go on living and so I can die."
|
||
|
||
"You're not.... Oh my God, David. Stop. Look, we can talk this through.
|
||
Please, David, not this. Not this!"
|
||
|
||
It's all about self-preservation, he thought.
|
||
|
||
"You don't understand," David said, climbing onto the bed. "If I don't
|
||
do this, they'll kill you. This way, I'm the one who dies."
|
||
|
||
"Stay away, David. Death would be better than this. Don't do this,
|
||
please. I'll never forgive you, David. Do you hear me? I'll hate you,
|
||
David. Please, God, no."
|
||
|
||
It's only self-preservation, he thought as he positioned himself between
|
||
her legs. She was still beautiful, he noticed, even at a time like this. He
|
||
knew this would destroy her, but it was the only way to destroy himself. As
|
||
he sank into her, David shut out her cries and lost himself in his head,
|
||
repeatedly thinking that it always began with death.
|
||
|
||
* * * * *
|
||
|
||
"Last night was so wonderful, so perfect. It had been so long since I
|
||
had been with someone, and you seemed to know all the right things to do. It
|
||
was so cute the way you were so nervous, afraid you'd do something wrong. I
|
||
don't think you could ever do anything wrong to me."
|
||
--diary excerpt, 03-04-98
|
||
|
||
* * * * *
|
||
|
||
[Wednesday, 04-22-98] [8:24am]
|
||
|
||
"Wake up, David," Joshua was saying as David opened his eyes. "Can't you
|
||
feel it beginning? You've done well."
|
||
|
||
"I feel nothing," David replied as he realized that he had fallen asleep
|
||
on the couch in the study.
|
||
|
||
"The cycle has begun," Joshua said. "Congratulations. You're a father."
|
||
|
||
"You can't know that yet."
|
||
|
||
"But I do. Death ebbs through my veins. You have saved me, David, and
|
||
yourself."
|
||
|
||
"I'm a rapist. That's how I feel."
|
||
|
||
"You'll get over that. Remember, it's all about--"
|
||
|
||
"Self-preservation," David completed. "I know your fucking philosophy.
|
||
That doesn't make it right."
|
||
|
||
Joshua put a hand on David's shoulder. "Of course it's right," he said.
|
||
"Alice carries your child. She carries you. Survival of the fittest."
|
||
|
||
"More like survival of the twisted and demented."
|
||
|
||
"You don't have to like it, but it had to be done. You and I both know
|
||
that. And now you've only got a few months to live. I'd suggest you enjoy
|
||
it."
|
||
|
||
"What happens to Alice now?"
|
||
|
||
"Well, obviously I'll explain the situation to her, and we'll give her
|
||
the best medical care money can buy. Just like you, she'll accept the
|
||
predicament she has found herself in."
|
||
|
||
"Alice won't stay. No chance in hell of that."
|
||
|
||
"She has no choice in the matter," Joshua flatly stated. "I'm in control
|
||
here."
|
||
|
||
"I thought you preached love and shit," David said. "Whatever happened
|
||
to that?"
|
||
|
||
"I've grown a bit jaded over time. Two thousand years can do that to a
|
||
man, you know?"
|
||
|
||
"Then why? Why keep on living?"
|
||
|
||
"It's simple. Because I can."
|
||
|
||
* * * * *
|
||
|
||
"I keep listening to this one PJ Harvey track over and over and over. It
|
||
gets me too depressed, but I don't care. I want to wallow in my grief for
|
||
awhile, to see if I can hit the bottom of the pit. Her recorded voice keeps
|
||
asking, 'Is that all there is?' I think she might be right."
|
||
--diary excerpt, 04-17-98
|
||
|
||
* * * * *
|
||
|
||
[Wednesday, 04-22-98] [10:20pm]
|
||
|
||
Alice heard the door open and sat up in bed. "Who's there?" she asked.
|
||
|
||
"Quiet," David whispered. "I'm getting you out of here."
|
||
|
||
"Change of heart? What about all of the fucking self-preservation Joshua
|
||
told me about?"
|
||
|
||
"Screw that. I can't live with this on my head. He doesn't even have a
|
||
good reason for living forever. It's just a game to him. It should have been
|
||
someone else and not you."
|
||
|
||
"I always loved you. I want you to know that."
|
||
|
||
"I know. C'mon, let's go."
|
||
|
||
They silently slid out into the hallway after David peered out of the
|
||
doorway, making sure it was empty. He patted the car keys in his pocket that
|
||
he had taken from the garage to reassure himself that they were still there as
|
||
they made their way downstairs. In his left hand, David carried a poker from
|
||
the fireplace in the den.
|
||
|
||
David had fought with himself all day long about what to do. He had
|
||
finally come to the realization that he had never been himself, just an
|
||
ignorant copy of Joshua with a functional dick. Even knowing that he would
|
||
die soon, David was resolved to help Alice escape so she could make her own
|
||
choices instead of being trapped like he was.
|
||
|
||
"Stop, David," Joshua said. The lights in the kitchen came on.
|
||
|
||
"Get out of my way," David said, brandishing the poker. "She gets to
|
||
leave."
|
||
|
||
"I was afraid something like this might happen," Joshua said. "I can't
|
||
allow this. Take her back upstairs, and then we'll talk."
|
||
|
||
"I'll talk after she's gone. We can get somebody else."
|
||
|
||
"Not possible, I'm afraid. She's already been impregnated. Things are
|
||
already set into motion. Do you want to be born again, naked to the world
|
||
without any knowledge of who you are? You've already lived that life once.
|
||
Don't tell me you want to be like that again."
|
||
|
||
"I don't want to live, period. Not like this."
|
||
|
||
"If you let her go, you're killing me. Do you want to be a murderer as
|
||
well as a rapist?"
|
||
|
||
"I'm dead already," David said. "I've always been dead. I've always
|
||
been you. This isn't murder, it's suicide."
|
||
|
||
"And you'd give up the gift of immortality to have a clear conscience?
|
||
Nobody throws away something like that. Nobody."
|
||
|
||
"You're worse than me. You live just to live. You have no purpose.
|
||
Your whole existence is futile, a pure fabrication."
|
||
|
||
"Was your brain turned off when you read the manuscripts? Didn't you
|
||
understand the significance of all that history, of everything I've done? Of
|
||
everything that you did? We've done things people can only read about. We
|
||
have been the world's only constant historian. Who else can say they've been
|
||
to Italy during the Renaissance, to Rome in the height of her glory, to be
|
||
indulged in excess in the court of the Sun King in France? These are
|
||
memories that we share."
|
||
|
||
"Those aren't memories. They aren't anything except words on paper. And
|
||
what have you learned from it? Nothing. You just seclude yourself from
|
||
society, intent only on staying alive. That's no gift. It's a curse."
|
||
|
||
"I'll only tell you this one more time, David. Take Alice back upstairs.
|
||
Don't think you're being some kind of hero, because you aren't."
|
||
|
||
"Let us go, Joshua."
|
||
|
||
"It doesn't matter what you do, David. She'll still have the baby. And
|
||
when it's born, I'll be born. You'll be nothing. Gone. Kaput. Finissimo.
|
||
At least this way I won't end up pathetic like you."
|
||
|
||
David ran forward and swung the poker at Joshua, the hook implanting
|
||
itself into the side of his head. It ends with death here, David silently
|
||
reflected.
|
||
|
||
Alice cried out and David turned around, seeing Eli holding back two
|
||
henchmen. Tears were beginning to stream down his face.
|
||
|
||
"You could have let him live," Eli said. "You didn't have to do that."
|
||
|
||
"He'd lived too long already," David answered. "Everybody has to die."
|
||
|
||
Eli motioned towards the body, and the two men picked it up by the arms
|
||
and legs and carried it out into the garage. David stood next to Alice,
|
||
uncertain of what would happen next.
|
||
|
||
"Whatever you think of Joshua, he was my friend for many years," Eli
|
||
said. "My wife gave birth to him once as well. I should hate you, and I do,
|
||
somewhat, but I also know that you are him, too."
|
||
|
||
"So what happens to us now?" Alice asked.
|
||
|
||
"We leave," David said.
|
||
|
||
"Yes, that's probably best," Eli announced. "If you'll give me a minute,
|
||
I'll gather up all the disks and manuscripts so what happened to you won't
|
||
happen again."
|
||
|
||
"I don't want it. It wouldn't do me any good."
|
||
|
||
"But you can't continue like that."
|
||
|
||
"Who said I planned to?"
|
||
|
||
"Goddammit, Joshua -- David. How do you think it feels to lose someone
|
||
that you felt was your son?"
|
||
|
||
"How does it feel, Eli? How do you think it feels to kill yourself and
|
||
still be alive?"
|
||
|
||
* * * * *
|
||
|
||
"I never told you that you were like this guy I dated in high school,
|
||
Greg Murdock. He was a lot like you, always searching for answers and finding
|
||
nothing. He killed himself on the last day of our junior year, hanging
|
||
himself in the freshman wing bathroom stalls. He didn't even leave me a
|
||
note."
|
||
--diary excerpt, 03-30-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 07-02-98] [2:30pm]
|
||
|
||
David and Alice had moved to another town, laying low and living off
|
||
menial wages while waiting to see if Eli would try to exact retribution. None
|
||
ever came. David and Alice both knew his time was limited, so they tried to
|
||
enjoy what time was left. Today was his last, David knew, as he stepped out
|
||
of the shower and toweled himself off. Alice had already left after a long
|
||
kiss good-bye, and David mentally pictured her looking at him as he combed his
|
||
hair and dressed in a t-shirt and blue jeans.
|
||
|
||
The covers on the bed were cool as David slipped underneath them. He
|
||
thought about trying to sleep, figured that would be impossible, and rested on
|
||
his back, staring at the white ceiling. All he had to do was wait.
|
||
|
||
* * * * *
|
||
|
||
"It seems like I only keep diaries when I go out with people, so I guess
|
||
this means I've found someone since I'm writing. I met this guy last night
|
||
named David, and he seems pretty nice. He's very deep and thoughtful, and we
|
||
went out for drinks after the concert. I could see myself having his kids.
|
||
God, I hate it when I get maternal every month. Ugh. I wonder what he thinks
|
||
about kids?"
|
||
--diary excerpt, 02-23-98
|
||
|
||
* * * * *
|
||
|
||
[Tuesday, 07-02-98] [3:45pm]
|
||
|
||
Alice stepped out of the abortion clinic and walked out into the parking
|
||
lot, hearing the taunts of the protesters calling her "baby killer" and
|
||
"murderer." You're right, she said to herself as she fished her car keys out
|
||
of her pocket, but this was a mercy-killing. As she unlocked the door to her
|
||
car, Alice looked up and frowned at the cloudless, blue sky.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
State of unBeing is copyrighted (c) 1998 by Kilgore Trout and Apocalypse
|
||
Culture Publications. All rights are reserved to cover, format, editorials,
|
||
and all incidental material. All individual items are copyrighted (c) 1998
|
||
by the individual author, unless otherwise stated. This file may be
|
||
disseminated without restriction for nonprofit purposes so long as it is
|
||
preserved complete and unmodified. Quotes and ideas not already in the
|
||
public domain may be freely used so long as due recognition is provided.
|
||
State of unBeing is available at the following places:
|
||
|
||
ftp to ftp.io.com /pub/SoB
|
||
World Wide Web http://www.io.com/~hagbard/sob.html
|
||
irc the #unbeing channel on UnderNet
|
||
|
||
|
||
Submissions may also be sent to Kilgore Trout at <kilgoret@geocities.com>.
|
||
The SoB distribution list may also be joined by sending email to Kilgore
|
||
Trout.
|
||
|
||
--SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB-SoB--
|
||
|
||
|
||
|
||
|