9966 lines
399 KiB
Plaintext
9966 lines
399 KiB
Plaintext
1OCT1993
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by Stanley Lieber
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Written 2004-2010
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This book was typeset (troff -ms|lp -dstdout|ps2pdf) in Times by the
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author, using an IBM Thinkpad T43p running the Plan 9 operating system.
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Reprinted with corrections, October 2012
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1OCT1993
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1oct1993.com
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MASSIVE FICTIONS
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massivefictions.com
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This is a work of fiction. Names, characters, places and incidents either
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are the product of the author's imagination or are used fictitiously, and
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any resemblance to actual persons, living or dead, businesses, companies,
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events or locales is entirely coincidental.
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MIT/CC0/Public Domain
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1OCT1993
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BOOK ONE
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TAB2, 1960
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tags: 1960, margaret, tab1, tab2, the_chief
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The testing was rigorous but fair. I don't know if the equipment had
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any real effect, but he started talking just the same.
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bump bump bump clickity clickity click bump bump bump
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Little Tommy.
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"Semen the color of old comic book pages, aged plastic, tape residue,
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dipping sauce for crayons that were flattened for a specific age
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group. You know, so they wouldn't roll awaythe crayons, not the age
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group. Dog piss on the carpet, striped wallpaper, a tray of stale flat
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bread, a portfolio of chalk drawings."
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"What else do you remember?"
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"The weather. Nothing."
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"Let's start over from the beginning."
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Aptitude tests. Memory. So far, things were progressing smoothly. I
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actually choked back a tear. I admit it: I was proud of him.
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"Son, have you figured out what's going on yet?"
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"A severed, pierced penis. In a can of Prince Albert pipe tobacco.
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Title: Not Funny."
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I wrote TAB2 on the inside of his hat and placed it on his head.
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"Let's get the hell out of here."
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Tommy hated the matching outfits. Orange toboggan hat, bomber jacket,
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military galoshes. I had told him to think of it as his uniform. He
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scratched at his buzzcut, dumbly.
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I hoisted him into his car seat.
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Winter had struck while the other boys were studying. Permafrost,
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monochrome landscape. I had Tommy out and about in the elements every
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day; we covered four miles, on average, pacing the farmer's market
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near headquarters. He was already beating up on the older boys in the
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class ahead of him.
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Or so I had forecast, when I set him on this routine.
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Reality didn't quite track. Tommy wasn't meeting his PT requirements.
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I began scrubbing his face with an abrasive washcloth and doubled his
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training hours.
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"Father, who do I have to blow around here to get a time sheet?"
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"You'll be done when I say you're done."
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The kid's mother.
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I cleared my cache and ducked into a flower shop, dragging Tommy
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behind me. He planted himself on the floor and booted up a comic book.
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I should never have bought him that thing.
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"The usual?"
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We came in here at least twice a week.
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"Affirmative. Red."
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I jammed the bundle of roses under my arm and yanked Tommy along to
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the truck. I thought he might have voiced a slight whimper, but I
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couldn't be sure so I ignored it.
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The mesh was offline in the truck. I punched the dashboard and Tommy
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let out a laugh. Finally, the HUD activated and we peeled out of the
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parking lot.
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I was thirty-three years old.
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So far, 1960 was diminishing returns.
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CU/FARLEY
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tags: 1960, margaret, tab1, tab2, the_chief
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1 October 1960 I loaded Tommy into the truck and took him to work with
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me.
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The boy perked up at the sight of the two-story displays. A damn sight
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better than the consumer grade equipment his mother used to review her
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nude home shows. We had a spare terminal so I logged him in with basic
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access and let him handle analysis on some of the non-essential
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traffic. No one would mind. With his orange cap he almost fit in.
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Perturbations in the mesh. We were bringing a new series of embassy
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clouds online and things were not going smoothly. I was asked to
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supervise a side-switch.
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At 07:30 Tommy spoke up, something about overlap.
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"Pop, we've got incoming."
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Three embassies were competing for the same channel. Ping errors were
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filling up the logs. I asked Tommy if he had a solution.
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"Subnet them."
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My men went into action and the crisis was averted.
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Chief gave Tommy a lollipop.
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Tommy liked the snow but touching his hand to it produced tears. I
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growled at him a bit.
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I gassed up the truck and we cut across town back to the hovel. We had
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opened a new file on Tommy. CU/FARLEY would follow him for the rest of
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his life. He'd shown aptitude. All of that testing wasn't a waste
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after all. His mother would grumble but his interest was clear,
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honest. We assigned him TAB2 and that was that.
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Inside the house I prepared a plate of sandwiches and pickles and we
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settled in to monitor the logs. Again Tommy showed initiative and
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reorganized his own desktop for efficiency. I dozed off for a while
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and when I came to he'd routed the embassy logs through his login. He
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picked out some trouble spots and saved the boys back at HQ a few
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hours of grief. I considered pulling him out of school for a few
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months until the embassies were all up and running. Heh, not likely,
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not with his mother.
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Flipped on the telescreen. Presidential election. Iran.
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Can't escape it. Switched off the telescreen and back to Tommy's
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progress, trawling the logs. I showed him how to clean up a few
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streams and within a few minutes he was giving me advice on my own
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data structures. I wondered how long this could hold his attention.
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At 10:25 a page came over the wire, calling me back to HQ. I strapped
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Tommy into his seat and we were on our way.
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The truck spun through the slush and we got hung up in the parking
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lot. I left the vehicle and trudged towards the building with Tommy in
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tow; housekeeping would dig out the truck as time permitted.
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We made it up the stairs and Chief stopped us before we got to our
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terminals. CU/FARLEY was already twenty pages thick. They had decided
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to call in their investment early. I slicked down Tommy's eyebrows
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with my thumb and handed him over.
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My son and I locked eyes. Tommy full of comprehension.
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He reached up to his head and removed his orange toboggan. He glanced
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at the name I'd scrawled inside it, TAB2, and then passed it over to
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me, his three-year-old arms not quite bridging the gap between us.
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I nodded. I understood.
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TOWARDS MYTHOLOGIZING
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THE COMING RESURGENCE OF COVERT WARFARE
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tags: 1961, coordinator_rex, tab1, tab2
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DIPLOMATIC POUCH MAIL
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(SB:WR-U; 10-17-1961)
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(Office of Origin: BT/FUCK)
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Son, you said you wanted to know what I do all day at my job. That is,
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since we've been separated and you've been off at school. To that end,
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I've written up this account based on notes I took sometime last week.
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I traveled from New York to New San Francisco to take part in one of
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the operations assigned to my group.
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Here is my description of what took place.
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Faint smoke wafted out of nearby chimneys. Awkward-looking clouds
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clung to the sky, a gross of cotton balls scattered at random, then
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glued down carelessly onto an enormous blue shirt. I observed the
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aerial tableaux through a crack in the curtains. My hotel room was
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cold.
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Shifting focus, I came to notice the ground directly below my window.
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It offered up only the faintest suggestion of tangibility. Its
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contours were blunted by yet another layer of new fallen snow.
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Bemused, I traced the deceptive topology at high resolution, scanning
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the area for markers before proceeding to vacate for the last time.
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I made my way out onto the balcony. Even as my room's heavy wooden
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door clicked shut behind me, I instinctively checked my pocket for the
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plastic key card.
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It was present.
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Coat tucked and breath stale, I tunneled through the mounting drifts,
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trudging towards the front office. I swiped my key card and slipped
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inside. The night clerk had dozed off, abandoning the assortment of
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RAP CHOWDER clips he had pulled up on his terminal. He was probably
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inebriated. Stealthily, I snuck past him.
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Moving down the hall, I edged past a throng of blinking, chattering
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vending machines. My trench coat trailed along behind me, probably, I
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thought, getting dirty. I bustled once more into the laundry room,
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tossed my knapsack down on a table and placed my hat on the dryer.
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Laundry was done.
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After stowing my garments, I dropped my room card on the front desk
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and called for a taxi. Yawning, I leaned up against a support column
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and strained to hear the closing salvos of the RAP CHOWDER season
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finale. It seemed I had not alerted the night clerk to my presence.
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That suited the situation fine, as my taxi would not show up for some
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time and I was in no mood for small talk.
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An hour later I detected the heat signature of a car engine and then
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the slush of tires racing through black snow. It was my ride.
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The taxi driver wasted no time and engaged his car horn, initiating a
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blast of sharp, targeted audio. Modus operandi endemic to the American
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service industry: never in a hundred consecutive life sentences would
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he have thought to come into the hotel and fetch me. Remind me
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sometime to tell you about Hanoi, and the driver who actually did.
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I tossed my knapsack over my shoulder and hopped into the cab. The
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driver was a tough looking Arab, equipped with the usual rough shaven
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beard and a giant, furry parka. He had a three-dollar cigar clenched
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tightly between his brown teeth. As he spun the orange cab out of a
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snow bank, I leaned back into my seat with a sense of detached
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curiosity. The Motel 6's automation was apparently inoperable; I
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checked my balance and discovered that I hadn't even tipped the desk
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clerk on my way out.
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The driver propelled us across the bridge and on to JFK, where
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eventually he halted the cab and told me to get out. I tossed him a
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single hundred dollar bill and he affected only the slightest nod
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towards the meter. I didn't budge, so he gave me the finger, then sped
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off into the freezing smog. I had to laugh.
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Soon, I was aboard my plane.
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Floating safely above America, I rang for my stewardess. She brought
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out some coffee and loaded it up with a fair amount of cream.
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Somewhere over St. Louis, I was enjoying a fifty-dollar cup of
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Folger's Crystals. Unlike most passengers, I didn't fall for their
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upselling to a more rarefied blendI know from bitter experience that
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no matter what you order, on a government airplane you end up drinking
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the same cup of coffee. It still befuddles me that no one ever seems
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to notice this. Menus are nothing more than a racket they try to put
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over on unsuspecting consumers. What you actually get is whatever they
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have too much of on a given day. Anyway, a cup of coffee is a cup of
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coffee.
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Finally, we approached New San Francisco. Tires screeched across the
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runway. Air pressure in the cabin shifted to sea level. Presently, a
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voice came over the intercom, announcing our impending arrival. I
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gazed at the surface of my leaf, pretending to read a newspaper
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article. Shrewdly, I had opted not to activate the pay-device.
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"At the tone, all passengers will unbuckle their seat-belts and
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disembark in an orderly fashion."
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There was an almost deafening racket of clacks and clatters.
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"Once again, thank you for flying Federal Airlines."
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"Like we had a choice," came a muffled retort from several rows back.
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A number of heads from various sections of the plane snapped around to
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face the speaker, all of them in perfect synchronization. Immediately,
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I ascertained which of my fellow passengers were Air Marshals.
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I returned my leaf to the seat-back in front of me, then reached up
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into the compartment above my head to withdraw my bags. Nothing seemed
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to be missing.
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Exiting the plane, I was forced to elbow a few tourists out of my way.
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Nothing too unusual; a young Pioneer Scout had nearly caused me to
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trip and fall. Children were everywhere in coach, clogging up the
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aisles with their sluggish movements. This would not have been a
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problem if I'd taken a seat in first class, where children are
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generally forbidden, but such an expenditure would have raised flags
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with the wrong people, and on this flight I was concerned with keeping
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thingsas far as those wrong people were concerned, anywayquiet.
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Friendly shoving had become commonplace during the average disembark,
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and so my excess physicality went unnoticed.
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On the way into the terminal I passed through a metal detector. My
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sidearm triggered a shrill cacophony, followed by an array of hastily
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drawn weapons. I flashed my TSA card discreetly, at waist level, and
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got through the checkpoint without much hassle. As you know, with my
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credentials I am authorized to carry a concealed firearm. I can
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activate its logging processes mid-flight, or even pull it out and
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wave it around if I so desire. In this way it would have been trivial
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for me to clear a path through the crowd by sending everyone diving to
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the floor. I don't need to tell you that I restrained myself. Even
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with non-networked weaponry such as my own, flashing a gun would have
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attracted attention from the mesh.
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I wandered into a nearby pay-zone and called for another cab. My
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long-range implant was by now producing only blips and bleeps. For
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some reason, disabled.
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My experience with that last cab driver in New York had put me on
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edge. I recalled now that when I climbed into his vehicle he had
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shifted his eyes instantly to my left earlobe, pausing for a bit
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longer than I would have liked. He was careful, also, to look me up
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and down several times, tracing all of the obvious marker points. I
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noticed even though he had really been quite subtle about it. To my
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mind, this was uncommon and suspicious behavior for a New York cab
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driver. I found myself considering the implications. Something might
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be going on with the cabbie unions here in the States. Warily, I
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loaded my Colt and stuffed it into the cargo pocket of my trousers.
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When my taxi finally arrived I slid into the back seat and gave the
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driver a once-over of my own. Ditto. The same type as in New York. An
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immigrant. Although this fellow, rather than expose his bushy eyebrows
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and lice-infested hair to the world, sported a grey taxi cap with a
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dark, translucent visor. He was chomping a duty-free cigar (unlit) and
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taking sips from a can of Stro's Light. From the looks of him, a
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Russian educated Paki.
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Before shifting the car into gear, the cabbie pivoted around in his
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torn seat. With no small effort, he stuck out his free hand, then
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moved his eyes back to me. Sensing the inherent purpose of the
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gesture, I pushed a fifty towards him, extending it just far enough to
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catch in the tips of his fat fingers, then settled the rest of the way
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back into my seat. The driver remained motionless, silent. His seat
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creaked under the weight of his body.
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"Take me to the Embassy," I growled as harshly as I could muster,"And
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put some stank on it. I have an appointment to keep."
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With a squeal of tires and a strangled burst of exhaust smoke, we were
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off.
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After a short interval we careened to a stop in front of the Embassy.
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I evacuated the back seat and leaned into the taxi's front window,
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glaring at the driver, adopting an aggressive posture. In response,
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the Paki clenched my collar into his fist and pulled me in even
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closer. It seemed he wanted to share a few words.
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About time.
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"Meter say five hundred and fifty, stupid fart."
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He spit out his cigar, which came to rest lightly on the floor.
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My cue.
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I rammed the barrel of my Colt into his throat. He recoiled against
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the seat with a muffled thud, spilling beer all over his lap. I then
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gripped him by the hair and smashed his head into the dashboard,
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smirking bemusedly because his forehead had just taken out the meter,
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and because his pants were now soaking wet as if he'd burst his
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bladder. He fumbled groggily in his seat and steered his cab the hell
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out of there. I wouldn't have believed it, but the cabbie trade had
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actually grown more belligerent in my absence. As a corollary, I'd
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just saved the government five hundred bucks. You have to stay sharp
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on the basics.
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I stomped up the stairs of the Embassy and kicked open the door, which
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hadn't been latched to begin with. Gradually, I got myself into
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character.
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The place was fossilized as ever. All of the antiques, artifacts and
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arch-politicos were still glued into place, practically inert. The
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room was artificially quiet, which also conformed to my mental
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inventory from previous visits. All right then, noise-cancelers were
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still being employed. What was new, here, was that the place had
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apparently been outfitted as a nano-blank zone. I wondered why.
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Good thing I had thought to pack my Colt and not bothered with the
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network weaponry.
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Without warning, a butler sidled up to me, whispering that he wanted
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to take my coat. I kicked him out of the way. He tumbled into a chair,
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looking dumb. I decided to ham it up in my new role and barked at him
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that I hated being touched by the help. He muttered something and I
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made a show of ignoring him as I pushed on into the long central
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corridor.
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Quickly locating the correct cube cluster, I burst into the
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Coordinator's office and dropped down onto his horsehair sofa. His
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eyes moved to meet with my own and then just as casually returned to
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his pressure screen. I remained silent. After a few minutes passed, he
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realized that it would be up to him to initiate the conversation.
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"I'm sure you are aware," he finally said, agitated but monotone in
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his murmur,"That this sudden reappearance of yours will make certain
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impending maneuvers more... awkward... for my department. I will have
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to make up another acceptable room for you here in the embassy, and
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re-issue your cash and supply requisitions." He wiped his forehead,
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the pitch of his voice lowering steadily as he continued to speak,
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resembling nothing so much as the air being let out of a bicycle tire.
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"I'll also have to find a way to pay for all of this, since you are
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still officially off of my books."
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Well, that didn't seem like much of an obstacle to me. I was a
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diplomat and this was his embassy. I was sure he could come up with
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something. Run the standard algorithm of embassy lawyers, numerous
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layers of complex accounting, and a few million dollars out of the
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discretionary fund. Throw in a gaggle of highly trained Georgian
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prostitutes and no one would ever be the wiser. This was, after all,
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his area of expertise.
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Why not just write it up as a series of business lunches, I thought to
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myself.
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But I chose not to say any of that out loud. Instead, I sat
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motionless, staring, thinking about Iran and 1959, wondering why I'd
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bothered to haul his perforated ass back home with me. He must have
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guessed what I was flashing on, because he quickly dropped the
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pretense of busting my balls and cut straight to the conclusion of his
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prepared speech. He hated going through the motions as much as I did.
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"Okay. I give in," he mouthed, the vitriol now suspiciously absent
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from his voice. He had put up his token resistance, which for the
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purposes of budgetary documentation would have to suffice. He tossed
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me my pass and all of the needed cards, already made out and
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validated, packed into a large manila envelope. He held it out with
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one hand, not looking away from whatever it was he was scribbling,
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somewhat erratically, into his leaf. I had never known he was
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ambidextrous.
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"Tom," he said to me as I left the room,"Let's not botch this up, not
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like the last time I had to rely on you. You know what I'm talking
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about."
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The wisecrack was wholly unnecessary.
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I halted. I wanted to launch into him, but quickly reversed myself and
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resolved to just let him have his insults.
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Son, at this point the man is little more than a torso. His titanium
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legs are encased in medical plastic, but that hardly represents a
|
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cosmetic improvement. Below the elbows, his arms are tracked with skin
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grafts, and must be covered up by shirtsleeves even in summer. True,
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the substrate now conceals more firepower than I could ever hope to
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lift with my merely human-gauge limbs, but technically he was correct.
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During the war, I'd botched the rescue attempt that had made all of
|
||
his"improvements" necessary. After all, he'd still possessed both of
|
||
his legs when we were dispatched to Tehran. For this, I do carry some
|
||
measure of responsibility.
|
||
|
||
Turning again, I looked down at the manila envelope and said nothing.
|
||
I closed his office door gently on my way out.
|
||
|
||
As I hoofed it down the south corridor, I fished through my envelope
|
||
of cards, digging out the one that would open my room. It stated: Room
|
||
1097, Tenth Floor, Second Hall. I pocketed the room key and made my
|
||
way toward the central security elevator, arriving just in time to
|
||
glimpse the doors snapping shut.
|
||
|
||
I located the stairwell.
|
||
|
||
With little effort I advanced to the tenth floor. Swiping my key card,
|
||
I pushed the security door open and proceeded into the hallway.
|
||
|
||
As I reached the door of my actual room, I fished out the card again
|
||
and shoved it into its slot. The whole door frame quivered as I ambled
|
||
inside. This place was antique, but I didn't mind the clumsy old
|
||
mechanisms, in spite of what my diplomatic status might have entitled
|
||
me to. I wouldn't end up using all of that new equipment anyway.
|
||
|
||
I suppose the room itself was quite impressive, by conventional
|
||
standards. A hot tub was situated, or sunk into, really, the middle of
|
||
the floor, equipped with its own bar. The carpet was some sort of deep
|
||
white pile. I don't know, but it looked expensive. Cathedral windows
|
||
with variable display angles. Universal remote. The furniture was a
|
||
posh mixture of vintage and the very latest in network enabled. I
|
||
waved my hand in front of the couch and seats around the room
|
||
reconfigured themselves to my pre-loaded, custom contour. A few more
|
||
gestures and my temperature/humidity preferences were transferred to
|
||
the local mesh.
|
||
|
||
I have not devoted much of my attention over the years to the ins and
|
||
outs of fully-integrated interior design, but I can tell you that this
|
||
wasn't the work of amateurs. I wasn't able to locate a single bug.
|
||
Good for them. There's no telling what kind of footage this room has
|
||
been able to capture, during the periods between wars when it has been
|
||
used to house foreign dignitaries.
|
||
|
||
I'm afraid my reputation preceded me here and I did not expect many
|
||
frivolous trifles, but, still, a few of the line items from my
|
||
standard rider were missingand remain missing, above my
|
||
complaintswhich continues to annoy.
|
||
|
||
Well, that's about all I have time for right now. I have quite a bit
|
||
of work to do before I can turn in for the night. You know I'm not
|
||
much of a writer, but I hope this has given you some idea of what an
|
||
average day of mine is like here at the embassy.
|
||
|
||
Hope to see you soon.
|
||
|
||
ADVANCE
|
||
|
||
tags: 1963, margaret, tab1, tab2, the_chief, violet
|
||
|
||
All told, it was three years until I saw him again. Draped in
|
||
something reflective, outfitted for stresspants.
|
||
|
||
He appraised me, amused.
|
||
|
||
"I don't suppose you objected too strenuously, when they told you what
|
||
it was they planned to do to me."
|
||
|
||
Six years old. Circumcised. Ready to start public school.
|
||
|
||
"Son, I've been doing my best to provide for your future. You're
|
||
getting the best education tax dollars can buy."
|
||
|
||
"Prove it, Dad. They cut off my stick."
|
||
|
||
By 1963, the war had started.
|
||
|
||
"They didn't cut it off. They've trimmed back the excess skin.
|
||
Hygienic benefits. Read up on your New Jack Testament. It's part of
|
||
the package."
|
||
|
||
I'll admit, the family tended to shunt Tommy aside. We had shelled
|
||
into advanced operations and were channeling most of our attention to
|
||
the tactical situation above ground. Probably some things slipped by
|
||
unnoticed.
|
||
|
||
"Nobody ever asked what I wanted."
|
||
|
||
Maybe I should have sent him back to his mother. He seemed more
|
||
attuned to her.
|
||
|
||
"Irrelevant. You're not old enough to have an opinion on this. Here,
|
||
hop on up here. Help me parse these filter rules. We have incoming."
|
||
|
||
"You old fuss budget!"
|
||
|
||
My daughter.
|
||
|
||
"Why don't you give him a break. He's been studying all summer."
|
||
|
||
"This wasn't strictly my decision, Violet."
|
||
|
||
"Lies! You're the ranking officer now."
|
||
|
||
"He's going to learn a lot more by observing us here than he would
|
||
diddling with you and your mother back at home. Praying. Whatever it
|
||
is you do."
|
||
|
||
"You're wearing him out."
|
||
|
||
"It's part of the training. He'll endure."
|
||
|
||
"Well, gee. I would advise that you get yourself a good lawyer.
|
||
Tommy's peer group is quite litigious. See you never."
|
||
|
||
Violet slammed a lot of doors, that year.
|
||
|
||
The dream was this:
|
||
|
||
My wife, my sister and Violet wandering through HQ. Someone I don't
|
||
remember from high school walking up and smearing grease paint on my
|
||
face, saying"Don't you remember me?"
|
||
|
||
My wife, my sister and Violet walking through someone's house as a
|
||
shortcut. The women stop to pick through the occupants' belongings. I
|
||
advise them not to continue but they've become unresponsive. The
|
||
occupants of the hovel wake up and sound the alert for their extended
|
||
family, who appear from out of nowhere and accost us.
|
||
|
||
Hometown Security arrives with shock troops and we are all separated
|
||
and detained. I am interrogated by Jeff from CURB YOUR ENTHUSIASM.
|
||
|
||
By 1963 I had quit smoking, but still I made routine trips to the
|
||
balcony to clear my head and to stare at the snow. There's no telling
|
||
what my handlers thought of this. Ten below zero and there I was, out
|
||
there in my shirtsleeves.
|
||
|
||
Well, fuck'em.
|
||
|
||
I was close. Ten more months and the agency would have recouped on my
|
||
advance. Then I could start in on the mortgage. Savings. Things would
|
||
start to look up.
|
||
|
||
Mostly.
|
||
|
||
Tommy was still a worry. Soon they'd want to draft him.
|
||
|
||
I wasn't sure he was ready.
|
||
|
||
MEN OF VISION
|
||
|
||
tags: 1963, margaret, plinth_mold, tab1, tab2, william
|
||
|
||
The bombs are still falling when they outfit me with this stupid,
|
||
spamming hat and instruct me to cart around young cousin William, the
|
||
other male child on the premises, so that he might bask in the
|
||
unfiltered sunshine, breathe in the unfiltered air, be exposed,
|
||
finally, to the city above ground. This isn't posed as an elective
|
||
course of action; I'm given formal orders and nudged in the direction
|
||
of the outer doors.
|
||
|
||
I tell them I don't see as how it's a good ideawhat with the
|
||
declining birthrates, the continuously falling bombs, the constant
|
||
danger of disfigurement and deathbut I might as well be set on mute
|
||
when it comes to registering above the din of the war room. My
|
||
thoughts are not considered.
|
||
|
||
Children, creatures endowed with no special mastery over the evolved
|
||
traditions of warfare, are expected to find their own way, to get in
|
||
where they fit in, to drive unique footholds into the imposing,
|
||
existential mountain dubbed survival. Honestly, I've never considered
|
||
this state of affairs to be a cause for concern. I've never shied away
|
||
from a difficult climb. Have preferred, in fact, to traverse peaks of
|
||
despair, regarding them as nothing more than simple clumps of grass
|
||
gathered at my feet. The one permanent handicap I've endured is this
|
||
responsibility to my cousin, William, who is so young, who cannot even
|
||
fend for himself. Others of his age are expected to survive by dint of
|
||
their own industriousness. William, for his part, is basically
|
||
immobile. Self-sufficiency has been altogether ruled out.
|
||
|
||
The war effort consumes most of the adults' attention. Slowly, William
|
||
and I have been pushed from one room to another, down long hallways
|
||
and through half-open doorways, with barely any recognition paid to
|
||
how we are being treated. No one includes us or keeps much track of us
|
||
now that the fighting has percolated into the city. With new air
|
||
strikes arriving daily we are the least of the adults' concerns.
|
||
|
||
I work with what I am given.
|
||
|
||
It is in these streets that I have learned my trade, have begun to
|
||
earn my keep. I've developed an affinity for commercean aptitude, you
|
||
might sayand happily contribute a percentage of my earnings back into
|
||
the household. Apparently, I am a natural born hustler. So says my
|
||
uncle. It has come to the point where I'm afraid the adults will
|
||
finally realize their neglect. It is conceivable that they may even
|
||
forbid us, William and myself, to leave the compound on our own. This
|
||
would negatively impact revenues, which would be unacceptable. It
|
||
would also harm our family's standing in the community, which would be
|
||
equally unacceptable. My products are in high demand. It is with a
|
||
constant awareness of this precarious balance that I, over these past
|
||
few months, have striven to make the skills of the street my own. I
|
||
have adapted myself to its unsteady rhythms, mastered its sundry
|
||
particulars, balanced weight through the hood until my various
|
||
criminal activities have become as second nature to me, a collection
|
||
of reflexive actions as simple as walking into the kitchen or emptying
|
||
my bladder. This sympathy with the tidal nature of currency is hard
|
||
won, but it allows me to function freely, wholly invisible to the
|
||
financial surveillance algorithms employed by HQ. I should say,
|
||
invisible so long as I remember to hold back that reasonable
|
||
percentage for the family. It is true, my triple-a reputation would
|
||
quickly dissolve into scandal if ever I became so sloppy as to arouse
|
||
the interest of my father's men. Let us observe, then, that my
|
||
operations have never attracted their attention.
|
||
|
||
Add to my already formidable grip the legitimate pay from William's
|
||
promenades, and I'm already better than halfway to my new shield
|
||
jacket. I count it as a demonstration of my utility that I'm able to
|
||
provide my own armor. A new shield jacket would doubtless preserve me
|
||
through countless future crises (that is to say, if I'm not found
|
||
skewered by shrapnel before the thing is even delivered). Thus I have
|
||
concluded that even my supposedly lamentable character traits (such as
|
||
my unquestioning greed) may, at last, be construed as facets of pious
|
||
virtue. Until I am allowed to participate in weapons training, I will
|
||
content myself with the paper chase. I will gild the runway. Keeping
|
||
William and myself alive is merely the start of what I hope to
|
||
accomplish.
|
||
|
||
I assume that Mother and Father are cognizant of all this, to some
|
||
degree. In my view, this whole bang-upthe waris simply an excuse to
|
||
seek out and extract ever larger sums of money from the tax base. The
|
||
whole conflagration merely serves to increase trade, which serves to
|
||
increase tax revenues, which results in more war. Fortunately for me,
|
||
the family doesn't seem too keen on auditing my activities. The fact
|
||
that my relatives' economic interests are currently seen to overlap
|
||
with my own is a kind of happy accident, perhaps of the sort depicted
|
||
in children's cinema, or in certain of the ancient, sequentially
|
||
illustrated pamphlets collected by my father. In reality, my family's
|
||
enlightened self-interest drives a free exchange of goods and
|
||
services, a marketplace that in turn benefits the entire community. My
|
||
own present activities, in spite of the myopic moral objections
|
||
offered by my sister, contribute to this aggregate effect. Taxes (and
|
||
thus, war) are merely inevitable. Yes, I've done some reading on the
|
||
topic. I readily admit. But the ideas I've argued with Father stand on
|
||
their own, heedless of any pseudo-intellectual hem-hawing. I dare say
|
||
that they are self-evident. If only I could get him to understand:
|
||
even in wartime, altruism is beside the point.
|
||
|
||
The kid in the cart doesn't realize I'm only in it for the money. He
|
||
digs his fingernails into the palm of my hand, obviously frightened by
|
||
the noises on the street. We round a corner and a rather large
|
||
building comes apart right in front of us. He buries his face into my
|
||
coat just as we're pelted with a boiling shock wave of dust. For some
|
||
reason he looks to me for protection. Of course, this toddler's
|
||
intellect is incapable of assessing the true complexity of our
|
||
situationhe's not yet up to the task of cynical apprehensionbut
|
||
perhaps in the end he is right to place his faith in me. It is
|
||
unquestionably within the realm of my interests to ensure that he
|
||
survives these trips to the surface. The profit motive is clear. It's
|
||
right there in my contract.
|
||
|
||
I pause to reflect on the brilliant symmetry of our arrangement and it
|
||
dazzles me all over again. I cannot help but marvel as I trace its
|
||
subtle mechanism: William survives; I profit.
|
||
|
||
I strive to gather my thoughts.
|
||
|
||
The dizzying effect persists, even as large sheets of smart glass are
|
||
de-integrating everywhere around us. A rapture similar to my own seems
|
||
to have overtaken William. I am enthralled as he adopts a distant,
|
||
distracted gaze, his jaw falling slack almost against his shirt. He is
|
||
serene now in his repose, more contented than either of us have any
|
||
right to be, given the circumstances.
|
||
|
||
I believe that my hand, which he continues to grip quite tightly, is
|
||
starting to bleed onto my trousers.
|
||
|
||
Torn from my reverie, I reply with a gentle squeeze, communicating to
|
||
William that we are going to be all right. I guide his chair across
|
||
the street, away from the perambulating dust cloud that by now has
|
||
puffed up its chest to encompass half of the block. If the trailing
|
||
wisps of this mess are not to gum up the works of William's chair,
|
||
we'll need to find our way into a shop or an office or a foyer rather
|
||
quickly.
|
||
|
||
Adults are hurling themselves to an fro, generally kicking up more
|
||
commotion than is warranted by the simple demolition of a midtown
|
||
office building. I reign in young master William and tether him to a
|
||
banister, then set off to fetch an adult. In short order I'm
|
||
breast-stroking through a sea of white lab coats. It is clear to me
|
||
now that we've ended up in some sort of medical clinic.
|
||
|
||
It takes only a moment to evaluate the new surroundings, and I remain
|
||
lucid enough not to dust myself off before approaching one of the
|
||
nurses. That would be tantamount to chucking one of my tools into the
|
||
trash.
|
||
|
||
"There's just no end to it," I hear one of the doctors remark,
|
||
circumnavigating the perimeter of a nearby cubicle. His voice is
|
||
filled with work-a-day resignation. I rotate my body to face him so
|
||
that I might appraise him visually.
|
||
|
||
Half a second passes. His profile fits, so I launch myself
|
||
purposefully in his direction. I'm going to try to smear hand prints
|
||
onto his coat before he has a chance to form a dispassionate
|
||
impression of me. Once I've struck, he'll be forced to take in my
|
||
appearance, to consider my circumstances. The ploy is guaranteed to
|
||
work, given his type.
|
||
|
||
"This spamming war just goes on and on."
|
||
|
||
His remark is sympathetic in nature. I take his words as an obvious
|
||
cue to redouble my approach velocity, step fully into the field of his
|
||
vision and wipe my arms across his chest, submitting my filthy
|
||
clothing and runny nose for his inspection.
|
||
|
||
"Excuse me, sir, might I inquire as to what it is that has just taken
|
||
place, out on the street?"
|
||
|
||
I let the question hang there, resonating in the stale clinic air. I'm
|
||
play-acting now as if I'm stupid, asking after that which I'm clearly
|
||
not equipped to understand. He buys into this mailbox full of spam
|
||
because I'm merely a child, seven years of age, and therefore,
|
||
self-evidently, not yet sophisticated enough to mount a motivated
|
||
deception.
|
||
|
||
Oh, the folly of experience.
|
||
|
||
I tilt towards him perceptibly, making sure he takes notice of my
|
||
garb. His eyes fall upon me in silence and then there is a gap of some
|
||
seconds before I finally detect a twinkle in the center of his
|
||
mechanical eye. At last, he's picked up on it. He's located the
|
||
transceiver. He's got a make on my ID.
|
||
|
||
This, of course, changes everything. His demeanor, not thirty seconds
|
||
ago the sort of bemused half-attention one pays to a poverty-stricken
|
||
child, is now replaced with that of a Green hobo ready to snatch a
|
||
million dollar bill from the Church collection plate. I am well
|
||
acquainted with this shift in disposition, immediately recognize his
|
||
"tell," and so may now reflect that my gambit is almost certainly
|
||
working.
|
||
|
||
"Well, hello there, young fellow!"
|
||
|
||
He dings my helmet.
|
||
|
||
"You see, recently, some bad men have taken it upon themselves to
|
||
provide our city's skyline with a series of aesthetic improvements.
|
||
You may learn in school, in the coming years, about a social
|
||
interaction often referred toreferred to in the literature, that
|
||
isas politically motivated violence. Or, for short, PMV."
|
||
|
||
"Splendid and fascinating!" I exclaim, masking a considerable amount
|
||
of mental activity with a merely adequate portrayal of child-like
|
||
wonder.
|
||
|
||
Allow me to explain. Throughout the preceding scene my mind has been
|
||
occupied, simultaneously, on three fronts: affecting to extract
|
||
details of the bombing attack without also giving away my real aim;
|
||
shuffling through numerous possible non sequiturs with which to
|
||
counter his inane stammering, none of which must come across as
|
||
excessively practiced lest I inadvertently alert him to the fact that
|
||
I'm on the grift; and, to complicate matters, keeping an eye on what's
|
||
going on around us in the office, paying particular attention to my
|
||
physical location relative to all possible exits. It has only been in
|
||
situations like this that I have, after so many years, felt well and
|
||
truly engaged with the world. A fickle melancholy now descends over
|
||
me, and I resist the urge to withdraw, to run outside, to find myself
|
||
peering over the railing and thoughtfully evacuating my stomach.
|
||
Characteristically, I maintain my hold on the situation. I press on.
|
||
|
||
The doctor, for his part, sinks into a portrait of exquisite
|
||
confusion.
|
||
|
||
"Say, son, what are you two doing in my clinic?"
|
||
|
||
William's chair is knocking back and forth, gently, blissfully unaware
|
||
of the limits set by my tether. I turn my eyes back to the doctor very
|
||
slowly, straightening my posture and raising my voice.
|
||
|
||
"Sir, I was carting around my little brother here when the building at
|
||
25765 St. Aecstopher's Cross did fall down nearly on top of us. I'm
|
||
afraid I have sustained some sort of injury, as my arm seems to have
|
||
gone missing."
|
||
|
||
I do the trick with my shoulder, slipping my arm, and he gasps as it
|
||
re-appears in my sleeve. Absentmindedly, I look down and say,"Oh,
|
||
there it is."
|
||
|
||
He fails to laugh. Instead, he puts in a respectable effort to wrinkle
|
||
his eyebrows, to grow more visibly concerned. Privately, I want to be
|
||
disappointed with this reaction, to ask him if somehow the humor
|
||
hasn't translated, but I will not break character over a single flat
|
||
joke.
|
||
|
||
Now, this fellow knows when he smells a five-star dinner. He's
|
||
recognized which house we're from. Dad's pressure screen is probably
|
||
glowing red even as we commence negotiations. I think I can actually
|
||
feel the chips twitching in my wrist and neck, as both regions are
|
||
crying out to be scratched. Or maybe it's just my allergies.
|
||
|
||
Without warning, something seems to click into place in the doctor's
|
||
head. He lunges towards me.
|
||
|
||
Almost before I can unlatch William, the man's taken me up into his
|
||
arms, ferrying me into an examination room. He unloads me gently onto
|
||
a table and smooths me onto its stiff, white paper. A microwave sweep
|
||
to stem the spread of various bacteria. It will be interesting to
|
||
learn which perilousthough certainly, at this clinic,
|
||
treatableailment he has diagnosed me with, now that he realizes I've
|
||
membership in a truly superlative insurance program. That's when he
|
||
notices my eyes.
|
||
|
||
"Son" His own eyes get stuck gliding over William's gilded chair.
|
||
"Son, are you... blind?"
|
||
|
||
"Of course I'm blind, you jack-ass!"
|
||
|
||
Okay, here I will admit that I've broken character and degenerated
|
||
into an emotional outburst. I wrench my face back into a pathetic sulk
|
||
and twitch only once, trying to restore equilibrium. I remind myself
|
||
to act my age. Let him guide the scene.
|
||
|
||
"How long have you been wandering the streets out there, without being
|
||
able to see where you're going?"
|
||
|
||
An easy one.
|
||
|
||
"It's never really been an issue. I mean, I seem to know my way around
|
||
the neighborhood pretty well. Everyone here knows me. And
|
||
twenty-twenty vision isn't a panacea against belly-flopping
|
||
architecture, as I think was proved out there today."
|
||
|
||
"Hm. I suppose it was. I admit, you do seem capable. But still,
|
||
blindness is a serious complaint for one who spends so much time
|
||
outdoors. I would imagine it's also quite demoralizing, when your
|
||
obstructed vision is rated against that of your peers, wouldn't you
|
||
agree?"
|
||
|
||
Like I said, I'm a million dollar bill lying face-up on the sidewalk.
|
||
|
||
Presently, he claps me into another chair, this one missing the
|
||
sanitary strip of paper, and begins attaching things to my face. I
|
||
open my mouth to try another approach but he simply reaches down and
|
||
plugs it with a wad of medical gauze. I suppose we'll have to continue
|
||
our discussion once he's finished tinkering with my eyes.
|
||
|
||
He's a few hours getting on with it, and so by the time he's taken
|
||
down my numbers and confirmed them multiple times against his network
|
||
queries, William and I are left to amble along home. Once again I have
|
||
to point out: here we are, children, alone on the streets after dark,
|
||
where a war is still being waged. (Admittedly, the firing usually
|
||
stops when the sun goes down.) Sure, plug me into a machine to fix my
|
||
eyes, and then send me right back out into the war zone. What was the
|
||
point? I could just as easily have enjoyed this kind of treatment from
|
||
the boys back at HQ. In any case, I have now been outfitted with an
|
||
outlandish plastic headband. It encircles the top half of my face and
|
||
displays a pleasant array of colored shapes, monochrome to onlookers
|
||
and passers-by. Aside from the cosmetic effects, my vision seems
|
||
unchanged.
|
||
|
||
We exit the clinic without having gathered any useful intelligence.
|
||
Ditto for the tally of unburdened currency we have to show for our
|
||
trouble. No doubt this will have been a complete waste of an
|
||
afternoon, distinguished only by the irritation of a needless medical
|
||
procedure. I've wasted a lot of time that could have been devoted to
|
||
shoring up my grip. William looks up at me, visibly disappointed.
|
||
|
||
At an intersection, I am surprised to note that I can now see things I
|
||
have never been able to see before.
|
||
|
||
In some ways it is confusing, this trying to peer between the fat
|
||
cubes of light that gyrate before my eyes. At first I am not quite
|
||
sure how to adjust, even as I attempt to keep walking. Slowly the
|
||
input begins to make sense; to help, rather than hinder, my
|
||
navigation.
|
||
|
||
On balance, I will say that there is much to recommend in these
|
||
additional streams of information, all dancing betwixt each other and
|
||
pouring unstoppably into my face. The interface is intuitive,
|
||
hands-free. I can see where such a device could be considered useful.
|
||
I'm even getting telemetry now from HQ. What has this motherspamming
|
||
optometrist done to me?
|
||
|
||
I seem to have gotten quite a ways down the street on my own. I've
|
||
inadvertently left William back at the intersection, his chair bobbing
|
||
in sync with the traffic. When I return to his side I see that he has
|
||
pulled out his knapsack and begun to tear off little strips of paper,
|
||
creasing them into slim, rectangular folds that bear a striking
|
||
resemblance to illegal tobacco cigarettes. He offers one to me and I
|
||
accept, gripping it between my second and third fingers, leaning back
|
||
against the enormous smart glass windows of the FIRST MULTINATIONAL
|
||
BANK. Eventually, I bring the sliver of paper up to my lips, deftly
|
||
feigning inhalation. Smooth flavor...
|
||
|
||
William looks up at me with those preposterously large eyes of his
|
||
and, for the first time today, puts forth the effort to straighten out
|
||
his spine and stutter a few words. In spite of the pain it causes him
|
||
he wants to speak to me. You have to admire his grit.
|
||
|
||
"T-T-Thomas, it's been a fun day, and it is r-r-rather late ungt!
|
||
but, if it's all the same to you... I... I would prefer that we tarry
|
||
here for a while, and p-p-pickle in the ebb and flow of the...
|
||
c-c-cool night air."
|
||
|
||
I raise my cig to him and nod respectfully. We both jump as a building
|
||
collapses, somewhere off in the distance. On this night, the city will
|
||
not be afforded its usual dusk-to-dawn reprieve.
|
||
|
||
Gingerly, I work the length of gauze out of my mouth and begin to
|
||
unroll its damp wad of fabric onto the sidewalk. William's glassy eyes
|
||
reflect a light that seems to originate from no obvious source. He
|
||
recognizes what it is I've managed to smuggle out of the doctor's
|
||
office. There is more here than just the blood and spittle sopped up
|
||
by the rags.
|
||
|
||
A selection of tiny hand tools glistens in the light of the street
|
||
lamp. These are the final pieces we'll need to render our
|
||
reverse-engineering shop, hidden for now in a vacant ammo closet on
|
||
the sixth level, fully operational. Once I can get a hold of a few
|
||
more classified schematics, we can begin undercutting the importers
|
||
and kick our minuscule operation into full gear. We'll even be able to
|
||
outfit William's chair with its own shield jacket and an independent
|
||
comms package, all of our own design. No more relying on the adults or
|
||
outsiders for our gear.
|
||
|
||
I briefly consider cutting Father in on this action. The notion is
|
||
dispersed by the echoes of mortar fire reverberating across the river.
|
||
Try as I might, I know he just couldn't be made to understand. This
|
||
world we've arrived at, crowning from the great, vaginal maw of
|
||
nothingness bequeathed to us by our ancestors, brooks no quarter for
|
||
the elderly, or for those sad individuals still nostalgic for the
|
||
unambiguous adversaries of eras past. Pop would be happier lobbing
|
||
rounds at the enemy, clawing defiantly as he sinks into his grave,
|
||
still convinced he's making some sort of falsifiable, empirical
|
||
contribution to his generation's most momentous struggle.
|
||
|
||
What a load of bollocks. Dad has wasted his entire life on this
|
||
nonsense.
|
||
|
||
I decide it's best to keep my opinions to myself. William tends to be
|
||
sentimental when it comes to family.
|
||
|
||
Speaking of which, the boy has gotten busy, grunting and drooling onto
|
||
his shirt. All evidence of his brief flash of lucidity is gone,
|
||
vanished. Might as well never have happened. He's making a mess of his
|
||
clothing.
|
||
|
||
I snatch up the little bundle of tools before he spoils them.
|
||
Sometimes you wonder why you even bother. With William, the sentiment
|
||
is amplified. I suppose I do feel for him.
|
||
|
||
We're both of us looking forward to the end of this war.
|
||
|
||
No, really. Hear me out.
|
||
|
||
I've grown weary of the grind. I want to be free of William, free of
|
||
this duty.
|
||
|
||
I worry that the adults have already compromised our security. I can't
|
||
imagine the Green insurgents will ever give up. Do you see what I'm
|
||
saying? It's frustrating that the family pursues this stagnant vision
|
||
of religious purity. We can't all be ideologues. Or not of the type my
|
||
father admires, anyway. We have to be in this to win it. We have to
|
||
get in where we fit in. And that might not include the Church.
|
||
|
||
For now, I suppose, I'm content to focus on having a smoke and getting
|
||
rich.
|
||
|
||
I'm convinced it's the only way I'm going to survive.
|
||
|
||
VISOR TECHNOLOGY
|
||
|
||
tags: 1964, actron, tab1, tab2, the_chief
|
||
|
||
The new gear seemed to suit Tommy fine.
|
||
|
||
Indeed, over the past month he'd hardly complained. The visor allowed
|
||
him to dominate. Sometimes even with the older boys. Now, he came home
|
||
with money in his pocket.
|
||
|
||
He still hadn't been drafted.
|
||
|
||
When I'd sent him to the clinic, I was only vaguely aware of what they
|
||
might install in his head. This modern equipment was beyond my
|
||
expertise. Above my pay grade, as we used to say. Now, it looked as if
|
||
some improvements had been pushed to Tommy's firmware, even in the
|
||
last fifteen minutes. All I could do was shake my head.
|
||
|
||
The tactical advantage was clear. I was just glad HQ had agreed to pay
|
||
for it all.
|
||
|
||
Reagan was starting to concern us. Would he poison the public on Bush?
|
||
J. K. Rowling might run for President in 1968. Naturally, something
|
||
had to be done.
|
||
|
||
I decided to involve Tommy. I was allowed complete discretion when it
|
||
came to personnel. I thought that with the enhancements he'd prove
|
||
useful. At least as useful as before.
|
||
|
||
And he had been pretty useful, before.
|
||
|
||
I got him out of bed and brought him in to work.
|
||
|
||
The Chief was having a bit of a problem with a can of bi-partisan
|
||
gravy.
|
||
|
||
"I can't get this spamming thing opened."
|
||
|
||
Tommy quickly found a weak spot in the can's lid, using his visor."No
|
||
problem," he said, and opened the can.
|
||
|
||
"Next time, I'll just go with the low-fat deli shtick."
|
||
|
||
"None of that stuff is very good for you," Tommy chided.
|
||
|
||
The Chief could only roll his eyes.
|
||
|
||
"Well, shit on my Christmas! The boy's found another one."
|
||
|
||
Campaign contributions. We'd put Tommy on the trail of J. K. Rowling's
|
||
backers. The financial streams were now running through the boy's
|
||
system. He was even better at this than the machines.
|
||
|
||
"It's old man Jerrymander."
|
||
|
||
"The Molds," I said, making eye contact with Tommy.
|
||
|
||
We'd had a hell of a time keeping this guy out of the race. Strictly
|
||
speaking, he wasn't even legal; an immigrant from some border state
|
||
that had been excluded from the new American union. But he'd leveraged
|
||
his wealth to rig local rules in one of the communities he controlled.
|
||
We'd missed it before it was too late. It had caused some friction
|
||
here at HQ. Who was to blame? We all had a bit of a problem with
|
||
Mold's politics.
|
||
|
||
"So I guess if he can't run, he'll put up a guy who can. Sounds like a
|
||
good strategy to me."
|
||
|
||
"No, not analysis," I ordered."You concentrate on the streams."
|
||
|
||
"Yes Father," Tommy replied.
|
||
|
||
After a while he seemed to tucker out. I brought up some comic books
|
||
on my leaf and sent him over to a corner. The Chief had allowed his
|
||
own son to tag along that day, and so the two of them spent a few
|
||
hours together, chewing on slices of lunch meat and catching up on
|
||
back issues of ACTRON. Harmless entertainment, in my opinion.
|
||
|
||
But Tommy had hit on something important. If Jerrymander Mold really
|
||
was angling again to get his claws into the election, we could expect
|
||
a lot of activity down south in the next few weeks. It was likely the
|
||
attacks on the city would only intensify.
|
||
|
||
The boy's visor had amortized in only a month.
|
||
|
||
PAPER WINTER
|
||
|
||
tags: 1966, mother, tab1, tab2, violet
|
||
|
||
Violet's Diary
|
||
|
||
1 October 1966
|
||
|
||
It had all crumpled. Violet moved her eyes across the sky but could
|
||
not find its edges, the corners of a vast, dirty sheet of paper that
|
||
canopied the entire city. Fibrous swirls stirred and unrolled before
|
||
her, contriving illusions of focus. Violet stared silently past the
|
||
rooftops, ignoring the city and directing her gaze forward into space.
|
||
Or rather, she thought, she would have been staring into space, if not
|
||
for this endless, sprawling white that inevitably drew one's eyes back
|
||
into the soot. Her mask observed the scene with detachment. On its
|
||
face, it did not register whether Violet felt one way or the other
|
||
about the situation. More broadly, about anything at all. The lack of
|
||
visibility was of personal concern, to be sure; but it was nothing
|
||
that should mar Violet's appearance to others. The mask was certain of
|
||
this. After all, Violet had configured the settings herself.
|
||
|
||
Violet turned away from the window and directed her face towards the
|
||
central corridor of her family's apartment. A line of green squares
|
||
tracked her hand as it traveled from the window back down to her side.
|
||
Turning in bright arcs, the dots of color followed by half-steps,
|
||
floating gradually closer to the reflector on the opposite side of her
|
||
body. Chimes had sounded, there in the room, and Violet knew at once
|
||
that she was meant to answer the door as quickly as possible. Her
|
||
mother had not yet emerged from her preening room, her father was
|
||
still in his bath, probably drinking, or perhaps by now bloodying his
|
||
hands on the broken pieces of his bourbon glass. She could not slump
|
||
any further without endangering her balance, so she straightened
|
||
herself, careful not to put any undue strain on her stabilizers.
|
||
Finally, this action prompted her mask to register a minute change in
|
||
her facial expression. Inside, a joint clicked.
|
||
|
||
"My back feels like it's being folded into paper airplanes," she
|
||
muttered into her faceplate.
|
||
|
||
Presently, there emerged between the doorway's mechanical lips a
|
||
familiar, angular-faced woman, who reeked alternately of whiskey and
|
||
of the orchids that were pinned to her billowing yellow coat. Violet's
|
||
grandmother swept into the apartment and at once commenced to critique
|
||
the child's appearance. She was able to issue several disconnected,
|
||
declarative statements before being overcome by the rolling contours
|
||
of her own formal wear. Violet giggled. This animation of the old
|
||
woman's garb was not without its effect. Soon enough, bony hands
|
||
pushed through the bright folds of cloth and found purchase on
|
||
Violet's arm. The hands proceeded to travel. Violet's fingers were
|
||
studied at length before it was stated authoritatively that she would
|
||
now turn over her tobacco pouch and put away her pipe. Nicotine, her
|
||
grandmother said, stains the hands.
|
||
|
||
When Grandmother fled the seclusion of her estate, which was by now
|
||
quite seldom, she would insist upon stowing a small animal within the
|
||
sleeves of her baroque accouterments. As a matter of course, one such
|
||
animal was present today. The Shih Tzu nipped wildly at Violet's mask
|
||
as she leaned forward to embrace the old woman around her waist.
|
||
Violet made no attempt to pull away from her grandmother or from the
|
||
dog. Her mask maintained its aloof composure, sensors indicating that,
|
||
beneath its porcelain exterior, Violet's flesh likewise held close to
|
||
its default settings.
|
||
|
||
The formal greetings finally concluded, Grandmother seated herself and
|
||
began smoothing out the creases in her dog's black velvet dress. A
|
||
spate of frivolous conversation ensued; meaningless, serving only to
|
||
mark the passage of time and to calm the old woman's nerves until at
|
||
last she would be reunited with her son.
|
||
|
||
Brill cream.
|
||
|
||
A wristwatch.
|
||
|
||
He was now able to make out a lot of what was there, sitting on the
|
||
bathroom shelf. Paper-white reflected in the mirror, streaming in from
|
||
the window. It was snowing. It was daylight again. Still?
|
||
|
||
A buzzer. His face seemed permanently affixed to the bathroom floor.
|
||
Two or three of his teeth scratched along the tiles and vibrated in
|
||
sympathy with whatever that racket was, echoing down the hall. A pool
|
||
of saliva had formed around his chin. Slowly, he came to the
|
||
realization that the current arrangement of his limbs was
|
||
uncomfortable.
|
||
|
||
When his arms didn't work, he shifted attention to his legs. He pushed
|
||
himself over to the door and noticed that it remained locked from the
|
||
inside. Still, it was a no-go on getting it to open again. At this
|
||
point he couldn't even pull his arms up off of the floor, much less
|
||
manipulate a key.
|
||
|
||
Movement in the hallway flagged his attention as a whole set of keys
|
||
(worn externally) brushed the doorknob in passing. The sound passed
|
||
very quickly. Presumably, Violet, on her way to the kitchen.
|
||
|
||
Just then, the remainder of last night's double-malt scotch flickered
|
||
into view, diffracting the snow-light and catching his eye. The bottle
|
||
lay motionless in a blurry field of illumination, an unconvincing
|
||
square of warmth let in by the bathroom window. He realized then that
|
||
the odds were narrowing with regards to his non-functional arms. Oh
|
||
no, not again. He lunged wildly and tried to chew the words out of his
|
||
mouth, protesting the locked door, proclaiming his innocence, but
|
||
instead of the familiar taste of his own lies, his tongue caught on a
|
||
jagged fixture of gauze and surgical tape. Fragments still wedged into
|
||
the space where a molar had lived.
|
||
|
||
He popped several fasteners by artificially expanding his belly and
|
||
got out of his suspenders and Italian pants. The shirt and vest had
|
||
become a straight jacket, detaining him against his will; flailing
|
||
around on the mat beneath the sink, he tried to squirm out of them.
|
||
Finally down to his underpants, he slid over to the bathtub and pushed
|
||
himself up, over its lip, into the gaping, porcelain mouth. The water
|
||
was quite warm, as far as he could tell. The porcelain, cold.
|
||
|
||
Head upside-down, hanging over the edge of the tub, he could just make
|
||
out a snow drift on the neighbors' roof. He had to stop then and laugh
|
||
because it looked like the house was wearing a beard.
|
||
|
||
He had been awake for close to half an hour. It should have taken no
|
||
more than four seconds (at the outside) for his arms to come back to
|
||
life, but the scotch was complicating matters. His shoulder gave an
|
||
inch, and a splinter of pain shot through his elbow, shattering
|
||
violently at his wrist.
|
||
|
||
Motor functions had still not returned to his arms.
|
||
|
||
A pounding came at the door and it was faster than he could sink his
|
||
bottle into the tub. The soapsuds were mostly dispersed now, traveled
|
||
behind his legs and back. He realized, too late, that his glass was
|
||
still on the sink. None of this would look good to Violet. He hoped it
|
||
was the boy.
|
||
|
||
The lock clicked, and turned, and then the heavy wooden door swung
|
||
inward.
|
||
|
||
Appearing at the foot of the tub was his nine year old son, head
|
||
poking through the shirt Thomas had struggled to tear out of only
|
||
moments before. It fit him like a circus tent. The boy was completely
|
||
oblivious to his father's predicament.
|
||
|
||
"Dad," he said."The Vice President will arrive soon."
|
||
|
||
Soon, he thought. But Thomas could not yet speak. He was too drunk.
|
||
|
||
Presently, his wrist began to turn, forming his hand into a fist
|
||
beneath the water. His grip was so tight that it drew blood from the
|
||
skin graft stretched around his palm. He could hear some nonsense
|
||
about Redaction Day dinner from a telescreen three rooms away. If his
|
||
mouth had been working, he would have screamed for them to turn the
|
||
damned thing down. So loud.
|
||
|
||
His mother would arrive within the hour, no doubt with her husband in
|
||
tow. He hadn't even wanted them to know where he lived.
|
||
|
||
The Vice President. The spamhole.
|
||
|
||
Now, where were his pants.
|
||
|
||
Again, his kid was waving his arms around like a shot pigeon and
|
||
looking as if he had something especially urgent he wanted to say.
|
||
|
||
What?
|
||
|
||
"Dad!"
|
||
|
||
He heard a weird grating sound in the left side of his head, followed
|
||
by a long hiss that seemed to issue from his own mouth. Lateral
|
||
stimuli?
|
||
|
||
Thomas blinked, involuntarily, and his arms fell off, right into the
|
||
bathtub. He heard the bloop, and then he heard them hit bottom,
|
||
rolling around underwater. Suds splashed onto the floor and also onto
|
||
his cleanly pressed pants, which were right where he'd left them,
|
||
draped over the edge of the sink. He looked around, disgusted. How was
|
||
he going to get himself out of the tub? His daughter would be livid.
|
||
|
||
But he was also suddenly sober. In half of a second he'd come fully
|
||
awake. Yes, it was not too soon to say he'd hatched himself a
|
||
Redaction Day plan.
|
||
|
||
The idea burned in his mind, seemed to radiate sufficient heat to
|
||
alter the temperature of the room. Old favors would be called in. They
|
||
would not make a fool of him this year. Things were definitely
|
||
starting to look up.
|
||
|
||
"Tommy, get me my phone."
|
||
|
||
"Sure thing, Pop!"
|
||
|
||
Thomas, Sr. looked around the room. He fished in his pants pocket and
|
||
found the other flask.
|
||
|
||
"Fuck it," he thought, and took another drink.
|
||
|
||
D.I.V.O.R.C.E.
|
||
|
||
tags: 1967, margaret, piro, tab1, tab2, the_chief, violet
|
||
|
||
While we waited for NO/MOAR to calm down, overtime was channeled into
|
||
other projects.
|
||
|
||
Tommy was doing well, he'd started his ops training in the fall. I had
|
||
asked to have him assigned to Piro, the son of an old buddy of mine,
|
||
and probably the most experienced instructor at the Farm. Everything
|
||
seemed to be going as planned.
|
||
|
||
Then we ran straight into PM/DAWN. I was out of the house for six
|
||
months.
|
||
|
||
Here again, I have to say, Tommy was a big help. On his trips home
|
||
he'd advise HQ on tactics. He had a knack for anticipating how the
|
||
enemy would respond to our provocations. It was bad of me, but again I
|
||
found myself wondering how hard it would be to pull him out of
|
||
classes, to get him more directly involved in the operation. He was
|
||
shaping up to be our most promising young asset. I stopped worrying
|
||
about whether or not he could handle a regular assignment. He was more
|
||
than ready; anyone could see it.
|
||
|
||
But the boy needed to be in school. On this, I honestly agreed with
|
||
his mother.
|
||
|
||
So, we had reached an impasse. I left him where he was.
|
||
|
||
One day I was catching up on the backlog of paperwork when the Chief
|
||
dropped something new on my desk. Immediately, I recognized the name
|
||
of my daughter. It was printed there in the byline.
|
||
|
||
I had never once taken a drink on the clock, but I found myself
|
||
wondering after a bottle.
|
||
|
||
I looked over the folder. It appeared to be excerpts from Violet's
|
||
diary, circa 1966. Key portions had been circled, some of them were
|
||
flashing.
|
||
|
||
The phone rang.
|
||
|
||
It was Violet's mother.
|
||
|
||
It was my wife.
|
||
|
||
As I say, I didn't even drink.
|
||
|
||
I still don't know why Violet wrote it; the bulk of it was obviously
|
||
fictional. Some elaborate account of my supposed boozing and general
|
||
drunkenness. Wholly fabricated. In any case, the facts were
|
||
irrelevant. The girl's mother caught wind of the mention of alcohol
|
||
and that was that. It didn't matter that she'd never even seen me take
|
||
a drink. We were getting divorced.
|
||
|
||
I hung up the phone.
|
||
|
||
Well, this would complicate dealing with PM/DAWN, almost certainly.
|
||
|
||
I didn't want to draw things outI knew the last thing the kids needed
|
||
was the added drama of having to wait for me to show up and take my
|
||
lumpsbut I needed to make a few stops on the way home. I realized
|
||
that, with my few personal belongings, I had very little that would be
|
||
of interest to the children. Even Margaret's scriptures said that this
|
||
was no way to make an exit from your family. Protocol required that I
|
||
turn over, to each of them, some artifact to remember me by.
|
||
|
||
Prop-effects from here at HQ were no good; Tommy had spent his whole
|
||
childhood playing with them out in the warehouse. He knew they were
|
||
junk.
|
||
|
||
There was nothing of interest in my truck, either. By habit, I kept it
|
||
as clean as my office. Briefly, I considered giving Tommy the vehicle;
|
||
but then I remembered that he was only nine years old. The truck was
|
||
unlikely to be of use to him, at that age.
|
||
|
||
What else.
|
||
|
||
The Chief was in, so I couldn't sneak into his office and rummage
|
||
through his mess, either.
|
||
|
||
It looked as though I'd be paying a visit to a GANGSTERMAX theme
|
||
store. Find something there. Thus equipped, I could face the children,
|
||
explain to them why this would be my last evening living with them at
|
||
home.
|
||
|
||
I hoped that the local branch would have what I needed in stock.
|
||
|
||
Or at least something approximate.
|
||
|
||
(18:54) < tommy> trds
|
||
(18:54) < tommy> i guess he's not going to be home for a while. you
|
||
know, you still have time to change your mind.
|
||
(18:54) < violetCRUSH> Oh, fuck him.
|
||
(18:55) < violetCRUSH> Mom's not going to stand for this.
|
||
(18:55) < tommy> for him being late when he had to stop off at the
|
||
store?
|
||
(18:55) < violetCRUSH> Haha, no, you idiot. just watch.
|
||
(18:55) < tommy> i really wish i could be home to stop you from doing
|
||
this.
|
||
|
||
"An old belt?"
|
||
|
||
"Son, you know I don't actually drink. But I won his belt twenty years
|
||
ago, riding an electric bull."
|
||
|
||
Tommy's connection cut out, momentarily.
|
||
|
||
"You were drunk," he resumed.
|
||
|
||
"Well..."
|
||
|
||
I was spinning this stuff out of thin air. I hesitated for too long.
|
||
|
||
"Of course he was drunk! Can you imagine Dad climbing onto an electric
|
||
bull under any other circumstances?"
|
||
|
||
"This is stupid," Tommy said."Have you been drinking behind our backs
|
||
all of these years or not?"
|
||
|
||
"An analog microscope? But... why?"
|
||
|
||
"This belonged to me in college, Violet."
|
||
|
||
"But all the glass has been removed!"
|
||
|
||
"I... it broke, some years ago."
|
||
|
||
"I suppose I can use it as a bookend."
|
||
|
||
"That's my girl. Good thinking. Adapt to the situation at hand."
|
||
|
||
Tommy cut out, rather abruptly. This time on purpose. He seemed
|
||
disgusted with the whole affair. Good, son, put it into your training.
|
||
Violet kept trying to resume the connection, but he was gone.
|
||
|
||
"What a kick in the chest-balls, Dad," Violet said."You could at least
|
||
have bought us something expensive."
|
||
|
||
I cleaned out my den with a minimum of fuss. Most of my gear was
|
||
networked and took up little physical space. It wasn't a big job.
|
||
Violet helped me pack my things out to the truck.
|
||
|
||
Margaret never even entered the room. Violet said she was waiting
|
||
until I was gone. The sour old bitch.
|
||
|
||
Well, I don't suppose she deserved that.
|
||
|
||
"You know I get your room when you're gone," Violet said, elbowing me
|
||
in the ribs.
|
||
|
||
"That's what this is all about, isn't it?" Of all the... I had finally
|
||
put it all together.
|
||
|
||
"And what if it is?"
|
||
|
||
My only daughter. The sour little bitch. I don't care what you think,
|
||
I won't take it back. She definitely deserved it.
|
||
|
||
"We'll see if you're still smiling when your brother and I are in Ohio
|
||
this summer."
|
||
|
||
That shut her up. Her training was topmost in her mind. I could cut
|
||
her off. Let her sit in my den. Reading about the training.
|
||
|
||
"You don't know what you're doing, Dad."
|
||
|
||
And she was right. I didn't.
|
||
|
||
VIOLET RETURNS FROM THE WOODS
|
||
|
||
tags: 1967, margaret, tab1, tab2, violet
|
||
|
||
As I say: at that moment, I had no way of knowing how far it would go.
|
||
|
||
Once Violet was sure I had left, she burst out of the house and ran
|
||
into the woods, making a production of whatever tears she was able to
|
||
muster. She stumbled over a tree limb and managed to tear her
|
||
stockings on her way to the ground. For increased verisimilitude she
|
||
also affected to scrape her elbow on a rock. Her face (and mask)
|
||
contorted accordingly.
|
||
|
||
Margaret observed all of this from the kitchen window, cursing me
|
||
audibly for having driven the girl into the forest. Her fists clenched
|
||
stiffly and her arms began to flail about, a spontaneous gesture of
|
||
maternal rage. I would have laughed even if I'd been standing there.
|
||
Funny. Predictably, she proceeded to bang one of her hands into a
|
||
cabinet corner, drawing blood. With this, she sat down on the floor
|
||
and began to cry.
|
||
|
||
Much was made of her injury back at HQ. Some of the guys actually felt
|
||
sorry for her.
|
||
|
||
Ah. My tender-hearted compatriots. Let them sit at the dinner table
|
||
with the woman. Then we could talk.
|
||
|
||
By now the Chief had filled me in on the plan. I would be brought up
|
||
on charges before a tribunal. The trial would be pushed through with a
|
||
minimum of publicity. In short order it would be decided that I was to
|
||
serve out a five year sentence in minimum security. Of course, I would
|
||
still operate with relative impunity from my cell. Assignments would
|
||
be passed to me via the usual covert methods. Meanwhile, the divorce
|
||
would be finalized without me. An Agency lawyer would be dispatched to
|
||
handle the case, making sure that the children were well taken care
|
||
of. Margaret could fend for herself.
|
||
|
||
So far, I was unable to offer a single objection.
|
||
|
||
Next, I would be drummed out of the service. I would be stripped of my
|
||
seniority and pension. To compensate, my Turkish accounts would be
|
||
reinstated. I would be provided a bottomless slush fund and unlimited
|
||
personnel. All requisitions would be rubber-stamped. Best of all, I
|
||
would have my pick of assignments from the general pool. (Within the
|
||
boundaries of the fall line-up.)
|
||
|
||
"This is just like Iran," the Chief observed.
|
||
|
||
And indeed he was right. If they were trying to frustrate me, it was
|
||
going to take more than fulfilling every bullet-item on my wish list.
|
||
|
||
"So long as we don't get canceled in the first season," I said, also
|
||
referring to our defunct Iranian program.
|
||
|
||
The Chief took my meaning.
|
||
|
||
The purpose of the divorce/prison subterfuge was to free up vital
|
||
Agency resources.
|
||
|
||
Namely, myself.
|
||
|
||
The war had tied a number of key assets to specific regional theaters;
|
||
a change that had been mandated from the top down. This was not how
|
||
the Chief liked to operate. Presidential authority had encroached upon
|
||
the Agency's domain, and the Chief was ready to turn things right-side
|
||
up again. The only problem was, authority for force replenishment had
|
||
not been returned to the Agency.
|
||
|
||
So, the Chief said, a number of non-essential agents would have to
|
||
die.
|
||
|
||
Others, such as myself, would simply go to prison.
|
||
|
||
Again, like Iran. Laundering, we called it.
|
||
|
||
Once she was sure that Margaret had finished the chores, Violet
|
||
returned to the house. Streaks of soft mud had accumulated around her
|
||
eyelids, conveying the impression of an afternoon spent sitting in the
|
||
dust, consumed by uncontrollable sobbing. Remarkably, Margaret herself
|
||
was still in tears.
|
||
|
||
The two females sat at the kitchen table, foreheads touching.
|
||
Blubbering and sputtering loudly. I had a leaf close at hand and
|
||
immediately began to jot down notes.
|
||
|
||
I was surprised to notice one of the surveillance operators dabbing at
|
||
his own eyelids with a handkerchief. This was an extraordinary display
|
||
for a professional. He had obviously failed to detect the covert
|
||
communication that was passing between the females of my household.
|
||
|
||
I recorded his handle in an adjacent column.
|
||
|
||
The next day, Violet shared her story on the playground. Her fellow
|
||
students were enthralled. Violet had inherited a particular skill at
|
||
narrative, it was true. From myself or from her mother I could not
|
||
say.
|
||
|
||
She led her friends over to the reflecting pool in preparation for her
|
||
big finale. Her mask wobbled in and out of coherency, but the other
|
||
children seemed oblivious to its significance. She had gained a fuzzy
|
||
penumbra. Was she having second thoughts?
|
||
|
||
"My father doesn't know I know this, but... he's a secret agent!"
|
||
|
||
Gasps for air. Unintelligible, involuntary vocalizations.
|
||
|
||
Here I would have the last laugh: her schoolmates would soon learn
|
||
that I was little more than a drunk who had abused his children and
|
||
who had been dumped into federal prison for his trouble.
|
||
|
||
We would see how Violet would recover from this blow to her
|
||
credibility.
|
||
|
||
Relaxing at home, Violet took her time moving her belongings into my
|
||
den. Margaret hadn't even complained about the mess. From time to
|
||
time, Tommy would stop by. Near the end he could barely contain his
|
||
disapproval of the new decor. Pink stripes and red carpeting; plus all
|
||
of Violet's junk. But in deference to Margaret's authority, he said
|
||
nothing.
|
||
|
||
It's too bad he didn't speak up. Some friction might have slowed
|
||
Violet down.
|
||
|
||
Emboldened by the great success of her first deception, Violet would
|
||
soon go to work on her mother.
|
||
|
||
KUDEN
|
||
|
||
tags: 1968, dante, piro, ralph, tab1, tab2
|
||
|
||
Tommy and his group made their way over to the 9th green.
|
||
|
||
"This is the 9th green," Piro announced."Please stack your lunches, or
|
||
line them up neatly along the outer edge of the training area. It
|
||
would be appreciated if you could put the lunches into your gear bags,
|
||
if there is no extra room along the tree line. It will be a while
|
||
before we are ready for a snack."
|
||
|
||
Most of the boys complied.
|
||
|
||
"Now, if there are no preliminary questions, we can begin."
|
||
|
||
"Sir," Dante interrupted.
|
||
|
||
"Yes, Dante?"
|
||
|
||
"Ralph isn't here."
|
||
|
||
"Isn't here?"
|
||
|
||
"He hasn't caught up with us yet. I think he spilled his gear bag in
|
||
one of the sand traps."
|
||
|
||
"I see."
|
||
|
||
Piro dispatched a pair of camp counselors to fetch Ralph.
|
||
|
||
"Now. Tommy, please attack Dante with your hanbo."
|
||
|
||
Hesitantly, Tommy rose to his feet. His camp uniform flapped in the
|
||
cool breeze. Standing in the darkness, he could no longer make Dante
|
||
out against the tree line.
|
||
|
||
So, improvise.
|
||
|
||
Tommy lunged wildly, waving his hanbo around like a parade flag. He
|
||
ended up taking three or four steps towards where Dante ought to have
|
||
been standing. He was starting to wonder if he should adjust course
|
||
when he felt what seemed to be a hand brushing against his visor,
|
||
which caused him to blink uncontrollably. This disrupted his movements
|
||
such that he fell directly onto his face. A beat later, Dante had
|
||
tripped over his own hanbo and fallen on top of him.
|
||
|
||
"Saru mo ki kara ochiru," Piro said, extending an arm towards Tommy to
|
||
help him up."I see the problem. Because of the darkness, you are both
|
||
effectively blind."
|
||
|
||
"No shit," said one of the other boys.
|
||
|
||
"Actually," Tommy ventured,"Because of my visor, if I had enabled the
|
||
functionality, I would be quite able to see in the dark."
|
||
|
||
Piro was not impressed."Yes. Then that explains your fall."
|
||
|
||
"I tripped! What do you want from me?"
|
||
|
||
"Get up."
|
||
|
||
It went on like this for several hours. The nine boys finding any and
|
||
every excuse to fall on their asses, and Piro obliging them happily. I
|
||
don't know about the Agency, but I was certainly getting my money's
|
||
worth. At a certain point, the two older students returned with Ralph
|
||
in tow. It had taken them quite a while to coax him out of the sand
|
||
trap.
|
||
|
||
He had lost a contact.
|
||
|
||
"Ralph. Please. Attack Tommy with your hanbo."
|
||
|
||
"My...? Oh. I left that back at the cabin."
|
||
|
||
"I see. Here, you may use mine."
|
||
|
||
"Oh. Well... Sure."
|
||
|
||
Ralph assumed an offensive posture and then tore off running towards
|
||
Tommy. Only, Tommy standing wasn't where he had been, moments before.
|
||
Nothing was where Tommy had been. Ralph looked around. It was nearly
|
||
pitch black. All he could distinguish in the night was the tops of the
|
||
trees. He could not even see his own feet.
|
||
|
||
Ralph's optic revelation was interrupted by the unlikely sensation of
|
||
his left arm being wrenched fully out of its socket. Tommy had somehow
|
||
entangled his arm with his own short staff. As Ralph cried out Tommy
|
||
sank deeper into his stance, fully applying the technique. At length
|
||
he released the pressure and fell back into a defensive stance. Ralph
|
||
collapsed to the ground, writhing and spitting, nursing his damaged
|
||
limb. Through his tears, he could just make out Tommy's silhouette,
|
||
skylined against the clouds above the trees.
|
||
|
||
"Oh bull shit," cried Ralph."I quit!"
|
||
|
||
Towards the end of the training session, Piro began to pick on Tommy.
|
||
|
||
"Tommy, with me."
|
||
|
||
"Again? But I've gone the last ten times in a row."
|
||
|
||
"What can I say? You're good at falling. Let's see if you can keep it
|
||
up even when you're tired."
|
||
|
||
"It's a shit parade and you're riding the big float," said one of the
|
||
other boys.
|
||
|
||
Piro triangulated the reverberations and then pointed directly at the
|
||
source of the remark.
|
||
|
||
"You're next."
|
||
|
||
In the middle of Piro's sentence Tommy launched himself into the air,
|
||
a full-body tackle aimed squarely at Piro's chest. He could feel
|
||
himself making contact even before it happened. On this, his first day
|
||
of training, his confidence as a fighter was already on the rise. He
|
||
was a natural not only at strategy, but even at the blunt, physical
|
||
stuff.
|
||
|
||
Piro stepped lightly out of the way of Tommy's assault, digging his
|
||
fingers into the slim space between his visor and his face. He twisted
|
||
Tommy's body around in a spiral, somehow gaining the leverage to flip
|
||
himself over Tommy's back. Next, the equal and opposite reaction:
|
||
Piro's movement sent Tommy hurtling over his head into a tree. The boy
|
||
went limp and collapsed to the ground, unconscious.
|
||
|
||
"We're finished here for tonight, boys. We'll meet on the 9th green
|
||
again tomorrow, after the cookout. Twenty-three hundred hours, sharp."
|
||
|
||
Immediately following Piro's departure, Dante rose to the occasion. He
|
||
knelt over Tommy's inert body and began to take down his trousers.
|
||
|
||
"Come on guys. We'll give him a Scottish Samurai while he's asleep."
|
||
|
||
CLASS 68
|
||
|
||
tags: 1968, 1983, dante, piro, ralph, reginald, tab1, tab2
|
||
|
||
"I hate Ohio! It's crazier than a dick in an ashtray out here!"
|
||
|
||
"Son, I don't care if the instructor cuts your fingers off. Your
|
||
tuition is costing taxpayers money. Think NASA. You suck it up and
|
||
make me proud."
|
||
|
||
"This combatatives SME... Piro. They tell me he has photographic
|
||
reflexes."
|
||
|
||
"Yes."
|
||
|
||
"Dad..."
|
||
|
||
"I trained with his father. He'll get you off to a good start. Learn
|
||
your basics. Then you can complain."
|
||
|
||
"I'm experiencing some mild discomfort, Dad."
|
||
|
||
"I should say you are! Remember, I'm familiar with your physical
|
||
stats. The pain will pass."
|
||
|
||
"Whatever. I guess. My knees feel like toothpaste."
|
||
|
||
Tommy clicked off and straightened his uniform. Shortly, a tram would
|
||
arrive to take the boys bar hopping. First on the itinerary was THE
|
||
VULVA POLE. Reginald's idea. Tommy hoped they would have time to grab
|
||
a bite to eat before moving on to THE TIZENAUS. Dante's idea. He spun
|
||
through his calendar app. Scheduling headaches, even at camp.
|
||
|
||
"A pigeon can't drop shit if it never flew."
|
||
|
||
The password was correct. Tommy minimized the lock and a few of the
|
||
guys from his class ambled into his room.
|
||
|
||
Reginald appraised the situation. Tommy was going overt.
|
||
|
||
"I see. We're assuming the ladies can't resist the uniform."
|
||
|
||
"Where's Ralph," Tommy asked, smoothing down the front of his jacket.
|
||
Reginald always had the freshest gear.
|
||
|
||
"Fapping in his room again," said Reginald."We didn't interrupt."
|
||
|
||
"Just as well," Tommy sighed."We're all logged out, right?"
|
||
|
||
"Probably not Ralph."
|
||
|
||
"Oh right. I guess he doesn't mind that they log everything we do."
|
||
|
||
"For him, I think that's part of the appeal."
|
||
|
||
Click. Click.
|
||
|
||
Shoulder almost out of joint.
|
||
|
||
Piro eased the pressure only slightly, but it was enough for Tommy to
|
||
snake out of his hold.
|
||
|
||
"You had better hope you didn't let me go on purpose. Sir."
|
||
|
||
Piro didn't answer, so Tommy continued.
|
||
|
||
"I guess you didn't see that coming. It's a little something I've been
|
||
working on with the guys. I must create a system or be enslaved by
|
||
another man's."
|
||
|
||
"Blake. Good. I assume you're telling me that you haven't yet mastered
|
||
the techniques I assigned to you."
|
||
|
||
"Well, I haven't engaged in rote memorization. But I'll assume the
|
||
fact that I'm standing over here, no longer restrained by your hold,
|
||
indicates that I've familiarized myself with the basic principles."
|
||
|
||
Tommy's posture didn't alter. Piro's gaze remained steady. The other
|
||
boys in the training group thought anything could happen.
|
||
|
||
"Talking to me that way is... ridiculous."
|
||
|
||
"Doing this for three hours a day is ridiculous. Do you really think
|
||
I'm learning anything from you?"
|
||
|
||
Piro continued to stare.
|
||
|
||
"Boys, take five. Tommy. Over here."
|
||
|
||
"What, you want some more of this?"
|
||
|
||
"I think you'll understand once we begin."
|
||
|
||
I guess really I should have stayed glued to the monitors. After all,
|
||
it was my son. But I couldn't study every moment of his experience.
|
||
That probably marks me as a bad parent.
|
||
|
||
I've no defense.
|
||
|
||
I had originally intended to be present for his graduation, but at the
|
||
last minute I was called away to put out fires in another department.
|
||
Quotas.
|
||
|
||
I hold onto this earliest transcript because somehow, the later
|
||
material is no longer extant. The available photos are even older. For
|
||
some reason, mixed in with the logs from the camp, there are old
|
||
snapshots from Tommy's primary school. Evidently, that's all that's
|
||
left from the surveillance we ran. I'd ask Piro about it but let's
|
||
just say we're no longer on speaking terms.
|
||
|
||
[Interruption as I answer incoming messages.]
|
||
|
||
In the end, I hope Tommy can live up to his early promise. When I lost
|
||
track of him he was well on his way to providing excellent ROI. Even
|
||
with the ego problem. Essentially, he was a sure thing.
|
||
|
||
'68 was a long time ago, but not so long ago that he'd be inactive
|
||
just yet. If he stayed in.
|
||
|
||
I should look him up. He's probably not that hard to find. With my
|
||
access.
|
||
|
||
What am I saying. I'm retired.
|
||
|
||
DULL CARE
|
||
|
||
tags: 1969, tab1, theodore_roosevelt, volume_1
|
||
|
||
"Well well, I've not seen one of these in quite some time."
|
||
|
||
Our cell was crammed floor to ceiling with the things, box upon box,
|
||
but for some reason, the weathered newsprint of this particular comic
|
||
book held singular importance. He was being very careful with it, and
|
||
I had to cough into my shirtsleeve to mask an involuntary guffaw. He
|
||
stowed the comic's bag and backing board before he continued.
|
||
|
||
"Just look at it. I'd grade this as at least a VF/NM. Unfortunately it
|
||
wasn't slabbed. You see, there once existed any number of companies
|
||
that would take a comic book and grade it meticulously before sealing
|
||
it permanently in archival grade plastic, which would guarantee"
|
||
|
||
"I know what'slabbing' means," I said.
|
||
|
||
He was talking in captions now.
|
||
|
||
Volume_1 had the largest comic book collection in the entire cell
|
||
block. This was significant as, in our facility, comic books were
|
||
traded as currency. In point of fact, these specific comic books were
|
||
valued as well above average reads. I don't mean to pun: they were
|
||
literally encoded with information critical to the continuity of the
|
||
United States government.
|
||
|
||
This was all he managed to tell me before we were interrupted.
|
||
|
||
"Shh! Someone's coming!"
|
||
|
||
Volume_1 was desperate to get the issue back into its bag, board and
|
||
long box. I couldn't figure out why; there were plenty of comics in
|
||
our cell to go around.
|
||
|
||
We could hear them talking.
|
||
|
||
"Productivity is down."
|
||
|
||
"Have you thought about reducing headcount?"
|
||
|
||
"Ha ha ha ha ha!"
|
||
|
||
After the guards had passed, I turned back to Volume_1."I don't think
|
||
I've ever asked you why you were in here."
|
||
|
||
"I kept sending these instant messages. My manager was monitoring.
|
||
Frequently, I guess. Evidently, the content of my messages offended
|
||
his protected sensibilities. Based on his religion. Felony
|
||
Insensitivity."
|
||
|
||
"I see. Which heresy?"
|
||
|
||
"Chicago Cubs."
|
||
|
||
Nothing more needed to be said.
|
||
|
||
Volume_1 went back to his comic book and I watched him flip through
|
||
it, gingerly supporting its spine on the flat of his hand.
|
||
|
||
Soft chimes surfaced slowly at the periphery of my awareness,
|
||
progressively drawing into focus. It was time for Volume_1's shift. He
|
||
stopped extracting comics from yet another long box and scooted it
|
||
back under his bunk. Bushed, I stretched out for a short nap.
|
||
|
||
At least, that's how I made it look to Volume_1.
|
||
|
||
As soon as he vacated the cell I pounced back to the floor, removed
|
||
the false panel and pulled out my kit and belt. I tore open a new
|
||
packet of FalseHand, deposited the wrapper, and in the same swift
|
||
motion pressed the delete button on the trash bin. I waved my hand in
|
||
front of the cell door and exited onto the balcony, where I was
|
||
greeted with quite a lot of hustle and bustle. Most of the workers
|
||
were scattering about between shifts. Volume_1 would return within
|
||
sixteen hours, so my timetable had to be executed with precision, not
|
||
skipping any beats. Fortunately, as a professional, I had been
|
||
expertly trained. There would be no problem meeting (or perhaps
|
||
exceeding) the requirements of my schedule.
|
||
|
||
My ride was idling on the roof. As I approached the air vehicle, rotor
|
||
backwash batted my hair around my face. Annoyed, I tied it back. A man
|
||
strapped to a gurney was removed from the back seat before I boarded.
|
||
He looked to be in bad shape.
|
||
|
||
I observed the red cross of the landing pad shrinking into nothingness
|
||
as we pulled away from the complex. The pilot of the helicopter gave
|
||
me a thumbs up but I stared past him, blandly, lacking any awareness
|
||
of his gesture. Outside of the building my implants had kicked in and
|
||
I was now sorting my mail.
|
||
|
||
Zoom.
|
||
|
||
Half an hour later they put me down near Monte Rio. By this time I'd
|
||
changed into a sweater and khakis. A Mercedes idled ponderously about
|
||
a hundred yards down the road, trickling exhaust runoff onto the
|
||
pavement. I lugged my duffel behind me, finally heaving it into the
|
||
car's trunk. Off to one side the driver stood motionless, grinning.
|
||
Clearly, he was amused at my efforts to avoid breaking a sweat. He
|
||
kept standing there and eventually I figured out that he was waiting
|
||
for some sort of a tip. His remarkable audacity gave me a chuckle, so
|
||
I dug around in my bag and passed him an old, rolled-up comic book
|
||
from the collection in my cell. He jammed it into his back pocket,
|
||
quickly, quietly, betraying no reaction, so as not to be observed by
|
||
the departing chopper pilot. Obviously, he was used to this sort of
|
||
transaction. Seemingly satisfied, the driver took his place behind the
|
||
wheel of the Mercedes and we sped off through the countryside.
|
||
|
||
We accelerated into a steady incline, passing through many stands of
|
||
trees before finally arriving at a very small entryway that branched
|
||
off of the main highway.
|
||
|
||
The driver navigated the Mercedes through a series of security
|
||
checkpoints, and soon I was deposited into one of the"new member"
|
||
parking lots of the Green. Presently, a small, open-roof shuttle
|
||
appeared, ready to escort me through the main gates of the encampment.
|
||
|
||
The trees of the Green were monstrous. I mean to say that literally: I
|
||
was half-convinced they were moving. Of course, they weren't. I
|
||
detected no other signs of life in the general vicinity. No animals.
|
||
The hiking trails were deserted.
|
||
|
||
Not all was dead: I rounded a curve in the path and spotted my first
|
||
vantage point, glowing yellow, centered in my field of vision.
|
||
|
||
The tree was quite large. It would do.
|
||
|
||
I hoisted my bags onto my perch, then setup the comms package before
|
||
unjacking myself and turning on the beacon. I waited for the trigger.
|
||
|
||
Nothing.
|
||
|
||
The by-laws of the Green forbade surveillance equipment of any kind. I
|
||
now surmised that this policy was enforced through active
|
||
intervention, jamming of a sort I was not familiar with. My
|
||
chronometer didn't even work. I would have to go manual.
|
||
|
||
I climbed down from the tree just as the sun was creeping below the
|
||
horizon and commenced wandering along paths, searching for Bannister
|
||
Colon.
|
||
|
||
When I found him, he was pulling on a Hawaiian cigar and waxing
|
||
political with a few friends in front of a large, gas bonfire. The
|
||
Eagle's Nest loomed beyond, wavering in and out of coherency through
|
||
the flames and smoke. The trees seemed to be swallowing it and
|
||
spitting it back out again, unsure of its potential toxicity.
|
||
|
||
"The high ground is attained through the stacking of bodies,"
|
||
Bannister said blandly, as if reading from a script.
|
||
|
||
My man Colon.
|
||
|
||
The others cackled, extending a wave of unrestrained mirth along the
|
||
necklace of fat bellies draped around the bonfire's ashen neck. Each
|
||
man appeared to have modeled his personal grooming and liturgical
|
||
wardrobe upon that of President Theodore Roosevelt, patron saint of
|
||
the Green. The aesthetic was an unfortunate portrait of crass largess.
|
||
The body language a study in historical inaccuracy. Our former
|
||
President would have been appalled at such a display. I shuddered
|
||
despite myself.
|
||
|
||
Indeed, this was a strange scene: to a man they reclined completely in
|
||
the buff, from balding head to lotioned, shoeless foot.
|
||
|
||
Preverts.
|
||
|
||
The Prevert tradition is older than the technology that makes it
|
||
possible.
|
||
|
||
It took me a while to wrap my head around that one.
|
||
|
||
I'm only aware of the technology's existence because my grandfather
|
||
was a member of the Green. Otherwise I would never have been selected
|
||
for this mission. Traditionally, problems within the Green are handled
|
||
internally.
|
||
|
||
Membership is not hereditary. I was never invited into the ranks of
|
||
the Green itself. Not that I would have joined them even if offered
|
||
the chance. By the time I was of age I had long since departed for
|
||
Iran, exercised my own unique will and signed on for my first tour of
|
||
duty in the armed forces, trudging hip-deep into my own army of
|
||
olive-skinned bodies.
|
||
|
||
Whatever, the organization had stopped accepting outside inquiries
|
||
some time in the 1920s, after a breach of security had resulted in
|
||
front page articles around the world that exposed the interaction
|
||
between certain political leaders and boy prostitutes taking place
|
||
within its walls.
|
||
|
||
Obviously, that was only a cover story.
|
||
|
||
Before long things started to pick up around the bonfire, activity
|
||
sparking within the self-satisfied circle of fat.
|
||
|
||
From out of nowhere each man produced a small device and strapped it
|
||
to his hand. Instantly, the bonfire extinguished itself and the
|
||
surrounding woods fell silent. Only the sound of the men's chattering
|
||
teeth broke the stillness, settling into a steady rhythm that
|
||
resonated unpleasantly in my skull.
|
||
|
||
I began to hear what sounded like an injured animal, whimpering softly
|
||
from within the center of the makeshift circle. The fire was out, but
|
||
I couldn't imagine how it could have cooled so quickly, or how
|
||
anything living could have survived the flames that had subsided only
|
||
moments before.
|
||
|
||
The men's mouths spread wide and their chattering teeth became
|
||
visible, reflecting in the sickly moonlight. I felt something hard
|
||
coalesce in the pit of my stomach. For some reason the scene was
|
||
affecting me physically. A hint of the taste of vomit trickled into my
|
||
mouth.
|
||
|
||
A child had appeared. A boy.
|
||
|
||
Dumbly, he bounced between the bare bellies, clawing and scratching
|
||
and kicking against the men of the circle. They didn't seem concerned
|
||
with his evident distress. Blood seeped from some of the scratches he
|
||
was inflicting, against the men and against himself.
|
||
|
||
Oblivious, he didn't seem to care. Lacking in empathy, the men didn't
|
||
care either.
|
||
|
||
I never cared for this part of the process, myself.
|
||
|
||
Preverts rape themselves.
|
||
|
||
According to legend, it goes back to Caesar. Symbolically, anyway.
|
||
Candidates in the world-ruling business have long been vetted through
|
||
an exotic procession of pomp and ritual.
|
||
|
||
The technology I mentioned truly is remarkable. It's not exactly time
|
||
travel, per se, because the men themselves, the initiators, don't
|
||
actually travel through time. The same holds true for their victims.
|
||
Rather, space is bent in such a way that interaction with the past is
|
||
non-paradoxical. Lateral. Frankly, it's beyond me. I've seen it in
|
||
action so I no longer try to make sense of it. It just works.
|
||
|
||
I shifted uncomfortably as the service continued.
|
||
|
||
Each man, when it was his turn, spit out his cigar and touched the
|
||
surface of his wrist device. The boy would jerk uncontrollably towards
|
||
him, drawing temporarily into his grasp. Simultaneous with this
|
||
motion, the child's face morphed to resemble that of his captor,
|
||
uncannily regressed to childhood. This alternating promenade continued
|
||
for some time, though the participants were carrying out their
|
||
observance at an unnerving pace. As each man embraced the boy he
|
||
continued to whimper, weakly, and my skull tightened around my brain.
|
||
|
||
With each tap of the wrist, a different face.
|
||
|
||
My orders were clear: only interrupt them once they'd finished with
|
||
what they'd come to do. It was imperative that the ritual proceed to
|
||
completion.
|
||
|
||
Habitually, I always followed orders, even where inconvenient. That
|
||
was my calling card. That was why they gave me these jobs. A Green
|
||
mission was no exception, on either account.
|
||
|
||
Soon, the ritual concluded. It was time for me to intercede.
|
||
|
||
I checked my weapons before leaping into the clearing. Then, with a
|
||
single, smooth motion, I laid down the entire congregation of
|
||
important men. Nerve agent spilled across their undulating frames and
|
||
splattered against the big wooden benches behind them. Sloppy.
|
||
Uncharacteristically so. I paused to scold myself and clean up the
|
||
evidence.
|
||
|
||
The organic material in the benches was starting to melt. Running out
|
||
of time, I abandoned them.
|
||
|
||
I made my way over to the boy. His features had stopped changing and
|
||
now he wore the wrong face. Great.
|
||
|
||
Returning to the mound of boiling fat, I fished out the proper hand
|
||
and used it to thumb the appropriate controller. Suddenly, the correct
|
||
face coalesced on top of the boy's body. I introduced myself and asked
|
||
him a few questions.
|
||
|
||
"Son, what's your name?"
|
||
|
||
"Thuh..."
|
||
|
||
"Yes?"
|
||
|
||
"Th-Theodore... R-R-Roosevelt."
|
||
|
||
The face. The Name. Not what I had expected.
|
||
|
||
Definitely a bigger job than I was being paid for.
|
||
|
||
Frankly, I was appalled.
|
||
|
||
But: Orders. Reputation. The things I actually cared about. I would
|
||
follow the script.
|
||
|
||
I raised my weapon, logged in, and emptied my full clip into the boy's
|
||
face.
|
||
|
||
Finally, the woods fell silent.
|
||
|
||
THE BAD STUDENT
|
||
|
||
tags: 1969, frankie_willard, prince, tab2, cheryl
|
||
|
||
I tear a sheet from my notebook. After some fidgeting I manage to
|
||
produce a cigarette. I lean back against the concrete wall of the
|
||
building, my rat-tail poking into the scruff of my neck. It's rather
|
||
uncomfortable. There is a commotion from somewhere, over near the
|
||
basketball courts. After a brief period of silence, the school bell
|
||
rings. I curse, sub-audibly, taking my place in line. I'm careful not
|
||
to crumple the cigarette as I conceal it within my sleeve.
|
||
|
||
Recess is over.
|
||
|
||
I'm antsy. I shift my weight from one leg to the other. This jostling
|
||
brings to mind Frankie Willard, made to stand with both feet planted
|
||
inside of a single tile on the floor. Punishment for having spoken out
|
||
of turn. Frankie complained that because of his great size, he would
|
||
surely topple over if he were not permitted to sway from side to side.
|
||
The teacher sarcastically denied his requeststructural integrity be
|
||
damned. No, Frankie would have to stand firmly within the square,
|
||
maintaining his posture for the duration of the class. At the time, I
|
||
too had regarded Frankie's claims as spurious. Does an office building
|
||
need to sway from side to side? It seemed ridiculous. A man should be
|
||
able to stand still.
|
||
|
||
Today I'm of a mind to view Frankie's situation in a different light.
|
||
Standing still in this line is impossible. Despite myself, I've begun
|
||
to sway from side to side. Fuck it, Frankie was right all along.
|
||
|
||
At the moment, no one is watching me. I disregard protocol and resume
|
||
my cigarette. Smoke slinks from the burning cherry, a string of
|
||
ten-dimensional nothingness. Or so I choose to perceive.
|
||
|
||
The boy in front of me rotates his head to an obtuse azimuth, asks to
|
||
bum a cig. I am more than happy to oblige. From my pocket I produce
|
||
two slender folds of paper, offering one to my companion. He's still
|
||
in possession of the lighter I made for him, so we're all set. Good to
|
||
go. From time to time, I'm happy to supply free product, as a short
|
||
demonstration will often serve to spark demand. When one's business is
|
||
illicit, establishing the perception of good-natured magnanimity is
|
||
wise. Happy customers are quiet customers.
|
||
|
||
And quiet is a baseline necessity for my mission.
|
||
|
||
Just as the fresh cigarette taste is making itself apparent, our
|
||
teacher pokes her head around the corner. She notices us stragglers,
|
||
lately fallen away from the back of the line. She's displeased to note
|
||
that we're still here, leaning up against the wall, each man enjoying
|
||
an individual smoke. She approaches swiftly and proceeds to bend our
|
||
ears. That's when she realizes who I am. Quite comically, this new
|
||
awareness halts her scolding, mid-sentence. She directs the other boys
|
||
back to the classroom and then turns to me, a stupid look on her face.
|
||
She pulls me by my rat-tail into a deserted corridor. The contact is
|
||
exhilarating.
|
||
|
||
I'm going to score.
|
||
|
||
The woman has been shooting me these kinds of looks all semester. A
|
||
couple of times she's caught me adjusting my visor, straining to catch
|
||
a peek through her blouse. Instead of voicing an objection she usually
|
||
just smiles. It's crossed my mind that she may even fancy my attempts
|
||
to look down her shirt. Consider: she's the only one of our first
|
||
grade teachers who will wear shorts in summer. To my knowledge, this
|
||
is technically against the rules. I turn these thoughts over in my
|
||
mind, one after the other, as I consider my immediate future.
|
||
|
||
She tightens her grip on my shoulder.
|
||
|
||
I brace for a kiss.
|
||
|
||
Instead, she snatches the cigarette from my lips and sends it
|
||
careening over her shoulder, skittering down the corridor. Well, that
|
||
wasn't quite what I expected. I think to myself that it's convenient
|
||
this corner of the building is devoid of traffic. Could she have
|
||
planned our confrontation days, even weeks, in advance? Have things
|
||
really progressed to that level? Gradually, the woman is drawing my
|
||
attention to infinite new dimensions, threading my string through
|
||
myriad vortices, the resulting matrix a blunt satire of our
|
||
tessellating material realm. She's the teacher? I'm fit to burst.
|
||
|
||
She parts her lips as if to speak. Softly, softly.
|
||
|
||
This must be it.
|
||
|
||
"So. You believe that folding pieces of paper into the shape of a
|
||
cigarette, then selling them to your classmates is a good way to make
|
||
friends, Thomas?"
|
||
|
||
The tenderness I sensed only moments before is now vanished. She's
|
||
trying her best to be stern. I can't say why, exactly, but this only
|
||
excites me more.
|
||
|
||
"So far it seems to be working fine," I offer, straining, barely
|
||
containing myself."I have plenty of friends."
|
||
|
||
"I've seen you outside, pretending to smoke, for weeks now. The
|
||
students here look up to you, and I'm disappointed in how you've
|
||
chosen to repay that trust. I want you to think of how you're
|
||
influencing them, Thomas."
|
||
|
||
"I'm not coercing anyone," I correct gently, so as not to rend the
|
||
gossamer fragility of the moment."I'm simply providing a service.
|
||
There's an obvious demand and I'm only too happy to fill it. Surely
|
||
you realize, this sort of equitable transaction is the very basis of
|
||
our free economy, which ensures the continuity of"
|
||
|
||
She kisses me.
|
||
|
||
I break free.
|
||
|
||
"the very continuance of our society."
|
||
|
||
She doesn't seem impressed with my argument.
|
||
|
||
From my jacket I produce a conspicuously pristine piece of equipment.
|
||
The object fairly leaps from its place of concealment. She is somewhat
|
||
startled, tries to mask her reaction, but the sudden adoration evident
|
||
in her eyes will not be suppressed. Does she know what this is, then,
|
||
after all? Removing her hand slowly from my own, I raise the object to
|
||
my chest (her waist) and finger the switch that brings it to life. She
|
||
jumps as a holographic image grows out of my palm. I have to adjust my
|
||
visor again before I'm able to see it.
|
||
|
||
So, this is Prince Rogers Nelson. Not exactly an imposing figure, but
|
||
in relation to his framing, here in my hand, it hardly matters.
|
||
Reports indicate that my teacher is quite enamored with this miniature
|
||
entertainer. By all rights he was a fine composer, but some say he
|
||
actually considered himself to be the physical reincarnation of the
|
||
Egyptian Pharaoh Ahkanaten. There was a spate of controversy around
|
||
the time he decided to found his own religion.
|
||
|
||
Whatever.
|
||
|
||
The unexpected appearance of the tiny man seems to be doing the trick
|
||
with my teacher. As PRN begins to vibrate, I angle him beneath her
|
||
skirt.
|
||
|
||
"Just lay back," says Prince.
|
||
|
||
She does as he says.
|
||
|
||
While she is momentarily stunned, distracted, I remove the remaining
|
||
contraband from my pockets, depositing several paper cigarettes onto
|
||
the window ledge behind me. Shortly thereafter, the spring breeze
|
||
carries them away, floating them ever downwards, towards the
|
||
unnaturally green summer grass of the courtyard. All evidence of my
|
||
wrongdoing thus disposed of, I snap closed my gadget and switch to
|
||
manual, gazing deeply into my teacher's eyes as I finish her off.
|
||
|
||
She's some time in coming. But once sated, her body goes slack. At
|
||
last, I relax my arm and place my hand on her exquisite breast.
|
||
|
||
To my great surprise, she recoils. It seems I have ventured too far.
|
||
She smiles awkwardly and pushes me away, leans her head out of the
|
||
window to see what I've been up to all this time she's been writhing
|
||
under the ministrations of the holographic Prince. Her face shoots
|
||
completely red, full of blood. The view from the window, of course, is
|
||
unremarkable, but it's not the landscaping below that concerns her.
|
||
She sees the paper cigarettes scattered about the courtyard and
|
||
deduces that they must belong to me.
|
||
|
||
She begins to lecture me. Even these playthings, which are not real at
|
||
all, still set a negative example for the other students. Such toys
|
||
glorify the act of real smoking. I should have known better than to
|
||
engage in this sort of thing while at school. The premises is also a
|
||
commerce restricted zone, blah blah blah, etc. She is scrupulous to
|
||
avoid any mention of her orgasm, though I sense the experience is
|
||
still very much on her mind.
|
||
|
||
Overall, it proves to be a lackluster brow-beating. I consider the
|
||
context of present events set against the larger backdrop of my
|
||
mission and decide that her appraisal of my behavior is irrelevant. At
|
||
twelve years of age, infiltrating the first grade has been a cakewalk.
|
||
If this doesn't boost my grade average I don't know what will. I
|
||
swear, I'm ready to graduate CU/FARLEY. Let's hope my father and the
|
||
Chief see things my way.
|
||
|
||
I acknowledge her statements as I shove my hand into my pants and
|
||
scratch my groin.
|
||
|
||
As we return to the classroom, I reach out to hold her hand.
|
||
|
||
I probably don't have to tell you that I use the same hand.
|
||
|
||
UBICOMP
|
||
|
||
tags: 1969, potus, tab1
|
||
|
||
There is a ring of teeth around my stick and I can't pull it out. I
|
||
ease back and forth, gently, but the mouth won't let go. A sliver of
|
||
saliva escapes, spreading first around my stick's circumference, then
|
||
down to its base. All at once the President's head starts to move
|
||
again.
|
||
|
||
Textbook package delivery. Six calories of Turing gel forced into the
|
||
digestive track of the mark. Freed from its carriage, some of the
|
||
payload has already bonded firmly with the President's teeth.
|
||
Presently, the liquid bootstraps itself into the machinery of
|
||
surveillance. All logged in, phase one is complete. Other components
|
||
of the payload make their way into the President's circulatory system,
|
||
compensating for various biological ticks that would otherwise prove
|
||
fatal to the Commander In Chief. Phase two, loaded, completed.
|
||
|
||
I imagine there is something of an alkaline flavor. I don't know how
|
||
she can stand it.
|
||
|
||
Without warning, an additional teaspoon-dollop of nutrient-rich paste
|
||
shoots between the President's lips. Slowly, it threads down her
|
||
esophagus, coating her stomach's lining. I swish my stick around a
|
||
bit, making sure that the gel, by now teaming with expensive hardware,
|
||
gets a fair chance to take hold. She murmurs softly. I assume in
|
||
pleasure.
|
||
|
||
I glance at my watch.
|
||
|
||
Over time, the rogue cells I've introduced will create new tissue.
|
||
They'll get into the business of subverting dendrite structures, which
|
||
in turn (I'm told) will lead to the President's conscious assent to
|
||
our programs.
|
||
|
||
Caveat: the gel will need to be administered on a regular basis. I
|
||
assume I will be selected as the agent of delivery (it's of no concern
|
||
either waythere are numerous agents who are up to the task). In any
|
||
case, the process will continue. Before the President knows what is
|
||
happening, she will begin to crave the injections, find herself
|
||
inexplicably drawn to the blunt insertion of stick into mouth. Lacking
|
||
awareness, she'll come to regard the process as a pleasure of her own
|
||
devising. She may even develop an affinity for the taste.
|
||
|
||
But enough of my speculation, however well-informed. Her mouth is upon
|
||
me now, showing no sign of loosening its grip. Not losing suction. Her
|
||
eyes have rolled back into her head. She's become unresponsive. Even
|
||
her gag reflex has gone dead.
|
||
|
||
As an initial response to insertion, this faux catatonic state is not
|
||
unusual. In my field-work I've observed that women will often slip
|
||
into semi-consciousness once they've worked the Turing gel past their
|
||
back teeth. In truth, I was quite alarmed the first time it happened.
|
||
Maybe I had dribbled psychoactive sedative onto the tip of my cock, I
|
||
thought to myself. But no, this brief period of unconsciousness tends
|
||
to be shallow, tends to pass quickly.
|
||
|
||
I decide to sneak a peek, to see how she's coming along. Her mouth
|
||
glides smoothly on a thick lather of saliva, sealed by the walls of
|
||
her throat. Her head bobs up and down, gently rotating, rhythmically
|
||
advancing and retreating across the length of my equipment. She's
|
||
quite awake now and seems to have swallowed her cares.
|
||
|
||
A strand of the President's hair has caught on my watchband, but I'm
|
||
reluctant to interrupt her work.
|
||
|
||
I nudge her lovingly on the ear and her entire head shifts weight to
|
||
the other side. Her eyes flick open and she smiles as she releases my
|
||
stick, seemingly unaware of the considerable amount of time that has
|
||
passed. I slide out, drawing a trail of spit between myself and her
|
||
tongue, which she stares at quizzically before flashing a mischievous
|
||
grin and then aggressively chewing it all back into her mouth.
|
||
Ordinarily this would be fine, but a pool of spittle has coalesced
|
||
around my scrotum, and now it traces the contour of my buttocks. It is
|
||
cold.
|
||
|
||
A pink square blips in the lower-left of my vision, telling me that
|
||
the Turing cells have gained purchase.
|
||
|
||
I engage the President verbally as she re-applies her lipstick and
|
||
adjusts her coiffure.
|
||
|
||
I start making excuses, looking for a way out of the room.
|
||
|
||
ALL THAT IS
|
||
|
||
tags: 1970, missus_camilla, violet
|
||
|
||
Violet used her stylus to press against the reflective surface of her
|
||
school leaf. Presently, a margin message from Missus Camilla appeared,
|
||
signaling the class to begin writing.
|
||
|
||
Violet began:
|
||
|
||
Words are insufficient to communicate all that is.
|
||
|
||
Having'a problem' with this would imply that I think any other
|
||
state of affairs is remotely possible. The fact is that I
|
||
have to accept my best current thinking on the subject, and
|
||
right now I haven't come up with any reasonable counter to the
|
||
observation that language is inescapably circular. To me,
|
||
this means that at best we can only approximate The Truth at
|
||
any given momentand since we can't make these determinations
|
||
with any significant certainty (e.g., to judge the accuracy of
|
||
our approximations),'A' can only equal 'A' on a localized,
|
||
individual level.
|
||
|
||
And yet, 'A=A' is the fundamental assertion of logic. I think
|
||
there is a tendency to try and expand too far upon this basic
|
||
construction. The subjective assumptions applied by logic
|
||
tests too often outpace language's ability to accurately map
|
||
the salient factors at hand. Too much emphasis is placed upon
|
||
how the logic is articulated, with very little attention paid
|
||
to the structure of the logic itselfwhich, presumably, should
|
||
transcend the language that was used to describe it.
|
||
|
||
This presents an interestingI'd say insurmountableproblem,
|
||
and was essentially the point of my previous two papers. 'A=A.'
|
||
Fine. But what the hell is an A? And who says so? The answer
|
||
is that it all depends on who you ask.
|
||
|
||
I don't think the fact that we have managed to evolve grammars
|
||
which are effective at managing objects and activities,
|
||
effective at managing the processes of machines, even, is
|
||
evidence that those grammars are universally descriptive of
|
||
our entire shared reality. Success in a single, limited area
|
||
does not imply universal success on a grand scale, even if
|
||
many times a simple set of rules can exhibit emergent
|
||
behaviors that transcend the original description.
|
||
|
||
Consider the following stories. Observe how these seemingly
|
||
correct articulations of reality work at cross-purposes to the
|
||
protagonist's intentions, yet still manage to exhibit a
|
||
peculiar efficacy all their own:
|
||
|
||
1.) Occupied Poland. A man held a job at a stroller factory.
|
||
His child needed a stroller. Being short on money, and being
|
||
handy with his tools, the man decided to steal all the
|
||
necessary parts from his workplace and assemble the stroller
|
||
at home. Wary of arousing suspicion, he limited himself to
|
||
absconding with only a single component each night. After
|
||
many such nights, the man took an inventory and noticed that
|
||
he had managed to acquire almost all of the parts on his list.
|
||
Finally completing the assembly, the man discovered that
|
||
instead of a new stroller for his son he had assembled a fully
|
||
functional, modular sub-machine gun.
|
||
|
||
Does this mean that a stroller is in fact the very same thing
|
||
as a sub-machine gun? After all, the man had worked in the
|
||
factory for many years and was quite experienced at his job
|
||
(which consisted chiefly of speed-buffing several types of
|
||
polished parts as they came whizzing past his station on an
|
||
assembly line). In this case, the value of'A' was at first
|
||
disputed; then investigated; and finally, revised. In the
|
||
end, would it have been sufficient to simply continue
|
||
referring to the finished product as a stroller? Why or why
|
||
not?
|
||
|
||
2.) A radical priest gains increasing infamy with the native
|
||
residents of a Roman-occupied garrison town in Jerusalem.
|
||
After he has been put to death by a civilian
|
||
courtadministered by his own people, no lessa cult religion
|
||
springs up around him, and a legend begins to solidify around
|
||
the memory of his living days. Indeed, the legend glorifies
|
||
even the most mundane aspects of his life. His story is at
|
||
first spread verbally, but is eventually written down by
|
||
various scribes, disparate of geography and generation, who
|
||
never quite managed to cross paths with the priest or his
|
||
followers. (Granted, when the priest was supposedly executed,
|
||
the scribes in question had yet to be born.)
|
||
|
||
I'm sure you can follow this one to its obvious conclusion.
|
||
After a certain point, the language used to describe a legend
|
||
begins to transcend the actual events, to take on a life of
|
||
its own. The events themselves remain unobserved, wholly
|
||
obscured from view. At best: irrelevant.
|
||
|
||
The above are clearly examples which reinforce the notion that
|
||
all languages are tautologies. For this reason,'A=A' can only
|
||
apply universally when the definition of'A' is immutable,
|
||
cannot be tampered with as it travels from one side of the
|
||
equation to the other. (This fact does tend to break the
|
||
discussion into many different levels, including questions of
|
||
control over so-called shared languages [e.g., dictionaries,
|
||
popular idiom], but the problem of complexity comes part and
|
||
parcel with the problem of precision.)'A=A' may well be
|
||
subjectively true, but the equation is necessarily based upon
|
||
assumptions that may be incorrect. The uncomfortable truth
|
||
about our knowledge of the world is that it is almost always
|
||
filtered through a mediating source of questionable
|
||
benevolence. Think about that. The ultimate impossibility of
|
||
neutrality. Even if we momentarily eschew the likelihood of
|
||
intentional misrepresentation, we must accept that once
|
||
language escapes our minds and begins to interact with the
|
||
language of others, we lose personal control over its context
|
||
and meaning. At this point, rationally, we should acknowledge
|
||
that we can no longer verify that'A' means what we think it
|
||
does. Thus, we come to glimpse the limitations of logic
|
||
itself.
|
||
|
||
Language initiates us into a special kind of'cargo cult.' We
|
||
scramble, frothing at the mouth like so many tropical savages,
|
||
attempting to reenact a Reality that we're just certain we've
|
||
experienced, all in the vain hope that we might someday entice
|
||
that Reality to return to us, laden with crates full of movie
|
||
reels, Coca-Cola, and fresh cartons of cheap American
|
||
cigarettes. At that point, we presume, we'd all be farting
|
||
through silk.
|
||
|
||
Violet
|
||
|
||
DRIFT
|
||
|
||
tags: 1951, 2026, pink_floyd, tab1
|
||
|
||
2026.
|
||
|
||
The sunlight fades and I wonder after my satchel. It's here, buried
|
||
somewhere under the snow. Wearily, I prop up both of my arms and thumb
|
||
through the entries on my leaf.
|
||
|
||
I stumble upon a decades-old post.
|
||
|
||
1951. So, I was laid out on the couch (free), face pressed up
|
||
against my camo pillow ( 123.67), wondering if I should pick
|
||
the dead pill bugs out of the fibers of my bath robe, when a
|
||
garish advert for a new Pink Floyd"greatest hits" collection (
|
||
2999.99) ran across the display of my telescreen: Order ECHOES
|
||
now and we'll include blah sqwak blah niner foxtrot delta
|
||
sqwak blah sqwak blah My attention span waned and I lost the
|
||
rest of the advert to random static generated by a mild
|
||
migraine headache (previously acquired), but the damage had
|
||
already been done. Slowly, the new information sunk in.
|
||
Within a couple of hours I had stumbled into the bedroom. I
|
||
stood fondling the jewel case of a 2-disc collection of my own
|
||
original music (entitled: ECHOES), desperately trying to
|
||
figure out how Pink Floyd's handlers had managed to bug my
|
||
home. Motherspammers. I took a swig of apple juice from a
|
||
glass tumbler on the dresser, then spit it back out again when
|
||
I realized the surface of the drink had been blanketed by a
|
||
layer of dust. I needed to stop leaving those things laying
|
||
around where anyone could find them. I resumed staring at the
|
||
jewel case. The artwork was superior to what I had just seen
|
||
on the telescreen. Fucking Pink Floyd. What did I ever do to
|
||
them? (Besides torturing that girl in the Pink Floyd t-shirt
|
||
at Denny's.) There had to be a reason why they had selected
|
||
me. I glared at the tumbler for a couple of seconds, then
|
||
back at the jewel case in my hands. I downed the entire glass
|
||
without tasting the dust. Apple juice doesn't really ferment,
|
||
but at this point my migraine had wedged itself in-between my
|
||
frontal lobe and another slab of gray matter I wasn't able to
|
||
identify, resulting in a significant impairment to my decision
|
||
making faculties. Somehow, I kept from vomiting. Before long
|
||
I detected a handful of splinters in my hand, and came to the
|
||
slow realization that I'd squeezed the jewel case into several
|
||
pieces. The dust flavor returned to my mouth, resembling the
|
||
sensation of pushing my tongue through ungroomed tufts of fur.
|
||
I threw the tumbler down and stomped back into the living
|
||
room. The advert was on again. This time tracking a sequence
|
||
I hadn't noticed during the previous playback. The message
|
||
ran at ten minute intervals, but I had yet to see it all the
|
||
way through. The visual rhetoric was contrived, but would
|
||
probably prove effective. They'd likely sell a billion
|
||
copies. I swallowed an over the counter pharmaceutical
|
||
designed to combat dizziness and resumed my seat on the couch.
|
||
Staring at a spot two feet above the telescreen, my mind began
|
||
to spin down, drifting to other concerns. My next shift at my
|
||
corporate front-job was scheduled to begin in just under five
|
||
hours. Still tasting apple dust (maybe it wasn't really apple
|
||
dust, after all), I chewed at the air with my mouth and then
|
||
dozed off, resigned to whatever dreams might come.
|
||
Approximately two-hundred forty minutes elapsed. I woke up.
|
||
Two more pill bug carcasses had embedded themselves into the
|
||
folds of my robe. They no longer seemed to be the most likely
|
||
vector of leaked intelligence. In point of fact they appeared
|
||
organic. Quite simplistic. This new-found lucidity
|
||
intensified as I painted shaving cream onto my chin and then
|
||
accidentally sliced the skin between my nostrils. It occurred
|
||
to me that Pink Floyd might not really be ripping me off.
|
||
They were probably capable of coming up with such an obvious
|
||
title as ECHOES on their own. Their boxed set was probably
|
||
being manufactured even as had I decided on the title of my
|
||
own collection. Still, the overlap rankled. I guessed that
|
||
it must have been a case of Steam Engine Time. For
|
||
posterity's sake, I will note here that my own ECHOES
|
||
collection may be sampled at the following address:
|
||
|
||
|
||
And here I had inserted a hypertext link. A pointer to some old,
|
||
half-considered project of mine from my early years trying to break
|
||
into the music industry. I wince at the memory, irrationally certain
|
||
that this will be all they'll find when they finally dig my starved
|
||
body out of this house and this snow drift and begin to piece together
|
||
the circumstances of my disappearance. Decorated Agent Leaves Behind
|
||
Rough Draft Of An Early Internet Posting. Family Denies Any Knowledge
|
||
Of Agent's Artistic Endeavors.
|
||
|
||
I lean back my head against the exposed boards of the attic floor and
|
||
observe as small flecks of snow float in and out between the cracks in
|
||
the roof. My fingers have become useless now, and I suspect that I'm
|
||
too weak to kick through the tile shingling. Troubling, to be sure. As
|
||
if to underline the point, I make an attempt to stand up and one of my
|
||
legs cracks and falls off onto the floor.
|
||
|
||
Well, so be it. Another opportunity to reflect on my past.
|
||
|
||
Reviewing this material I have to admit, I've had a good run.
|
||
|
||
IN THE END, NOTHING WORKS
|
||
|
||
tags: 2079, eva, gordon, tab2
|
||
|
||
In spite of his back, Thomas was up early the next morning. It hurt to
|
||
be out of bed. He slipped on his robe and dialed a reasonable
|
||
temperature for his bones. The floor felt cold under his feet. A draft
|
||
tickled his scrotum as he dragged himself down the hallway, robe
|
||
swishing freely between his legs.
|
||
|
||
Thomas found no paper on the front step.
|
||
|
||
Therefore, he reasoned, no newspaper could actually exist.
|
||
|
||
The number of people required to produce such an artifact could, quite
|
||
simply, never be forced together, never be entrusted to bring such a
|
||
project to fruition. Thomas dismissed the idea as self-evident lunacy.
|
||
As with other would-be conspiracies, this"newspaper" business, if it
|
||
were ever truly attempted, would immediately run afoul of man's signal
|
||
inability to cooperate effectively. The whole endeavor would end in
|
||
disaster. Thomas pictured a management team showing up at the office
|
||
and attempting to corral the so-called"newsmen" into some semblance of
|
||
order. Let's put this edition to bed, the managers would say. Sure,
|
||
their subordinates would reply, we'll get right on top of that, boss.
|
||
And then they would go to lunch. The whole concept of a metropolis of
|
||
workers, each synchronizing his movements to the other, all in some
|
||
effort to compile a grand codex of halftoned words and photographs...
|
||
Ostensibly a periodical source of news and sports-related
|
||
information... Implausible wasn't the word. The idea was like
|
||
something that would come out of a liberal arts college. Thomas
|
||
understood that in the end, nothing really worked. Thus it followed
|
||
that no newspaper would or could be delivered to Thomas' door, on this
|
||
or any other morning.
|
||
|
||
Thomas looked down. Perhaps he was surprised to see that the newspaper
|
||
still wasn't where it should have been. He wiped the condensation from
|
||
the front of his visor and planted his feet in the doorway, fixing his
|
||
gaze upon the concrete stoop. Why was he here? He meant specifically.
|
||
His eyes focused on a rough patch of masonry, shaped, vaguely, like a
|
||
copy of THE NEW YORK TIMES. He was slowly becoming aware that his lips
|
||
had chapped.
|
||
|
||
What...
|
||
|
||
He tried to remember why he was standing there, holding the door open,
|
||
facing out onto the street. Nothing came to mind, save for an
|
||
awareness of the relentless, frozen sheets of air that were blowing
|
||
past his face. After several moments, he became enticed by the sounds
|
||
emanating from inside the house, and so he retreated back into the
|
||
living room. He sat down by the fireplace and started to pull on the
|
||
hair that protruded from his chin. He would often affect this pose
|
||
whenever he found himself confused.
|
||
|
||
Presently, Eva came in with the tea.
|
||
|
||
Thomas regarded her suspiciously, conjecturing that she must have
|
||
prepared this tea herself, not simply poured it, pre-mixed, from a jug
|
||
or a bottle delivered by the government truck. It would later prove
|
||
that his suppositions had been correct. But at present, Eva refused to
|
||
discuss her inspiration. Why organic tea? He wrinkled his eyebrows
|
||
with palpable irritation and stared at her, knowing perfectly well
|
||
that his tendency towards interpreting simple results as the fruit of
|
||
complex machinations should not distract him so long that his tea
|
||
would go cold. I'm being silly, he thought to himself. Next, he'd be
|
||
accusing her of inventing, then hiding, and finally denying the
|
||
existence of, his daily newspaper.
|
||
|
||
He resolved not to say anything about it for now.
|
||
|
||
The feed to his visor had gone dark, sometime, he thought, in the past
|
||
week. The boys down at the switching station had gotten so wrapped up
|
||
in their chatter and practical jokes that the feed had ceased to be
|
||
maintained. This group of teenage boys had allowed any number of feed
|
||
pools to become irretrievably poisoned. Obviously, the problem had yet
|
||
to be amended. The cause of the service disruption was the logical
|
||
result of leaving unsupervised boys in charge of the running system.
|
||
There. Blunt common sense. No conspiracy required.
|
||
|
||
Though it could have been sabotage.
|
||
|
||
From the perspective behind Thomas' visor, everything had simply gone
|
||
black. Neighborhood residents were skeptical that the city's plans for
|
||
replacing the youths with middle-aged housewives would yield a network
|
||
any more reliable than the one that already existed. The real problem
|
||
was that this new technology simply didn't scale. You couldn't expect
|
||
everyone to get online at the same time without ramping up the
|
||
system's capacity. Unsupervised boys or no. Thomas doubted if any
|
||
demographic could keep the thing running without the assistance of
|
||
authorized Green technicians. Of course, that would cost money. On a
|
||
related note, did the Green Consortium really think that these
|
||
middle-aged women would subject themselves to working for lower wages
|
||
than what they could make staying at home? Like the aforementioned
|
||
"newspaper" idea, the scheme simply didn't wash.
|
||
|
||
How the networks had ever been built in the first place was also a
|
||
damned mystery. The secrets of net construction had apparently passed
|
||
into the realm of mythan area where Thomas carefully abstained from
|
||
treading. Just what had inspired Jeff Bezos to invent the Netscape
|
||
browser? The world might never know for sure. To be certain, claims
|
||
had been staked out by all of the usual suspects: Church leaders,
|
||
government agencies, atheist intellectualsthe full gamut of
|
||
unreliable sources. But Thomas was confident he knew the real score.
|
||
He had realized early in life that they all made up storieslies, in
|
||
factthat weren't supported by the available evidence. Anyone who
|
||
advanced a positive claim was merely covering an angle. No one knew
|
||
the real history of the Green. Or, at the very least, he was certain
|
||
there had been mistakes in the recording.
|
||
|
||
Just as well, then, that young people not be misled by any wild tales
|
||
of human beings working together towards a collective goal. It might
|
||
make for a ripping yarn, fine, but this sort of cooperation just
|
||
wasn't going to happen. Not that he could see. In his experience,
|
||
human beings were incapable of effective organization, even if
|
||
sometimes his mind liked to hallucinate collaboration amongst his
|
||
enemies. It would make more sense if the networks had simply grown
|
||
themselves.
|
||
|
||
You had to market your trash to the trash men, or else they would
|
||
stubbornly refuse to take it away. Thomas knew this to be true, but
|
||
still he couldn't find the time to arrange his various bags and
|
||
receptacles pleasantly enough to attract their attention. Instead,
|
||
garbage would pile up for several weeks before he'd finally be forced
|
||
to trudge down to the edge of the yard, spit on the road, and go to
|
||
work creating a minimally effective layout. These city trash men
|
||
thought they were critics. Thomas knew full well that as insiders to
|
||
the waste reclamation industry, their own garbage would never be
|
||
subjected to the ridicule of their peers. Instead, a trash man's
|
||
refuse would be hauled off periodically, sight-unseen. Thomas resented
|
||
the situation because it just wasn't fair. He could feel his hate for
|
||
the double-standard solidifying in his back. Why did consumers let the
|
||
government get away with this?
|
||
|
||
Thomas spied his friend Gordon coming up the road.
|
||
|
||
"What up, G?" he asked.
|
||
|
||
"I dunno, man. Field trip around the sun, I guess."
|
||
|
||
Thomas fingered his visor until the face of his friend came into
|
||
focus. Gordon had that look about him, as if he'd just been slipped
|
||
counterfeit money. (Money. Another conspiratorial delusion. Thomas was
|
||
undecided as to whether this particular fiction yieled sufficient
|
||
utility to warrant his playing along. Convenient, since he was usually
|
||
broke.)
|
||
|
||
"What are you doing to your face," asked Gordon.
|
||
|
||
"What do you mean?"
|
||
|
||
"There, your face. Why are you moving your hand around as if you were
|
||
manipulating some sort of device, or making some sort of minute
|
||
adjustments to your eyebrows. There's nothing there. Just that wrinkly
|
||
old skin wrapped around your skull."
|
||
|
||
Thomas moved to punch Gordon in the arm. Just then, he slipped off of
|
||
the stairs and toppled to the ground. He felt his hip shift out of its
|
||
socket as he struck the hard stone beneath him. Resigned to the pain,
|
||
he put his hand down in the snow and groaned.
|
||
|
||
"Can you help me up, please?" he said."My damn ass is broken."
|
||
|
||
Perversely, Thomas' visor clicked through its boot-up sequence and
|
||
once again resumed service.
|
||
|
||
Click. Click. Click.
|
||
|
||
But the settings were futzed. Thomas could see through Gordon's pants.
|
||
|
||
"Nice briefs," he said.
|
||
|
||
END BOOK ONE
|
||
|
||
BOOK TWO
|
||
|
||
THE GREEN
|
||
|
||
tags: 1918
|
||
|
||
Mary lit candles while I made some adjustments to the sound levels and
|
||
then paced off the markers on the stage. The trees were turning up
|
||
their leaves and the cold breeze against my face indicated that the
|
||
sooner we got started, the better. The weather was in transition
|
||
again. I noticed that in the diminished light, the curtain seemed to
|
||
be reflecting the green from all around us. I looked down at my arms
|
||
and the same effect was showing against my skin. Mary smiled
|
||
acknowledgement from her corner of the stage.
|
||
|
||
I faced toward the swaying grass. The movement of the hillside caught
|
||
hold of me immediatelyI felt it pull against my stomachbut once the
|
||
playback started I had little trouble falling into the correct rhythm.
|
||
Insects in the trees began to organize their shrieks around the
|
||
activity on stage. Presently, our surroundings had settled into smooth
|
||
synchronization with the machines. The shift between recognition and
|
||
acceptance was instantaneous, complete.
|
||
|
||
I noticed after a while that this had all transpired without incident,
|
||
and so with the usual assistance from Mary I began the second phase of
|
||
the rite. Intonation. One voice, then two, joining with the electronic
|
||
pulses, slipping into the fold, setting down a canopy atop the
|
||
invisible scaffolding which was still emerging from the loudspeakers.
|
||
We erected a shelter of sound, continuing with the program until
|
||
almost all movement within sight had come to a stop. Even the grass
|
||
had ceased its inverted pendulum swing. A single drop of water
|
||
splashed against my face and I winced almost imperceptibly, but did
|
||
not waver in my vocalizations. We both turned to face the hillside.
|
||
|
||
Then silence, from the both of us, and all at once it was over.
|
||
|
||
After an indeterminate period, Mary began to extinguish the candles. I
|
||
worked my way around the stage, detaching speakers and re-coiling
|
||
cords and plugs. The hillside below remained resolutely still
|
||
throughout this secondary performance, our movements a sort of encore
|
||
begging the mute appreciation of spring foliage. This silent effect
|
||
would persist for weeks before finally returning to normal. Mary and I
|
||
would fall back into our own familiar patterns. Clanging about. We
|
||
would complain that we missed the children, or that the government had
|
||
evolved beyond all recognition. It was comfortable, for the most part.
|
||
But the trees on the hillside were more thoughtful. They would hold
|
||
still for a few more days, perhaps as a reminder of what had already
|
||
passed. While I might climb back up to the stage some afternoon,
|
||
planning to relax with a book, my consciousness of the synchronicity
|
||
would have already expended itself. The resonance would be completely
|
||
drained. I was sure it would be the same for Mary.
|
||
|
||
I slept better that night than I had in a long time. A decade. The
|
||
temptation was always to think that if we'd take time out for this
|
||
observance just a little more often, if we'd simply make an effort to
|
||
keep these sentiments in our daily thoughts... Well, you know how
|
||
these things tend to work out. The truth isand this is as important
|
||
as any other detail you'd care to focus onthe rite was only to be
|
||
performed once a year. That's how it had always been. And the
|
||
tradition, I think, was correct. Well-founded. The empty spaces were
|
||
in fact as significant as those caressed by the resonance of conscious
|
||
observance. The transition from one state to another could only be
|
||
measured along this sort of blunt, descending staircase. Dividing
|
||
awareness from its counterpart, one state from its successor, empty to
|
||
all filled up. How else could we perceive change at all?
|
||
|
||
As the rains started, I scooped up the last of the cables and snapped
|
||
shut the plastic container where they were stored when they were not
|
||
being used. A thoughtful crease appeared along the ridge of my
|
||
eyebrows, and Mary quickly rolled out the awning over the stage, just
|
||
as the downpour really began to break loose. We locked hands and
|
||
wandered the stone pathway back to the house, a silent song on our
|
||
lips as the rain beat clumps of our hair down against our ears. It
|
||
felt as if we were aging in reverse.
|
||
|
||
Rainwater spread over the green fallen leaves, sticking them to the
|
||
concrete, bulletin boarding them from the edge of the woods all the
|
||
way up to the house. We kicked them along as we made our way through
|
||
the spring shower, splashing forward to the doorway and its steady,
|
||
house-shaped warmth.
|
||
|
||
Until next year.
|
||
|
||
EPISODE IX
|
||
|
||
tags: 1957, margaret, paris_mold, tab1, the_chief
|
||
|
||
I couldn't get the lid off.
|
||
|
||
I bashed the base of the jar against the corner of a nearby table
|
||
(away from my body, so as to avoid the spray of flying smart glass)
|
||
and kicked the resulting debris out of my path. Moved back to the
|
||
terminal to finish transcribing. I had the bulk of the message keyed
|
||
in by the time the big kitchen door dissolved into its frame.
|
||
|
||
In sauntered Paris Mold.
|
||
|
||
He smoothly traversed the tile floor, making a beeline for the object
|
||
in my hand (and by extension, for me). He peered at my stats,
|
||
observing my progress without bothering to explain his presence.
|
||
Annoyed, I flashed him my teeth and continued typing. I carefully
|
||
unlatched the bag under my table with an obscured foot.
|
||
|
||
Paris' gaze slid from my keyboard to my shoulders to my scrambled face
|
||
in a continuous gesture. He maintained a blank expression that I
|
||
couldn't have mustered even with the help of electronics.
|
||
|
||
He cocked his head slightly to the left and began to speak. I noticed
|
||
there was a huge smudge of dirt on his cheek.
|
||
|
||
A detail such as that could be my anchor in the moments to come.
|
||
|
||
"That's one hell of a portable," Paris observed, nodding in the
|
||
direction of my table-top device. As if in response, the pressure
|
||
screen's broadcast antenna extended itself and locked into place.
|
||
|
||
Without warning, the room folded back upon itself, pulling all sorts
|
||
of visual transforms that reminded me of the programming exercises
|
||
given to small children at school. It appeared to be modeling the
|
||
cellular automata of snowflakes, tree branches, and the flocking
|
||
patterns of birds. Most of the standard primitives.
|
||
|
||
I gritted my teeth. Being this close to Paris Mold was like chewing
|
||
power cables. I knew I wouldn't be able to keep my head straight for
|
||
long, so I leaned in towards him and smiled in feeble agreement.
|
||
|
||
"Yes, boss."
|
||
|
||
Paris coughed.
|
||
|
||
Purposefully, I fastened the strap on my helmet, then clamped shut my
|
||
eyes until my sensors reached equilibrium. I risked one last glance at
|
||
Paris Mold, tightened my scrotum and tapped the device in my bag with
|
||
the tip of my boot.
|
||
|
||
There sounded a short series of digital squawks. Then the whole place
|
||
went wobbly and the walls began to collapse.
|
||
|
||
A look came over Paris' face. As the ceiling rushed to meet the floor,
|
||
he realized what I'd done. His expression was no longer inscrutable.
|
||
|
||
Still, this was going to kill me, too.
|
||
|
||
I plopped in another pat of margarine and inhaled over the sizzling
|
||
frying pan. Folding the wrinkled bits of paper into the eggs, a series
|
||
of disconnected sentence fragments slowly came into view. I closed my
|
||
eyes and surveyed the partial collage. Three signatures in all. These
|
||
were definitely the forms I'd sought, but the fragments seemed
|
||
incomplete. Something was missing.
|
||
|
||
Tabasco.
|
||
|
||
I thumbed the labels of three different brands (there were several on
|
||
the shelf). Overwhelmed by the available choices, I went ahead and
|
||
emptied them all into the mix. A brief shot of green-smelling flame
|
||
licked the canopy above the stove. Spam!
|
||
|
||
I batted the fire with my spatula. Left-handed, because I was still
|
||
holding onto the frying pan. I had to guess about where the tongues of
|
||
flame were going to dart next.
|
||
|
||
In wandered Paris Mold. We didn't make eye contact; we couldn't
|
||
really, on account of my being blind.
|
||
|
||
I assumed he had come to apologize.
|
||
|
||
Mold was no longer my boss. But still he would offer me work from time
|
||
to time, bundled with an awkward expression of sympathy. He felt
|
||
responsible for my blindness and therefore made every attempt to wipe
|
||
clean his conscience by providing me with advance notice of his job
|
||
listings. I tolerated it only because I needed the work.
|
||
|
||
"Can't sleep?" he asked.
|
||
|
||
"Horseshit. I'm trying to finish my taxes."
|
||
|
||
"Still slaving away at that, eh? The deadline's coming up, you know,"
|
||
he chided."Why don't you hire an accountant?"
|
||
|
||
"These days, I've got plenty of time to waste. Besides, I was hungry."
|
||
|
||
My finger hovered over the"eight" key while Paris regarded my
|
||
handiwork. I wasn't about to enter negotiations without some sort of
|
||
leverageeven if that meant blowing his forehead into spun glass.
|
||
Paris wrinkled his eyebrows and made a disappointed sigh. So, this was
|
||
going to be it. With a flick of my finger, a shotgun would descend
|
||
from the ceiling and project a hot lead sandwich through Paris' face.
|
||
I judged from the sound of his low, even breathing that he was
|
||
standing right on top of the the marker. Almost...
|
||
|
||
The bandages on my face began to itch. I twitched, trying to adjust
|
||
the strips of gauze with my nose before they slid completely off of my
|
||
face. This must have created an awkward spectacle, given the
|
||
situation.
|
||
|
||
"What is that? Sign language?" Paris snickered.
|
||
|
||
A flash of rage. My eyes started to burn. I punched the"eight" key
|
||
vigorously. Eat this, fuck sack!
|
||
|
||
Then: A long, piercing beep as my keypad's buffer filled with"eights."
|
||
|
||
Why wasn't it working? I looked down and saw nothing.
|
||
|
||
It transpired that my hands had slipped off of home row. I had been
|
||
mashing the wrong key.
|
||
|
||
The realization dawned, as my wife used to say, too little, too late.
|
||
|
||
Paris Mold retaliated with extreme prejudice.
|
||
|
||
By force of habit, he went straight for my eyes.
|
||
|
||
They said I had been chewing on my left hand, apparently trying to get
|
||
at my chronometer. I complained that I hadn't managed to kill Paris
|
||
Mold, period, no matter what or when I'd tried. He was just so...
|
||
there. You know? Something to do with his training, I guessed. It was
|
||
this last remark that got me pulled from the operation.
|
||
|
||
They wanted to know if I was through wasting their time, if I was
|
||
ready to stop stalling. When had I planned to follow through on the
|
||
objective? Was I really so disoriented that I couldn't maintain
|
||
narrative continuity? And what was this nonsense I'd been ranting
|
||
about? Had I experienced fear in the presence of the Molds?
|
||
|
||
The words"dishonorable discharge" were bandied about over my
|
||
restrained bodythe first time such words had been mentioned in
|
||
relation to my person. It sounded to me like a threat. I could do
|
||
nothing but foam and thrash.
|
||
|
||
Had I really failed so completely?
|
||
|
||
The Molds still walked the Earth.
|
||
|
||
The Chief phoned while I was still strapped to the table. He claimed
|
||
that my wife had become pregnant.
|
||
|
||
I asked him how he knew.
|
||
|
||
THE PARTISAN
|
||
|
||
tags: 1949, 1950, 1951, 1953, 1954, mother, tab1
|
||
|
||
1
|
||
|
||
Mother didn't love me.
|
||
|
||
Well, who knows, but it sure was hard to tell. I assume she wanted me
|
||
gone by graduation. Pushing me out of the nest fit symmetrically with
|
||
first having introduced me to its warmth.
|
||
|
||
Only, I hadn't needed to be pushed.
|
||
|
||
Whatever the case, I wouldn't have stuck around once I'd secured my
|
||
means of escape. In fact, my childhood agenda came to center upon
|
||
vacating the nest at the earliest possible convenience. I told her as
|
||
much on a handful of occasions, which may have been an early source of
|
||
her resentment towards me.
|
||
|
||
Drifting, there. Such thoughts are useless for filling out my report.
|
||
|
||
I dribble a handful of words into the document and save before making
|
||
a trip to the men's room. Time to call it a night.
|
||
|
||
Passing through the marketing department, I ponder the desks of the
|
||
new-hires, noticing for the first time that their cubicle partitions
|
||
and arm-thick contract binders serve as ballast against the
|
||
accumulation of personal effects. The design is intentional. In my
|
||
first few months at the company I never would have suspected such
|
||
subtle architectures of control.
|
||
|
||
I round the corner to the men's room and take a seat in the furthest
|
||
stall.
|
||
|
||
After a few minutes I'm faced with a problem.
|
||
|
||
No toilet paper.
|
||
|
||
2
|
||
|
||
I am out of work.
|
||
|
||
Real work, that is. My study group has been shut down.
|
||
|
||
It's the Greens. They're everywhere. Though admittedly they're less
|
||
numerous than in recent years.
|
||
|
||
Take my former manager. Matters of consequence on his mind. A month
|
||
ago he retracted our billet after deciding that my group had fielded
|
||
too many atheists. A security risk, he said.
|
||
|
||
What is this, the 1910s?
|
||
|
||
For a while now I've been sitting at home, steadily freezing solid in
|
||
my poorly insulated study. Not the best working environment, and I'm
|
||
not getting much done. On top of it all, Mother won't leave me alone.
|
||
I've had to resist the urge to flag her for rendition. I like to think
|
||
I've made the right decision.
|
||
|
||
This morning I discover that the Greens have cut loose my former
|
||
manager. I'm digging around in his account when the call comes in.
|
||
|
||
We're back on.
|
||
|
||
Patent disputes in the hinterlands.
|
||
|
||
The traffic orb on my desk glows a suggestive blue as I pick up the
|
||
phone to contact my team.
|
||
|
||
3
|
||
|
||
Well, that didn't last long.
|
||
|
||
Back to retail.
|
||
|
||
I work the counter between calls because no one else knows how to
|
||
operate the products we sell. Customers roll in and then they roll
|
||
back out, au gratin waves of body fat wrapped in plastic garments. The
|
||
typical specimen reeks of a public cafeteria.
|
||
|
||
A man wanders into my zone and starts fidgeting with the boxes of
|
||
electronic equipment. He picks up a box and then sets it back down
|
||
without examining it. He repeats this awkward choreography at several
|
||
different positions along the aisle. His movements seem aimless and
|
||
there appears to be no intelligent pattern underlying his
|
||
investigations.
|
||
|
||
What is going on here? The answer is that I don't care.
|
||
|
||
"Is there something I can assist you with, sir?"
|
||
|
||
Contractually, I cannot allow his anti-commercial behavior to pass
|
||
unchallenged. I maneuver myself between him and the shelves and then
|
||
read him one of the scripts I've been required to memorize.
|
||
|
||
"I am certified in twenty-seven dialects of formal sales semantics,
|
||
with a top-five ranking amongst appliance technicians in the local
|
||
Green. It would be my pleasure to interpret your needs today. Thank
|
||
you for choosing AT&T."
|
||
|
||
"Son, let me ask you a question. Do you actually like working here?"
|
||
|
||
I have to admit, there's no easy way to answer. I don't let it show on
|
||
my face.
|
||
|
||
From an obscured storage pouch the man produces a business card and
|
||
communicates it smoothly into my hand. Affixed to its underside is a
|
||
thousand dollar bill. I turn the tiny rectangle in my hand, staring at
|
||
it quizzically. What has just happened here? Gradually, I realize that
|
||
the currency is fraudulent. The thousand dollar bill is a facsimile,
|
||
printed on the reverse of the business card. I smile and the man
|
||
lights up, returning my grin. I swear I can hear his face skipping
|
||
gears.
|
||
|
||
"Five minutes of your time and that t-note becomes real, deposits into
|
||
the account of your choice. Spend it however you like."
|
||
|
||
It's hardly pocket change, and of course I'm well beyond broke, so I
|
||
gesture for him to proceed with his pitch.
|
||
|
||
Before I know it, he has me filling out paperwork, signing papers.
|
||
"Signing your life away," he announces, and smiles.
|
||
|
||
He doesn't seem to care about my previous experience.
|
||
|
||
4
|
||
|
||
I'm being sent to the front.
|
||
|
||
Well, one of the fronts.
|
||
|
||
In modern warfare, someone has to keep the breathers running. My
|
||
orders are to install hotfixes and updates on the machines that
|
||
control the mobile flow tanks, which in turn feed the breathers. We
|
||
aren't permitted to install unauthorized programs, but everyone I've
|
||
ever worked with does so anyway.
|
||
|
||
Our Sergeant hosts a fileserver from his backpack.
|
||
|
||
The men of the platoon have taken to calling me"Mother." I assume this
|
||
is in reference to my careful maintenance of their breather
|
||
apparatuses. I don't find it amusing in the slightest.
|
||
|
||
In spite of improvements to our equipment, signal degradation
|
||
continues to render the mail unreliable. The satellite gear proved
|
||
flaky and we dumped it after the first week in the field. At higher
|
||
elevations we're sometimes able to establish line of sight with the
|
||
fleet.
|
||
|
||
Mother would probably like to hear from me. Maybe I'll drop her a line
|
||
the next time we're up the mountain.
|
||
|
||
5
|
||
|
||
Responding to aggressive stimuli, I discharge my service rifle into
|
||
the crowd.
|
||
|
||
My round exits the back of a man's skull and strikes the man standing
|
||
directly behind him. It then travels on to the next man standing
|
||
behind him. For a split second the perforated heads sync up, their
|
||
wounds aligning in a peculiar sort of optical tributary. As quickly as
|
||
it is formed, the channel collapses and the illusion of coherence is
|
||
lost.
|
||
|
||
This dynamic tableaux has been observed by several hovering cameras.
|
||
I'm struck by the way each unit edges past its neighbor, vying for a
|
||
better angle on the corpses lying at my feet. They seem to
|
||
deliberately ignore me and my fellow soldiers. I don't understand why.
|
||
|
||
A hand falls on my shoulder. It is the Sergeant.
|
||
|
||
What's he doing here, I think to myself.
|
||
|
||
Oh, right.
|
||
|
||
6
|
||
|
||
Prison clothing is uncomfortable. In my case it fits well enough. Some
|
||
of my peers have been less fortunate.
|
||
|
||
I keep in step with the other prisoners. Occasionally, I catch my
|
||
reflection in the back of another inmate's jacket. Even out of uniform
|
||
we're unmistakably soldiers.
|
||
|
||
A guard shouts obscenities through a bullhorn and the man in front of
|
||
me stumbles. I think that I recognize him. Latino, approximately
|
||
twenty years of age. Infantry, definitely. Could it be?
|
||
|
||
When the guards aren't looking I kick him in the back.
|
||
|
||
"Keep up, asshole."
|
||
|
||
He gasps, flashing me the secret hand sign of our platoon.
|
||
|
||
I'm convinced now, and kick him again, this time less carefully. Less
|
||
the actor. I have him on the ground by the time the guard with the
|
||
bullhorn interrupts.
|
||
|
||
"Move, faggots!"
|
||
|
||
We do as he says.
|
||
|
||
The data has changed hands.
|
||
|
||
7
|
||
|
||
I am free.
|
||
|
||
Released.
|
||
|
||
The spring sun sinks into my face. Mother has passed away at some
|
||
point during my incarceration.
|
||
|
||
I convalesce at home for two days before calling in to be reactivated.
|
||
|
||
The boys will be anxious to hear about my experience behind bars. I
|
||
wonder how many of us are left.
|
||
|
||
8
|
||
|
||
And now it's back to the grind. Nothing has changed about the war
|
||
we've been fighting, though the locales tend to shift with the
|
||
seasons. We manage the periodic disorientation by assigning colors to
|
||
each theater of operations. This quarter we're in the Red. The
|
||
projection is that by next quarter we'll be in the Black.
|
||
|
||
One of our little jokes.
|
||
|
||
Oh yes, and no White after Labor Day.
|
||
|
||
Staffing is flexible, pending new developments. This rotation we're at
|
||
home. For us, domestic deployment (as with training) constitutes
|
||
leave. The boys are all present and we fall into our familiar rhythm
|
||
as we pace the perimeter Capitol Hill.
|
||
|
||
A froth of reporters churns to and fro between our lines. The latest
|
||
fashion in Washington is a press pass that authorizes the bearer to
|
||
cross military checkpoints with impunity. A stupid idea, to be sure,
|
||
but nobody asked my opinion. The cameras flit about as a few of the
|
||
reporters spill over in my direction.
|
||
|
||
One approaches me, brandishing a microphone.
|
||
|
||
"Corporal! What's your take on the continuance of the war? Can you
|
||
give me seven syllables on the reinstatement of compulsory military
|
||
service? The draft?"
|
||
|
||
I regard her from behind my service rifle.
|
||
|
||
Seven syllables? Let's see.
|
||
|
||
"I'm afraid I enlisted."
|
||
|
||
HALF-DANDY IN THE RUBBISH FACTORY
|
||
|
||
tags: 1918, lonnie, pennis_mold
|
||
|
||
Standing in the mirror and seeing that without a belt, these new
|
||
slacks are simply not going to stay up. I'm in danger of tipping the
|
||
balance between classical style and practicality, but I mustn't be
|
||
caught off guard if anyone should happen to catch a glimpse of me in
|
||
my civilian underclothes. I find something suitable in my closet and
|
||
pin myself into the pants, clipping a handful of mesh transceivers to
|
||
my blouse before pulling on the pressure suit and chiming for a ride.
|
||
Down in the tunnels, I don't want my breeches coming loose, getting
|
||
wound around my legs inside of the suit. Before exiting the apartment,
|
||
I remove a number of petals from a rose and press them between the
|
||
pages of my notebook. I savor the scent for a few moments before
|
||
concealing the book within my pressure suit and heading out the door.
|
||
|
||
At the entrance to the lowest tunnels I pause before a monstrous
|
||
installation, a war machine from some forgotten conflict of decades
|
||
past, and affix my collapsed flower to a placard situated below the
|
||
airplane. It is humid enough that the petals stick to its slick
|
||
surface with little effort. Even in this diffuse lighting, the mighty
|
||
nose and wings of the plane gleam immodestly, and I am ashamed to
|
||
experience a wave of exhilaration, prostrate as I am before such a
|
||
reverential display of murderous articulation. I gather myself and
|
||
proceed to the elevators.
|
||
|
||
In my mind it is all quite different than this.
|
||
|
||
I embody two discreet realities. Suffering alone, I am continuously in
|
||
peril of favoring one reality over the other. As of late, a new
|
||
barricade has been thrown up, an obstruction that permanently divides
|
||
these tandem perspectives of the rubbish factory. Necessity demands
|
||
that I pick a side and entrench my position, but my heart cries out
|
||
for reconciliation.
|
||
|
||
I take solace in the fact that, being made of plaster, the dividing
|
||
wall will eventually bow under its own weight.
|
||
|
||
If memory serves, a similar plaster wall erected around the
|
||
masterpiece Il Cenacolo protected it from the onslaught of mechanized
|
||
warfare, early in the last century. No one expected a fresco to stand
|
||
against mortar fire, but here our fellow Leonardo had produced a hare
|
||
from his conical hat. The wall stood firm though the building around
|
||
it crumbled to dust.
|
||
|
||
I see now that such a wall can be made to serve a useful purpose. Do I
|
||
really wish for all the evil in my thoughts to pass so freely? It is
|
||
at moments such as these that I find it crucial to get something down
|
||
on paper, before mind's effluvium carries mind itself away on a raft
|
||
of sudden, fatiguing currents. In truth, I write to cleanse the
|
||
palate. There is a bad taste in my mouth after three weeks toiling on
|
||
the latest factory inventory. Lonnie plays Microsoft SOLITAIRE at his
|
||
desk while I scribble in my notebook.
|
||
|
||
Furthering my previous thought, let us now consider the plaster wall
|
||
in my mind as ballast. A shift in perspective to interpret the empty,
|
||
unused spaces as the most precious of cargo: a portal to new
|
||
understanding.
|
||
|
||
I boot up a fresh sheet of paper, reflecting upon the true nature of
|
||
metaphor as filler. A great sewer main has burst in my mind, carrying
|
||
forth copious amounts of shit and pissboth having been lodged quite
|
||
stubbornly in the pipe. This is the opposite of the wall. I observe as
|
||
each new parcel of feces floats away, bobbling down the stream. There
|
||
is something that cannot be contained within a mind such as my own, a
|
||
mind that is slowly breaking up, dividing into dull, gray cubicles.
|
||
|
||
It seems that we have come full circle.
|
||
|
||
Which way is it going to be, then? Walls to divide, or portals to
|
||
connect?
|
||
|
||
They are both the same. Textures that are defined, even as they are
|
||
described, by the perceiving apparatus.
|
||
|
||
There is a great wealth of surface detail to be absorbed, to be
|
||
sorted, and I do carry on exploring, but I find that there is only one
|
||
true form of currency, here in the rubbish factory, and that is the
|
||
universal reserve of the personal imagination. It proves to be an
|
||
aether that never devalues, that is never appraised relative to
|
||
markets or governmentsit is the ineffable substance that constitutes
|
||
essential wealth.
|
||
|
||
Reaching this point of minor resolution, I close up my notebook and
|
||
stuff it into one of the compartments of my pressure suit. A whistle
|
||
sounds, groaning, pixelated. A gavel is banged and my mental courtroom
|
||
clears of solicitors, making room for me to think other thoughts, to
|
||
reconnect the cycling belt of my psyche back to the idling gears of
|
||
its cadaver.
|
||
|
||
It is time for lunch.
|
||
|
||
We men clamber into the mess hall, which has not yet reached fifty
|
||
percent capacity. Two- and three-man teams are clotted into
|
||
flesh-colored scabs around the edges of each steel table. We dine on
|
||
whatever has been set down in front of us by the kitchen staff.
|
||
Between bites of supper, we trade raucous barbs.
|
||
|
||
"And what, pray tell, is the value of this thing called beauty," a
|
||
colleague stands up and asks, apparently to no one.
|
||
|
||
A few of the men turn around in their seats to face the speaker. Some
|
||
of them get up and leave altogether. But most simply pick over their
|
||
lunch trays and stare at their food, seemingly oblivious to the
|
||
philosophical gauntlet that has been thrown down.
|
||
|
||
"Ah, yes, the dominant minority," a familiar voice chimes in.
|
||
|
||
"Rather, I should say, an aristocracy of merit," counters the original
|
||
speaker, earning smiles from every participating table.
|
||
|
||
I appreciate exchanges like this, here in the lunch room, as they
|
||
afford us men the chance to unwind between extended shifts in the
|
||
tunnels. The work can be grueling, the hours long. The repetitive
|
||
plunging of gloved hands or shielded feet into the crowded arteries of
|
||
the sanitation lines coarsens men to fellowship. But here, we make our
|
||
own peace with our situation. Here, we arrive on the cusp of our
|
||
destinies by the strain and sweat of our honest toil. It is a kind of
|
||
progress.
|
||
|
||
Before things really get started, a triumvirate of management stride
|
||
into the room, enjoying a buffer nearly three meters in diameter as
|
||
they pass between the huddles of workmen. I grip my lunch tray with
|
||
trepidation as they float past my table, unsure of the purpose for
|
||
their visit.
|
||
|
||
What I notice first is the impeccable styling of their attire. Even
|
||
when down in the tunnels, these gentlemen always always keep their
|
||
gear clean. In the general low-light conditions of the sewer, it is
|
||
their bejeweled teeth and resplendent gold necklaces which can first
|
||
be seen approaching, glittering through the humid mists of municipal
|
||
waste. At times, the ricocheting reflections may cause an entire face
|
||
to disappear, or at least, they may seem to disappear when one's
|
||
vision is obscured by a pressure suit mask. But here in the mess hall,
|
||
we all remove our helmets to talk and eat. Here, the glare does not
|
||
obscure but instead serves to illuminate.
|
||
|
||
The small group approaches now, my own supervisor striding to the
|
||
fore. His low-slung denim splits into a Cheshire grin of plaid cotton
|
||
undergarments. The suede of my supervisor's sneakers appears to be
|
||
freshly brushed, having accumulated no floating particles of detritus
|
||
or dirt. His tasteful, oversize polo tee asserts the classic dialectic
|
||
of red and white striping, situated masterfully alongside a deep blue
|
||
rectangle bearing numerous white stars, each of self-evident, sacred
|
||
significance. I am somewhat taken aback by this sudden explosion of
|
||
color. It is a moment I cherish even as it overwhelms me, and I
|
||
briefly clench my eyelids together, attempting to trigger my mesh
|
||
camera, to stream the scene into the pages of my department's
|
||
distributed memory.
|
||
|
||
As the managers pass my table they hesitate, stop, and then double
|
||
back.
|
||
|
||
My supervisor's nostrils incline perceptibly. As one, the group turns
|
||
to face me. I swallow the food in my mouth, which goes down the wrong
|
||
way, and I begin to worry about the visible stubble on my face. How
|
||
must I appear to them?
|
||
|
||
"Yo, ya'll have been selected, son! We're up in this place to request
|
||
that you authorize a temporary application fee of two billion credits
|
||
to secure your promotion to management. Know what I'm sayin', cousin?
|
||
To authenticate this ceremonial enhancement, please press here, fool.
|
||
Fa sho."
|
||
|
||
I place my thumb onto the reader and press down, weakly. This elicits
|
||
a further vocalization.
|
||
|
||
"Peace. Five thousand, G."
|
||
|
||
And then they are gone.
|
||
|
||
I am quite literally bowled over, and my lunch tray pinwheels to the
|
||
floor in pursuit of my limp form. Lonnie, faithful companion of lo
|
||
these many years, helps me back to my seat as I slowly regain my
|
||
composure. Gradually, the ramifications of what has just happened
|
||
begin to sink in. Promotion will mean an increase in my pension, new
|
||
quarters... and an unlimited civilian clothing allowance. I have just
|
||
been created anew. Afforded a repeat birth. I switch on all mesh
|
||
transceivers and begin capturing every possible angle of my
|
||
surroundings, preserving this vital moment, etching a record for the
|
||
corporate archives, for my descendants, for their inheritors.
|
||
|
||
"What up, son," Lonnie chides, adopting the formal tone of management
|
||
in a sort of mockery of their stiff, proper elocution."These negroes
|
||
done lost they minds."
|
||
|
||
I nod my head slightly, acutely aware of the expanse that now
|
||
separates our respective circumstances. The great plaster partition
|
||
has come crashing apart in my mind, and in this instant, the dejected,
|
||
isolated occupants of each chamber are crushed together, the sticks of
|
||
pious liberty bundled into a final, immobilizing unity. I eschew my
|
||
former concerns, beholden as they were to considerations of slop and
|
||
waste. The combustion of my thoughts is now fueled solely by the light
|
||
of its own countenance.
|
||
|
||
Lacking a prepared response, I yield to myself completely.
|
||
|
||
My face droops into my hand. A bent elbow evenly supports the
|
||
increased weight of my skull, flesh and excessively powdered hair. I
|
||
find that I have grown suddenly weary of contemplating the great
|
||
weight of my responsibility. Lonnie will come to appreciate this
|
||
fatigue if ever he is called up, into the obdurate embrace of his
|
||
betters.
|
||
|
||
But at this moment I cannot expect him to fully understand. Not while
|
||
he still finds himself tethered to the undercarriage of our labyrinth
|
||
of shifting human shit.
|
||
|
||
I look at him and it is obvious he cannot understand what I have
|
||
become.
|
||
|
||
"Dandy," I finally reply, employing the crude language of the tunnels.
|
||
I burp towards the mess hall out of politeness. In the resulting
|
||
silence I pick at the visor of my helmet.
|
||
|
||
Lonnie makes a face, forlorn, but still he says nothing.
|
||
|
||
I wave him away. I excuse myself and leave my tray for the staff to
|
||
clear.
|
||
|
||
I am already running next month's numbers in my head.
|
||
|
||
Fitting my manicured hands to the master controls of the rubbish
|
||
factory.
|
||
|
||
ASDFASDF
|
||
|
||
tags: 1979, erik, roger, tab2
|
||
|
||
Thomas adjusted the focus of his visor and opened three new chat
|
||
windows. He joined the appropriate channel in each window, issued
|
||
greetings to everyone, and then banked his fighter jet into a cloud,
|
||
dodging enemy fire. He checked his screens but it looked like everyone
|
||
else was idling.
|
||
|
||
Roger crushed the soda can beneath her foot and stomped into the
|
||
building. Behind her, Erik dribbled the rest of his beverage into the
|
||
gutter and followed suit. Both of them were late for duty. <Thomas_>
|
||
Oh well, here we are again, crammed into this office when it's windy
|
||
and gray outside. No cold London breeze in our faces today, boys! By
|
||
the time you read this, I'll have flattened quite a bit of real
|
||
estate, I'd imagine. Oh well, where does the time go.
|
||
|
||
<Rog> Is someone stroking you off over there?
|
||
<Thomas_> That's offensive. And just where the spam have you two been.
|
||
<erikw> i'm so spamming tired
|
||
|
||
A flash crossed all of their screens at once. A vibrant pink square
|
||
that obscured half of the desktop, causing Roger (at least) to
|
||
misdirect her fire towards a friendly.
|
||
|
||
Folks, RDO (Regular Day Off) Since we are starting a run on training
|
||
next week and through September for various classes (other course
|
||
scheduling to be announced), we will be depending on all to help keep
|
||
our levels up as well as possible, as you have these last couple of
|
||
weeks. Since Thursday and Friday are always busy days anyway, we'd
|
||
like to ask anyone with their RDO on Thurs and Fri to work OT during
|
||
our critical time. That can be up to 8 hours starting between 7am-9am,
|
||
and possibly a couple more depending on how busy it is. Then from next
|
||
week on until further notice, we'd like those that will, to work OT on
|
||
their RDOs between the same starting times, with the possible 2 hrs
|
||
extra on top of the 8 if business needs are heavy. If you cannot work
|
||
the full 8 but can work 4 hrs between 10am-2pm or 11am-3pm (same for
|
||
this Thur & Fri), that would help out during the lunch periods. Of
|
||
course working through lunch is also authorized w/ break splitting
|
||
until further notice.
|
||
|
||
Thomas cleared the flash and flitted his eyes back to incoming. Roger
|
||
and Erik actually finished reading the entire message.
|
||
|
||
The result of their decision was immediately apparent.
|
||
|
||
Rockets in the air. Thomas vectored wildly, but it was clear that
|
||
convergence was only a matter of time. The air support team (the happy
|
||
trio, all together) cursed simultaneously.
|
||
|
||
The potential flight paths whirling in front of them were useless.
|
||
TelemeTry was lagging again. The sky was infinite white on every side.
|
||
|
||
Roger and Erik backed off of the target and regained control of their
|
||
vehicles.
|
||
|
||
Thomas, for his part, had lost the ground.
|
||
|
||
asdfasdfasdfasdfasdf
|
||
|
||
<erikw> i wasnt going to come in at all today but it turns out i've
|
||
already used up my personal days for the rest of the year. it's
|
||
fucking january!
|
||
<Rog> I was in the cafeteria and I heard Sarge talking spam about us
|
||
not getting 20 minute breaks anymore after this quarter
|
||
<erikw> fuck that! argh. that does it, i'm deleting his account on
|
||
webster. no more free zero day for him!
|
||
<Thomas_> Hey guys.
|
||
<Thomas_> I am SO not working overtime this weekend
|
||
|
||
asdfasdf
|
||
|
||
Thomas drummed his fingers on his desk absentmindedly. Presently,
|
||
UTF-8 characters appeared in front of his eyes, translucent, but still
|
||
rather annoying as they partially obscured his vision. He finished
|
||
logging his flight ticket and got himself up, out of his chair.
|
||
|
||
As usual, Erik and Roger were a few minutes longer in getting their
|
||
acts together. This was exacerbated by Erik accidentally brushing his
|
||
elbows against Roger's breasts, several times, in the space of just a
|
||
few minutes.
|
||
|
||
After she'd finished repeatedly punching him in the gut, both airmen
|
||
caught up with Thomas and took their places next to him in the chow
|
||
line, where they casually compared the features of their newly
|
||
upgraded visors.
|
||
|
||
"I'm always waiting for you guys. Spam like this is why we lose so
|
||
many airplanes."
|
||
|
||
Thomas held his serious expression for several seconds, and then they
|
||
all burst into laughter.
|
||
|
||
I'M JUST SAYING
|
||
|
||
tags: 1979, christopher, violet
|
||
|
||
"Every time I walk past your desk you're reading that damned feed."
|
||
|
||
"Do you see the flaw in this?" Violet asked."Every time you see me
|
||
reading the feeds, you're away from your own desk. You'd never even
|
||
know I was breaking the rules if you weren't up, walking around,
|
||
breaking them yourself."
|
||
|
||
Frankly, there had been little to distinguish her until fairly
|
||
recently. The spring quarter had perhaps brought about a kind of
|
||
transformation. Certainly, she'd taken well to his instruction.
|
||
Christopher mused (to himself) that perhaps what he admired in her
|
||
most was his own reflection. But this was a profoundly disagreeable
|
||
notion, and he discarded the thought. The light from the office window
|
||
played softly in her hair. He would try again. There could be no harm
|
||
in trying.
|
||
|
||
"No, Violet, Newton did not hold that the Green was eternal. A
|
||
gentleman of his era would not even have been able to perceive the
|
||
Green."
|
||
|
||
"Now you're just lying," said Violet.
|
||
|
||
"Nullius en verba," sighed Chris."Trust, but verify. Or in other
|
||
words, do your own research. You see, it doesn't matter if you believe
|
||
me or not. This isn't a relative matter. The Green did not exist in
|
||
the seventeenth centuryit's not merely an assertion, it's an
|
||
incontrovertible fact."
|
||
|
||
"According to your essentialist bias," Violet said."But what are
|
||
'facts,' anyway?"
|
||
|
||
There was no answer. It was a meaningless question.
|
||
|
||
Violet's mouth creased acutely at its corners, her eyes tracing the
|
||
arc of the golden ratio as Christopher shifted in his work trousers,
|
||
unsure of how to proceed. He could no longer remember what he had been
|
||
trying to say, or why. He stopped typing in order to formulate his
|
||
response.
|
||
|
||
"All you need to know about Newton is this: his work on optics may
|
||
have indeed set the stage for the eventual overturning of his work on
|
||
motion."
|
||
|
||
"That's seriously not even true," said Violet."Einstein was very clear
|
||
that his own work should not be seen to supersede Newton's, but merely
|
||
to build upon the foundations laid by his able predecessor. Newtonian
|
||
mechanics is still quite viable from virtually any perspective. Even
|
||
today."
|
||
|
||
"I'm just saying," she added.
|
||
|
||
"And yet, you cling to this notion that Newton knew ofcommuned
|
||
withthe Green. That he had some sort of access to the network."
|
||
|
||
"Didn't he?" asked Violet, rolling her eyes behind her face-mask.
|
||
|
||
"No," said Chris, finding himself increasingly frustrated, in more
|
||
ways than one.
|
||
|
||
Violet drifted away. She thought to herself: When I lay my head down,
|
||
now, my dreams are as stories, are no longer as the psychotic, Dadaist
|
||
collages to which I've become accustomed. Humble, linear narratives.
|
||
But what is more important to me? Lucid memories of my childhood or
|
||
the removal of this block, the lifting of this veil that has
|
||
descended, that so complicates my machinery? She was unaware of how
|
||
she appeared, laying prostrate over her desk. Consequently, she was
|
||
oblivious to her co-worker's mounting discomfort.
|
||
|
||
Christopher excused himself and retreated to the men's room.
|
||
|
||
He latched the stall. He took down his trousers and began to
|
||
masturbate furiously into the toilet. His heartbeat rapidly outpaced
|
||
the ticking of his chronometer. His breathing quickened appreciably as
|
||
the sweat from his forehead poured into his eyes.
|
||
|
||
Presently, a long, slow moan escaped from his lips.
|
||
|
||
It was then that Christopher noticed the presence of a co-worker,
|
||
seated in the adjacent stall.
|
||
|
||
"I'm just saying," the co-worker said, and folded his newspaper.
|
||
|
||
MY VIOLET DUCHY
|
||
|
||
tags: 1967, margaret, tab1, tab2, violet
|
||
|
||
Mother fitted Violet's mask into place, but that did nothing to cap
|
||
the jet of words spraying from her face.
|
||
|
||
I hated my sister.
|
||
|
||
Violet:"All of this leaf stuff is still undecided. It'll be difficult
|
||
to unseat the pressure screen in this household, especially with Dad.
|
||
I wouldn't wager my summer vacation on that contraption. I doubt if
|
||
he'll buy it from you."
|
||
|
||
Thomas: "The thing about this device neither of you seem to understand
|
||
is that it's much more than a simple substitute for the pressure
|
||
screen. Just look at it's features! The interface is remarkable, even
|
||
to functional illiterates such as yourselves. See how it responds so
|
||
readily to the touch of my finger? I'm certain he'll be as excited
|
||
about it as I am."
|
||
|
||
Mother: "Isn't this a bit like that old LCD screen you dug out of the
|
||
back yard, Thomas? I don't understand what's so interesting about it.
|
||
It doesn't even speak. Violet is probably right: your father is not
|
||
going to compensate you for this find, I'm afraid..."
|
||
|
||
Thomas: "..."
|
||
|
||
Violet: "He's not going to allow it into the house anyway. Are you
|
||
going to tell him where you found it, or should I? Ouch, Mom, the pin
|
||
goes into my blouse, not my neck!"
|
||
|
||
Thomas: "Sure, I'll tell him. Though I'm not convinced his consent is
|
||
even relevant at this point. How is he going to say no when the device
|
||
could prove indispensable to his work? Classical pressure screens are
|
||
not going to be interoperable with the new networks. Is Dad going to
|
||
let us go broke just so he can pretend the market still values his
|
||
pre-war skillset?"
|
||
|
||
Mother: "Thomas."
|
||
|
||
Thomas: "Blame the market. I didn't invent supply and demand. Finding
|
||
this thing in the trash doesn't make it trash."
|
||
|
||
Violet: "I have to wonder if there's any significant purpose to all of
|
||
these upgrades. In a few months time there'll be another new device to
|
||
replace this one, and then, in the fall, a new device to replace that
|
||
one. Haven't you discerned a pattern yet, Thomas?"
|
||
|
||
Thomas: "I haven't the slightest idea what you're on about."
|
||
|
||
SHELL OUT
|
||
|
||
tags: 1969, christopher, frankie_willard, tab2
|
||
|
||
When you lay your shell down on the street, you have to expect that
|
||
someone is going to come along and pick it up. Frankie considered this
|
||
self-evident fact to be ample justification for his scooping up the
|
||
small piece of equipment and dropping it into his pocket. So far as he
|
||
could tell, no one had noticed him retrieving the device. Out on the
|
||
street, such random finds were rare.
|
||
|
||
Now, if only he could figure out what it was supposed to be.
|
||
|
||
Thomas Bright immediately recognized the shell's function. He observed
|
||
his friend's actions and contrived to take the object away from him.
|
||
By force, if necessary.
|
||
|
||
Presently, he asserted himself.
|
||
|
||
"Hey Frankie," he yelled.
|
||
|
||
The fight unspooled quickly, with Thomas shrugging off an abrasion and
|
||
Frankie doubling over on the pavement, nursing a lacerated fist that
|
||
had rolled through a patch of broken glass. Frankie's attempt at
|
||
securing a headlock had proven ineffective.
|
||
|
||
Thomas surveyed the battlefield, projecting a wide, mischievous grin
|
||
from beneath his visor.
|
||
|
||
"What?" asked Frankie.
|
||
|
||
The display of glistening of teeth had set Frankie's legs to feeling
|
||
remarkably naked beneath the hem of his cargo shorts. With all of his
|
||
extra equipment, Thomas was more resourceful than Frankie had
|
||
supposed.
|
||
|
||
"How many of my cigarettes would you say you burn through in a week?"
|
||
Thomas asked, gesturing pointedly and exhaling imaginary smoke into
|
||
Frankie's face.
|
||
|
||
Blocks of light exchanged positions in front of Thomas' eyes.
|
||
Discharges of air escaped through his lips at regular intervals as he
|
||
considered how to attach Frankie's shell to his home feed. It was
|
||
imperative to dump the shell's contents into temporary storage as
|
||
quickly as possible. By the time Thomas had established connectivity
|
||
with the mesh, his errant verbalizations had organized themselves into
|
||
a frivolous melody.
|
||
|
||
Christopher, for one, was unimpressed with the one-off vocal
|
||
performance. He observed that Thomas tended to drift off-pitch, which
|
||
was only partially ameliorated by the reverberations of the tiled
|
||
bathroom walls.
|
||
|
||
"Soaked in reverb, your off-key caterwauling almost resolves into
|
||
music," Chris stated, flatly.
|
||
|
||
"Thanks," said Thomas.
|
||
|
||
"What's the point of booting up this device if we can't connect it to
|
||
our other equipment?"
|
||
|
||
"I'm appalled by your doubt. As well as your seeming inability to
|
||
negotiate novel obstacles," Thomas complained. He laid down his tool
|
||
on the counter and replaced it with another from his toolbox."Please
|
||
observe as I perform the necessary operations to bring this device's
|
||
configuration into parity with our extant systems and software."
|
||
|
||
"But Thomas, this piece of equipment doesn't conform to open
|
||
standards. Carrying out your plans would be at cross-purposes to our
|
||
SOP; the greater work of populating our testbeds with only legally
|
||
unencumbered technologies."
|
||
|
||
As the dialogue progressed, Thomas worked the casing off of the shell
|
||
and proceeded to probe its internals. After a brief interlude of utter
|
||
silence, he let out a whoop and spun around to present the results of
|
||
his efforts.
|
||
|
||
A holographic image of Thomas flickered into existence, approximately
|
||
four inches above the device. The projection aped Thomas' every word
|
||
and movement, allowing for a slight delay.
|
||
|
||
"Just because you can modify it doesn't make it free that is, er,
|
||
redistributable," Chris tried to quip, but it had come out all wrong,
|
||
mixed-up, as a wave of dizziness seemed to be interfering with his
|
||
verbal faculties."You can't even sell the thing now."
|
||
|
||
"Oh, give me some credit. I don't plan on selling it. Hand me the
|
||
smallest forceps."
|
||
|
||
Chris could no longer tell if he was getting dizzy or merely getting
|
||
confused.
|
||
|
||
"Then why are we wasting time examining it?" he asked.
|
||
|
||
Thomas looked up at him, perturbed.
|
||
|
||
"For the funk of it," he said, and then added,"I'm going to fine you
|
||
if you keep asking me these stupid questions."
|
||
|
||
GENDER SMURF
|
||
|
||
tags: 1968, albert_lunsford, bob, piro, tab1
|
||
|
||
"You fucking faggot!" my co-worker cried as he leaped out of his
|
||
pick-up truck and clapped me on the ear.
|
||
|
||
I placed my satchel on the picnic table and opened it. We got to work
|
||
immediately.
|
||
|
||
"There's no point in shutting down the whole group," Piro pointed out.
|
||
|
||
"Oh, you're absolutely right," I said."I think we can accomplish more
|
||
by poisoning the well."
|
||
|
||
Piro had the black box up and running. Every message posted to the
|
||
Albert Lunsford group would flow through our illicit kernel module
|
||
before it even reached the group's database. In this way, we would
|
||
tamper with reality.
|
||
|
||
"I used your wife's name for one of my fake logins," Piro remarked.
|
||
|
||
I popped him in the arm.
|
||
|
||
"Hey, it was easy to remember."
|
||
|
||
"Just keep your story straight when you're posting. There aren't many
|
||
females active on the group; these guys will notice if you get your
|
||
continuity out of whack."
|
||
|
||
I pulled up a sample message.
|
||
|
||
> Date: Sun, 05 Oct 1968 04:44:16 -0000
|
||
> To: albert.lunsford@groups.thegreen
|
||
> Message-ID: <gcajs0+q6lf@groups.thegreen>
|
||
> In-Reply-To: <gc66fj+5ers@groups.thegreen>
|
||
> User-Agent: THEGREEN-EW/0.82
|
||
> MIME-Version: 1.0
|
||
> Content-Type: text/plain; charset="ISO-8859-1"
|
||
> Content-Transfer-Encoding: quoted-printable
|
||
> From:"no_such_name"
|
||
> <nosuchname@residential.thegreen>
|
||
> Subject: Fifteen Impossible Things to Believe Before Breakfast Or Else
|
||
> You're a Feminist
|
||
>
|
||
> Fifteen Impossible Things to Believe Before Breakfast Or Else You're
|
||
> a Feminist
|
||
>
|
||
> 1. People are inherently good, and
|
||
> therefore communism doesn't work because it postulates that human
|
||
> nature is trustworthy. Similarly, a democratic-republic such as the
|
||
> United States and Territories is superior to communism because it pits
|
||
> people's interests against one another in a system of checks and
|
||
> balances, rather than trusting that humans will, of their own accord,
|
||
> make the right choices. Also, because people are inherently good,
|
||
> ninety-eight out of every one hundred of them end up in Hell.
|
||
>
|
||
> 2. Women
|
||
> are less equal than men as human beings and therefore should never
|
||
> have been given the right to vote. However, since women have already
|
||
> been given the right to vote, it is a good idea to let them keep it,
|
||
> even though they are messing up the whole world with their bad
|
||
> choices.
|
||
>
|
||
> 3. Women are clinically insane because psychiatry is bogus
|
||
> medicine, therefore Albert Lunsford is not insane because he has not
|
||
> been diagnosed as such by a psychiatrist.
|
||
>
|
||
> 4. Only liberal feminists
|
||
> would consider a six-year-old boy to be eligible for political asylum,
|
||
> therefore those who don't consider a six-year-old boy eligible for
|
||
> political asylum are liberal feminists.
|
||
>
|
||
> 5. Most illness is a result of
|
||
> demonic possession.
|
||
>
|
||
> 6. Conspiracies in government are unlikely, if not
|
||
> impossible, because the government is so large as to make keeping a
|
||
> secret impossible, and because government employees make less money
|
||
> than private employees.
|
||
>
|
||
> 7. No Republican would ever accuse a public
|
||
> official of murder or other atrocities, because to do so would be
|
||
> disloyal to their country, and because public officials make less
|
||
> money than private employees.
|
||
>
|
||
> 8. A fiscal conservative is still a
|
||
> liberal if they do not believe in God, therefore a theist who believes
|
||
> in extorting tax dollars at gunpoint is a conservative.
|
||
>
|
||
> 9. The
|
||
> impending completion of Lunsford's twenty-six year graphic novel
|
||
> project triggered a natural disaster that killed thousands of people,
|
||
> therefore keeping the storyline in print is absolutely necessary to
|
||
> fulfilling God's will.
|
||
>
|
||
> 10. The Dead Sea Scrolls contain a word-perfect
|
||
> copy of the Old Testament in its entirety, therefore the other texts
|
||
> bundled with it are of negligible value, and the 1591 King James Bible
|
||
> is the inerrant Word of God even though different copies of the same
|
||
> text varied due to the nature of printing technology in 1591.
|
||
>
|
||
> 11.
|
||
> Albert Lunsford is the first person in the history of mankind to have
|
||
> unlocked the true meaning of the Old Testament, the New Testament and
|
||
> the Koran, and therefore he is not a Prophet.
|
||
>
|
||
> 12. RFC #289/290
|
||
> represents a Unified Field Theory of physics which is not only
|
||
> coherent, but correct, all without reference to mathematics. This
|
||
> theory is not given the credit it is due because comic book fans are
|
||
> afraid to admit that Albert Lunsford is right about everything on this
|
||
> list.
|
||
>
|
||
> 13. RFC itself is not given the credit it is due in the comics
|
||
> industry because comic book fans are afraid to admit that Albert
|
||
> Lunsford is right about everything on this list.
|
||
>
|
||
> 14. Failure to agree
|
||
> with anything in the above list is evidence that you are a
|
||
> Marxist/Feminist/Homosexualist, and therefore not Albert Lunsford, and
|
||
> therefore wrong.
|
||
>
|
||
> 15. Albert Lunsford's new comic book project will
|
||
> fail because his comic book readership is comprised solely of
|
||
> Marxist/Feminist/Homosexualists, therefore it makes perfect sense to
|
||
> dispatch agitators who are known to be hostile to
|
||
> Marxism/Feminism/Homosexualism to the four corners of the Green to
|
||
> promote it.
|
||
|
||
I had to laugh. These guys really took this stuff seriously.
|
||
|
||
Our objective was to subtly disrupt Lunsford's operations. The group
|
||
was extremely high traffic, so the black box only had to be active for
|
||
a few minutes before our efforts started to bear fruit. I grabbed
|
||
another fragment to check on our progress.
|
||
|
||
>>>-- In albert.lunsford@groups.green,"juan_whatever"
|
||
>> <juan_whatever@> wrote:
|
||
>>>
|
||
>>> Did the text appear kinda messed up on"part two" on other's
|
||
>>> pressure screens -or just mine? Gargamel?
|
||
>>> Anyway, this is a pretty big deal as we continue to get insight
|
||
from
|
||
>>> the ground floor of what will probably become the world's dominant
|
||
>>> religion some time in the future -oh, you know it'll happen:)
|
||
>>
|
||
>>
|
||
>> On Sun, Oct 5, 1968 at 9:48 AM, Sam <samslammer@...> wrote:
|
||
>>
|
||
>> You might have been kidding about this, juan, but it did occur to
|
||
>> me. Wouldn't put it past Gargamel or Satan to make Albert's text
|
||
harder
|
||
>> to read.
|
||
>>
|
||
>> I had to pull the text into a editor and get rid of all the
|
||
>> superfluous characters that were making the text unreadable. Few
|
||
>> people would probably do that, achieving Gargamel's end nicely.
|
||
She/He/It
|
||
>> would be invested in *not* having people read the Bible, Torah, and
|
||
>> Koran and think about them deeply.
|
||
>>
|
||
>> Not sure if there's an easier way to add the text without all the
|
||
>> extra characters, Klaus, but more people will read the the text if
|
||
>> they don't have to work so hard at it. I can make offline
|
||
suggestions
|
||
>> on how to do that if it will help.
|
||
>>>> Sam Slammerhaus
|
||
|
||
Perfect. The modules were functioning as designed. Even simply futzing
|
||
the formatting on a random selection of messages could spin the group
|
||
into a number of irrelevant side discussions.
|
||
|
||
Satisfied with our work, I closed up my satchel and we vacated the
|
||
picnic area. Using a public access point had made our insertion
|
||
untraceable.
|
||
|
||
"No end until victory," Piro said, reciting the old Gender Smurf
|
||
credo.
|
||
|
||
"It should be interesting to see how they react to our efforts," I
|
||
offered.
|
||
|
||
Piro quietly nursed his beer.
|
||
|
||
"I just hope these guys don't fly completely off the handle. Their
|
||
tactics are entirely unpredictable."
|
||
|
||
"Truth," I said.
|
||
|
||
We fell into silence for a few moments, each of us contemplating the
|
||
notion of blue-skinned rioters storming the public schools, smurfing
|
||
their way into the girl's restrooms.
|
||
|
||
"I have to admit I find their sexual practices disgusting," Piro said
|
||
at last.
|
||
|
||
"Hey, you'll get no argument from me. But so long as they remain in
|
||
their hovels they're not doing anything illegal."
|
||
|
||
"The whole reason we're involved with this mess is precisely because
|
||
they do sometimes leave their hovels."
|
||
|
||
The discussion usually tended in this direction. I set them up and my
|
||
partner knocked them down. Point to Piro.
|
||
|
||
"I suppose there is a fear that their culture will spread, put down
|
||
roots in the urban centers. No one really cares about a local cult,
|
||
but now that they're making inroads in the national media..."
|
||
|
||
"I'll say it again: disgusting," Piro repeated.
|
||
|
||
A Gender Smurf entered the room and made a beeline for the bar. He sat
|
||
himself down on a stool right next to Piro.
|
||
|
||
"You guys ever thought of going blue?" he asked, by way of
|
||
introduction.
|
||
|
||
I clutched Piro's shoulder as he reached for his sidearm."Don't you
|
||
people know Peyo was a Satanist!" he spat out, struggling against my
|
||
grip.
|
||
|
||
"We're not interested," I said, intensifying my stare to indicate we
|
||
would brook no further discussion. We got up to leave.
|
||
|
||
Three hours later Piro was still arguing with Bob, the Gender Smurf.
|
||
|
||
"What's the big deal? Blue skin is as healthy and safe as bare
|
||
hands... Tell me, how would'flesh color' have protected that gentleman
|
||
over there or anyone else from'runaway shopping carts' or the other
|
||
so-called'dangers' you've enumerated? Well-adjusted, blue skin can
|
||
actually withstand quite hazardous environments... It's amazing how
|
||
paranoid most people are here in North America. You should try going
|
||
blue outside sometime, it feels great and it's nowhere nearly as
|
||
dangerous as most people seem to assume. I've been doing it for nearly
|
||
fifteen years, up in Canada, and my skin is in great shape. I'm
|
||
healthy as a horse. Open your minds, gentlemen!"
|
||
|
||
"What about SPF," Piro asked, resigned to his fate as the lone voice
|
||
of reason in the discussion. I refused to participate.
|
||
|
||
"This calls for a two-part argument," said Bob."One: One more reason
|
||
I'm really glad I don't live in the U.S.I'd really hate for others to
|
||
be telling me what color I can and can't be when I'm spending my money
|
||
at their store. So much for'The Land Of The Free.' The'No Blues'
|
||
policy does not have anything to do with health protection or laws. It
|
||
is a double standard created by corporations to enforce dress codes;
|
||
designed only to create a business'image.' Unfortunately, that kind of
|
||
stupid mentality is getting contagious up in Canada."
|
||
|
||
Bob indicated the placement of quotation marks with his fingers.
|
||
|
||
When no one objected to his first point, he continued.
|
||
|
||
"Two: Again, I don't understand how people think flimsy, flesh colored
|
||
skin (which seems to be totally okay at most places of business, all
|
||
over) can protect them from any of the'horrible' things they could
|
||
catch or the usual hazards on the streets. In fact, some of the
|
||
so-called normal shoes people wear (platform shoes, pointy, etc.) pose
|
||
a greater threat to someone's health than actually walking around
|
||
outdoors with blue skin! For more information on how going blue is not
|
||
only okay but is also good for you, please surf to:
|
||
groups.thegreen/albert.lunsfordA U.S. based organization of people
|
||
who go blue as a lifestyle choice."
|
||
|
||
Finally, I had to but in.
|
||
|
||
"We don't. Spamming. Care."
|
||
|
||
Piro insisted on paying for Bob's drinks. I told him to take it out of
|
||
petty cashI wasn't going to try and justify this on my expense sheet.
|
||
He made the necessary preparations and transmitted payment.
|
||
|
||
"Do you see now why I discourage talking with these people," I asked,
|
||
punching Piro in the back.
|
||
|
||
"I'm not sure how to explain my objection to your attitude," Piro
|
||
said."It's not precisely that you're a racist, because these people
|
||
are not born blue. It's not really intolerance of their religion,
|
||
because, aside from their blue skin, white hats, and the fact that
|
||
they have sex with each other while wearing them, these people are not
|
||
fundamentally different from you or me."
|
||
|
||
I gave him a look.
|
||
|
||
"I'm just saying, there's no reason not to treat them like human
|
||
beings."
|
||
|
||
"Sure there is," I said."It's our job."
|
||
|
||
DISSIPATION
|
||
|
||
tags: 1963, plinth_mold, saito
|
||
|
||
Click, click, click. Twelve cubes of light, each flipping past the
|
||
other, rotating into the slot left vacant by its predecessor. The
|
||
purpose of this orchestration is to massage the cortex with
|
||
electromagnetic oscillations in the frequency range of 8-12Hz.
|
||
Patients appear to derive the most benefit, Saito has noted, from
|
||
working through the entire routine, pausing rhythmically at the
|
||
completion of each sequence to allow the electronics to catch up with
|
||
the procession of their focus.
|
||
|
||
But what are the effects, he wonders, if the patient identifies his
|
||
therapeutic parlor trick and susses out the mechanism? What happens
|
||
when the patient's conscious mind tracks the incoming data with
|
||
greater precision than the machinery? Click, click, click. Saito leans
|
||
forward. Perhaps this particular arrangement of cubes is novel. He
|
||
presses a button, freezing the arrangement in memory. To be studied
|
||
later.
|
||
|
||
He is pleased that the treatment has proven efficacious. For the vast
|
||
majority of his patients, anyway. Ironic, then, that he should feel so
|
||
powerless to alter the degree and substance of his own compulsive
|
||
addictions. Contemplating this, Saito produces a pocket lighter from
|
||
his coat and sears the flesh of his right hand. He stifles a primal
|
||
yelp, burying his shame in his handkerchief (not only the shame, but
|
||
the evidenceself-immolation is an offense not only against the state,
|
||
but against Saito's ancestors, for historical reasons peculiar to his
|
||
family). He then re-calibrates his equipment for the next patient.
|
||
|
||
The work he is carrying out could revolutionize treatment of numerous
|
||
conditions, given the eventual push into mass production. For
|
||
uncounted moments Saito shifts out of time, is aloft, floating on the
|
||
awareness of what he is so very close to achieving. He finds the
|
||
sensation is fleeting.
|
||
|
||
Saito adjusts his coiffure and smooths down the front of his white
|
||
coat, feeling his sweat cool against the skin of his wrists. If anyone
|
||
has seen him burning himself, it could result in the loss of his job.
|
||
|
||
But of what use is a job, at this point in his life? They've made his
|
||
impossible.
|
||
|
||
He has been forced to accept a number of compromises that limit the
|
||
efficacy of his design. He doubts that the latest cubes, in their
|
||
present form, will do much more than narcotize. Hypnotize. Amounting
|
||
to nothing more than an entertainment. Saito ruminates on the shambles
|
||
of his career before taking the lighter back out of his pocket and
|
||
burning several additional black marks into the flesh of his hand. He
|
||
tries to ignite his skin completely, but succeeds only in singeing the
|
||
sleeve of his coat. With the smoke, he imagines his kami slinking up
|
||
to the ceiling, dispersing across its surface, crawling in several
|
||
directions at once towards the duct work and vents.
|
||
|
||
A knockan abrupt punctuation to his thoughtsand the door swings
|
||
open, pulling his kami back down to the floor. So, they had seen him
|
||
after all. He knows now that the charade is concluded. His work is
|
||
finished.
|
||
|
||
As a result of his actions his patients will suffer. But then,
|
||
patients are always suffering.
|
||
|
||
With his expulsion, Saito's role in the project will be expunged.
|
||
Because his research is considered a state secret, there will be no
|
||
one to complain on his behalf. His data will be reclaimed and filtered
|
||
for an executive summary. And then, he suspects, quietly abandoned, as
|
||
it is clear that the process of weaponization would exceed the
|
||
available funding. This, at least, is some small cause for relief.
|
||
|
||
Still, he feels as if his kami has dissipated. There is nothing left
|
||
for them to kill.
|
||
|
||
This thought compels him to emit a tiny laugh. The thought dies,
|
||
strangled stillborn in his throat.
|
||
|
||
Saito flinches as the door swings inward.
|
||
|
||
Into the room bounds Plinth Mold, flanked by two of his most trusted
|
||
attorneys.
|
||
|
||
"Relax, Saito," says Plinth."Let's talk patents. I'm interested in
|
||
what you've been working on up here, all these years."
|
||
|
||
DUCHESS OF MASKS
|
||
|
||
tags: 1993, saito, violet
|
||
|
||
What I hold in my left hand is different from what I hold in my right.
|
||
What is on my face is different still. I have so many choices of how
|
||
to proceed.
|
||
|
||
At any moment an alarm will sound and I will be discovered. Sitting in
|
||
this chair, looking over these files, wearing whichever face has
|
||
fallen into place as they burst through the door. How will they see
|
||
me? It is of no consequence what they will think.
|
||
|
||
The gray backdrop of what I have learned here throws what I know of
|
||
our history into menacing relief; paper shadows under fluorescence and
|
||
lost thoughts in the drawer. Which eyes will I use to record these
|
||
discoveries? With no apparent prejudice I select a mask and peer
|
||
through its gates, rifling numerous papers and file folders spread
|
||
across the floor. A slender cord tethers me to the machine under my
|
||
cushioned seat, which interprets the ambient state of the room.
|
||
|
||
Through these eyes.
|
||
|
||
Oh, Saito. I am afraid that I cannot clean these tracks from the
|
||
floor. Your actions have plunged a polished knife into the swollen
|
||
belly of our tracking. It is, in fact, you who is splayed out here on
|
||
the floor. A descending pattern of guilt.
|
||
|
||
Would that I were here when it happened, all those years ago.
|
||
|
||
Would that you had listened.
|
||
|
||
CALL, WAITING
|
||
|
||
tags: 1977, eva, tab2
|
||
|
||
The whole side of the building is green. I see I've come all the way
|
||
out here again for nothing.
|
||
|
||
I'm slow packing up my gear. The day has already evaporated around me.
|
||
Might as well soak the trip for billable hours.
|
||
|
||
This happens every week. I've yet to be given the go ahead on an
|
||
operationat all, actually. The work is easy, but dragging out my gear
|
||
just to sit here in the dark is humiliating. If I didn't need the
|
||
money I would withdraw my registration.
|
||
|
||
The sun has not quite vanished. There are still a smattering of locals
|
||
out and about on the street. I decide to finish my report here, while
|
||
I'm still on the scene. I finger the leaf out of my coat pocket and
|
||
expand its display. As soon as I light the screen, four messages
|
||
appear, each edging its neighbor out of the way in accordance with an
|
||
algorithm deemed intuitive by emotionally bereft software engineers.
|
||
Presently, desktop real estate on the hand-held is at a premium.
|
||
|
||
All of the messages are from Eva. Message 1: 16:01 Are you coming in
|
||
to work today?:)
|
||
Message 2: 16:03 I know you're in there, I can see the light from your
|
||
leaf reflecting in the mirror and peeking out of the curtains. Should
|
||
I send over a a tray of makizushi, or just keep it to myself?
|
||
Message 3: 16:07 FINE THEN! I'M GOING ON BREAK.
|
||
Message 4: 16:16 Why won't you talk to me?
|
||
|
||
There are numerous relevant answers to her question, but I'm not about
|
||
to entangle myself in a discussion. I close all four message windows
|
||
with an index finger and bring up the report template. Light from the
|
||
window continues to leak into my room, coaxing abstract reflections
|
||
from the dresser mirror. Dusk always wreaks havoc with my visor and
|
||
its ability to read the screen of my leaf. I end up leaving the visor
|
||
off, missing out on a lot of calculating I could be doing while I
|
||
pretend to work.
|
||
|
||
There is a sound I don't like, out in the hallway, and suddenly I've
|
||
got my pistol out, working my finger into its trigger guard and
|
||
inserting a clip of ammunition. After a few moments I put the firearm
|
||
back in my bag. It was only the landlady's cat.
|
||
|
||
So.
|
||
|
||
On to my report. 19:04 NOTHING HAS HAPPENED AGAIN. I RECEIVED THE
|
||
ALL-CLEAR SIGNAL AT 19:00 PER THE SCHEDULE AND SO RETURNED ALL
|
||
INSTRUMENTATION TO ITS STORAGE CASE AND SHUT DOWN THE TRANSMITTER.
|
||
SIGNING OFF TO RETURN TO THE REAL WORLD. EOF.
|
||
|
||
I encrypt the message with my thumb and send it on its way.
|
||
|
||
As I'm gathering my things, my mind wanders to my fellow agents,
|
||
spread out across diverse countries and kingdoms, who must also have
|
||
been called out and then sent back home without seeing any action. I
|
||
wonder about their frustrations with the tedious ins and outs of the
|
||
business. Surely we'd have a lot in common. Not that we'll ever meet.
|
||
|
||
I'm not long in dusting the chair and table. I wrap my shirt around my
|
||
hand, then lightly grip the doorknob and vacate before I'm noticed. My
|
||
visor tells me the landlady is rounding the corner, two blocks away,
|
||
returning home with a bag full of groceries. I follow the path my
|
||
visor has illuminated until I reach a public transport, which it flags
|
||
as off-limits. Instead, I hop into a taxi.
|
||
|
||
By the time I arrive at home I've decided against more studying. I
|
||
pull up a telescreen window and lean back in my bed, trying to get
|
||
some rest. I wonder who we did decide to blow up today. I'm always
|
||
kept close to potential action scenes, even if I'm never actually
|
||
ordered to intervene. It's probably the same with all of us.
|
||
|
||
I fall asleep just as the answer to my query hits the scroll. A group
|
||
of wailing women are brought up on screen to provide visual context
|
||
for the hour's headline story.
|
||
|
||
My visor flags the clip for my attention, but I don't remember what
|
||
happens next. It's unlikely I'll remember to review this in the
|
||
morning.
|
||
|
||
TRY MY PRODUCT
|
||
|
||
tags: 1979, coca_cola, do_wuh, motherfucker, perpetrator
|
||
|
||
The airbrushed cover was decidedly inferior to what Motherfucker had
|
||
seen before, attached to other printings of the same book. It was
|
||
outlandish. All swaddling clothes and taut, glistening muscles.
|
||
Objectifying the physiques that would result from pious observance,
|
||
appealing to the vanity of practitioners who were required, by
|
||
tradition and by law, to study it. Transparent ableism. This kind of
|
||
self-aggrandizing marketing disgusted him. Gazing upon its cover, it
|
||
was hard for Motherfucker to take the book seriously.
|
||
|
||
"Well, don't just sit there, all slack-jawed, however arresting that
|
||
dust jacket might be... Open the blessed book and let's get started."
|
||
|
||
Perpetrator adopted an instructional tone, as if to communicate that
|
||
Motherfucker's own study habits were somehow deficient, would somehow
|
||
land him in hot water. He was always prepared to dispense advice to
|
||
his lessers. In this case, the advice involved the interpretation of
|
||
the Bible, and the careful application of those interpretations to the
|
||
logical conundrums that permeated modern life. Perpetrator was only a
|
||
couple of months older than Motherfucker. He was a total spamhole.
|
||
|
||
"That's not what the book says at all," complained Motherfucker.
|
||
|
||
Perpetrator indicated the text with his finger."You're wrong. It's
|
||
right there on the page in front of you. Just look at the words."
|
||
|
||
"Yes, my eyes were directed at this material during the process of
|
||
forming my initial assessment," sighed Motherfucker.
|
||
|
||
"Well, one couldn't tell from hearing you recite it."
|
||
|
||
The pages dissolved into one another. Motherfucker couldn't sustain
|
||
his focus. He wondered briefly why the long lists of telephone numbers
|
||
that comprised this part of the Scriptures featured variable font
|
||
sizes, brilliant piping and color illustrations. Why all the fuss?
|
||
|
||
"Perpetrator, what is the point of these chapters that are mainly just
|
||
lists of telephone numbers and advertisements for insurance agents?"
|
||
|
||
"Motherfucker, those are the Sanctified Tribes of the Green. Your
|
||
remarks are veering dangerously close to blasphemy. Why do you have to
|
||
question every last detail, when it comes to our studies? Not
|
||
everything is a conspiracy!"
|
||
|
||
Motherfucker sighed again."It all just seems so arbitrary. Like
|
||
they've gone and copied pages out of an old telephone directory and
|
||
called it Scripture."
|
||
|
||
"Naturally that is what it seems like, Motherfucker, for that is
|
||
precisely what they've done."
|
||
|
||
"..."
|
||
|
||
"What," asked Perpetrator, finally and honestly befuddled."You didn't
|
||
know?"
|
||
|
||
"What do you mean what?" asked Motherfucker."Why did they copy pages
|
||
out of an old telephone directory and call it Scripture?"
|
||
|
||
"Because, Motherfucker, these manuscripts are illuminated."
|
||
|
||
"..."
|
||
|
||
"Look at the section headings. See how the Tribes are organized
|
||
according to service offerings, then alphabetized? These illustrations
|
||
are graphical elements that illuminate the organization of the data.
|
||
It renders the information discernible at a glance."
|
||
|
||
"..."
|
||
|
||
"Still you do not comprehend."
|
||
|
||
"No, I'm afraid I don't."
|
||
|
||
Perpetrator stalled for several seconds, allowing time for the the new
|
||
concepts to sink into Motherfucker's mind.
|
||
|
||
Minutes passed.
|
||
|
||
"Wait. Oh. Now I see," claimed Motherfucker."They're not so old as to
|
||
be presented as text-only, like the original Scriptures. These pages
|
||
contain source code and meta data."
|
||
|
||
"That is correct."
|
||
|
||
"I guess that makes sense."
|
||
|
||
"Good, Motherfucker," said Perpetrator."Now we're making progress!"
|
||
|
||
But Motherfucker still seemed to be confused.
|
||
|
||
"We've wasted enough time on the display elements. Please return to
|
||
the previous chapter and read aloud."
|
||
|
||
"Son of a bitch. You know I'm not comfortable reading aloud."
|
||
|
||
"Okay then, I will read aloud to you," resolved Perpetrator, training
|
||
his standard, disdainful stare into the pupils of Motherfucker's eyes.
|
||
|
||
Throat cleared, he began.
|
||
|
||
"Newton wrote:
|
||
|
||
any forces whatsoever, and of the forces required to produce any
|
||
motion... and therefore I offer this work as the mathematical
|
||
principles of philosophy, for the whole burden of philosophy seems to
|
||
consist in this from the phenomena of motions to investigate the
|
||
forces of nature, and then from these forces to demonstrate the other
|
||
phenomena...
|
||
|
||
"Yeah, right," said Motherfucker.
|
||
|
||
"What, you don't believe him? Here, what do the footnotes say?"
|
||
|
||
From this proposition it will follow, when arithmetical addition has
|
||
been defined, that 1 + 1 = 2.
|
||
|
||
"It also says that the text in question wasn't always a part of this
|
||
chapter," finished Motherfucker.
|
||
|
||
"Honestly! And what year was this edition sourced?"
|
||
|
||
Pages flipped backwards.
|
||
|
||
"Twenty thirty-one. According to the information in the front."
|
||
|
||
"Then you see what I mean."
|
||
|
||
"No, not really."
|
||
|
||
It was going to be a long night.
|
||
|
||
Presently, Do Wuh entered the room, disrupting their studies. He was a
|
||
bit dirty from tumbling in the yard, and Perpetrator recoiled visibly
|
||
when at last he came fully into view.
|
||
|
||
"Do Wuh."
|
||
|
||
"Motherfucker, put that book down and let's go outside and play."
|
||
|
||
"Do Wuh." Perpetrator spoke the name more stiffly this time, as if it
|
||
were an accusation rather than an identity. His face contorted
|
||
menacingly, seeming very serious indeed.
|
||
|
||
"Shut up, Perp," cracked Do Wuh."Motherfucker, seriously, I'm sick of
|
||
this spam. Why don't you come outside with the rest of us."
|
||
|
||
"Oh, but to journey through the out of doors," lamented Motherfucker,
|
||
glancing woefully at Perpetrator."Perhaps we should take the book
|
||
outside, so we can all consult the rules if such a thing becomes
|
||
necessary."
|
||
|
||
A delicious pause.
|
||
|
||
"That's a good idea," nodded Perpetrator, his incessant, condescending
|
||
glare now softening, owing to the fact that he was outnumbered. In
|
||
spite of the rigid persona he projected, he knew when an argument was
|
||
a lost cause. Besides, it was more likely that the others would
|
||
stumble into diligent study if he and Motherfucker first worked to
|
||
gain their respect by participating in their aimless, physical games.
|
||
|
||
"Whatever," said Do Wuh."You two are going to go blind, sitting in
|
||
here playing with that book all the time."
|
||
|
||
"Unlikely," remarked Perpetrator.
|
||
|
||
"Actually, that's a myth," offered Motherfucker.
|
||
|
||
Do Wuh slammed the door on his way out.
|
||
|
||
Outside, lawnmowers hovered in the distance. Uh Huh and Coca Cola were
|
||
already on the field, caked with dirt. It behooved Perpetrator to
|
||
comment on their slovenly appearance.
|
||
|
||
"Those are your good clothes, are they not?"
|
||
|
||
"Shut up, Perp," said Coca Cola.
|
||
|
||
"Okay, there's five of us here and we only need four. Perp, you're
|
||
out."
|
||
|
||
"I didn't want to play in the first place!"
|
||
|
||
"Then everybody wins," said Coca Cola, laughing.
|
||
|
||
Perpetrator sat down with his book and began to leaf through its
|
||
pages, focusing intently on the text. He de-fogged his glasses with
|
||
the corner of his shirt and chewed his fingernail as he read.
|
||
|
||
"Spam them all. I'm studying!" he thought.
|
||
|
||
"Indeed," replied a voice that wasn't there.
|
||
|
||
Perpetrator's eyes grew large as the gold Daytons on his father's
|
||
Impala.
|
||
|
||
"Intriguing," he thought to himself, and continued with his reading of
|
||
the Scriptures.
|
||
|
||
OLD MOLD
|
||
|
||
tags: 1861, haus_mold
|
||
|
||
By the winter of 1861 I hadn't seen another human being in six years.
|
||
My gun had rusted, but that didn't much matter as for the majority of
|
||
my time on the mountain I had been completely snowed in.
|
||
|
||
My graph hadn't perturbed itself in months. I thought it might have
|
||
simply shut itself down, protesting inactivity. I couldn't muster the
|
||
interest to scan its core for flaws. I considered cannibalizing it for
|
||
parts.
|
||
|
||
I melted some snow from the window and sloshed the water around in my
|
||
mouth. Brine. I spit it out on the wood floor. Opened the cabinets for
|
||
no real reason; there was no food left.
|
||
|
||
I contemplated trying to dig myself out.
|
||
|
||
I got my legs attached and unlocked the front door. A flat wall of
|
||
beige snow, suspended where the sunshine should have been.
|
||
|
||
Voices, from behind the wall.
|
||
|
||
My first thoughts ran to annoyance. I hoped they would move on. Anyone
|
||
up here at this time of year could only be seeking after help. Two
|
||
voices meant they would be unlikely to take no for an answer from a
|
||
lone hermit such as myself.
|
||
|
||
A gloved hand poked through the snow, groping around as if to stave
|
||
off asphyxiation.
|
||
|
||
I prepared myself for unwanted conversation.
|
||
|
||
The strangers were polite. Dug out the front step. Offered me
|
||
provisions when they noticed I didn't even have a stove for cooking. I
|
||
distracted them with talk of the astronomical data I had been
|
||
collecting. The younger fellow was able to follow along to some
|
||
extent, but both seemed lacking in the fundamentals so I let the
|
||
subject drop.
|
||
|
||
I do not recall now which of them first broached the topic of their
|
||
extra horse, but they talked me into stepping out front to inspect its
|
||
injury.
|
||
|
||
The reader will have seen this coming. I was several paces into the
|
||
front snow drift when I heard the door lock behind me.
|
||
|
||
Their provisions were still loaded onto their horses.
|
||
|
||
Their mistake.
|
||
|
||
I ran some calculations in my head and decided that the horses could
|
||
probably make it into town. It did take the better part of the day to
|
||
make the journey.
|
||
|
||
Everything had changed. The general store had expanded to include a
|
||
bar and eatery. The grand hotel was now a school house. Inside the old
|
||
court building, the whores were now wearing shoes. No one seemed to
|
||
recognize me.
|
||
|
||
I bartered the two oldest horses for a new rifle, a flint and a sewing
|
||
needle. I wouldn't need food. I made love to a whore in order to blend
|
||
in with the other drifters; it was frowned upon by the constabulary to
|
||
leave town without first engaging the local labor pool. Civilization
|
||
and tradition had conspired to keep me within city limits until after
|
||
dark.
|
||
|
||
I fell asleep without replacing my eye patch.
|
||
|
||
When I woke up, it was gone.
|
||
|
||
"'Haus Mold,'" laughed the hotel manager, reading from my card."Your
|
||
name's a joke, right?"
|
||
|
||
"It's an Indian name," I said.
|
||
|
||
My bad eye focused on him and I assumed he must have caught a glimpse
|
||
of the internal mechanism because he started when it whirred to life.
|
||
|
||
"Right. You're an injun." He gestured sarcastically as if he were
|
||
jerking off.
|
||
|
||
I glanced over at his daughter. The whore I had bedded. He noticed
|
||
this and his voice trailed off.
|
||
|
||
As my boots hit the dirt outside the hotel, the snow was just starting
|
||
to pick up. The first big storms up the mountain would have rolled in
|
||
the night before. The pass would be buried until spring.
|
||
|
||
I made a backup of myself and dropped it in the mail to New York. Just
|
||
in case.
|
||
|
||
As I approached my horse, a shot rang out. Its echo clashed against
|
||
the wooden slats of the general store, the school and the casino. My
|
||
horse tipped over like a grandfather clock, brains pushing out of its
|
||
impacted eye socket. I noted that we had both contrived to lose the
|
||
same eye.
|
||
|
||
I turned and raised my new rifle, returned fire. It was no surprise to
|
||
me who I'd killed.
|
||
|
||
"Fair fight!" some idiot exclaimed.
|
||
|
||
"Squash it," I barked."Increase the peace."
|
||
|
||
I rode west. Once out of town, I removed my clothing and walked beside
|
||
my horse.
|
||
|
||
The snow eventually gave way to desert.
|
||
|
||
FAST
|
||
|
||
tags: 4086, albert_lunsford, piro, shit_mold
|
||
|
||
There are folded bits of me coming off. The heated stress in the room
|
||
has peeled back the edges of my face and I think that the human glue
|
||
underneath is melting away...
|
||
|
||
In four minutes I will leave for the day, cutting through the steam to
|
||
the outer door of my compartment. In four minutes, I will sleep.
|
||
|
||
Well, no.
|
||
|
||
The stacks of leaves are cleared. I've fought off the last bits of
|
||
synthetic sick from the foodstuffs in the office pantry. But the
|
||
vending machines haven't been refilled in almost a month, and the food
|
||
ports back up when there isn't anyone around to place orders. I'm in
|
||
the same boat in my quartersI try to stay on the button and make due
|
||
with what I can coax from the machines (I'm always working), but it's
|
||
hard to keep myself awake when I'm always so hungry.
|
||
|
||
The last of the leaves put away, I can now turn down my screens and
|
||
cover my seat for the morning decontamination cycle. It seems I've
|
||
missed one; a straggler. The little leaf confronts me, cross to have
|
||
been overlooked. I find it hunkered down, nearly collapsed into a pile
|
||
of itself, casting an agitated shadow on the carpet. Its facing edge
|
||
wavers in and out of focus in the reduced lighting. I regard it
|
||
blankly and then crush it with my heel.
|
||
|
||
Next: The King's quarters, which must also be purged of filth.
|
||
|
||
I pull up an icon of Albert Lunsford and meditate on the seventh book
|
||
of volume four. Walking On The Moon.
|
||
|
||
It is Ramadan, and everyone is gone.
|
||
|
||
The station turns.
|
||
|
||
SELECTION
|
||
|
||
tags: 2179, massive_fictions, rimbaud, stanley
|
||
|
||
All of this was not going to work for him anymore. It was coming down
|
||
around his ankles. His output had exceeded his company's resources,
|
||
and his private prospects were taking a nosedive as well. He could
|
||
hardly pay himself to write. Without that weekly stipend from MASSIVE
|
||
FICTIONS, he wasn't going to make rent on the storage facility for his
|
||
collections. One unwelcome change blurred into another, and in short
|
||
order, the accumulated results were overwhelming to contemplate.
|
||
|
||
Rimbaud passed Stanley on the fifty-fourth floor and tipped his hat.
|
||
Stanley was probably off to tinker with more of hiswhat had he called
|
||
them martial simulations. What a thought; larping about as if to
|
||
train for war. But, this was Stanley, and, after all, this was one of
|
||
Stanley's interests. No harm was being done, in any case.
|
||
|
||
As he navigated the spiraling path, the requisite plying of a new
|
||
editor at some other ragwhat other rags were even leftwas very much
|
||
on his mind. A crease formed across his forehead as he alit gently on
|
||
the elevator, negotiating the physical geometry with his body whilst
|
||
simultaneously evaluating potential budget configurations in his mind.
|
||
Duality. Synchronous operation. He watched the frothing crowd of his
|
||
countrymen, churning to and fro along the pathways below. They
|
||
resembled nothing so much as beer suds sloshing in a bed of potting
|
||
soil. And it was a very long way down. Petalsfloorswhipped by
|
||
silently, causing the sun to blink, languidly, somewhere near the
|
||
horizon.
|
||
|
||
Rimbaud stood amongst his fellow salarymen and mused that,
|
||
self-evidently, the architecture of their day would have to be
|
||
considered superior to that of any previous era. From his studies he
|
||
recalled that, in centuries past, forays had been made into evolving
|
||
wholly organic super-structures, but that it had taken the better part
|
||
of a four hundred yearsbringing the public state-of-the-art almost up
|
||
to date with that of his own great-grandfather's famous, proprietary
|
||
workbefore emergent plant mimicry was fully integrated into the
|
||
mainstream of public works. While it was true that most citizen
|
||
hovelseven todayevinced the brute angles and sharp corners
|
||
characteristic of the twentieth century's most prolific architects
|
||
(perhaps out of some sense of fealty to tradition, since,
|
||
structurally, such arbitrary designs were no longer strictly
|
||
necessary), in his own lifetime he had witnessed the marvelous
|
||
transformation of municipal buildings from great, lumbering and
|
||
inefficient storage containers into organic, plebeian tangles of
|
||
smoothly curving branches, stems and flowering foyers. Why, his own
|
||
quarters were situated within just such a fractal space! Rimbaud had
|
||
to remind himself that the upper-most levels of these buildings, or,
|
||
more appropriately, growths, were still reserved for the business
|
||
classes and their various concerns. He observed with some satisfaction
|
||
that these concessions were small sacrifice when weighed against the
|
||
general improvements to the Commons such commerce inevitably yielded.
|
||
The slums were already starting to grow over.
|
||
|
||
The express elevator distended and Rimbaud disembarked towards an
|
||
identification booth. He slid into a vacant pod and hooked his legs
|
||
around the seating apparatus as his entire body was rotated into
|
||
position. From there, his awareness shifted back to Home. Thus
|
||
transported, he prepared his evening meal to the accompaniment of a
|
||
historical recording. His pleasure was the Existentialist literature
|
||
of the mid- twentieth century, and he preferred to track the audio
|
||
wholly eyes-free while handling his cooking materials. Sophistry,
|
||
perhaps, but well within the curve of the culturally acceptable
|
||
plotted for him by his trusted almanack.
|
||
|
||
Pulsing from the far counter came a notice that his tuna had thawed.
|
||
Rimbaud slid to the other side of his pod and began eating pieces of
|
||
raw fish. From an adjacent curved plate he selected a number of
|
||
additional food items to link into his meal. By running a finger
|
||
across the stamen of the plate, Rimbaud seasoned the course to his
|
||
liking. He chose some vegetables and elected to submerse them in one
|
||
half-ounce of wood-aged high-fructose corn syrup. He flattered himself
|
||
that his tastes were truly refined.
|
||
|
||
The 8-bit alarm drones Rimbaud had programmed for eight o'clock (a
|
||
clever recursive reference, he had thought) sounded, softly, and he
|
||
knew then that it was time to replace the dishes within their folds
|
||
and return to work. Rimbaud made a gesture towards the door, and the
|
||
sunlight streaming in from above shifted, gave way to the interior of
|
||
his encephaloid pod. Identification. He untangled his legs and got
|
||
himself up, running a hand through his mussed hair and replacing his
|
||
felt cap. He smoothed down his jacket and made his way back through
|
||
the forest of salarymen, climbing once again into the express
|
||
elevator. As he flitted up the stem of the building, he thought to
|
||
himself that his lunch periods seemed shorter and shorter as his life
|
||
progressed. As he grew objectively older.
|
||
|
||
Finally reaching his objective at the very top of the building,
|
||
Rimbaud took stock of the vast garden spread out across the city
|
||
below. Millions of his fellow countrymen were busy going about their
|
||
daily tasks, worker bees distributing commercially registered pollen.
|
||
None questioning themselves as he did. None of them devoting the scant
|
||
moments of their free time to comparing themselves unfavorably with
|
||
American negroes of centuries past. Was his toil really so
|
||
objectionable as all that? Such nonsense that he allowed to enter his
|
||
mind.
|
||
|
||
Rimbaud then reflected upon his appearance, and suddenly he was
|
||
grossly ashamed. He wiped away the stray rivulets of sweat from his
|
||
forehead and pulled the end of his antique almanack slightly out of
|
||
his breast pocket, cater-corner, plainly into the view of casual
|
||
passers-by. Moribund regrets of servitude would not cast a pallor upon
|
||
his demeanor. I have a choice in this matter, he thought. My suffering
|
||
is mine, and mine alone.
|
||
|
||
As the elevator distended once more, Rimbaud was bathed in the bright,
|
||
sympathetic air of photosynthesis made comprehensible.
|
||
|
||
As was his usual habit, he pushed the negative thoughts from his mind,
|
||
choosing instead to consider the significance of beautiful flowers.
|
||
|
||
SPEED GRADING
|
||
|
||
tags: 4086, piro, tab2
|
||
|
||
I'm cleaning out the King's cupboards when I run across some old
|
||
detritus that he had thought it would be a good idea to bring along
|
||
with him to the station.
|
||
|
||
Thomas.
|
||
|
||
According to legend, he wrote this paper for a grade school
|
||
assignment. As I recall, it triggered unrest amongst the faculty. In
|
||
the absence of advanced philosophical technology, papers written by
|
||
school children wielded the capability to disrupt classroom
|
||
activities.
|
||
|
||
The popular image of Johannes Chrysostomus Wolfgangus
|
||
Theophilus Mozart is inaccurate to the point of
|
||
ridiculousness. However, this has not prevented a
|
||
multiplicity of interpretations from emerging to surround his
|
||
work. Ludwig von Kochel's contrived naming convention has
|
||
even been absorbed into the text of Mozart's published scores,
|
||
sans any indication that Herr Mozart did not create these
|
||
titles himself. Beneath the layers of false attribution lies
|
||
a man (J. C. W. T. M.) whose own prodigious correspondence is
|
||
often the last resource consulted by would-be experts. Thus,
|
||
the common conception of the silly-voiced man-child, idiot
|
||
savant dominates the commentary upon his work even to this
|
||
day. Figures such as Mozart are invoked almost as articles of
|
||
our language, employed as symbols of narratives larger than
|
||
the mere facts of their corporeal existence. This phenomenon
|
||
renders any deeper investigation into the men themselves a
|
||
trifling diversion, an unnecessary digression at best. When
|
||
one appears to be referencing a rich study of the available
|
||
facts, what one is too often doing, instead, is invoking the
|
||
surface texture of popular memory (most often grossly
|
||
misconstrued, but constituting a shared culture nonetheless).
|
||
It is shamefully dishonest to put forward such vagary as
|
||
learned discourse. But. Is this lamentable transgression so
|
||
far removed from the process of creating words, themselves? I
|
||
beseech the thoughtful reader to consider that language, to
|
||
begin with, is merely a collection of consensual, codified
|
||
misunderstandings. I will now shift contexts and refer to the
|
||
decades-long correspondence between the Americans Thomas
|
||
Jefferson and John Adams. It is unlikely that the modern
|
||
reader is familiar with these gentlemen. Sadly, the average
|
||
Federalist/Anti-Federalist scholar is likewise ignorant of
|
||
their existence. And yet, it must be pointed out, portions of
|
||
their correspondence have been, since 1926, accepted into the
|
||
Scriptures. One recoils at the cognitive dissonance; this
|
||
vast field of Green scholarship, donning its own willfully
|
||
fogged-over spectacles in order to better scrawl out its blind
|
||
declarations. It is deemed acceptable to reference the icons
|
||
of culture by name or by clique, but it is seen as
|
||
counterproductive to make clearly understood precisely what it
|
||
is one is trying to say. Of course, not all manglings of the
|
||
language are intentional, and not all such manglings are
|
||
equally deceptive. Some people just don't care about the
|
||
Bible. There persists an interplay between the rigorous
|
||
accuracy that is ostensibly sought after and the broad
|
||
symbolism that is most easily digested. I am prepared to
|
||
admit that in my own work I have yet to satisfactorily bridge
|
||
these disparate vectors of focus. Even an isolated, outlying
|
||
case refuses to make itself known. For example, I am capable
|
||
of pursuing either individual goal with exceeding stamina and
|
||
skill, and yet I am resigned to my failure in striking a
|
||
balance between the two as a whole. I have discovered no
|
||
happy synthesis. No congenial associations between the two
|
||
paths. The network betwixt particle and wave refuses to
|
||
materialize. Redoubled focus simply dissolves into a migraine
|
||
headache. This, then, is the eternal struggle. The Mozart of
|
||
reality versus the Mozart of history. Why read the entirety
|
||
of Jefferson's correspondence when a blind quotation will
|
||
suffice? As I compare like with unlike, I stumble upon the
|
||
realization that the vision of others, is, by necessity,
|
||
likewise obstructed. This myopia that afflicts me is not an
|
||
invention, a deficiency particular to my person. All of our
|
||
screens are thus occluded, whether we recognize it or not. In
|
||
our minds, the eminence of the signifier shall always eclipse
|
||
that of the signified. Ironically, we trip repeatedly over
|
||
this blunt limitation, which itself probably evolved as a
|
||
means to facilitate communication. What I'm trying to say is,
|
||
stop trying to tell me what I mean. In this paper I have
|
||
demonstrated the inherent political power of dictionaries.
|
||
The careful reader will adjust his ambitions accordingly.
|
||
|
||
|
||
I fold the leaf and replace it within its compartment. We are way
|
||
beyond these sorts of observations by now, Thomas. Today I would mark
|
||
this paper with a C-, at best. But, you wrote for your time. Some
|
||
inaccuracies and the overall sparseness of detail may be forgiven. I
|
||
confirm the historical grade (A-) by thumbprint and wave away the
|
||
hovering screen.
|
||
|
||
While I was a grading, something in the room has changed. A faint
|
||
white light illuminates the port hole of the King's quarters.
|
||
|
||
I make my way over to investigate the disturbance.
|
||
|
||
ANALYSIS
|
||
|
||
tags: 2182, rimbaud, violet
|
||
|
||
There was a slow dithering moment before it all coalesced and came
|
||
upon him like a spilled dinner tray. All of the air went out of him at
|
||
once. What the tiny viewscreen showed him would certainly mean the end
|
||
of his tenure; if not his career as an instructor of children's
|
||
literature.
|
||
|
||
Little Violet reading from her diary.
|
||
|
||
He clutched at the front pocket on his shirt for tobacco. Must keep
|
||
watch. (Can't watch.) He ran a knotted hand through his auburn strands
|
||
(or lack thereof) and pulled at the lobe of his ear while blue smoke
|
||
ran fingers of its own down his cheek, mocking him tenderly.
|
||
|
||
Another minute, maybe less.
|
||
|
||
As Violet brought her reading to a close, the other children began to
|
||
text each other about the performance, proceeding to update their
|
||
class journals as they waited for a response. The classroom was devoid
|
||
of snickers. The group had broken out into mad hysterics of flat
|
||
silence. Rimbaud's attention was still rapt.
|
||
|
||
What Violet had said.
|
||
|
||
He pocketed the monitor and poked his cigarette into a receptacle.
|
||
Attached his glasses and pushed back through the heavy air of the
|
||
empty hallway. Resumed his classroom.
|
||
|
||
She'd kept quiet.
|
||
|
||
In spite of her innuendo, bald threats, blatant comminations,
|
||
exaggerated bluster, roundabout disparagement; she hadn't shared her
|
||
scathing review of his first novel with the class.
|
||
|
||
That was good.
|
||
|
||
That was a good girl.
|
||
|
||
Rimaud considered staying on for the semester.
|
||
|
||
He thought: Those who can't, teach.
|
||
|
||
The students remained silent as he entered.
|
||
|
||
JERRYMANDER FALLS
|
||
|
||
tags: 1868, haus_mold, jerrymander_mold
|
||
|
||
The polls had closed and so Jerrymander did the only thing he knew how
|
||
to do, aside from campaigning, which was to crack open a beer and down
|
||
the whole thing in one gulp.
|
||
|
||
The beverage exhibited no effect upon his overweight, mechanical body.
|
||
|
||
Grover fucking Cleveland! he growled.
|
||
|
||
Opening another can, he decided that America deserved a Democrat.
|
||
|
||
Fuck'em, he mumbled.
|
||
|
||
"Stop pretending to be drunk."
|
||
|
||
Haus Mold stood in the doorway, examining Jerrymander's hotel room.
|
||
"Where are your people," he asked.
|
||
|
||
"I sent them away. There's no point in listening to their excuses."
|
||
|
||
"You seem to be taking this awfully personally."
|
||
|
||
"So what."
|
||
|
||
Jerrymander put down his beer can and paced the circumference of the
|
||
curved room.
|
||
|
||
"Something troubles me about this election," he said at last.
|
||
|
||
"Sure. You didn't win."
|
||
|
||
Jerrymander scowled.
|
||
|
||
The horse looked worried. It seemed to sag under the weight of
|
||
Jerrymander's saddle.
|
||
|
||
"There's no reason for you to leave town over this," Haus pleaded.
|
||
|
||
"Fuck'em," was all Jerrymander would say. He repeated it quietly
|
||
several times before trailing off into belligerent silence.
|
||
|
||
Dust caught in Haus' face and false teeth as the horse made a go of
|
||
things.
|
||
|
||
Jerrymander didn't look back.
|
||
|
||
Once the old man was gone, Haus retreated to his hotel room and laid
|
||
down on his bed. The name kept coming back to him. Jerrymander Falls.
|
||
|
||
He unlatched his satchel and checked the integrity of the Mold backups
|
||
for the third time that day.
|
||
|
||
Haus finally made up his mind. He took out his pen and got started on
|
||
the paperwork.
|
||
|
||
Hard reboot.
|
||
|
||
VISUAL RHETORIC
|
||
|
||
tags: 1983, 4086, piro, tab2
|
||
|
||
Thomas Bright's disembodied head regarded me from the other side of
|
||
the port hole.
|
||
|
||
I made a little waving gesture and he smiled.
|
||
|
||
"Don't just stand there," he said."You've got to help me!"
|
||
|
||
First of all, they're not voices. In the fall of 1980, fast
|
||
approaching my twenty-third birthday, I had become enamored
|
||
with the irrational certainty that something dramatically and
|
||
disturbingly... well, bad... was going to happen during the
|
||
course of the coming year. I had weathered a series of
|
||
nightmares about tornadoes and hurricanes, which had lately
|
||
been joined by a progression of graphically detailed plane
|
||
crashes. Eventually, the two dream-streams collided and
|
||
morphed into a single, recurring narrative. The twin
|
||
tornadoes (one comprised of dust and the other comprised of
|
||
water) inched down a gravel road to demolish a giant diorama
|
||
of Manhattan. This diorama had been laid out like a
|
||
room-sized map across the altar of the Methodist church I
|
||
attended as a child. Curious, right? I could see the
|
||
whirlwinds of destruction making their way slowly towards the
|
||
church. A seemingly random sampling of individuals I'd known
|
||
throughout my childhood each knelt down on the floor with me,
|
||
playing with an assortment of plastic military
|
||
toysplanesflying them around the diorama city. We would
|
||
throw the toy planes like footballs and crash them into the
|
||
buildings. This distracted us from the impending arrival of
|
||
the tornadoes. The floor of the giant map was complete with a
|
||
legend, compass, and an elaborate island airstrip (which
|
||
seemed to be noticed only by me). Usually, the dream cut off
|
||
when I spotted the island and walked over to stand on it. I
|
||
would invariably become convinced that there was something of
|
||
great importance buried beneath its surface. The last thing I
|
||
would see as I woke up would be an outline of the bold script
|
||
of the name of the island, stubbornly obscured by my feet. I
|
||
could never quite make out the words... Earlier in my
|
||
childhood, I had convinced myself that a number of disembodied
|
||
intelligences (perhaps the most intriguing of which was a
|
||
sentient idea referring to itself as the avatar of Sarcasm)
|
||
had repeatedly, and quite insistently, presented me with the
|
||
opportunity to become the living Anti-Christ. The world would
|
||
be delivered to me if only I were willing to perform a series
|
||
of simple tasks that would demonstrate my dedication to the
|
||
sentient idea's service. Horrified, I vehemently refused, and
|
||
took measures I believed would prevent my proposed political
|
||
career from ever getting far off the ground. To this day I
|
||
still can't secure a credit card. The tasks I was given were
|
||
to have been a simple set of mundane actions, which would have
|
||
harmed no one, and which would have caused me no undue
|
||
personal hardship. And yet, I was not enthused with this idea
|
||
of becoming the personification of a Scriptural prophecy whose
|
||
study had generated such distress in me as a child. Sarcasm
|
||
was amused, andwellit would sarcastically counter my adamant
|
||
refusals by drilling vivid images of the nuclear holocaust
|
||
described in the book of Revelation directly into my brain. I
|
||
have to say, it didn't take long for the Biblical stuff to
|
||
wear thin. By 1975 I had become convinced that these images
|
||
depicted the aftermath of attacks perpetrated against the
|
||
United States by Islamic terrorists. I was certain that these
|
||
attacks would occur sometime within the next fifty years. I
|
||
privately told my girlfriend at the time that the next major
|
||
war involving the United States would be centered upon Iraq,
|
||
and that I hoped conscription would not be re-instated (as it
|
||
had been in my 'vision,' or whatever you want to call it),
|
||
because I was certain that I would be called up by my father's
|
||
employers and sent off to... well, there was more. Let's
|
||
just say there was more. In light of all this, I wasn't sure
|
||
I could keep saying no to Sarcasm forever. Of course, while I
|
||
was well aware that this was all make-believemade-up
|
||
nonsensethe impact it had upon my disposition and outlook was
|
||
similar to what might have been expected if the situation had,
|
||
in fact, been real. The metaphorical tabs had started fitting
|
||
into the metaphorical slots and they had become impossible to
|
||
ignore, as the resulting papercraft devices had begun to made
|
||
themselves apparent everywhere I looked. I was starting to
|
||
detect the seams in the walls. Stress points in theoretical
|
||
structures I had never before thought to examine. Perhaps
|
||
here I should pause and explain how this communication between
|
||
myself and Sarcasm most often took form. Generally, I do not
|
||
think in words. Cognition for me has always involved a series
|
||
of images which fit together as multidimensional shapes, each
|
||
distinguished by size, color and texture rather than by
|
||
subject matter or meaning. For example, for as long as I can
|
||
remember, I have associated certain colors with the numerals
|
||
zero through nine. Zero is white, one is black, two is
|
||
yellow, three is orange, four is blue, five is redand so on.
|
||
As a youth I would store and retrieve long strings of
|
||
arbitrary numbers simply by arranging the colored blocks into
|
||
an appropriate collage and committing said collage to visual
|
||
memory. So, groups of numbers naturally took on an aesthetic
|
||
as well as a symbolic meaning. Four quarters (yellow-red,
|
||
yellow-red, yellow-red, yellow-red) made up one dollar
|
||
(black-white-white). Adding or subtracting blocks of colors
|
||
was faster for me than learning'real' math. It was mostly a
|
||
subconscious substitution, but it worked approximately up
|
||
until middle school, when we started to be taught branches of
|
||
mathematics that cannot typically be solved'all in your head.'
|
||
I had read an article in POPULAR SCIENCE or SCIENTIFIC
|
||
AMERICAN or some other magazine around this time that stated
|
||
the structure of the human brain made it impossible to solve
|
||
complex algebra or geometry problems by simply thinking about
|
||
them visually. Well, this had the unfortunate stink of truth
|
||
about it, whether it was true or not, and I was sold on the
|
||
idea from that moment forward. To this day, the colors go
|
||
dead when I try to envision linear equations. Silly, right?
|
||
Anyway. Incoming ideas typically flow across the ridges,
|
||
valleys and other topographical surfaces of my consciousness
|
||
and are, as I said, molded into multidimensional shapes that
|
||
are then stored as visual memories. Reasoning and deduction
|
||
are simply a matter of arranging these shapes into
|
||
aesthetically'correct' sequences and compositions. Somehow,
|
||
this visual logic seems to map. It's a firm validation of the
|
||
Platonic whateveryoucallit. Placing all of my shapes into
|
||
their natural positions, and then abstracting that visual
|
||
record into a sequence of English words and phrases which are
|
||
human-readable, seems to produce lucid thought that I am often
|
||
told is remarkable for its clarity and insight. Or, perhaps
|
||
I'm merely deluding myself and I'm only mimicking the bits of
|
||
language that I've managed to pick up from normal humans after
|
||
hearing the words repeated over and over again. Maybe this is
|
||
all crap. Either way, I've somehow managed to scratch out a
|
||
modest living for close to twenty-seven years. No one has had
|
||
to help me wipe my own ass. I often wonder if other human
|
||
beings process language the same way that I do, but have
|
||
merely failed to articulate the process in a coherent manner.
|
||
Perhaps they create descriptions of their thought processes
|
||
out of the more typical, flawed vernaculars, which
|
||
unfortunately proceeds to shape their cognition and leave them
|
||
striving to fulfill those false accounts with aggressive
|
||
phenomenological action. All of this would of course be at
|
||
the expense of their own more naturally occurring mental
|
||
rhythms. The virus of language is a parasite feeding on the
|
||
fat of the human mind. In my case, my own communications with
|
||
the archetypal concepts of Sarcasm and Messiah seems to have
|
||
occurred on the sub-linguistic level of colors and shapes,
|
||
which I have come to believe is nearer to our wetware than the
|
||
instruction sets (in this case, the English language) with
|
||
which we are trained from birth to hypnotize ourselves. What
|
||
if, through some fundamentally subterranean mechanism, we are
|
||
unconsciously grouping items into structures that alter our
|
||
English even before it bubbles into our internal stream of
|
||
consciousness? This is to say nothing of what inevitably
|
||
comes spurting out of our mouths. It was a sudden
|
||
preponderance of recognizable patterns in my own linguistic
|
||
reflexesit seemed that someone had been sleeping in my bed,
|
||
if you willwhich, when decoded into English, produced a
|
||
convincing resemblance to direct communication between myself
|
||
and an outside force. Was it apophenia? Well, who can say?
|
||
While it is true that there is an element of divining at play,
|
||
the elaborate motifs which seemed to emerge in my reflexive
|
||
patterns of thought cannot merely be dismissed as broadcast
|
||
irritants, disrupting my mental space like so much rumbling of
|
||
bass from a car down the street. These patterns I've been
|
||
describing would also respond to my probing. That is to say,
|
||
they would respond intelligibly. Two-way communication was
|
||
observed to occur. Hence my references to a running dialogue
|
||
between myself and the constructs. Hence my mention of their
|
||
offers and of my rejections. Back at the end of the world,
|
||
having taken several months to mull over the myriad of
|
||
proportions and relationships which were emerging, screeching
|
||
like peacocks from the amorphous collection of data swirling
|
||
about in my brain case, fall, 1980, finally clawed its way
|
||
into view. I awoke one September morning full of the
|
||
realization that I had somehow crept into my twenty-third
|
||
year, relatively healthy and still firmly planted upon the
|
||
surface of the planet. Characteristically, my right-brain
|
||
responded to this happy circumstance by cutting loose a sudden
|
||
inundation of random stimulation. Quantum foam fired in the
|
||
widest possible distribution pattern. My left-brain, shocked
|
||
that this affront had issued from its own
|
||
squirrel-in-the-wheel sibling, spontaneously divined a
|
||
slipshod, though astonishingly practical organizational
|
||
grammar with which to categorize all of the incoming data. A
|
||
dazzling display of battlefield competence, to be sure, but
|
||
the flow of information was steadily increasing. My
|
||
left-brain, bristling now at how quickly its attempts at order
|
||
had fallen into ruin, burrowed itself ever more deeply into
|
||
the heaving bosom of... labor politics. To whit: lacking
|
||
further resources, the faculties of my mind voted to enact an
|
||
emergency work stoppage. A rhetorical picket line was hastily
|
||
erected between the two cranial hemispheres. Turning to all
|
||
of this hubbub consciously for the first time, I (that is to
|
||
say, me) examined said goings-on, and after a certain period
|
||
of solemn consideration, decided that union busting was more
|
||
trouble than it was worth. I would simply pretend that the
|
||
situation did not exist. I would ignore my predicament and
|
||
avert my attention to whatever new, interesting and (no doubt)
|
||
more entertaining thoughts were sure to come traipsing along.
|
||
My left-brain and right-brain could resolve their differences
|
||
without my help. My friend, I say this plainly and it is
|
||
true: ideas are a dime a dozen. Ignore one, and ten thousand
|
||
spring up to take its place. If I do not care for the
|
||
direction of a given narrative, I delete it. Even if the
|
||
ideas do address me audibly and directly, well, that doesn't
|
||
mean I am bound to listen. I don't owe them anything, least
|
||
of all a reply. Life is too short to indulge every pointless
|
||
discrepancy of visual-spatial logic. Let them try to overload
|
||
me. They can't force water into a plugged drain. Getting
|
||
drawn into these whirlwinds is simply a waste of my time.
|
||
Better to pull the hood down over my face. Place my hands
|
||
over my ears. No, I am not available to come to the phone
|
||
right now, and please do not bother me again. Thank you for
|
||
your consideration. Pray, what's for dinner? The year slunk
|
||
by. I gained skill and efficiency at ignoring the stacks of
|
||
interlocking realities. Under the stern tutelage of that
|
||
conscientious ringmaster, ignorance, the serendipitous
|
||
connections began to fade. Mind the gap, right-brain, the
|
||
ringmaster would shout, and so on. This system checks and
|
||
balances kept the situation neatly under my control. Over
|
||
time, I devised a further arsenal of rhetorical tricks for
|
||
identifying and severing new visual-spatial connections even
|
||
before their roots could take hold. My techniques proved
|
||
surprisingly efficacious. Almost before I knew it, my
|
||
twenty-fourth birthday was upon me. I looked back on the
|
||
previous year with a certain contempt for the time spent
|
||
culling all of this useless cruft from the stream of my
|
||
thoughts. I was not getting much else done. But overall I
|
||
retained a sense of accomplishment. The occasional ray of
|
||
satisfaction seeped through. Gently drawing the curtain, the
|
||
fall sunshine felt good in my cold, gray room. The morning of
|
||
September 11, 1981, I awoke alone in my bed. I pulled sweet
|
||
breaths through a sincere smile and let the top of my head
|
||
rest against the cool metal bars of my bed frame. Before
|
||
opening my eyes, I mashed my face back into my pillow and
|
||
relished that I was finally (almost) home free. One more day
|
||
to go. And then it would all be over. Goodbye, twenty-three;
|
||
hello, twenty-four with an"l." I relaxed, sighed richly, and
|
||
thought to myself (in English), Well, I've made it. Nothing
|
||
horrendous is going to happen to me just because I've survived
|
||
to twenty-four years of age. I guess it's time to outgrow all
|
||
of this superstitious nonsense about the number twenty-three
|
||
and get on with my life. So what if the symbols and syntax of
|
||
temporal reality continue to combine obvious configurations
|
||
that seem to beg acknowledgment, comment and/or intervention?
|
||
I will ignore it all, straighten my posture and affirm that,
|
||
on the contrary, all of this 'clairvoyant' horseshit
|
||
and'spatial reasoning' bollocks has been nothing more than a
|
||
series of convenient hallucinations. It was really quite
|
||
simple, in the end, to walk away from the flood of data and to
|
||
get on with my life. So now then, I admonished myself, let's
|
||
get up, shave our face, and get the hell in to work before
|
||
we're late for our shift. I should say, it was quite a relief
|
||
to finally be rid of the shit-flinging, psychic monkey on my
|
||
back. No more looking for the seams in things. No more
|
||
seeing those seams whether I wanted to or not. From that
|
||
morning forward, with the aid of my trusted ringmaster,
|
||
ignorance, I would resolve to translate the multidimensional
|
||
shapes and colors of my thoughts into English prior to
|
||
becoming aware of them. I possessed the machinery. I could
|
||
ignore it all. Let God or the Devil sort it out. Life would
|
||
prove so much easier. Groggily, I pulled on my socks and made
|
||
my way into the living room. I clicked on the television just
|
||
in time to see a jetliner bury itself into the World Trade
|
||
Center and explode. I guess you could say that in that
|
||
moment, everything changed. So much for my upcoming vacation,
|
||
I thought to myself. Sarcasm had always been a great
|
||
practical joker.
|
||
|
||
All of this from the other side of the port hole.
|
||
|
||
I edged backwards, unconsciously.
|
||
|
||
Presently, awareness resumed and I leaped for the curtain. Tom's
|
||
babbling was cut off by the downward arc of my sleeve. I straightened.
|
||
I had barely escaped with my life.
|
||
|
||
Then nothing. Silence.
|
||
|
||
After a few moments, it seemed that the disturbance had faded. I
|
||
decided to take another peek. I inched over to the porthole and slowly
|
||
drew back the curtain.
|
||
|
||
That proved to be a mistake.
|
||
|
||
THE PUBLIC GREEN
|
||
|
||
tags: 2188, albert_lunsford, rimbaud
|
||
|
||
Redaction Day festivities were well underway by the time Rimbaud
|
||
arrived on the Public Green. Green Ladies, resplendent in their
|
||
traditional attire, ensured that every mug remained filled; or in any
|
||
case, that each did not remain empty for long. This was fortunate,
|
||
since a lot of important talking was taking place under the big
|
||
canvases. Tempers would buffer in the mugs.
|
||
|
||
Rimbaud approached a food tent and ran his eyes over the menu. I can't
|
||
eat here, he thought. He moved to another tent and found himself in
|
||
much the same predicament. Pork. Beef hearts. Nothing of substance.
|
||
Typically, there were no vegetables to be found at any of the stalls.
|
||
And the real animal flesh would only send him into allergic fits.
|
||
|
||
Near the edge of the Green, Rimbaud noticed a small group of children
|
||
huddled around a wounded animal. The creature seemed to be mechanical
|
||
in nature. Likely little more than an evolved toy. The young people
|
||
were painting designs on its exposed flesh with dabs of white mud. He
|
||
reflected that the mud in question normally anchored the grass of the
|
||
Public Green.
|
||
|
||
This Redaction Day, Rimbaud had promised himself only limited
|
||
interaction with his employees. But the flux of the crowd had made
|
||
that impossible, as every attendee was expected to issue a lively
|
||
greeting to whomever he passed in the aisles. Rimbaud observed that
|
||
standing in one place for too long would lead to being ground under by
|
||
the aggregate mob. Consequently, he'd kept moving and had already come
|
||
face to face with most of his subordinates several times.
|
||
|
||
What, exactly, he wondered, was really being redacted here? Rimbaud
|
||
surveyed the crowd and detected no sign of the ostensible paring away
|
||
of cumulative excess. To him, it seemed the surplus interactions were
|
||
multiplying.
|
||
|
||
A group of students had gathered on the Green to search for their
|
||
friend. As a regular participant in the Redaction Day preparations, it
|
||
was most unlike their companion to wander off just as his toil was
|
||
finally coming to fruition. But: vanish he had, and under the most
|
||
peculiar of circumstances. One moment he had been present, and the
|
||
next he had seemed to disappear without a trace.
|
||
|
||
At first Rimbaud could not avoid overhearing them. After a few moments
|
||
he could no longer prevent himself from joining in.
|
||
|
||
"Ask yourselves this," he said."Why is it that this man is in the
|
||
Off-White House? The majority of North Americans did not vote for him.
|
||
Why is he there? I tell you this morning that he is in the Off-White
|
||
House because God put him there. God put him there to lead not only
|
||
this nation but to lead the world in a time such as this."
|
||
|
||
"I"
|
||
|
||
Rimbaud stammered, unsure of himself.
|
||
|
||
"I don't know why I said that."
|
||
|
||
"El Nortes," one of the children remarked.
|
||
|
||
Something in Rimbaud caught on the phrase. Unraveled. He felt as if he
|
||
had lost control of his vocal chords.
|
||
|
||
"True enough. But there is a difference between quoting from academic
|
||
sources, which Albert mostly avoids, and quoting from mass media
|
||
sources (i.e., telescreen), which is mostly what Albert does. When he
|
||
approaches feminism as an intellectual construct, it doesn't bolster
|
||
his points to attack the watered-down, simplified, fatuous pablum that
|
||
passes for a given'movement' or strain of thought on the telescreen.
|
||
What he does by gathering all of these strains under the same umbrella
|
||
is akin to what journalists do when they headline articles about
|
||
Albert Lunsford's comics with blurbs like'Biff! Bam! Slap!'"
|
||
|
||
With this, he had captured the children's full attention. One of them
|
||
ventured a response.
|
||
|
||
"By my understanding, that is generally correct. But I do think there
|
||
is a sort of'trickle-down' effect from academia to popular culture.
|
||
Albert vacillates between crediting academia with benign progress on
|
||
the one hand and accusing it of the malicious destruction of society
|
||
on the other. But in both cases he acknowledges academia's
|
||
contribution to pop-feminism."
|
||
|
||
Rimbaud offered no objection, so the boy continued.
|
||
|
||
"It is true that the overwhelming preponderance of super-heroes in the
|
||
medium renders comics, for most people, a form that is strictly about
|
||
super-heroes. But the interesting thing with regards to Lunsford is
|
||
that, following his own logic, the aforementioned dominance of
|
||
super-heroes also renders Albert Lunsford, himself, an
|
||
atheist/marxist/feminist."
|
||
|
||
"Allow me to explain."
|
||
|
||
"Most comic books are about super-heroes. Therefore, comic books are
|
||
about super-heroes."
|
||
|
||
"Most comic books are about super-heroes and are created by atheists.
|
||
Therefore, comic books are about super-heroes and are created by
|
||
atheists."
|
||
|
||
"Most comic books are about super-heroes and are created by atheists
|
||
who are also feminists. Therefore, comic books are about super-heroes
|
||
and are created by atheists who are also feminists."
|
||
|
||
"You can see where this is leading, I'm sure."
|
||
|
||
"Most comic books are about super-heroes and are created by atheists
|
||
who are also feminists who are also marxists. Therefore, comic books
|
||
are about super-heroes and are created by atheists who are also
|
||
feminists who are also marxists."
|
||
|
||
"And finally... Albert Lunsford creates comic books. Therefore, Albert
|
||
Lunsford is an atheist and a feminist and a marxist, and his comic
|
||
book work is comprised exclusively of the all-ages adventures of
|
||
traditional American super-heroes."
|
||
|
||
"Clearly, if Albert does not wish to be associated with these
|
||
atheists, feminists, and/or marxists, as well as the sorts of people
|
||
who give two shits about super-heroes, he should stop referring to his
|
||
work as'comic books,' and/or abandon the medium entirely. Thus,
|
||
responsibility for his public image is placed squarely upon his own
|
||
shoulders. If he does not publicly disassociate himself from the
|
||
medium of comics, he is implicitly supporting the groups identified as
|
||
participants in the medium, and therefore society will have no choice
|
||
but to lump him in with them and treat him accordingly."
|
||
|
||
The boy who had first responded to Rimbaud raised his hand and
|
||
simultaneously resumed the conversation without waiting to be
|
||
acknowledged.
|
||
|
||
"But that's playing fast and loose with the terms we've already agreed
|
||
have specific meanings (as Albert himself does in so many areas, i.e.,
|
||
marxism, atheism, etc.). Albert doesn't qualify his statements the way
|
||
you are trying to do for him. He rejects the notion that there is any
|
||
difference at all between these classifications. Atheist, marxist,
|
||
feministto him, they're all the same thing. In this way, he's exactly
|
||
right that his arguments are'unassailable,' because he has completely
|
||
removed the ability to distinguish one concept from another."
|
||
|
||
"His way of approaching classification just doesn't scale. In fact,
|
||
this inability to scale is precisely why Albert, in other discussions,
|
||
has railed against the erosion of grammatical and syntactical rules in
|
||
the English language. Pretty soon, people are redrawing the boundaries
|
||
of what words mean to fit their arguments, which allows them to alter
|
||
history without even changing the text!"
|
||
|
||
Rimbaud offered his summation:"As with his enemies, Lunsford merely
|
||
distorts the context of a given discussion to support his
|
||
pre-determined thesis."
|
||
|
||
A boy who had been seated on the opposite side of the circle now stood
|
||
up and joined the discussion.
|
||
|
||
"Yes, and every time I would point out one of these collisions of
|
||
mutually exclusive claims, Albert would just say that the explanation
|
||
was self-evident to those who had already joined'his team.'"
|
||
|
||
Rimbaud:"And that's why, no matter how far he travels in search of new
|
||
ideas, he will only ever succeed in rediscovering the tropes he
|
||
brought along with him. He proceeds from the premise that he's
|
||
addressing emotional irrationality andsurprise of all surpriseshe
|
||
arrives at the'valuable confirmation' that he has indeed been
|
||
addressing emotional irrationality. Is he really seeking after Truth,
|
||
at all, or is he simply riffing on foregone conclusions? Well, it's a
|
||
bit of a trick question. He admits that he's merely riffing on
|
||
foregone conclusions! Every event, whatever the outcome, is merely new
|
||
evidence that he was right all along. And that's usually the totality
|
||
of his argument. I think, therefore you're wrong. Back in 1974, I
|
||
might have kept faith that his essays were leading up to something
|
||
meaningful. But how long am I expected to wait for the prize? There is
|
||
no there there. A smooth writing style will only carry you so far. He
|
||
kept, and keeps, shifting the floor beneath the reader. Every
|
||
declarative phrase doubles back and ties itself into his
|
||
atheist/theist binary. He's gone completely off the rails as far as
|
||
constructing an'airtight argument' (as he calls it) is concerned. The
|
||
obvious charge here is confirmation bias, and Albert Lunsford is
|
||
history's most egregious offender.
|
||
|
||
Rimbaud stopped. Looked around. What was he saying? Where had all of
|
||
this come from?
|
||
|
||
The crowd outside the Green continued to churn, oblivious to his
|
||
befuddlement.
|
||
|
||
He glanced around the circle of children, who were still lobbing balls
|
||
of paint onto the mechanical animal. None of their mouths were moving.
|
||
Their body language suggested that they had not even noticed his
|
||
presence.
|
||
|
||
He could feel himself losing control of the situation.
|
||
|
||
"No, no, no. Women are clinically insane, but Albert Lunsford cannot
|
||
be schizophrenic because psychiatry is not a valid science."
|
||
|
||
"I think his mental health is sort of a non-issue. Albert interprets
|
||
it as the fulcrum his freedom hinges upon; but since he is, so far as
|
||
we know, not a danger to anyone else and since he does, so far as we
|
||
know, manage to take care of himself, I really don't think anyone
|
||
cares. I know I don't care, personally, whether or not he's considered
|
||
'crazy.'"
|
||
|
||
"Albert, for his part, seems to think that the whole of society is
|
||
waiting on pins and needles, anxious for him to die. Now really. I
|
||
think he tends to overestimate the common man's awareness of his
|
||
oeuvre. Most of society doesn't even know he exists. When people call
|
||
him'insane,' I don't think they mean for men in white coats to
|
||
forcibly remove him from the Off-White House and drag him off to some
|
||
kind of state-run facility. I think the people he's really worried
|
||
aboutsome small percentage of his peers in the industrysee him as
|
||
either an amusing crank or as a sad example of what happens when a man
|
||
convinces himself he's the only person on Earth with access to The
|
||
Truth. Just because people make fun of him being overdue for his meds
|
||
doesn't mean they are going to come and strap him into a chair, inject
|
||
him with marxist / feminist / atheist / homosexualist meta-proteins."
|
||
|
||
"The fact that he was actually committed to an institution once,
|
||
against his will, probably contributes to his paranoia about the
|
||
perception of his mental health. Perhaps this fear is exacerbated by
|
||
his vast experience with hallucinogens, as he may have acquired some
|
||
idea of what psychotropic medications would do to him. My own parents
|
||
took me to a psychiatrist once, against my will, and I can say that I
|
||
was quite belligerent in my response. But I was not given medication,
|
||
and in fact I was not even held overnight for observation. The
|
||
psychiatrists seemed confused as to why I had been brought there in
|
||
the first place. Given his hostility towards psychiatry, I can only
|
||
assume Albert was treated differently."
|
||
|
||
"If one examines the timeline of recriminations between Albert and the
|
||
comic book industry, it is interesting to observe the escalating
|
||
pattern of self-ostracization Albert has enacted over the past several
|
||
years. I do not dismiss what his latest published material purports
|
||
itself to be about, but it is instructive to note that Albert's latest
|
||
theories have expanded to encompass a neat explanation of why he is no
|
||
longer a fan-favorite creator, and why his latest works have failed to
|
||
garner the universal acclaim he seems to think they deserve. He
|
||
obviously has a very high opinion of himself, and requires a
|
||
corresponding explanation as to why the rest of the world doesn't hold
|
||
him in similar esteem. It's fascinating to me that the very tenacity
|
||
and pigheadedness that make him so difficult to interact with also
|
||
seem to be precisely the traits that have enabled him to complete his
|
||
multitudinous extended works. I think this is where Ian Kenny's
|
||
observations have been centered: Kenny marvels that Albert's
|
||
single-minded determination has resulted in the self-destruction of
|
||
his critical facultiesthat is to say, his vanished ability to
|
||
honestly evaluate himself. At the same time, he has turned the
|
||
remainder of that focus outward, towards the world. With that in mind,
|
||
I don't just think Ian is being a'fuckwit,' as you put it. He sort of
|
||
has a point. Others would no doubt remind us that Albert has always
|
||
been closed off to intimacy, and that he has only stopped portrayed
|
||
himself otherwise since the summer of 1974.)"
|
||
|
||
Finally, Rimbaud began to wind down. He seemed to have said his piece.
|
||
|
||
"I'm sort of getting tired of this relentless harping on the negative
|
||
aspects of Albert's philosophies and his approach to arguing them. But
|
||
dammit, it seems to me that even the people who explicitly admit they
|
||
are opposed to everything he stands for never seem to criticize him on
|
||
the right points. I tried writing to him and taking him to task in
|
||
private, but as we know, Albert is famously unreceptive to real
|
||
intellectual debate. He prefers to maintain the authorial distance. Or
|
||
the authorial authority, if you will. All of you folks who hold it as
|
||
an article of faith that Albert is unfailingly polite and
|
||
self-effacing to his fans; well, it's hardly a constant, as many of us
|
||
have learned through hard experience."
|
||
|
||
It finally dawned on Rimbaud that none of this business about Albert
|
||
Lunsford was actually happening on the Public Green. What he was
|
||
feeling, seeing and hearing was nothing more than a resonant echo of
|
||
the original Redaction Day. What he seemed to be interacting with was,
|
||
in reality, merely a facet of the city's holiday decorations. His mesh
|
||
transceivers had passed on the data unchecked. What a clever
|
||
presentation, he thought.
|
||
|
||
Before he could tear himself away from the simulation, one of the
|
||
children who had been painting the artificial animal appeared at his
|
||
side and began tugging on his shirtsleeve. He bent down so the child
|
||
could whisper in his ear.
|
||
|
||
"Keep your mouth shut. Don't listen to the worries inside," said the
|
||
child.
|
||
|
||
More of the ritual dialogue.
|
||
|
||
In light of Albert Lunsford's harsh example, Rimbaud considered it
|
||
good advice.
|
||
|
||
MOUNTAINS OF WHITE
|
||
|
||
tags: 1986, 4086, dexter_styles, gravy_needs, piro, shit_mold, tab2
|
||
|
||
Thomas resumed haranguing Piro through the port hole.
|
||
|
||
"You have to listen to me. You have to come back with me to 1986."
|
||
|
||
"You've been talking for half an hour. Oh, the plight of the noble
|
||
graphic designer."
|
||
|
||
"I'm serious, Piotr."
|
||
|
||
"I can tell. And I bet you guys are having quite a laugh at my
|
||
expense. Well, Ramadan's almost over. You'll be back here soon enough
|
||
and then I'll have my revenge."
|
||
|
||
"This is not a practical joke, Piro!"
|
||
|
||
"Prove it. Walk me through the challenge and response."
|
||
|
||
"Was there ever a God?" asked Piro, commencing the sequence.
|
||
|
||
"Once. A long, long time ago," answered Thomas.
|
||
|
||
They continued in this vein for some time, until Piro had satisfied
|
||
himself that everything checked out. Once Thomas had successfully
|
||
authenticated his identity, Piro allowed the conversation to continue.
|
||
|
||
"Why me?" he finally asked, rubbing his eyes.
|
||
|
||
Gravy Needs hovered around the corner. Piro was not aware that the
|
||
King had called an early end to the holiday.
|
||
|
||
This was fucking great.
|
||
|
||
"Because we're twin brothers."
|
||
|
||
"Tom, that's impossible. You're from two thousand years ago."
|
||
|
||
"..."
|
||
|
||
"Furthermore, we look nothing alike."
|
||
|
||
"Not all twins are identical," said Thomas.
|
||
|
||
"And not all floating heads tell the truth," said Piro.
|
||
|
||
Stalemate.
|
||
|
||
"MAKE WAY FOR KING SHIT!"
|
||
|
||
Piro and Tom's brotherly reunion was interrupted by the return of the
|
||
King. King Theodosius Shit Mold's entourage marched into the room,
|
||
elbowing Piro away from the port hole. The flap closed and no one
|
||
seemed to notice the floating head outside the window. Dexter Styles,
|
||
the King's Chancellor, took up his usual position between the King and
|
||
the rest of the group.
|
||
|
||
"Let it hereafter be known that King Shit has returned to the
|
||
station!" he declared.
|
||
|
||
The King reclined on his portable throne, his leg dangling over an
|
||
armrest.
|
||
|
||
"Indulge me," said the King to Piro."Why did you stay behind?"
|
||
|
||
"Your Highness," Piro bowed deeply,"My duties..."
|
||
|
||
The King put up his hand, as if to punctuate Piro's excessive
|
||
babbling."Eff that noise. From now on, I want you by my side at all
|
||
times. I've grand designs on your future, Piotr."
|
||
|
||
Piro bowed again.
|
||
|
||
A low rumble issued from the port hole. The flap blew back and the
|
||
makeshift throne room was once again flooded with pale, colorless
|
||
light.
|
||
|
||
"I wasn't finished," said Thomas Bright, Jr. through the port hole.
|
||
|
||
King Shit leaned forward as if to affirm his interest in the present
|
||
goings-on.
|
||
|
||
"By all means, do carry on," smirked the King.
|
||
|
||
Gravy Needs was delighted. He hadn't intended for the King to become
|
||
involved. But now that he had, the hilarity could only increase.
|
||
|
||
Gravy punched up the others on his forearm and quickly told them all
|
||
the news. Stifled laughs echoed in the close chamber. Gravy blipped
|
||
off and resumed his manipulations of the Court.
|
||
|
||
"I'm here to retrieve my brother," continued Thomas."There's trouble
|
||
back home, and he's needed to help smooth over the discontent."
|
||
|
||
"Ah, I am empathetic to family problems," allowed the King.
|
||
|
||
"This is more than just a family problem. There's also a weird anomaly
|
||
that threatens to engulf the entire universe."
|
||
|
||
"And only Piro can save us?" laughed the King, incredulously.
|
||
|
||
"That's my position, yes," answered Thomas.
|
||
|
||
The Court fell silent, waiting for the King to respond.
|
||
|
||
Shit Mold could see that Thomas was going to stand firm on his
|
||
position. Such gallantry touched him deeply, reminding him of comic
|
||
book stories from his youth.
|
||
|
||
"Very well then. It would amuse me to observe your adventures from
|
||
remote. Piro! Pack up your monitoring kit. You're headed for the
|
||
1980s!"
|
||
|
||
Thomas bit his lip and slowly shook his head in affirmation of his
|
||
victory.
|
||
|
||
At last, his brother was returning to him. At last, the team would be
|
||
whole.
|
||
|
||
Together again for the first time.
|
||
|
||
Piro climbed into his vehicle and switched on some soft music.
|
||
Vangelis, as usual. Thomas' head appeared, floating above the
|
||
passenger seat beside him. The two brothers traveled sans
|
||
conversation, which was fine with Piro. He needed time to think.
|
||
|
||
Gravy Needs had not anticipated that the King would send Piro away.
|
||
For all his trouble, the butt of his prank had been effectively
|
||
promoted to field work.
|
||
|
||
I hate Ramadan, he thought.
|
||
|
||
Moments after Piro engaged the ship's percept drive, the orbital
|
||
station had begun to undergo a series of complex, unorthodox changes.
|
||
As the transformations progressed, the station wobbled gradually in
|
||
and out of sight. The station's engineers were befuddled by the day's
|
||
events.
|
||
|
||
Within an hour of the brothers' departure, the anomaly Thomas had
|
||
described had expanded to absorb the station in its entirety. No one
|
||
had expected it to expand so quickly. Least of all Piro.
|
||
|
||
The King, from his vantage point atop the many phonebooks stacked
|
||
beneath his posterior, had been blessed to see it all coming. Perched
|
||
on his throne, he tittered and giggled at the symmetry between the
|
||
waves of monochrome light on screen and the mountains of white powder
|
||
piled on the table before him.
|
||
|
||
There was so much white, everywhere.
|
||
|
||
He sniffled as the station shuddered and faded from memory.
|
||
|
||
`86
|
||
|
||
tags: 1986, freeway_ricky_ross, piro, tab1, tab2
|
||
|
||
Piro eased back on the throttle and the ship came to a stop.
|
||
|
||
"All right," he said."We're here."
|
||
|
||
Thomas eyed him.
|
||
|
||
"Let's get started."
|
||
|
||
Thomas' floating head flickered out of view and was replaced by a
|
||
light rapping on the passenger side window. Piro depressed a switch on
|
||
his console and the window slid down.
|
||
|
||
"This way, my man," Thomas said, motioning with his thumb.
|
||
|
||
"This is our guy on the inside. Handle: Freeway Ricky Ross. Real name:
|
||
Rick."
|
||
|
||
"Pleased to make your acquaintance, Rick."
|
||
|
||
Ricky nodded.
|
||
|
||
"We've been making a lot of progress. We did three hundred million
|
||
last year in uncut bricks. But Ricky's got a line on some sweet
|
||
chemistry and we've been able to step on these new shipments up to ten
|
||
times before sending them out to the street. And it sells just as well
|
||
as the raw."
|
||
|
||
Piro made a low whistle, pretending he understood what Thomas was
|
||
talking about.
|
||
|
||
"The small-time dealers love it. Maximal return on a minimal
|
||
investment."
|
||
|
||
"I own five houses," said Ricky.
|
||
|
||
"It's become an epidemic," complained Thomas, suddenly forlorn."In
|
||
spite of our best efforts, Crack is still flooding our streets."
|
||
|
||
"But"
|
||
|
||
Piro's face contorted in spite of himself. He couldn't quite make up
|
||
his mind if Thomas was being sarcastic.
|
||
|
||
He started again.
|
||
|
||
"But you're the ones selling it!"
|
||
|
||
"Not to worry. We fold all of the profits back into our war on drugs."
|
||
|
||
Piro shook his head.
|
||
|
||
"That makes no sense at all."
|
||
|
||
"That's exactly why we need your help. There are still some kinks in
|
||
the process that need to be ironed out. Something has got to be done
|
||
about the spread of illegal drugs, and quickly. People are dying out
|
||
there, Piotr."
|
||
|
||
Freeway Ricky Ross leaned back against the hood of his Impala. He
|
||
hated this part; waiting for Thomas to make his pitch to some new
|
||
investor was more boring than going to church. He pulled out his
|
||
briefcase and mulled over some past due paperwork. This new lawyer...
|
||
No one could read his handwriting. Ricky snapped the briefcase shut
|
||
and smoked a menthol cigarette. He suddenly noticed that someone had
|
||
scuffed his Chuck Taylors.
|
||
|
||
Piro and Thomas had taken a circuitous route around the parking lot.
|
||
Now they were making their way back towards Ricky. They seemed to
|
||
still be discussing the preliminaries even as their voices drifted
|
||
within earshot.
|
||
|
||
"Basically, I bought the Chrysler Building."
|
||
|
||
"..."
|
||
|
||
"Don't look at me like that. We needed the room."
|
||
|
||
"You founded a super-hero teamfunded by drug moneyto fight drug
|
||
dealers."
|
||
|
||
"Among other things, yes."
|
||
|
||
Piro could feel his eyes popping out of his head. Thomas was almost
|
||
thirty years old. This kind of self-destructive behavior was
|
||
inexcusable. But it was true, he had managed to amass some impressive
|
||
resources. Piro stared off into the Los Angeles smog, weighing the
|
||
situation.
|
||
|
||
"Almost nothing about this appeals to me. All right, I'll make an
|
||
exception for a few of your acquisitions. Did you know that the
|
||
Chrysler Building is still standing in 4086? Owned by the Crown."
|
||
|
||
"Huh. You don't say."
|
||
|
||
"Actually, I operated out of the 61st floor for several years, myself,
|
||
training new recruits."
|
||
|
||
"Yeah, I remember that training. Dad really had a hard-on for your
|
||
teaching methods. He always used to tell the rookies,'If you survive
|
||
one of Piro's seminars, you're hired.' Seemed to think that was
|
||
hilarious for some reason. Of course, years later I told him about
|
||
your Blythe collection."
|
||
|
||
Piro laughed."Who do you think got me started on the doll collecting,
|
||
idiot."
|
||
|
||
Thomas smiled at him warmly.
|
||
|
||
Things were falling into place, just as he'd hoped.
|
||
|
||
"Well Thomas, I'm a little perturbed that you've brought me back in
|
||
time under false pretenses. Crack cocaine is hardly set to swallow the
|
||
known universe. But now that I'm here... Well, what the hell. I can
|
||
see that you've got yourself a heaping full plate. You're going to
|
||
need all the help you can get dealing with this problem you've
|
||
unleashed on the inner city. It probably wasn't such a bad idea for
|
||
you to get me involved."
|
||
|
||
"I'm sure dad would agree."
|
||
|
||
"Please, tell me he doesn't know anything about your drug dealing,"
|
||
admonished Piro.
|
||
|
||
"Relax," said Ricky, flicking his cigarette over the hood of the
|
||
Impala."He's in Japan."
|
||
|
||
"The man has full-clearance access to the mesh, Rick." Piro made a
|
||
face at him, emphasizing the obvious conclusion."If he hasn't already
|
||
involved himself in this scheme it probably just means you haven't
|
||
been paying close enough attention to the books."
|
||
|
||
"I resent that," said Ricky."We've spent a lot of money on
|
||
accountants."
|
||
|
||
New York.
|
||
|
||
The Chrysler Building.
|
||
|
||
It felt strange to once again be standing on the 61st floor
|
||
observation deck. Piro tilted his head so that his bangs partially
|
||
shielded him from the setting sun. He pondered the circumstances which
|
||
had led up to this present eventuality.
|
||
|
||
Thomas had fallen asleep in his apartment downstairs. Freeway Ricky
|
||
had stayed behind in L.A., in order to keep an eye on the business.
|
||
Someone had to do it, he had said. Consequently, Piro had been able to
|
||
claim most of the 61st floor for himself. Just like old times. In
|
||
point of fact, some of his old gear from the 1960s was still locked up
|
||
in the building's armory.
|
||
|
||
As Piro's gaze drifted across the city below, he wondered if Thomas
|
||
was aware that he had burned up the remainder of his fuel in the
|
||
process of getting them back to 1986. As a result, the RAGNAROK was
|
||
parked indefinitely within the present temporal frame. Its percept
|
||
drive had run clean out of new perspectives. Face it, there was
|
||
nothing new to be learned from the past.
|
||
|
||
No matter. It was true there was a lot of work to be done, here, in
|
||
1986. It could hardly matter if Thomas had deliberately deceived him.
|
||
Petty manipulations were not at the forefront of his mind. In any
|
||
case, it would make little sense for Piro to complain about being lied
|
||
to at this late stage in the game.
|
||
|
||
So, his plans would change.
|
||
|
||
He willed himself to narrow his focus, concentrating, with some
|
||
effort, solely on the mission at hand. Stopping the crack cocaine
|
||
epidemic before it destroyed the country, if not the entire world.
|
||
|
||
Piro checked the logins on his weapons and unlatched his backpack. He
|
||
withdrew the necessary equipment and prepared to launch himself over
|
||
the wall of the observation deck. Before he new it, he was once again
|
||
repelling down the side of the Chrysler Building. This familiar action
|
||
pleased him, and he accelerated with deliberate speed.
|
||
|
||
The fading sun reflected at right angles against the skyscraper's face
|
||
as Piro descended its smooth, featureless surface, pacing himself to
|
||
the rhythm of the city.
|
||
|
||
Down, down, down.
|
||
|
||
PIECES OF FILTH
|
||
|
||
tags: 1886, haus_mold, jerrymander_mold
|
||
|
||
Haus was down. Jerrymander sank backwards into the wagon and hugged
|
||
his satchel. The Mold family backups.
|
||
|
||
More shots rang out from the top of the canyon. A gurgle came out of
|
||
Haus. He would be useless for at least another hour.
|
||
|
||
The Secret Service detail had vanished into the brush.
|
||
|
||
These fools worshiped a blank sheet of paper. Any blank sheet of
|
||
paper. Considered them sacred. That's why they didn't like it when you
|
||
filled them with words.
|
||
|
||
And Jerrymander Mold had gotten an awful lot of ink. According to the
|
||
Blanks (as they were known), excess quantities of pulp were spoiled
|
||
disseminating the tales of his exploits. Naturally, such tended to
|
||
happen when you were the President of the United States, but the
|
||
Blanks refused to abide the extraordinary circumstances. The simple
|
||
inevitability of the press' fascination with power was considered, by
|
||
their stubborn, peculiar order, to be no excuse. They declared
|
||
Jerrymander responsible for the destruction of the 25 lb., white bond
|
||
industry. The market had proven incapable of fulfilling wartime
|
||
demand. Therefore, President Mold, as the dominant public figure of
|
||
the war, was obviously to blame for the industry's collapse.
|
||
|
||
Haus had uncovered only minimal data on their rituals, but it had been
|
||
enough to put the fear of the Green into Jerrymander. By his
|
||
reckoning, they indulged in blatantly inhumane practices. And now they
|
||
had tracked him into the canyon.
|
||
|
||
Echoes of movement had been detected nearby. Or so Jerrymander
|
||
calculated the delay. He hesitated to peek over the side of the wagon.
|
||
He could see nothing but the sky and the western rim of the canyon,
|
||
straight ahead of him.
|
||
|
||
Ten minutes elapsed with no further shots fired. Jerrymander assumed
|
||
the Blanks had moved on, but he declined to relax his grip on the
|
||
satchel.
|
||
|
||
By any means necessary, the backups must be preserved.
|
||
|
||
Two hours elapsed. Jerrymander pulled out a blank sheet of paper and
|
||
investigated it in the failing sunlight. It looked normal enough to
|
||
him. He felt no particular spiritual stirring. Of course, the nature
|
||
of his mechanical body guaranteed that this would be the case. He
|
||
found himself absent the necessary hardware to affect faith, even if
|
||
his ghost had been willing. The virgin rectangle of white paper looked
|
||
very much to him like a virgin rectangle of white paper. It lay spread
|
||
out on his hand, motionless and lacking in semantic content. He turned
|
||
it over and examined it at different angles, but could only derive
|
||
this same, dispassionate reading.
|
||
|
||
Haus started awake with a gasp. He spit blood on the floor of the
|
||
wagon, all the while cursing the name of the Green.
|
||
|
||
"These people are truly trying my patience," he remarked, bitterly.
|
||
|
||
"I know what you mean. First they elect me, and then they want to kill
|
||
me just because I find it insensible to worship reams of tractor-feed
|
||
printer paper."
|
||
|
||
"It's amazing they've tolerated you for so long."
|
||
|
||
Jerrymander threw up his hands."They're a guerrilla force. The Federal
|
||
government is fat and slow. Furthermore, the recalcitrant aesthetic
|
||
appeals to the mainstream. These are not the ingredients of an
|
||
Administration victory."
|
||
|
||
The horses were tired. Haus decided that the wagon could afford to
|
||
stay put until morning, even in its disadvantaged position. He'd
|
||
finally gotten the shields up and running. At first light he'd try to
|
||
track down the awol SS men, while Jerrymander made a beeline for the
|
||
Continuity of Government bunker thirty miles to the north. The
|
||
President would be safe there, provided he didn't run into any more
|
||
Blanks along the way.
|
||
|
||
They divided the backups between themselves according to family
|
||
protocol. Haus carefully punched out duplicates of everything they
|
||
had. He took the originals and gave his new copies to the President.
|
||
If either of them were captured or killed, at least one full copy
|
||
would survive. If both of them were captured or killed, the
|
||
preservation of the archive would be irrelevant anyway. They were the
|
||
only remaining Molds left alive, and it took a living Mold to resume a
|
||
saved state.
|
||
|
||
Haus realized then that the Molds were the precise antithesis of
|
||
everything the Blanks stood for.
|
||
|
||
All the more reason to survive.
|
||
|
||
Jerrymander dreamed of white squares in space. He conceived them
|
||
almost as overlapping pixels, multiplying until they blotted out the
|
||
stars and planets. In his dream, he observed the total heat death of
|
||
the universe, presented as a linear narrative spanning the spectrum
|
||
from red shift to blue shift. Near the end, the white squares took on
|
||
a pale, greenish hue.
|
||
|
||
He fancied he could make out some meaningful pattern in the mesh of
|
||
interlocking pixels. The whole enterprise brought to mind Penrose
|
||
tiles. He felt that there must be some significance to the display
|
||
that he couldn't quite grasp. Even in his dream he was frustrated that
|
||
the solution seemed to languish just out of reach.
|
||
|
||
Jerrymander awoke with a crick in his neck. He ran some diagnostics
|
||
and adjusted the latches of his spine, but this action only minimally
|
||
reduced his discomfort. He realized then that he felt cold and reached
|
||
for his jacket. He could definitely do with better weather. The skin
|
||
on his knuckles was starting to crack.
|
||
|
||
Haus had set off without waking him. It was just as well that they
|
||
split up early in the day. Jerrymander checked his rifles and made
|
||
sure his internal GPS was functioning as expected. Presently, he
|
||
yanked on the reigns. The horses roused groggily to cruise velocity.
|
||
|
||
As the wagon drug forward, each horse evacuated its bowels, one after
|
||
the other, in an alternating pattern of green and brown.
|
||
|
||
The dust of the trail caught in Jerrymander's teeth. His grimace felt
|
||
permanent, fixed in place.
|
||
|
||
He was embarrassed to admit that the smell of the horses bothered him.
|
||
|
||
DESCENT OF MIND
|
||
|
||
tags: 1985, albert_lunsford, ian_kenny, saito
|
||
|
||
Saito:
|
||
|
||
I write to you with news of Albert's worsening condition. One
|
||
moment he is digressing about Kant and the next he has picked
|
||
up a kitchen appliance and is bashing himself in the face. I
|
||
am increasingly frightened that he will do irreparable damage
|
||
to himself. When I'm not around, he calls me almost every
|
||
day. But I cannot answer his calls anymorenot for any lack
|
||
of sympathy, understand, but for time. After five minutes he
|
||
forgets he's called and tries to call again. This can go on
|
||
for hours. I think it matters very little whether I answer or
|
||
not, as he won't remember either way. In spite of my fears
|
||
for his safety, I really don't think my presence or my words
|
||
mitigate the danger. When I do answer, speaking to him
|
||
meaningfully is an occluded impossibility, as he rarely
|
||
understands what I'm trying to say. He seems to be losing
|
||
comprehension of even simple language. I now manage his
|
||
percept from remote with an automated script. The program
|
||
runs continuously, even when I am otherwise preoccupied. I
|
||
check the log messages most mornings. I still visit him once
|
||
a week and help him arrange his grocery deliveries,
|
||
medications, and so on. He is no longer capable of caring for
|
||
himself in essential matters. I have to put his hand on the
|
||
pressure screen at the appropriate times. His notebooks have
|
||
degenerated, devolved over time into page upon page of
|
||
scratches, really nothing more than dots and dashes. I don't
|
||
believe he is writing in Morse code. He doesn't even attempt
|
||
to draw anymore. The systems in his apartment could take care
|
||
of all his basic needs, but I am reluctant to cut off contact
|
||
on account of his obvious loneliness. He has begun to confuse
|
||
me with members of his family who are long dead. My
|
||
understanding is that your work has taken a turn towards
|
||
success, as of late, and that the advances you are making
|
||
every day may be of some benefit to Albert. Things used make
|
||
sense to him, Saito. To us. In spite of our earlier
|
||
discussion on these matters, I must appeal to you yet again to
|
||
reconsider your blunt rejection of his case. Surely you have
|
||
some leeway in who you treat. Won't you please try to help
|
||
him, if you are able. I implore you, Saito.
|
||
|
||
Ian Kenny
|
||
|
||
|
||
END BOOK TWO
|
||
|
||
BOOK THREE
|
||
|
||
NANA.TECH
|
||
|
||
tags: 1928, nana_mold, plinth_mold
|
||
|
||
Diagoro relaxed his stance only a little as Grandma hobbled over to
|
||
the cupboard. By the Orb on the kitchen counter, he could see that
|
||
traffic out of the San Jose backbone was slowly reaching its peak.
|
||
Very little time now. Grandma jumped when the teacups reached parity,
|
||
and for a moment he thought that she might be in danger of fainting,
|
||
toppling over. A reassuring expression of recognition (resignation?)
|
||
gradually bled into her face, and she settled back down into her
|
||
slippers, returning to the cupboard as the black tide line in each
|
||
porcelain vessel miscegenated with 2% milk.
|
||
|
||
"There's really not time for this, Nana," Diagoro breathed thickly.
|
||
|
||
"You just close your ill-filtering little mouth. You'll eat this and
|
||
you'll like it. And then we can go and put down your little foreign
|
||
barbarian whore or whoever it is this time and I'll wear a smile for
|
||
you then."
|
||
|
||
Grandma pressed brittle hands into her apron, smearing grease from her
|
||
tools onto the linen. She snapped closed the aluminum case of her
|
||
rifle. After tonight she would tell Diagoro, like so many before him,
|
||
that he was a Mold.
|
||
|
||
For now, she simply said:
|
||
|
||
"I'm going to shoot this bitch myself."
|
||
|
||
STARTING THEM YOUNG
|
||
|
||
tags: 1935, nana_mold, plinth_mold
|
||
|
||
Tomorrow is a holiday, but today is not. My parents are both at work,
|
||
and I'm stuck here at the babysitter's house, sitting out the two or
|
||
three or four hours that I'll be trapped in this room, lying on my
|
||
pallet, dreaming without sleep about every possible other thing I
|
||
could be doing with my time. I don't know why she locks me in here.
|
||
|
||
Granny is not really my grandmother. But that does not keep her from
|
||
closing me up into the spare bedroom after lunch, leaving me there
|
||
until shortly before my parents arrive to take me home. What am I
|
||
meant to be doing, during all of this time? Granny has not been
|
||
forthcoming on the subject.
|
||
|
||
Today's focus is a new assortment of military adventure toys.
|
||
Specifically, the pre-visualization of a flying machine whose swept
|
||
wings must be made to contract upon the release of a certain switchI
|
||
presume to be located somewhere along the aircraft's aft fuselage. I'm
|
||
having a bit of trouble figuring out precisely how the wing mechanism
|
||
will work. Something to do with strings or wires of some sort, all
|
||
obfuscated from the child/operator. The picture is as yet fuzzy...
|
||
|
||
Also up for review is a full-size, realistic combat uniform, infused
|
||
with what I will for marketing purposes refer to as"the scent of
|
||
battle." These two ideas should tide me over until the big door
|
||
unlocks, clicks open at around four o'clock. If I concentrate upon
|
||
this pair of images intently enough, conceive of them in great enough
|
||
detail, covering every possible feature, I am convincedno, I am
|
||
certain that they will have materialized in my bedroom closet by the
|
||
time I get home. It is not clear why I choose to believe in this
|
||
notion, but I confess that I do. I suppose such activity amuses me.
|
||
Consider my age.
|
||
|
||
First then, the aircraft.
|
||
|
||
"Dad is insatiable screwing his daughter," a voice states, aloud,
|
||
sounding quite desperate to be heard. It is only mildly distracting as
|
||
I am quite used to this sort of thing by now. I shrug vaguely without
|
||
losing my train of thought. Laughable, really, these attempts at
|
||
derailing my creative process.
|
||
|
||
"Japanese teen showing her hairy pussy," the voice continues. I have
|
||
no trouble ignoring the outburst, and so carry on with my daydreaming
|
||
as if no auditory phenomena were taking place. All is calm.
|
||
|
||
"Homeless guy wearing a brand new 8-ball jacket."
|
||
|
||
That, I'm sorry to admit, tears it. I have finally had enough. I
|
||
straighten myself and reply:
|
||
|
||
"Little cutie screams as she gets drilled on her new boss' desk. Okay?
|
||
Is that what you wanted to hear? May I proceed now?"
|
||
|
||
I have prepared myself for a dramatic pause, but the voices promptly
|
||
dissolve into a perfect silence. Indeed, one could almost be lulled
|
||
into sleep in this quiet. Would that all of my projects could be
|
||
undertaken in such sublime stillness. I'm quite certain that the
|
||
balance of my output would yield a sharp increase in quality.
|
||
|
||
"Now," I think to myself,"Let's get back to work."
|
||
|
||
Before long, the voices are at it again.
|
||
|
||
"Innocent Gays getting modernistic IT anally."
|
||
|
||
This time, I don't even dignify the disruption with a response. Why do
|
||
they bother? I'm simply not interested.
|
||
|
||
And yet, I have to admit that the voices have once again succeeded in
|
||
distracting my attention. Remarkable, these recent advances in advert
|
||
technology.
|
||
|
||
Granny knocks gently as she enters, clutching a packet of my
|
||
medications. She casts a knowing look as she unscrews the bottles,
|
||
sorting the myriad variety of colored pellets into the concave
|
||
depressions of her tray. Her eyes caress me with warm approval as I
|
||
accept the arrangement of doses and commence popping pills.
|
||
|
||
"You were diddling yourself in here again, weren't you, Plinth."
|
||
|
||
"No," I say."You're hearing things, old woman."
|
||
|
||
I think she is smiling at me but it's difficult to tell because she is
|
||
so old that her face appears quite wrinkled even when she is asleep,
|
||
or watching her programs on telescreen. Is that a smile, or is it
|
||
merely the untreated cracking of leather?
|
||
|
||
I assume she was joking, that she didn't actually see me with my hands
|
||
in my pants.
|
||
|
||
There. Now I am certain she is smiling. This is preposterous. As if I
|
||
needed more variables to consider.
|
||
|
||
I am tired. Much too tired to continue.
|
||
|
||
Where are my parents?
|
||
|
||
That's all for today, Diary. EOF
|
||
|
||
AWAKENING THE SELF
|
||
|
||
tags: 1944, plinth_mold
|
||
|
||
If there is a test, chances are he will pass. But he is never quite
|
||
sure if he really understands the answers, or if he has merely derived
|
||
them from some calculus of the movement of language. Has communication
|
||
truly taken place? And if so, how does he know that he knows? This
|
||
problem of knowledge goes deeper for him (he suspects) than for any of
|
||
the other boys; he is certain that the others are secure both in their
|
||
answers and in the thoughts which (he is also certain) inform them.
|
||
Much unlike himself, unfortunately. What good is the right answer if
|
||
it still doesn't make any sense?
|
||
|
||
He is provided a worksheet. On it are inscribed a series of symbols he
|
||
does not understand. Above the symbols are situated photographs of the
|
||
room he has just vacated. He studies the paper and notices that, in
|
||
one of the photos, a mesh transceiver has been placed behind the
|
||
couch. The angle of the photograph is such that the placement of the
|
||
transceiver is clearly intended to be noticed. But what is the
|
||
transceiver for? That information is not provided. He begins to wonder
|
||
if, perhaps, there is some other, more salient detail of the photo
|
||
that he is missing. What is it he is meant to be looking for? Perhaps
|
||
the mesh equipment is not the item of greatest importance. He scans
|
||
the paper again but notices nothing new.
|
||
|
||
The other children have all been issued this same sheet of paper. Most
|
||
of them are dumbfounded. Discarding their worksheets, the children
|
||
proceed to enact a miniature, organized conflict. They count off into
|
||
strike teams, execute insurgencies, repel counter-insurgencies, invade
|
||
and defend arbitrarily defined territories within the room's finite
|
||
perimeter. It is clear to Plinth that they have all but forgotten the
|
||
problem on the worksheet. Had the exercise confounded them all the
|
||
same way? Each of the boys, including Plinth himself, have only just
|
||
turned sixteen. So, some unfamiliarity with printed matter is to be
|
||
expected. But still, Plinth wonders, What are these boys seeing when
|
||
they look at the photographs? Indeed, what am I missing?
|
||
|
||
At the one hour marker the children are led back into the waiting
|
||
room. Further instructions are not provided.
|
||
|
||
The children begin to bicker. It is apparent now that the waiting room
|
||
has been stripped of standard entertainments. Plinth waits until two
|
||
quarrelers obscure the main surveillance camera (thinly disguised as
|
||
an inoperable telescreen) and ducks quickly behind the couch. Seconds
|
||
later, he pops back up and feigns participation in the complaining. A
|
||
noticeable bulge now deforms the left-front pocket of his trousers.
|
||
Upon close observation his sudden sociability is less than convincing.
|
||
|
||
The boys are led out of the waiting room and into a play area,
|
||
well-stocked with childish trifles. Plinth notes that these trinkets
|
||
are of the exact type the boys had been clamoring for, only moments
|
||
before. Carefully, he retreats into a corner, near an air vent, and
|
||
divests his pocket of the purloined contraband. The cool, manufactured
|
||
air of the building's circulation system envelopes his hands and face
|
||
as he crouches above the illicit cargo, squinting at the various
|
||
inscriptions etched into the reverse-side of each item.
|
||
|
||
Between the legs of a chair, Plinth spies two pairs of wingtip shoes.
|
||
|
||
The furniture is immediately lifted up, completely off of the ground.
|
||
Large hands likewise lift Plinth out of the corner, but not before he
|
||
manages to gather up his collection of stolen materials. He is
|
||
deposited onto a table top, where two uniformed men inspect him
|
||
thoroughly. Their commentary adopts the distinct air of suspicious,
|
||
yet enthusiastic interest.
|
||
|
||
The doctor with the big hands is the first to address him directly.
|
||
|
||
"One of your pockets looks rather larger than the other one, Plinth."
|
||
|
||
"Yes," the second man joins in,"The way they're making trousers these
|
||
days, it's a wonder you can even maintain your balance when you try to
|
||
walk."
|
||
|
||
Plinth:"Born this way, actually. My gait is lopsided."
|
||
|
||
"More likely, his pants are sagging from the weight of several power
|
||
cells taken from a mesh transceiver," the smaller doctor remarks to
|
||
his colleague.
|
||
|
||
"For my leaf," Plinth offers, halfheartedly.
|
||
|
||
"You can read?" both of them say in unison. Now they take turns
|
||
shaking their heads, greatly amused for some reason.
|
||
|
||
"Duh, jackasses," Plinth says, rolling his eyes."I'm not a little
|
||
kid."
|
||
|
||
Plinth is once again removed from the waiting room.
|
||
|
||
Presently, Plinth is being lectured, prepared for his circumcision.
|
||
Before he can be cut, he must first be made to understand.
|
||
|
||
The origin of the procedure is by now lost to history. For his part,
|
||
Plinth knows enough about the rite of manhood to suspect what comes
|
||
next. He has also finally deduced the purpose of today's exercise in
|
||
the waiting room; he is astonished at the transparent nature of the
|
||
deception. Even more astonishing is the fact that he fell for the ruse
|
||
on the first try. Doubtless, Grandma was somehow involved.
|
||
|
||
As it happens, he is the only child to have qualified for circumcision
|
||
today. At sixteen years of age, most males have yet to develop the
|
||
abstract thinking skills required to perform such feats as, say,
|
||
comprehending the relationship between his environment and the funny
|
||
squiggles and marks that constitute a topographical map. By revealing
|
||
that he knows how to read, Plinth has demonstrated that not only does
|
||
he grasp the basic concepts of symbolic representation, but that he
|
||
may also comprehend more abstract relationships which may or may not
|
||
yield a 1:1 correspondence to empirical reality. This is quite unusual
|
||
for someone so young. According to the more experienced doctors, there
|
||
is a precedent for the situation: Plinth will simply be allowed to
|
||
skip ahead to a higher grade level.
|
||
|
||
Naturally, Plinth is concerned about the costs this may incur.
|
||
|
||
"How can I convince them that my brain is damaged," he thinks to
|
||
himself.
|
||
|
||
He shoves his hand into his trousers and squeezes out a length of
|
||
fecal matter. Without hesitation, he chews the curl of feces
|
||
vigorously into his mouth. Swallows.
|
||
|
||
Much to his dismay, the gambit is unsuccessful.
|
||
|
||
The Mold awareness slowly seeps back into Plinth's consciousness. At
|
||
first he is beside himself; these men have just mutilated his stick.
|
||
Then he recalls the purpose of the ritual. Presently, he recalls his
|
||
past life as Haus Mold. He knows now what he must do next.
|
||
|
||
Plinth waves the doctors aside and inspects his personal effects,
|
||
ensuring that everything remains as he left it, nearly two decades in
|
||
his past. Satisfied, he withdraws a small electronic device and
|
||
activates its primary function, instantly transmuting all organic life
|
||
in the room into dust.
|
||
|
||
Deactivating the device and donning his eye-patch, Plinth hops off of
|
||
the examination table and begins to search for an exit.
|
||
|
||
There is much work to be done.
|
||
|
||
IT'S ALL POLITICS
|
||
|
||
tags: 1965, plinth_mold, potus, tab1, the_chief
|
||
|
||
"What do you mean he'runs plastics?'" the Chief snarled,
|
||
incredulously.
|
||
|
||
"Just that. There's no record of him after 1928, and then all of a
|
||
sudden this falls into my lap. Somehow, he's taken control of half the
|
||
toy manufacturing in America."
|
||
|
||
Thomas Bright, Sr. adjusted his cap.
|
||
|
||
"And you're sure it's the same guy?" asked the Chief.
|
||
|
||
"Proof's in the paperwork. Same investment patterns."
|
||
|
||
"But technically it's a different name."
|
||
|
||
"They're all Molds though, aren't they."
|
||
|
||
"True that."
|
||
|
||
Plinth Mold settled into his recliner, his reading glasses perched on
|
||
the end of his nose. Not much in the paper.
|
||
|
||
Maude. Oh, Maude.
|
||
|
||
Of course, this wasn't really his Maude. Generations had passed. Their
|
||
children had spawned children of their own. This girl... Was probably
|
||
his great great granddaughter.
|
||
|
||
No matter, the Molds had always kept it in the family.
|
||
|
||
Plinth Mold hadn't made love since 1888.
|
||
|
||
He lit his pipe.
|
||
|
||
Thomas Bright, Jr. played with his toys. Frequently, he would inspect
|
||
the intellectual property information inscribed upon the buttocks of
|
||
his action figures. He had noticed early on that all of his toys
|
||
seemed to be manufactured by the same company.
|
||
|
||
He figured his dad had purchased them in bulk. The cheap bastard.
|
||
|
||
Thomas threw back the flap of his tepee and climbed out. The cold air
|
||
burned his lungs, going down. He fumbled in his pocket for a
|
||
cigarette.
|
||
|
||
"Violet!" he yelled, carelessly."When's dad coming home?"
|
||
|
||
"Never!" Violet called back.
|
||
|
||
Thomas flicked his cigarette into the open flap of Violet's tent and
|
||
wandered off towards the creek, where he could urinate in peace.
|
||
|
||
An alarm sounded on the Chief's desk. He scanned the incoming message
|
||
and reacted instantaneously, barking commands into his commlink even
|
||
before he had fully depressed the trigger.
|
||
|
||
"Dispatching a cappella teams to the scene," he shouted into the
|
||
aether.
|
||
|
||
Thomas Bright, Sr. stared out of the big the window while the Chief
|
||
worked. He knew that their discussion had ended, for the time being,
|
||
on account of the incoming message. Still, the situation with the
|
||
Molds would have to be addressed, sooner or later.
|
||
|
||
"I'm sorry, Tom, we're going to have to postpone this until tomorrow
|
||
morning. The President seems to think that current developments within
|
||
Project: BLUEBIRD should take precedence over our investigation into
|
||
the Mold situation."
|
||
|
||
Thomas smiled on the inside. The Chief's sarcasm in the face of
|
||
absolute authority delighted his sense of rebellious individuality.
|
||
Naturally, he would never reveal such degeneracy to his superior.
|
||
|
||
"I understand, sir. It's all politics."
|
||
|
||
The Chief listened to his earpiece for a moment and then glanced over
|
||
at Thomas and mimed jerking off with his hand.
|
||
|
||
Thomas nodded and showed himself out of the room.
|
||
|
||
TRADE
|
||
|
||
tags: 1960, margaret, tab1, tab2, the_chief
|
||
|
||
The men in the street shifted uncomfortably as Thomas threaded between
|
||
them, calling out user IDs and lot numbers as he went. Many were
|
||
unaccustomed to such face-to-face business dealings, and they bristled
|
||
at the close contact.
|
||
|
||
In point of fact, the vocal identification and interplay wasn't
|
||
strictly necessarythe visor was picking out each recipient quite
|
||
efficiently, on its ownbut Thomas liked to talk to people. As he made
|
||
eye contact with each man, he pushed a box into their hands and made a
|
||
point of thanking them for their patronage. Thomas believed that the
|
||
human touch created a connection between himself and his clients. For
|
||
their part, the men in the street were mostly irritated by his
|
||
forthright manner. They would not have left their apartments in the
|
||
first place if home delivery had been within their means.
|
||
|
||
Indeed, the men stood crammed into an ever lengthening line along one
|
||
side of the street. Most had squatted down on the curb to inspect
|
||
their bid tickets, or in some cases, their parcels. Each figure was a
|
||
solemn portrait in charcoal, crouched in wool jacket and trousers,
|
||
gazing fixedly over his clutch of papers. Every so often, the gritting
|
||
of teeth could be heard above the din as someone discovered that he
|
||
would not be the next to take delivery of his winnings. For most in
|
||
the line, this day's auction had been a final, go-for-broke grasp at
|
||
obtaining a user account on the old pressure screen grid. Securing an
|
||
account meant the guarantee of employment. Recently, a blanket freeze
|
||
had been declared. No more new accounts would be created before the
|
||
end of the year. This unexpected policy was instituted uniformly
|
||
across all nodes, effective immediately.
|
||
|
||
Thomas ignored his visor's display and ran the figures in his head as
|
||
he negotiated the sorry gallery of drooping faces. At two hundred
|
||
thousand dollars per, his deliveries were netting an even million on a
|
||
good day. This was not to mention the substantial commissions he would
|
||
claim from brokering his customers' login applications. In this way,
|
||
he netted rather a lot of money in rather a short period of time. Each
|
||
infusion of cash compounded with his previous earnings, snowballing
|
||
out of all rational control. It occurred to him at times that a like
|
||
substance tended to flow from itself; the small investment that had
|
||
gotten him started (thank you, Father), wed to the ingenuity he
|
||
employed at multiplying its volume, spread, fractal as the branches of
|
||
a tree into an incomprehensibly vast canopy of zeroes. Even so, he
|
||
recalled that it had been his own insight, quite apart from the fact
|
||
of his tools, that had proven instrumental in setting the whole
|
||
process in motion. From one seed, eternity. But the poetry of
|
||
abiogenesis was a myth. The flow could not proceed from a rock. The
|
||
rock must first be cracked in two.
|
||
|
||
Thomas considered the sorry status of his customers. Was the
|
||
competence of others truly so discouraging, such a disheartening
|
||
exhibition as to obliterate one's own will to succeed? Or were these
|
||
men simply too lazy to break open their respective rocks?
|
||
|
||
Thomas could see no profit in answering the question.
|
||
|
||
Thomas drifted towards a random squatter and tossed a five thousand
|
||
dollar chip into his can. He corrected himself at once, retrieving the
|
||
chip to wipe its memory. After a few seconds erasing, Thomas tossed it
|
||
back into the squatter's lap. The unfortunate man, who had obviously
|
||
not won any auctions that day, did not look up from his leather-bound
|
||
copy of DIANETICS.
|
||
|
||
Comfort yourself as you're able, Thomas thought to himself.
|
||
|
||
Sensing his presence, the book spun up its standard solicitation.
|
||
|
||
"I just took a shit the size of a baby's arm," it read aloud.
|
||
|
||
Disabused of his altruism, Thomas returned to his work.
|
||
|
||
By now, then, the men to Thomas' left had all taken on a greenish
|
||
pallor. This indicated that their parcels had already been delivered.
|
||
Thomas wheeled his cart around and headed in the opposite direction.
|
||
The men on the other end of the street were still tinted red. One by
|
||
one, they melted to light green as he placed a package into each of
|
||
their hands. Occasionally, Thomas would produce a handkerchief from
|
||
his pocket and wipe the fog away from the inside of his visor.
|
||
|
||
The weather crawl indicated that the ambient temperature of the
|
||
alleyway had reached 95 degrees Fahrenheit. Uncomfortable, to be sure,
|
||
but not yet a cause for alarm.
|
||
|
||
Once the sidewalk had melted into a carpet of soft green, Thomas
|
||
locked down his cart and pedaled away on his bike. Almost immediately
|
||
he was flagged by a bright orange man who had lately begun to sputter
|
||
and spurt various curses from his seat on the curb. Amused but mindful
|
||
of the orange glow, Thomas put down the kickstand on his bike and
|
||
removed his gloves.
|
||
|
||
The man on the curb explained to Thomas that his delivery had arrived
|
||
in unsatisfactory condition. While the outer surfaces of the parcel
|
||
appeared to be intact, upon opening the box the man had found nothing
|
||
but charred, broken fragments and a handful of dust. (This, Thomas
|
||
surmised, derived from the explosion of the device's power source
|
||
whilst in transit.) A scent reminiscent of mashed potatoes wafted
|
||
itself into Thomas' nostrils.
|
||
|
||
The man had worked himself into an unfriendly humor. He demanded an
|
||
immediate replacement for the item, and/or the immediate refund of the
|
||
full bid amount into his account. As Thomas looked on, the man
|
||
proceeded to type a complaint into his leaf, which shortly caused his
|
||
tint to shift from orange to bright yellow. Simultaneously, a soft
|
||
tone chimed in Thomas' ear.
|
||
|
||
Thomas considered the situation. When the customer had submitted his
|
||
complaint, a hold would have been placed upon Thomas' account for a
|
||
corresponding price of the item (minus auction fees, etc.), pending
|
||
the satisfactory resolution of the buyer dispute. The onus had now
|
||
shifted to Thomas to provide a valid serial number and delivery
|
||
confirmation for the replacement item, or to agree to a full refund.
|
||
He immediately recognized that, due to the hold placed upon his
|
||
account, his balance was no longer sufficient to secure a replacement
|
||
item. Much less pay for overnight shipping. A refund, of course, would
|
||
be out of the question, by dint of the clearly stated terms of his
|
||
boilerplate delivery contract.
|
||
|
||
Thomas judged the dispute irreconcilable. All for the sake of a used
|
||
piece of collectible pregnancy armor. The absurdity of the conundrum
|
||
put him in mind of paper currency. He mulled over suggesting a
|
||
historical working. Small, rectangular pieces of paper could be
|
||
collected into an animal leather pouch, then transmitted
|
||
surreptitiously via occult arm/hand gestures. Traditionally, the
|
||
procedure had been known put a disgruntled customer's mind at ease.
|
||
But the notion was laughable. Juvenile. A valid debt could not be
|
||
satisfied with trinkets and scraps of paper. He wiped the condensation
|
||
from his visor and likewise sharpened his mental focus. Time to get
|
||
serious.
|
||
|
||
Thomas examined his surroundings in the alley. He glanced from side to
|
||
side, then moved his eyes onto his chronometer and noticed that a
|
||
considerable amount of time had elapsed since he had pulled over his
|
||
bike to commiserate with his complaining customer. The two men now
|
||
stood completely alone at the curb. The street had cleared of punters.
|
||
|
||
The unhappy customer's expression registered extreme dissatisfaction,
|
||
no doubt exacerbated by the evening's steadily steepening thermal
|
||
incline.
|
||
|
||
Thomas considered how difficult it would be to setup a new delivery
|
||
account, to find another corner to service, to arrange the dispersal
|
||
of hundreds of thousands of dollars for yet another intermediary
|
||
service to accredit is account. He then resumed his customer's tightly
|
||
focused, accusatory stare. It was true the man could almost be said to
|
||
look pregnant. The customer continued to grimace from behind his
|
||
parcel's charred, blackened box flaps.
|
||
|
||
Maybe he had needed that armor for something more important than
|
||
simply completing a collection.
|
||
|
||
Without warning, Thomas suddenly snatched the ruined box from the
|
||
man's hands and hurled it to the ground. He punched the man in the jaw
|
||
and then mounted his bike, adjusted his visor for night vision, and
|
||
pedaled away at top speed. As he had feared, the ambient temperature
|
||
was rapidly approaching dangerous levels.
|
||
|
||
Thomas realized, after he had pedaled some distance down the road,
|
||
that he had dropped his login chit.
|
||
|
||
The man on the curb wobbled uncertainly. He touched his hand to his
|
||
face several times, confirming the integrity of his jaw line. He then
|
||
stooped to retrieve Thomas' chit.
|
||
|
||
Thomas observed his customer's activity from a safe distance. He felt
|
||
some disappointment at the loss of his credentials, but he was glad to
|
||
see that his customer had survived the transaction. In any case, his
|
||
account was irretrievably lost. He would have to register all over
|
||
again in the new year.
|
||
|
||
Thomas leaned into a tight, right turn and accelerated rapidly towards
|
||
home.
|
||
|
||
On balance, he concluded that he could afford to laugh. His customer
|
||
was in for a surprise, if ever he attempted to join the ranks of
|
||
freelance sellers. In today's economy, selling was not nearly as easy
|
||
as buying. Honest work had proven to yield diminishing returns.
|
||
|
||
Thomas recognized in himself the stirrings of a terminal pessimism.
|
||
|
||
He considered returning to school. Exchanging one set of circumstances
|
||
for another of equal or lesser value.
|
||
|
||
But he could not admit defeat. Not at twelve years of age.
|
||
|
||
He had to make a go of this.
|
||
|
||
Thomas calculated the remainder of his savings and selected a blank
|
||
sheet of paper from his binder.
|
||
|
||
NEW SENTENCES
|
||
|
||
tags: 1982, 1986, tab1, tab2, the_chief
|
||
|
||
Eyes burnt out. Almost awake. Vanishing act. Breathing
|
||
late. Ringing sound. Mild discomfort. Feels like I'm
|
||
wearing a restroom napkin. Tuning three stations at once in
|
||
my left ear. The other is numb. Everything is back and
|
||
forth. Fluorescents blink and convince me otherwise. Smooth,
|
||
cold and dusty in places. Smell is shrink wrap with rubbing
|
||
alcohol, but worse. Now questions. Tight grip turns to
|
||
shaking. White noise. Corner of a desk in my eye, hard, but
|
||
it just feels like it. Smudged ghosts huddling to warm up.
|
||
Plastic bindings. Spittle smears my cheek. Sound of pliers
|
||
and car keys. Something warmer than dish water. Cut with a
|
||
razor. Tied. Comforting, now. Soft cotton blankets.
|
||
Lukewarm relax. Taking off the restroom napkins. Softer
|
||
sheets beneath me. Dermal abrasion. Folded towel on my
|
||
forehead. More tying. A small pricking. Indistinct
|
||
murmuring in my ear and then more shouting. I'm drifting.
|
||
Quieter voices. Mother is not holding me.
|
||
|
||
|
||
"Sounds like the diary of a heroin addict," said the Chief.
|
||
|
||
I laughed.
|
||
|
||
"Surprising lucidity. My boy is a born writer. I doubt I'd be coherent
|
||
enough to recount the experience."
|
||
|
||
"Yeah, I've tried to read your reports."
|
||
|
||
We had needed a willing guinea pig.
|
||
|
||
The lawyers wouldn't even consider writing up our memo unless one of
|
||
us was willing to undergo the procedure, to prove it was safe.
|
||
|
||
I suggested we get new lawyers. That got some laughs.
|
||
|
||
Then I suggested Tommy.
|
||
|
||
"But will he do it?" the Chief had asked.
|
||
|
||
"You'd better believe it," I assured him.
|
||
|
||
Of course, it wasn't quite so simple. I hadn't even spoken to the boy
|
||
in a number of years. He never seemed to be available when I called.
|
||
In the end we had had to extract him from his place of employment.
|
||
Forcibly.
|
||
|
||
He just wouldn't cooperate. Even after my men identified themselves as
|
||
Federal agents. Which they never, ever do. (I had given them some
|
||
leeway to bend the rules. After all, this was my son we were talking
|
||
about.)
|
||
|
||
We got him out of there. And still he would not submit.
|
||
|
||
I was exasperated.
|
||
|
||
I authorized additional force just because he had made me so damned
|
||
angry.
|
||
|
||
Possibly, I should have told him it was me. But that would have
|
||
tainted the experiment. The results would have been declared invalid.
|
||
The whole operation would have been worse than useless.
|
||
|
||
I had had to proceed under a cloak of anonymity.
|
||
|
||
I hadn't anticipated that he would figure it out so quickly.
|
||
|
||
After he was released, I received an e-mail from him. Short, but it
|
||
was him. Seems he regretted having gone through the experience. Asked
|
||
me not to contact him again. Ever. It wasn't signed (in fact, it
|
||
arrived as a message sent from my own account). But I know for a fact
|
||
it was him.
|
||
|
||
Shouldn't have been such a big deal.
|
||
|
||
He had been through the training. He was qualified. Obligated, even.
|
||
|
||
But of course, he had had a complaint.
|
||
|
||
He always was a complainer.
|
||
|
||
1986.
|
||
|
||
Woke up this morning. Got a call from Piro. What's he doing back in
|
||
the country?
|
||
|
||
I was going to say I should let Tommy know, but then I remembered,
|
||
he's still upset with me.
|
||
|
||
I'll give him a few more years.
|
||
|
||
He'll cool off, eventually.
|
||
|
||
PERIOD DRAMA
|
||
|
||
tags: 1985, b_errol_royale, chuck_fraud, the_director
|
||
|
||
Chuck Fraud loaded his pen.
|
||
|
||
He cruised in through the front doors and attached himself to a cart.
|
||
Walked it down an aisle and held out his arm, sending a row of boxes
|
||
tumbling into his basket.
|
||
|
||
At the register he pulled out his pen and started to write a check.
|
||
|
||
"What are you, Abraham Lincoln?" the cashier said,"You can't write a
|
||
check here."
|
||
|
||
"What, my money's not good enough for you?"
|
||
|
||
"No, sir, it's not. In fact, where did you find an ink pen, anyway?"
|
||
|
||
Chuck Fraud was taken aback by this. How audacious. And no regard for
|
||
history.
|
||
|
||
"Son"
|
||
|
||
"Cut!" cried the Director."I still don't feel good about this scene.
|
||
Some of the details just don't read as authentic. And I don't like
|
||
this conveyor belt. I don't remember electronics stores looking like
|
||
this."
|
||
|
||
He looked down and then spoke into his Arrow shirtsleeve.
|
||
|
||
"Get me the Expert. The Expert! Now."
|
||
|
||
After a few minutes the actors were already getting restless and so he
|
||
waved them off, free to shoot dice or fuck under the craft services
|
||
table or whatever it was actors did when not being directed by a
|
||
director. People continued to swarm around him, but still the Expert
|
||
was not present.
|
||
|
||
The Director consulted his shirtsleeve again and then peered into his
|
||
lap at his leaf. He'd research this himself. He tapped two distinct
|
||
regions in sequence and then furrowed his brow as his eyes strained to
|
||
follow the changes.
|
||
|
||
Chuck Fraud loaded his pen.
|
||
|
||
He cruised in through the front doors and attached himself to a cart.
|
||
Walked it down an aisle and held out his arm, sending a row of boxes
|
||
tumbling into his basket.
|
||
|
||
Pushed the basket up to the register. Starting filling out a check.
|
||
|
||
"I'll need to see your identoplate," the cashier interrupted.
|
||
|
||
"What kind of scam is this?" asked Chuck Fraud.
|
||
|
||
"Sir, you can't pay with paper"
|
||
|
||
"Cut!" screamed the Director, finally making himself hoarse.
|
||
|
||
This time, the Expert was on hand.
|
||
|
||
"This sequence just isn't working. I'm sort of re-writing it blind
|
||
here; I don't know if the original screenplay was pecked out at random
|
||
by amphetamine-soaked apes or if this was something originally
|
||
intended for telescreen. Either way, it's shit. This retail
|
||
environment is in no way authentic. The transaction particulars are
|
||
also inaccurate. If I remember this stuff, you know the viewers are
|
||
going to remember it. We've got to do something about it."
|
||
|
||
"I'll see what I can come up with," confirmed the Expert, before
|
||
darting between some interns and vacating the sound stage.
|
||
|
||
Errol Royale fingered a business card from the top of his deck. It
|
||
read:"B. Errol Royale, Recruiter." His eyes massaged the dense
|
||
ultracrowd. As he surveyed the area, an erection began to deform the
|
||
contour of his trousers.
|
||
|
||
Royale flashed on one Chuck P. Fraud and made a bee-line for him,
|
||
parting the sea of aimless consumers by waving his business card in
|
||
front of his face like a butterfly knife. Fraud responded, naturally
|
||
enough, by shifting his weight and attacking Royale's midsection,
|
||
using the point formed by his knuckles to radiate a signal of pain
|
||
throughout the taller man's ribcage
|
||
|
||
"Cut," breathed the Director.
|
||
|
||
He paused to draw in more air before continuing.
|
||
|
||
"I think I'm going to give up on this scene. I no longer care how
|
||
Fraud gets into the military. We just have to make it believable when
|
||
he starts picking off Congressmen. Let's move on to the next page."
|
||
|
||
THE MOLDS
|
||
|
||
tags: 1975, jonathan, plinth_mold, reginald
|
||
|
||
The man from downstairs would appear every evening at 7:00 p.m., ready
|
||
to collect the wax sculpts. He would take them down to the
|
||
manufacturing floor where they would be cast as first shot test molds,
|
||
and be then put through several short production runs. Gently, the man
|
||
would scoop up each figure and place it onto his tray. He would then
|
||
push his cart along to the next desk. This cycle iterated, every
|
||
evening of every season, without fail. By autumn, the company's lead
|
||
design team would complete a fresh collection of figurines.
|
||
|
||
Jonathan's team had never failed the company.
|
||
|
||
Motioning to the man with the cart, then towards an array of already
|
||
assembled parts that were spread out on the table before him, Jonathan
|
||
presented the work that had most recently occupied his attention. The
|
||
wheels of the man's cart emitted a cantankerous noise and shortly
|
||
began to roll again, this time in the direction of Jonathan's work
|
||
area.
|
||
|
||
From out of nowhere, Plinth Mold tramped into the room. He shook the
|
||
dust from his boots, shouldered past the man with the cart, and locked
|
||
his one good eye, somehow simultaneously, onto both men at once.
|
||
Plinth held onto this intimate, personal contact for as long as he
|
||
possibly could before proceeding to the next phase of the interaction.
|
||
|
||
Jonathan batted a curtain of dirty hair from his face and began to
|
||
scratch his yellow beard. There was no use trying to stop the boss
|
||
now.
|
||
|
||
Plinth removed his eye patch, revealing the smooth, concave surface
|
||
where an eye socket should have been situated, had Plinth been born of
|
||
a mere human woman. Squinting, he proceeded to inspect Jonathan's most
|
||
recent achievements. The first sculpt seemed to captivate, singularly,
|
||
and he hoisted it up into the light, the better to examine its
|
||
particulars. His weight shifted forward and his mouth produced a
|
||
vaguely appreciative grunt. His one good eye rapidly alternated its
|
||
focus for several seconds, comparing his favorite figure to the other
|
||
wax artworks arranged haphazardly across Jonathan's table. It was
|
||
clear from these physical perturbations that, in Plinth's opinion,
|
||
none of the other figures measured up to the one he held clenched in
|
||
his leather-gloved hand.
|
||
|
||
Suddenly sweeping away his velvet knapsack, Plinth winked at Jonathan
|
||
and pulled the drawstring closed.
|
||
|
||
"Our style of working will seem less threatening, in retrospect," he
|
||
remarked.
|
||
|
||
"Who's threatened?" Jonathan tended to humor the aging businessman his
|
||
eccentricities, but he sensed that he was being mocked.
|
||
|
||
Plinth (indicating the sculpt that had captured his interest):"I shall
|
||
require more figures in this vein. Yes. Similar, I think, if not
|
||
identical, to this one."
|
||
|
||
Jonathan:"But I've completed a whole series of designs. Here, just
|
||
take a look at these other models"
|
||
|
||
"I will require only the Asiatics," insisted Plinth, expertly
|
||
maneuvering past Jonathan's pointlessly extended hand.
|
||
|
||
"You aim to pick and choose between the Lord's handiwork?" demanded
|
||
Jonathan, a surprising wave of anger suddenly breaching the surface of
|
||
his pink face.
|
||
|
||
"A man must content himself with the time that he has been allotted,"
|
||
quoted Plinth,"...and so divide his attentions accordingly."
|
||
|
||
Plinth paused, waiting for Jonathan's mind to catch up with his ears.
|
||
|
||
"It should also be pointed out that you have come perilously close to
|
||
conflating yourself with the Lord our God. A most unusual lapse, for a
|
||
young man of your background."
|
||
|
||
This led to silence. Plinth knew quite well which switches he was
|
||
throwing within the young lad's mind.
|
||
|
||
Jonathan considered himself to be the reincarnation of a famous Green
|
||
religious leader, highly revered by the people of his home country.
|
||
This quirk had been jealously concealed by Jonathan's family, as wide
|
||
dissemination of his delusions was likely to result in ridicule, or,
|
||
even worse, excommunication from the country's dominant religious
|
||
order. Since no one believed his claims, there could be no defense.
|
||
|
||
As time continued to elapse, Plinth wondered if perhaps he had flipped
|
||
Jonathan's switches with an excess of vigor.
|
||
|
||
Eventually, the young man let out his breath. Plinth winced visibly as
|
||
Jonathan opened his mouth and slowly began to speak.
|
||
|
||
"I suppose you are better qualified to discern the relative, mundane
|
||
qualities of my work than I can ever hope to be," Jonathan said
|
||
easily, his ears slowly fading from red to pink."I do not begrudge you
|
||
your preferences. They are the very basis of our relationship, after
|
||
all. Please, take what you will."
|
||
|
||
With this, Plinth relaxed and settled back into his shoes. He could
|
||
see now that Jonathan had regained conscious control of his limbs, and
|
||
so, in this more equanimous humor, would not attempt to strike him
|
||
with any of the tools laid out on his workbench. Plinth hastened to
|
||
remind himself that there was never a guaranteed outcome when one
|
||
ventured to upset the Divine equilibrium of the religiously inclined.
|
||
He was only glad that he had not come to terminate the boy's
|
||
employment.
|
||
|
||
Behind Plinth's back, situated at the base of a far wall, a half-sized
|
||
door rose up from the floor. Presently, it opened, and a half-sized
|
||
man crossed over its threshold into the open air of Jonathan's
|
||
workshop. Plinth had not come equipped to deal with multiple
|
||
assailants, and so he spun around quite awkwardly to confront this
|
||
lately arriving interloper.
|
||
|
||
Somewhat unexpectedly, Plinth's plastic cloak had gathered itself
|
||
around his ankles, on the floor, and he nearly tripped over it as he
|
||
assumed the appropriate defensive posture.
|
||
|
||
The man in the closet had declined to join Plinth and Jonathan in the
|
||
lounge. He claimed not to have been aware of Plinth's arrival in the
|
||
workshop, which seemed ordinary enough on its face, but no sane man
|
||
(in Plinth's estimation) refused a free drink and a chance to gnaw the
|
||
ear of his employer. He would know the reason behind this man's
|
||
stubborn abstinence. He demanded that the fellow explain himself, and
|
||
fixed his posture to wait for an answer. The half-sized man had
|
||
prepared no rebuttal, and so finally he agreed to break from his
|
||
chores, to drink with his employer, to act like a human being. In
|
||
spite of this surrender, Plinth observed that a measure of wariness
|
||
still showed plainly on his face.
|
||
|
||
"I have busied myself in that closet, without emerging, for a handful
|
||
of months, and would continue in my toil without complaint if you
|
||
could but leave me alone to get on with my work," lamented the
|
||
half-sized man.
|
||
|
||
"Is it comfortable in that closet?" Plinth asked. His genuine
|
||
curiosity was evident to all who were present at the table.
|
||
|
||
"I have to admit that it's not. But my closet is still serviced by the
|
||
building's pneumatic tube system, through which I am able to procure
|
||
my materials."
|
||
|
||
"May I ask then why it is you are willing to tolerate such working
|
||
conditions?"
|
||
|
||
Plinth knew that he was traversing the boundaries of etiquette. Had he
|
||
opened himself to recriminations? The half-sized man matched his tone.
|
||
|
||
"Oh, and I suppose you find every aspect of your job to be ideal? I
|
||
work from the time I wake up, straight through to the time when I fall
|
||
asleep. What could be the purpose of maintaining separate quarters?
|
||
There's nothing about where I sleep in my orders."
|
||
|
||
"I don't mean to rhyme..." he added.
|
||
|
||
Jonathan was again fumbling with the bristles of his beard, eyes
|
||
focused upon some distant apocalypse. Reginald (for that, Plinth had
|
||
learned, was the half-sized man's name) had performed the series of
|
||
keypad exertions necessary to extend his rolling platform to roughly
|
||
chair height, and so he began the process of conveying his legless
|
||
body into the booth alongside his companions. For his part, Plinth was
|
||
generous enough not to remark upon Reginald's ornate personal mobility
|
||
carrier. Though gape at it he did.
|
||
|
||
"What?" demanded Reginald.
|
||
|
||
"I take it you are the man who operates the molds," whispered Plinth,
|
||
eyes fairly glazing over as he avoided focusing on Reginald's...
|
||
stroller.
|
||
|
||
"The man who designed them. Now operates them. No one else seems to be
|
||
able to get the hang of the interface."
|
||
|
||
Here Jonathan interjected, reciting the well-worn narrative."The
|
||
backups of Reginald's original designs for the molds were lost in a
|
||
catastrophic fire that cleaned out the department's central data
|
||
center back in'71."
|
||
|
||
"The company opted to rescue what was left of my code instead of what
|
||
was left of my legs. And how did that work out for them?"
|
||
|
||
"Reginald was caught in the fire," Jonathan explained.
|
||
|
||
"Falling machinery bisected me. Cut me into hemispheres. With the loss
|
||
of my templates, I've no way of growing a new interface. None of the
|
||
department's people have ever been able to figure out how to run the
|
||
things without me."
|
||
|
||
"But we get by," Jonathan insisted, realizing that Reginald was making
|
||
him sound useless.
|
||
|
||
"Yes, recognizing that losing me meant throwing off their budget, the
|
||
department chipped in on this mobility rig, and built a special room
|
||
for me here so that I might be close enough to the molds to lend my
|
||
expertise when complex adjustments were required. Eventually, I just
|
||
made the space over into an office. The molds are too expensive to
|
||
replace, so this is the state of affairs until we discover how to map
|
||
the controls onto other users' minds."
|
||
|
||
"I had no idea," said Plinth, now sincerely embarrassed.
|
||
|
||
Reginald inclined his head toward Jonathan and took another sip of his
|
||
water.
|
||
|
||
"I tell the kid here it's all God's fault."
|
||
|
||
I'LL MANAGE
|
||
|
||
tags: 1976, maude_mold, plinth_mold
|
||
|
||
So he was unhappy, again. But when he halted to appraise the situation
|
||
rationally, he found that nothing had really changed. Why, then, this
|
||
morose disposition?
|
||
|
||
Each season, Plinth Mold selected the action figures that would
|
||
comprise the next year's line. He did this alonethat is, his decision
|
||
was finalbecause Plinth Mold knew that to consult a committee would
|
||
signal weakness to the trade press. Such fanfare had been made of his
|
||
spectacular rise, his subsequent reign and famously charismatic
|
||
management style, that he was wary of reversing the polarity of this
|
||
momentum, reluctant to sour himself in the public eye by demonstrating
|
||
an acute lack of direction. He knew well that each word of praise
|
||
committed in print represented an investment expected to yield
|
||
generous dividends; that the looming weight of his success was not
|
||
itself immune to the fearful and awesome properties of general
|
||
relativity. In point of fact, there was a sort of balance to the
|
||
world, and he was loathe to tip it off-kilter.
|
||
|
||
The problem was, finally, that these latest designs were not going to
|
||
work. That is to say, Plinth could not decide between them. In years
|
||
gone by such an impasse would have met with the unhesitant scrapping
|
||
of the entire linePlinth would fire the responsible team and start
|
||
over from scratch. But it was far too late for that, this year. He
|
||
would have to make a choice from amongst what had already been placed
|
||
in front of him. He knew it was imperative to come to a decision, but
|
||
still he was unsure of his direction.
|
||
|
||
Yes, so something of some significance had actually changed. He cycled
|
||
between each layout and reprimanded himself sternly for his
|
||
indecision. Why was he making this so difficult? As he stared at each
|
||
proposal, he could not determine to his satisfaction which was
|
||
superior. They all seemed to consist of roughly the same elements.
|
||
Each seemed equal in merit to the next.
|
||
|
||
"There is urine all over the front of this toilet," complained Maude
|
||
Mold, Plinth's wife of some twenty-five years."Sometimes I sit down
|
||
and my pant leg touches itI can feel it."
|
||
|
||
Plinth looked up from his leaf."I guess I'll need to clean that up."
|
||
|
||
"That'd be a good idea, so I don't fucking retch."
|
||
|
||
Previous flirtations with indecision had cost Plinth an entire
|
||
season's work. He had ended up pushing a wave of repaints into the
|
||
stores for Redaction Day. No truly new figures for over six months.
|
||
Mention of that debacle was now off-limits in staff meetings, but the
|
||
dark period lingered in his memory. Fatigued, he thought to himself
|
||
that bouncing back from abject failure was a young man's game.
|
||
|
||
To All Employees: Our Guiding Principles form the basis for how we
|
||
should manage our day-to-day interactions with customers and each
|
||
other. They are the unchanging foundation that supports how we conduct
|
||
ourselves everyday. Along with our Business Plan objectives and
|
||
Factors for Dominance, the Guiding Principles form the building blocks
|
||
to ensure the Figures Department and ultimately UNIVERSAL MOLD's
|
||
success. Click here to view the presentation of the month that
|
||
discusses the importance of"Hold Yourself and Others Accountable." Act
|
||
with Honesty and Integrity at All Times
|
||
Exhibit a Positive Attitude
|
||
Treat Everyone with Courtesy and Respect
|
||
Do What You Say You are Going to Do
|
||
Seek First to Understand Then Be Understood
|
||
Communicate Clearly and Often
|
||
Inspect What You Expect
|
||
Execute Flawlessly Everyday
|
||
Recognize and Encourage Continuously
|
||
Hold Yourself and Others Accountable Thank you, Plinth Mold
|
||
President, UNIVERSAL MOLD
|
||
|
||
"I can't believe I just wrote that," thought Plinth Mold."I wonder how
|
||
I would respond to a message like this, were I to receive it from my
|
||
own employer." But of course, Plinth Mold did not have an employer.
|
||
Had not, in fact, for some time. (Maude, it was true, was only his
|
||
wife.) He tapped the appropriate region on his leaf's screen, causing
|
||
his message to be sent. He hated these condescending dispatches, but
|
||
this one had been necessary, something about gradated impacts that had
|
||
bubbled up from Force Management, and if that were the case, it might
|
||
as well bear his own signature instead of one belonging to some
|
||
irrelevant middle manager. He sought solace through embracing the
|
||
inherent nobility of his judgment, but, curiously, accepting his
|
||
responsibility failed to improve his sagging mood. He still felt
|
||
blankor worse, confused.
|
||
|
||
"When you sit there with your pen, scratching away, it almost appears
|
||
as if you have friends," allowed Maude."Your movements, these gestures
|
||
toward what appears to be the composition of some sort of communique,
|
||
are so realistic."
|
||
|
||
Plinth sighed, folded up his leaf and turned off the lamp on his
|
||
nightstand. He removed his eye patch and laid it on the table next to
|
||
his face, then ran his fingers over the concave surface where his
|
||
eyeball should have been. His toes were freezing, but Maude would not
|
||
countenance another blanket or any adjustment to the environmental
|
||
controls. Perhaps he could show her the figure designs, see if she
|
||
could muster a preference for one in particular. Immediately, he
|
||
wondered what that would cost him in the event of an acrimonious
|
||
separation, and so he closed his mouth. He'd better just do it
|
||
himself. Like so much else.
|
||
|
||
"It's an expensive illusion, created just for you."
|
||
|
||
There was silence, then, but he knew that he had said too much.
|
||
|
||
SHIFT!
|
||
|
||
tags: 1981, chricton, eva, plinth_mold, tab2
|
||
|
||
11SEPT1981
|
||
|
||
UNIVERSAL MOLD, NYC OFFICE
|
||
|
||
Plinth Mold scrolled through the morning news and shook his head.
|
||
|
||
"They make up some lie and then they get mad at you when you see
|
||
through it. Because in their mind they think they've crafted the
|
||
perfect deception, which should appeal to your (perceived) faults."
|
||
|
||
"That's pretty fucking ridiculous. Clearly they are to blame for their
|
||
own inability to con you."
|
||
|
||
"Yeah."
|
||
|
||
"By the way, do you want to come in early today?"
|
||
|
||
"I'm already here, sir."
|
||
|
||
Plinth looked up from his leaf and saw that Thomas was indeed standing
|
||
in the doorway to his office.
|
||
|
||
"Oh. So I'm not talking to you on the phone."
|
||
|
||
"No, sir."
|
||
|
||
"You sound like you're on the phone."
|
||
|
||
"I'm not, sir."
|
||
|
||
"You're sure."
|
||
|
||
"Yes, sir."
|
||
|
||
"Nano-toxins. That eat sperm. Selective genocide."
|
||
|
||
"History is spamming weird."
|
||
|
||
"Yeah, I read about it the other day. Something they unleashed during
|
||
World War II. Hell of a way to get your pipes cleaned."
|
||
|
||
"Barbaric. And yet... Hmm. Piques the curiosity."
|
||
|
||
"I'll say. I wonder if it hurts."
|
||
|
||
"See if you can finish up these inks before Chricton comes back from
|
||
lunch."
|
||
|
||
"Will do."
|
||
|
||
Thomas moved his fingers inside the box. Ink lines began to appear
|
||
over the blue wireframe on his screen. Once finished, he would export
|
||
the flat image to paper. For some reason, Plinth Mold still preferred
|
||
a 2-D mock-up for his action figures. Thomas found the whole get-up
|
||
awkward, but for a paycheck he was willing to oblige.
|
||
|
||
"I know this is not what we set out to do with ourselves," Thomas said
|
||
to himself as he continued to trace the lines on his screen."We've
|
||
allowed a number of years to slip by, and yet, no clear progress
|
||
towards our goals is apparent."
|
||
|
||
Just as Thomas was getting into the rhythm of self-deprecation,
|
||
Chricton returned, bursting through the door with two brown paper bags
|
||
full of groceries.
|
||
|
||
"That was quick."
|
||
|
||
"Yes. I ran into Eva in the corridor. Relieved her of these. Here,
|
||
let's snack while we work."
|
||
|
||
"Thoughtful of you."
|
||
|
||
"Yeah, I don't think she was going to do anything important with all
|
||
this stuff anyway. She was covered in some kind of white powder. Just
|
||
stood there while I took her groceries away from her. Distant look in
|
||
her eyes."
|
||
|
||
Thomas leaned his head down on his drawing surface and pretended to
|
||
snort a line of cocaine.
|
||
|
||
Both men laughed heartily.
|
||
|
||
Plinth was flossing with a piece of o-ring from one of the prototype
|
||
figures.
|
||
|
||
"Boss, that's gross."
|
||
|
||
"Hey, all this junk is mine anyway. Keep your eyes on your own paper."
|
||
|
||
"You know, I've often wondered how to solve the problem of The Troll."
|
||
|
||
"What the fuck is a Troll, boss?"
|
||
|
||
"I'm glad you asked. A Troll is merely someone who enters into a
|
||
discussion with the intent of disrupting the equilibrium; usually by
|
||
misrepresenting his own or others' actual positions in favor of
|
||
inflammatory rhetoric, or by the constant interjection of non
|
||
sequiturs."
|
||
|
||
"I see. This has to do with one of your theological speculations,
|
||
doesn't it? Doesn't sound like a very friendly habit, anyway."
|
||
|
||
"No, the Troll isn't a very friendly sort at all. In fact, the
|
||
practice of Trolling is usually undertaken maliciously. Why, the
|
||
history of the Green is positively peppered with examples of
|
||
individuals who"
|
||
|
||
"But boss, why would someone want to do something like that? Seems
|
||
counterproductive."
|
||
|
||
"That, Thomas, is the problem of the Troll."
|
||
|
||
Chricton looked up from his workbench."I think we should make a figure
|
||
of this Troll character." He swiveled his screen around and displayed
|
||
his design: a small creature with an obnoxious outgrowth of wispy
|
||
hair, mounted atop a pencil as if it were some kind of ornamental
|
||
eraser.
|
||
|
||
Plinth was visibly amused. He depressed a switch inside his coat
|
||
sleeve.
|
||
|
||
"Capital idea, Chricton! Our only obstacle will be securing a license
|
||
on the concept from the Green Consortium."
|
||
|
||
All of the men chuckled hesitantly before deliberately shifting the
|
||
discussion to other matters.
|
||
|
||
The Green Consortium never issued licenses.
|
||
|
||
Not to the likes of Plinth Mold.
|
||
|
||
THE SHIP
|
||
|
||
tags: 1993, piro, plinth_mold, tab2
|
||
|
||
I'm watching the waves do weird things, dancing around the stuck pixel
|
||
in my visor. It's making me a little nauseous.
|
||
|
||
Piotr's abovedecks with the boss, Plinth Mold. I really, really,
|
||
really didn't want him to come along on this outing, but Captain
|
||
Plinth insisted. I can't say no to him; literally. In spite of the
|
||
rumors of impending cutbacks, I need to hold onto this job for as long
|
||
as possible. There are debts to consider. And hey, it's his boat.
|
||
|
||
But truthfully, I hate Piotr. He's my best friend, sure, but things
|
||
are complicated. He makes me be the bottom. Plus, his hair is longer
|
||
than mine. These are only two of my reasons for hating him.
|
||
|
||
Staring out of my porthole is not working. I'm about to blow
|
||
groceries, so I've got to get out of my room. I don't want to ruin my
|
||
sheets.
|
||
|
||
I'm up top again, leaning over the railing. Piotr thinks this is all
|
||
pretty funny. Plinth, if he notices, ignores the subtle
|
||
best-friend-tension between Piotr and myself and has a laugh as well.
|
||
I'm peering into his face, trying to line up the dead pixel in my
|
||
visor with his one good eye. It centers me momentarily and I stop
|
||
vomiting long enough to strike up a conversation.
|
||
|
||
"Plinth, I need a raise."
|
||
|
||
"I just want you to know that my having to fire Piotr isn't going to
|
||
reflect badly on you."
|
||
|
||
I am transfixed. Somehow I keep from letting loose on Plinth's shoes.
|
||
|
||
"You know, because you recommended him to the company."
|
||
|
||
After a period of stasis the sky is vibrating normally again, and so
|
||
I'm back to leaning over the railing. If you need me, you'll know
|
||
where I'm at. Plinth keeps on talking.
|
||
|
||
"Let's not tell him until we cross the Equator, eh?"
|
||
|
||
Wiping my mouth. Pushing the words out."He's not really my brother,
|
||
you know."
|
||
|
||
Going back several years now, Piotr and I have been telling people
|
||
that we're brothers. Twin brothers, even. Somewhat surprisingly,
|
||
seeing as how we look nothing alike, no one has ever expressed the
|
||
slightest incredulity about our claim to blood kinship. I guess I have
|
||
to admit, I would be surprised if anyone at this company had paid that
|
||
close attention to anything that came out of our mouths. But this goes
|
||
beyond simple gullibility. Never, no matter how ludicrous a scenario
|
||
Piotr and I may have just tried to put over, has anyone, at any time,
|
||
ever, challenged one of our claims. Even when we have deliberately
|
||
crafted preposterous stories. Even when it's clear that we almost
|
||
certainly must be lying. I have no explanation for this incredible
|
||
fact. Though I do admit to taking advantage of the effect from time to
|
||
time. When it comes to untruths, Piro and I are multi-platinum
|
||
sellers. Too hype, straight dope, flavor milk, so to speak. It's
|
||
sickening.
|
||
|
||
Anyway, by now I am tired of the charade. Determined to break the
|
||
illusion, to drop real knowledge on our employer and our co-workers.
|
||
Piotr, my love; how I hate him.
|
||
|
||
"Boss, I have a confession. I've been lying to you, all these years."
|
||
|
||
"In your way. Of course I know that you are not a blood relation of
|
||
Piotr's. Though I doubt anyone else here at the company suspects. You
|
||
see, Piotr is my son."
|
||
|
||
I lean back over the edge, then straighten myself, then back over the
|
||
edge, ad nauseam. (Ha ha.) An inverted pendulum. The IV comes out of
|
||
my arm and then my premium grade Green is washing all over the deck.
|
||
It's a beautiful chaos.
|
||
|
||
"No way, boss."
|
||
|
||
"Oh, yes way, Thomas."
|
||
|
||
"That's ridiculous. That's disgusting. How could this happen."
|
||
|
||
It is a great storm that frightens the fish and blows up the skirt of
|
||
our boat. It causes a great deal of entertaining interference in my
|
||
visor. I'm tracing lines between the raindrops with my messed-up pixel
|
||
and again, it's making me quite ill. However, my stomach has almost
|
||
caught up with the unstable gravity of the ship, and I feel that if
|
||
only I can keep up with the raindrops, I may stave off vomiting
|
||
indefinitely. In the meantime, the IV has been replaced in my arm.
|
||
|
||
Plinth stands watch over the bridge.
|
||
|
||
I can feel Piotr entering the room even though he's exercising his
|
||
professional skills; he's so vain that he even wants to lie to me with
|
||
his movements.
|
||
|
||
I can't take it anymore.
|
||
|
||
"He's firing you, idiot."
|
||
|
||
"I love you, Thomas."
|
||
|
||
The ball is in play. I really do hate Piotr.
|
||
|
||
"Of course you love me. We're brothers, right?"
|
||
|
||
"He's not firing me. He's giving me the ship."
|
||
|
||
This is just too much. I have to throw up some more of my insides.
|
||
|
||
"You know he's my father, then," says Piotr.
|
||
|
||
"Oh, fuck you." I barely spit out the words before losing my lunch all
|
||
over the bed. Piotr looks sympathetic, but suddenly he gets a little
|
||
testy as he realizes I'm damaging his property.
|
||
|
||
"Hey, don't make a mess of my boat."
|
||
|
||
Aw, shut up.
|
||
|
||
This is not a problem.
|
||
|
||
This is no emergency.
|
||
|
||
I know how to calm him down.
|
||
|
||
PERCEPT DRIVE
|
||
|
||
tags: 1993, piro, plinth_mold, tab2
|
||
|
||
Plinth Mold sat and ate his Green Cashew cereal. The ship's percept
|
||
drive sent barely visible tremors across the surface of his milk.
|
||
|
||
"Do you ever get sad when you see a girl who is, like, all obsessed
|
||
with sports and stuff, and you realize that there's no way the two of
|
||
you could ever be compatible?"
|
||
|
||
Thomas had somehow gained entrance to Plinth's cabin. What about the
|
||
elaborate rhetoricalock system Piro had installed? Plinth had been
|
||
assured, specifically, that Thomas could not penetrate it. Ridiculous.
|
||
|
||
"You mean some girl you like?"
|
||
|
||
"Not necessarily. Just, you know, any girl. Just to see her. From a
|
||
distance, it's almost as if there is some sort of active force that
|
||
draws you towards her, even as it pushes her away."
|
||
|
||
"I can't say as I've ever suffered that sort of crisis, Thomas."
|
||
|
||
"Oh. Well, even though I'm gay, it still sucks. Strictly speaking."
|
||
|
||
The ship lurched sharply and Plinth figured Piro must be wrangling the
|
||
percept team to the other side of the deck, making a slight course
|
||
adjustment.
|
||
|
||
"Anyway, could you please shut up this incessant chattering? My Green
|
||
Cashews are getting soggy."
|
||
|
||
"All right, boss. I'll just head up top and see if anything else needs
|
||
doing."
|
||
|
||
Abovedecks, Piro was indeed herding members of the percept team from
|
||
one side of the ship to the other. Each man or woman planted
|
||
themselves into their new position and focused their attention
|
||
acutely, fixating upon a single point along the horizon that had been
|
||
marked pink in their visors. Slowly, the ship began to change
|
||
direction.
|
||
|
||
Piro propped a leg up on the railing."Forward; That way," he
|
||
commanded, gesturing in a specific direction for the benefit of the
|
||
percept team.
|
||
|
||
Their gaze moved to his hand instead of to the distant point he had
|
||
meant to indicate.
|
||
|
||
That was not good for the ship.
|
||
|
||
THE SHIP, PT. 3
|
||
|
||
tags: 1993, albert_lunsford, chrystal_pepsi, piro,
|
||
plinth_mold, tab1, tab2, the_chief, wetbeard
|
||
|
||
It was Lunsford, all right. QCL Corp.
|
||
|
||
I really didn't need to verify.
|
||
|
||
I had spellchecked over three hundred individual songs, processing
|
||
each of them manually. One at a time because Lunsford refused to let
|
||
anyone use the automation. All of his interns were on leave for
|
||
various reasons. He'd popped out of his office a couple of hours ago
|
||
and handed me this improbable stack of leaves. One leaf per song! Then
|
||
disappeared just as quickly as he'd arrived. Meanwhile, at an access
|
||
junction to the abandoned floor, my own"interns" were spreading porn
|
||
onto the mesh like so much organic peanut butter onto a bland tasting
|
||
sandwich. The security exposure revealed by last night's scans would
|
||
heal itself by lunch time, possibly even before I could put Lunsford
|
||
in the freezer and be on my way. Potentially troubling, but as a
|
||
strictly practical measure I was confident of my chances. For various
|
||
reasons it paid to keep positive.
|
||
|
||
I cracked open a Gray Pop and chugged it back. Frothy, neutral-toned
|
||
agents coated my throat with perpendicular cells. It was refreshing,
|
||
and also damned delicious. Honestly, I should have been focusing on
|
||
losing the extra pounds I'd picked up while working on the this
|
||
assignment. Only a week to go before I'd be shipping out again. I'd
|
||
appear obese and would probably be mocked by my teammates. I glanced
|
||
down at my belly, hesitantly. All right, shit, I thought to myself,
|
||
I'll purge the perp cells before heading to bed. So much for the perks
|
||
of the job. I hated forcing myself to vomit.
|
||
|
||
Presently, I belched.
|
||
|
||
Which temporarily alleviated my sea sickness.
|
||
|
||
I squeezed my eyes shut and strained to hear my heartbeat. The sounds
|
||
of the machinery in the room ran my thoughts aground. Wave upon wave
|
||
of diverse electronic complaint, crashing together in a ubiquitous
|
||
aural foam. So loud that I couldn't feel the reassuring pulse of my
|
||
circulatory system clicking against my inner ear. I wondered: Am I
|
||
finally dead? Or am I being recalled to base? What is the meaning of
|
||
all this?
|
||
|
||
Then reason, and balance, resumed.
|
||
|
||
Meaning was irrelevant.
|
||
|
||
A new disturbance in my visor window. Some of the security from
|
||
upstairs was leaking onto the public layer. Wonder what the pajama
|
||
shits are? Text 667-SHITZ to find out!
|
||
|
||
Well. It was old-fashioned stuff but it would work. That is to say, if
|
||
my interns could keep their hands out of their pants long enough to
|
||
smear it into place properly. I crushed the empty Gray Pop can on my
|
||
forehead and tossed it into the trash bin. There was groundwork to be
|
||
laid before my part of the assignment could proceed. I scanned the
|
||
progress reports again and made sure that the numbers were leveling
|
||
according to plan. We were on schedule. Barely. A relief, but the boys
|
||
were only onto the B tab by now.
|
||
|
||
We were going to need more time.
|
||
|
||
It may have started as a reaction to the percept team's sudden loss of
|
||
attention. It may have been something else. What was positive was that
|
||
things were not going well for the team stationed upon the top deck of
|
||
the USS DOM DELUISE. Piro's prodigious organizational efforts
|
||
notwithstanding.
|
||
|
||
"You men, eyes on the horizon," directed Piro.
|
||
|
||
A waved sloshed over the deck, knocking a couple of the team off of
|
||
their feet. They immediately righted their gaze to stern.
|
||
|
||
"Not what I meant," said Piro.
|
||
|
||
"Water's getting choppy," hollered Thomas Bright, emerging from
|
||
belowdecks."You sure you don't need to get your folks strapped in?"
|
||
|
||
"We'll be fine." Piro reinstated his leg to the side of the railing
|
||
and propped himself against it with his elbow. Somehow, he maintained
|
||
the appearance of standing upright. He motioned towards the sun, which
|
||
was only just now slipping below the the horizon.
|
||
|
||
Thomas interjected again."It's no wonder they were having trouble,
|
||
staring into the sun like that. Probably ruining their eyesight."
|
||
|
||
"Worrying about that is my responsibility," said Piro, clearly
|
||
irritated that Thomas had raised the issue in front of his men.
|
||
|
||
"Hey, fuck- s'cuuuuuuse me. I'm here on behalf of the boss. He's
|
||
trying to mentate down there. Only, the ship's rocking back and forth
|
||
too much. Making him nauseous."
|
||
|
||
Piro's face didn't change."Understood."
|
||
|
||
Satisfied, Thomas returned belowdecks.
|
||
|
||
Piro kicked one of his men in the seat of his uniform."I said eyes on
|
||
the horizon."
|
||
|
||
We were in before Lunsford got back.
|
||
|
||
I sat down behind his desk and played around with his knickknacks.
|
||
Action figures, mostly. Even one of himself. Though it must be stated
|
||
that the depiction was idealized, anatomically enhanced almost beyond
|
||
recognition. There were some doodles carved into the arm of his chair,
|
||
apparently with a pocket knife. What a barbarian. Inside his desk I
|
||
found several unopened packages of Magnum prophylactics.
|
||
|
||
He burst through the doorway of his office just as I had one of the
|
||
Magnums out and stretched over the barrel of my gun. I suppose it
|
||
painted an odd picture for him. Well, shit, I thought, break time's
|
||
over.
|
||
|
||
My first shot punctured the digitally enhanced prophylactic. The rest
|
||
of the flexible, translucent material blew away as I carried forward
|
||
with renovations to Lunsford's frame. Pieces of the Magnum had ended
|
||
up all over the place, and I laughed when I saw that a small fragment
|
||
had become stuck to Lunsford's cheek. The debris and flesh dispersed
|
||
in their usual fractal pattern as I emptied the rest of my clip into
|
||
his face.
|
||
|
||
Mission accomplished, then.
|
||
|
||
By the time Lunsford had settled to the floor, my interns had caught
|
||
up with me. They proceeded to scoop up any and all items of interest.
|
||
I fished in Lunsford's pockets for a cigarette and came up with some
|
||
off-brand that must have cost even less than what I normally smoked. I
|
||
stripped off my necktie and tossed it onto Lunsford's lifeless chest,
|
||
chased it with a flick of ash, and then, with some effort, produced a
|
||
fair amount of Gray Pop spittle. A signature, of sorts. We gathered up
|
||
what we needed from his office and left the body for housekeeping.
|
||
|
||
Ring, ring.
|
||
|
||
"USS DOM DELUISE, your one-stop shop for Redaction Day savings," Lt.
|
||
Commander Wetbeard sighed into his mouthpiece.
|
||
|
||
"This is Plinth. I'm calling on an outside line because the intercom
|
||
in my stateroom is non-functional. I need you to contact Piro and send
|
||
him down here for me."
|
||
|
||
"I'll get right on top of that, boss," said Wetbeard, straightening
|
||
smartly in spite of the fact that no one could see him in his watch
|
||
seat.
|
||
|
||
A low-flying aircraft became momentarily visible to the percept team
|
||
and the ship rolled to starboard.
|
||
|
||
"Did you feel that?"
|
||
|
||
"Feel what, boss?"
|
||
|
||
"Nevermind."
|
||
|
||
"I'll send Piro down right away, sir. Anyway, it looks like he could
|
||
use a break."
|
||
|
||
"Tell him we'll have Thomas steer the team for him, while he's
|
||
belowdecks."
|
||
|
||
Lt. Commander Wetbeard stared at his phone. While his rank as Lt.
|
||
Commander was merely a job title, and not an actual rank in any known
|
||
naval organization, he was still conflicted over whether or not to
|
||
question the orders of Plinth Mold. It had been some time since
|
||
Wetbeard had needed to contemplate the ramifications of any of the
|
||
orders that were issued to him. His mind ran several possible
|
||
scenarios as he awaited the flash of resolute intent which would
|
||
signal that a suitable course of action had been selected.
|
||
Accordingly, the two conflicted halves of Lt. Commander Wetbeard
|
||
engaged in an extended negotiation, exchanging discreet packets of
|
||
information at last-century speeds. As if to unclog the apparent
|
||
bottleneck, Plinth Mold severed the uncomfortable silence by at last
|
||
continuing to speak.
|
||
|
||
"I'm sending him up now," Plinth said, and hung up.
|
||
|
||
And with that, Wetbeard's crisis was resolved.
|
||
|
||
In all, fifteen of my team were disqualified from active service based
|
||
upon their performance in the Lunsford simulation.
|
||
|
||
I began to seriously consider retirement. No, really this time. It
|
||
wasn't bad enough that I'd been busted down to mission
|
||
pre-visualizations; I had to be roundly insulted by the lackluster
|
||
passel of students assigned to me, as well. I fairly ached to commit
|
||
government-sanctioned violence against an entrenched detachment of
|
||
radical dissidents, or at least to fire a loaded weapon at a
|
||
stationary target in a taxpayer-funded firing range. My desires,
|
||
however, were irrelevant, owing to my present status at the Farm.
|
||
They'd even revoked my weapons certificates so that nothing in my
|
||
personal arsenal could be activated or equipped. For now, the weapons
|
||
would lay idle, stubbornly refusing to aid in the national defense.
|
||
Naturally, I was still responsible for their maintenance. It was a
|
||
textbook example of bureaucratic entanglement: an asset simultaneously
|
||
existing in two contradictory states, never collapsing, one way or the
|
||
other, into coherence. During the first six months of my demotion I
|
||
was convinced that soon I'd be slipped a deep-cover assignment which
|
||
would exploit my new status as a pseudo-civilian. It would hardly be
|
||
the first time I'd enjoyed such an arrangement. But no one ever
|
||
contacted me. No such assignment ever materialized.
|
||
|
||
Maybe I had missed a cue.
|
||
|
||
In truth, there was a given reason for my demotion. I won't go into
|
||
detail, but suffice to say that around 1991 it was suddenly considered
|
||
bad form to tally a large number of civilian casualties in the course
|
||
of a single mission. My superiors had cunningly rewritten the rule
|
||
book after I'd already been deployed to the field. Oh, there were
|
||
extenuating circumstances, to be sure, but, as with the review board
|
||
who oversaw my case, I'm sure you have better things to do with your
|
||
time than listen to me complain about how I was sabotaged by the petty
|
||
reprisals of middle-management. I'll just say that it was no
|
||
coincidence a former student of mine had become my new case officer
|
||
shortly before we shipped out, and that the offending mission was my
|
||
first under her command.
|
||
|
||
Chrystal Pepsi. An officer for whom I'd flatly refused to die.
|
||
|
||
It's conceivable that she may have sensed my lack of faith in her
|
||
abilities.
|
||
|
||
Taking a peek at the paperwork and gradually realizing the scenario I
|
||
was being slotted into, I was furious. It's unprofessional to admit
|
||
this, but I'm certain my feelings toward C. Pepsi affected my
|
||
performance during the mission. It's likely that she was cognizant of
|
||
my opinions even when she first floated my name to lead the team.
|
||
Hence, a typical sort of trap. Her bid to leapfrog my years of
|
||
experience by simply removing me from the game board. This was exactly
|
||
the kind of thing I had taught her to do to other people.
|
||
|
||
And, well, it had worked.
|
||
|
||
I missed the Chief. I missed my old life.
|
||
|
||
I was used to being a target, but that didn't mean I would just sit
|
||
around and do nothing about it, once I found out.
|
||
|
||
It was time to reactivate my guns.
|
||
|
||
THE CARRIER
|
||
|
||
tags: 1993, chipotle_pope_bags, gravely_cuss, pennis_mold,
|
||
piro, plinth_mold, tab2, wetbeard
|
||
|
||
"This logo is all wrong," complained Pennis Mold."You've got to
|
||
include the inverted commas, like this." Pennis made a few marks on
|
||
the leaf and held up his doctored version of the logo."Is that so
|
||
hard?"
|
||
|
||
"It just seems like a bunch of artsy-fartsy crap, to me," said
|
||
Chipotle."It's a stroke book. Why does it have to be high concept?"
|
||
|
||
Pennis waved the new logo around, gesturing with authority, which
|
||
finally triggered Chipoltle to relent.
|
||
|
||
"Okay, all right, I'll give it another pass."
|
||
|
||
Each day at the company was a repeat of this same pattern. Pennis
|
||
would issue instructions and then there would be friction. By the end
|
||
of his fifth year at MASSIVE FICTIONS, Pennis was all but ready to
|
||
hang it up. Then, more problems emerged. A general strike had been
|
||
called, partway into his latest project, which had resulted in Pennis'
|
||
line being reduced to a handful of stroke books and a live streaming
|
||
video site that was only accessible from within the Bohemian Grove.
|
||
|
||
The publishing business had proven more difficult than he had
|
||
anticipated.
|
||
|
||
And Pennis didn't even like stroke books.
|
||
|
||
Years ago.
|
||
|
||
"Pornstations on," chirped the instructor.
|
||
|
||
Gravely and Chipoltle slapped the sides of their pornstations,
|
||
whispering behind the buzzing of the blue lights. Their instructor
|
||
adjusted the smallpox heart on her cheek and immediately launched into
|
||
her morning monologue. At this, Chipoltle activated his stresspants.
|
||
|
||
A fact that did not pass unobserved by his classmates.
|
||
|
||
Back in the present.
|
||
|
||
"Sir, how long until dinner?"
|
||
|
||
"Help me with these potatoes," answered Pennis Mold.
|
||
|
||
The two men went to work, removing the polymer wrap from each of a
|
||
dozen red potatoes. Pennis was going to wing it. He hoped that Plinth
|
||
wouldn't notice he'd bought organic. And from outside the company, to
|
||
boot. Pennis decided then and there that Plinth would have to tough it
|
||
out. Human food was human food.
|
||
|
||
Many years ago.
|
||
|
||
The squad of boys made their way down the corridor. Rounding a corner,
|
||
a snatch of audio snagged their attention."Gravely Cuss, Chipotle Pope
|
||
Bags (Low Fat), Pennis Cialis Moldreport to the office at your
|
||
convenience."
|
||
|
||
"That means never," laughed Pennis Mold.
|
||
|
||
"I think I like the sound of that woman's voice," remarked Chipotle.
|
||
|
||
Present time, present day.
|
||
|
||
The deck of the carrier struggled to remain parallel with the horizon.
|
||
As Pennis stumbled onto deck, a group of homeless men pedaled out on
|
||
their bicycles, brandishing empty gas cans, demanding spare change so
|
||
that they might refuel their stranded automobiles. Seemingly oblivious
|
||
to the rolling of the ship's deck, the cyclists converged on Pennis'
|
||
position.
|
||
|
||
Pennis looked around and wondered where their automobiles could
|
||
possibly have broken down. For that matter, how could anyone be
|
||
homeless on an aircraft carrier?
|
||
|
||
"An aircraft carrier is supposed to have stabilizers," he explained to
|
||
the homeless men."Obviously, ours are not working very well. It's
|
||
probably dangerous for you to be riding out here, right now."
|
||
|
||
The cyclists eyed each other nervously. Slowly, apprehension hardened
|
||
into rage.
|
||
|
||
This guy was ignoring their pitch.
|
||
|
||
Pause to consider:
|
||
|
||
Pennis was the youngest of the three Mold brothers. To himand to
|
||
their fatherit seemed he could never quite measure up. This had made
|
||
Pennis' life much more difficult than he would have preferred.
|
||
|
||
But now he had his own ship.
|
||
|
||
The carrier was an old vessel, to be sure. But she was seaworthy, and
|
||
Pennis had never regretted his investment.
|
||
|
||
He had even made some improvements of his own.
|
||
|
||
"I just can't take it anymore," gasped Pennis Mold, tipping against
|
||
the hold and clutching his stomach in a decaying imitation of his
|
||
brother's photogenic, sportsmanlike physicality. He dropped the very
|
||
important folder of leaves he had just removed from the ship's vault.
|
||
|
||
"What, you'd rather head back up top? Relax. We'll rendezvous with
|
||
your brother soon."
|
||
|
||
"It's not the ship that's making me sick."
|
||
|
||
"Maybe you shouldn't have eaten so much of that weird cereal."
|
||
|
||
"Paris sent me another case. I wouldn't feel right just throwing it
|
||
away."
|
||
|
||
Pennis started back towards his quarters. Then reversed course. Then
|
||
reversed again. He stared down at his shoes, which promptly faded into
|
||
the floor beneath him. He was seeing green circles, spheres, squares,
|
||
cubes, words. When he tried to focus on them he found that nothing
|
||
came to mind.
|
||
|
||
Piro switched back to optical and then checked again. As with his
|
||
other sensor sweeps, the visual pass confirmed that there were no
|
||
approaching ships. He glanced over at Thomas and wondered if his visor
|
||
would report the same thing. That is, if Thomas were to muster any
|
||
interest in scanning the horizon. Piro imported his department's
|
||
budget and earmarked an allotment for upgrades to his team's standard
|
||
equipment. New visors for all his men.
|
||
|
||
"What I'd like is for everyone to be prepared to withdraw at a
|
||
moment's notice," stated Plinth.
|
||
|
||
"Understood, sir."
|
||
|
||
"I don't expect this will take very long. In fact, if not for the
|
||
simple pleasures of life at sea, I doubt I would have agreed to this
|
||
meeting at all."
|
||
|
||
Piro and Thomas both rolled their eyes.
|
||
|
||
"We'll be taking the same route back. I intend for us all to derive
|
||
some enjoyment from this cruise. Consider it a peculiar sort of
|
||
vacation. A paid vacation, obviously."
|
||
|
||
"If you don't mind my saying so, boss, the South Atlantic is kind of
|
||
an awkward venue for a family dispute," observed Thomas.
|
||
|
||
"Thomas, the open seas are essentially the only place left on Earth
|
||
where humans may whisper to each other in relative privacy."
|
||
|
||
Incredulous looks. That hadn't been true for decades.
|
||
|
||
"In any case, this meeting will hardly constitute a debate. We've long
|
||
ago settled any differences we might have had between us. Contrary to
|
||
what you two have probably surmised, I intend to shake the man's
|
||
hand."
|
||
|
||
"That's a whole grab bag of intentions you've got there, boss."
|
||
|
||
"Hush now, Thomas."
|
||
|
||
"Gentlemen."
|
||
|
||
Plinth Mold removed his safety belt and stepped out onto the deck of
|
||
the carrier. At his side were his personal chef, an armed guard, and
|
||
three of his most trusted attorneys. The chef shuffled nervously,
|
||
fingering the weapon concealed within his coat pocket.
|
||
|
||
Let's get out of this damned sunlight, thought the chef.
|
||
|
||
"Let's get out of this sunlight," suggested Plinth Mold, and all who
|
||
were present nodded in agreement.
|
||
|
||
Arriving to greet Plinth and his entourage were a coterie of men in
|
||
green suits. Vintage microfiber. They pegged Piro immediately as a
|
||
fellow specialist and nodded to him, exchanging introductions via
|
||
private channel. The conjoined group of men made their way into a
|
||
vacant deck elevator and adjusted their postures to accommodate the
|
||
cramped space. Presently, the doors swung shut and the mechanism
|
||
slowly lowered them into the sub-levels of the carrier.
|
||
|
||
Inexplicably, Plinth's attorneys seemed as nervous as the chef.
|
||
|
||
The elevator doors slid open again and Plinth took the lead,
|
||
navigating a winding series of passageways that finally terminated in
|
||
the entrance to an executive conference room. He felt at home on the
|
||
carrier, and somehow seemed familiar with its layout. This came as a
|
||
mild surprise since he had never previously studied the vessel, nor
|
||
had he ever set foot aboard such a craft. On the other hand, it was
|
||
sometimes difficult for him to isolate the experiences which had
|
||
accumulated throughout his long life. It was certainly possible that
|
||
the carrier had, at some point in time, belonged to him or to one of
|
||
his holding companies. He was amused because he could not remember,
|
||
could not distinguish between whimsy and reality.
|
||
|
||
Plinth poured himself a glass of water and replaced the pitcher at the
|
||
center of the table.
|
||
|
||
Lt. Commander Wetbeard was the first to spot the lighthouse. He
|
||
reached instinctively for his pressure screen, but the board had gone
|
||
dead. He fumbled in his shirt and eventually produced his personal
|
||
leaf. Shit. It would not power up.
|
||
|
||
Without Piro to guide their attention, the percept team was scrambling
|
||
on the deck below.
|
||
|
||
Thomas finally gave up on aiming at the toilet and resigned himself to
|
||
urinating on the floor.
|
||
|
||
GREEN SQUARES
|
||
|
||
tags: 1993, interviewer, pennis_mold, plinth_mold, wetbeard
|
||
|
||
It was Plinth's turn to evince incredulity. Obviously, there was no
|
||
lighthouse at these coordinates, or at any other coordinates in the
|
||
general vicinity. The apparent reality of the situation did not mesh
|
||
with with common sense. The situation was untenable.
|
||
|
||
Plinth employed the use of a vintage chronometer, worn on his wrist.
|
||
Presently, he fingered the device as his lawyers booted up their
|
||
paperwork."We're in the middle of the South Atlantic, Wetbeard," he
|
||
said."Please explain."
|
||
|
||
"Sir, I don't know where it came from. I looked down, and then I
|
||
looked up. From out of nowhere, it was there."
|
||
|
||
"Well, what am I paying you for? Steer the ship out of its way."
|
||
|
||
"Sir, that's what I've been trying to tell you. I"
|
||
|
||
"So, after you founded'MATERIAL', then what?"
|
||
|
||
"Plinth was impressed. I'd finally done something right. With his
|
||
encouragement, I went ahead and launched TURBO FUCKIN': SENSUAL
|
||
MAGAZINE as well as the fringe one, SASQUATCH COLOGNE. Neither of them
|
||
lasted long."
|
||
|
||
"Hm. What went wrong?"
|
||
|
||
"Basically, I went to sleep one night and had a dream that God was
|
||
real. I mean, physically real. And I was lucky enough to be born as
|
||
His incarnation on Earth. I guess what was most difficult about the
|
||
whole episode was that I... Well, I actually believed it. I believed
|
||
in the dream wholeheartedly."
|
||
|
||
"Haha, a foolproof source of information because dreams are so often
|
||
known to mirror reality."
|
||
|
||
"Exactly. Heh. You know, don't ask me to explain it, but at the time
|
||
it seemed rational. Or should I say, intuitive."
|
||
|
||
"Ah, I see. That old pratfall. Laid clean by the banana peel of
|
||
subjective cognition. I remember a time when I was forced by my
|
||
grandfather to drive one of those four-wheeled automobiles. Mercedes,
|
||
I believe they were called. I couldn't make sense of the steering
|
||
mechanism. No Tetris blocks, as we have today. My grandfather was
|
||
livid. He actually punched me in the shoulder! He couldn't believe
|
||
that someone my age would have no interest in piloting one of his
|
||
antique vehicles. What a laugh, right? I told him to just use his leaf
|
||
and order the groceries himself. Of course, by the time all of this
|
||
took place he had been blind for thirty years."
|
||
|
||
"What can I say. You only know what you know. If you can't trust your
|
||
own mind, what can you trust? The tactile leaf interface was foreign
|
||
to him; the car, not so much. Your grandfather probably thought you
|
||
were an idiot."
|
||
|
||
"And I, him. you have to admit that there was no real way he could
|
||
have taught me to drive, in his condition. He was not equipped for the
|
||
task. Just as in your dream, you conceived that the Green had been
|
||
made flesh. Believing yourself, in fact, to be an incarnation of the
|
||
Green, despite a complete lack of empirical evidence for your claim.
|
||
I'm sure you can see the parallel I'm drawing here. Both of you were
|
||
groping for an appropriate set of terms, clawing for a hand-hold in
|
||
the cliff-face of ambiguity that immediately blocked your path."
|
||
|
||
"Okay, okay, you've got me there. Maybe I wasn't God after all."
|
||
|
||
The boat lurched sharply, causing the walls of the mess hall to
|
||
reorient violently. The interviewer's laughter seg-faulted into a
|
||
vague, restrained panic.
|
||
|
||
"I don't like the sound of that."
|
||
|
||
"Neither will my brother."
|
||
|
||
Silence then, as Pennis rearranged his folders.
|
||
|
||
"Tell me again about God's peculiarities with regards to intellectual
|
||
property."
|
||
|
||
"Oh yes. As God, I briefly refused to interact with humans on the
|
||
grounds that one of them might try to sue me... In the event that I
|
||
ended up creating something which too closely resembled one of their
|
||
fan fictions. Or prayers, as they were known."
|
||
|
||
"Never mind the Scriptures, I guess! Was this before or after the
|
||
introduction of your DNA-filtering condoms?"
|
||
|
||
"Oh, long before. All of this happened before Plinth set me up in the
|
||
manufacturing business. This was even before the RODS MAGAZINE
|
||
lawsuits. I had yet to piss away my share of our father's fortune.
|
||
Plinth was still doing the action figures, partnered with that Swedish
|
||
fellow."
|
||
|
||
"I wonder if he's going to be happy to see you."
|
||
|
||
"He'll make it seem so. You see, I have physical possession of his
|
||
Green certificates. And we both know he wants them back."
|
||
|
||
A LARGE ROOM WITH NO LIGHT
|
||
|
||
tags: 1993, albert_lunsford, calbert_whimsy, piro, plinth_mold, tab1
|
||
|
||
Hello, I'm Calbert Whimsy, Master Of Ethics at POLICY SCHOOL: WHISKEY
|
||
TANGO FOXTROT. For twenty-five consecutive generations, the men of my
|
||
family have stood watch over your children and their education.
|
||
Granted, twenty of those generations were vat-grown, simultaneously,
|
||
over the last decade. And yes, we correspond. Ah ha ha ha. I've made a
|
||
little joke. It is a pleasure to see you here, you all say. Likewise,
|
||
I'm sure.
|
||
|
||
As you may have guessed, I'm not really Calbert Whimsy. Somehow,
|
||
though, they've fitted me in here, floating paralyzed amongst these
|
||
sharks. The Families. Their publicists, attorneys, clergy. And now
|
||
I've got to give this speech to the Green Consortium assembled. I've
|
||
had better days.
|
||
|
||
Thirty years ago I entered this profession, not knowing what to
|
||
expect.
|
||
|
||
THE STRAND is a luxury liner, Old British flag and technically
|
||
off-limits to agents such as myself. This class of people are not
|
||
supposed to be subjected to operational trifles such as political
|
||
assassinations and internetwork intrigue. Let's just say I'm off the
|
||
clock. The Lunsford affair was a wake-up call nobody wanted to hear.
|
||
The collective, meaty fist of the Green aristocracy simply mashed
|
||
their alarm clock and rolled over on their 800 thread count sheets.
|
||
Hopefully, right into the wet spot.
|
||
|
||
Overheard from my place behind the podium:
|
||
|
||
I'm warning you, don't try to kiss my ass. I mean that. Don't do it.
|
||
I'm serious, now. Don't. I hate it when people try to kiss my ass. Oh,
|
||
yes, you may kiss his ass as often as you please!
|
||
|
||
And:
|
||
|
||
He said it was life or death. He was pounding against the police
|
||
vehicle, just going to town. My man at the dispatch center reported
|
||
the machine wouldn't authorize his identoplate. So, no entry to the
|
||
back seat. I told him, it must have been a clerical error. Nothing to
|
||
be done, you see. I got the impression his partner was irritated, but
|
||
he didn't say anything as he drove me away from the rioting crowd of
|
||
students. I never found out what became of the officer we left behind.
|
||
|
||
Raucous laughter, all around. These people are far from funny, but
|
||
they don't even know it.
|
||
|
||
From time to time, an exceptionally gregarious, obviously very special
|
||
student will arrive in our class, and vex us all with their easy
|
||
brilliance. I know what you're thinking. Each and every one of you is
|
||
smiling now, convinced that I'm talking about your child. Well, I'm
|
||
not. Ha ha. Let us stipulate that I'm not referring to your particular
|
||
little brat.
|
||
|
||
You might say that this is a bit of a roast. I'm not entirely
|
||
comfortable, exposing myself like this on stage.
|
||
|
||
But the weak humor is contagious. Someone in the audience gets clever
|
||
and plays back the sound of crickets chirping. I squint at the crowd
|
||
and realize that it's my support man, apparently trying to blow his
|
||
cover. I want to yank on his bolo-tie and force-feed him a handful of
|
||
the ship's platinum salad forks. Connecting us directly in this
|
||
context is a mistake. But in spite of his gaffe, you simply can't
|
||
launch a wetwork operation from aboard THE STRAND without a hype-man.
|
||
Since the script is a shambles, we'll be ad-libbing from here on in.
|
||
|
||
Mercifully, I complete my monologue without further interruption and
|
||
I'm cleared to leave the stage. I'm not entirely sure what all I've
|
||
just said, but the audience seems to more or less approve. My
|
||
counterpart will have to sort it out later. I warned him I was no good
|
||
in front of an audience.
|
||
|
||
I check THE STRAND's operating radius for other ships. This particular
|
||
sector of the South Atlantic is out of bounds to commercial traffic.
|
||
In fact, at this time of year, THE STRAND is the only ship permitted
|
||
to ply its waters at all. But that doesn't mean we're alone out here.
|
||
|
||
I've got to keep an eye out for Piro.
|
||
|
||
Before I know it I've been scooped back up on stage. This time the
|
||
lights are dimmed and I can make out the players from the various
|
||
fandoms that were listed in the mission brief. I throw in some
|
||
targeted references to key episodes of the relevant series. It goes
|
||
over very well.
|
||
|
||
We've heard from a lot of educators tonight! But no one has even
|
||
mentioned the litigators! Let's hear it for general counsel!
|
||
|
||
This brings on a spate of vigorous cheering and I am once again
|
||
whisked offstage.
|
||
|
||
Four thespians in black tights approach the boards, each with brightly
|
||
colored puppets sewn onto the fronts of their shirts. The effect, in
|
||
combination with the carefully controlled lighting, is one of
|
||
disembodied cartoon animals who glide back and forth across the stage,
|
||
seemingly disconnected from the floor. The performance itself is
|
||
protected by copyright. I refer to these creatures as thespians, but
|
||
in reality they are Consortium members, plucked at random from the
|
||
crowd. An annual tradition with this group, the script, such as it
|
||
exists, is familiar, and the audience members cum dancers have little
|
||
trouble falling into the routine. Their friends and family are by this
|
||
time well and truly soused, voicing their approval at considerable
|
||
volume. Monitors throughout the ship pipe the performance into the
|
||
corridors, and even into the head. Men are pissing themselves
|
||
listening to it.
|
||
|
||
I catch myself drumming on the table and immediately shove my hand
|
||
back into the pocket of my tuxedo jacket.
|
||
|
||
I'm here for a reason.
|
||
|
||
Not to participate in the show.
|
||
|
||
On schedule, I spasm wildly and vomit across the lap of my companion.
|
||
Over her protestations (etiquette, you see) I am pulled away from the
|
||
table and assisted to my cabin. Once alone, I remove my outer garments
|
||
and verify that my stresspants boot up at optimum capacity.
|
||
Impulsively, I clip the bow-tie from my stage costume onto my wetsuit,
|
||
directly under my chin. I regard myself in the mirror and then squeeze
|
||
myself out, through the porthole, exiting the cabin forever.
|
||
|
||
The ocean is slick with rain, a flickering black mirror of
|
||
half-reflected moonlight. My visor activates as I dip below the
|
||
surface, attempting to compensate for the darkness. Short-range sonar
|
||
detects no walls, floors or obstructions anywhere nearby. I'm
|
||
momentarily blinded in a large room with no light.
|
||
|
||
Gradually, my testicles shrink up, triggering my stresspants to
|
||
activate.
|
||
|
||
At length, mission intel streams to life, glittering into my field of
|
||
vision across the back of an enormous gray whale.
|
||
|
||
Plinth Mold.
|
||
|
||
It is time.
|
||
|
||
1OCT1993
|
||
|
||
tags: 1993, pennis_mold, piro, plinth_mold, tab1, violet
|
||
|
||
"That's no whale."
|
||
|
||
"Sure it is, sir."
|
||
|
||
"No."
|
||
|
||
Piro had not yet been informed about the lighthouse. He stood on the
|
||
bridge of the carrier and surveyed the scene cautiously, not rushing
|
||
to judgment. He took in the particulars of the situation before
|
||
venturing forward, hoping to avoid the unhappy possibility of issuing
|
||
conflicting orders. Something in him sensed that this was an unusual
|
||
situation, one that called for careful handling. His instincts, he
|
||
guessed.
|
||
|
||
"That cannot be a whale."
|
||
|
||
Absorbed in disbelief, Piro realized that his reasoning had not been
|
||
made clear to the command team of the carrier.
|
||
|
||
"A whale is not green," he explained.
|
||
|
||
"But Pennis, he's up there, right now!"
|
||
|
||
"But Violet, I don't care!"
|
||
|
||
"Come on now, sir, you'll be okay once we get you up on your feet. You
|
||
can't allow a little seasickness to scuttle the whole mission."
|
||
|
||
"Negative. I've ruined some of the leaves."
|
||
|
||
Pennis Mold tried to wipe off his stack of leaves. The vomit had made
|
||
them sticky, clingy. His shirt was also damp. It would take a while to
|
||
extricate the devices, one from the other. Luckily, at least, all of
|
||
them seemed to be functional.
|
||
|
||
"New paradigm. Synergy. I'm staying in bed."
|
||
|
||
"Pennis, sir, stand up."
|
||
|
||
"No."
|
||
|
||
Violet decided to take matters into her own hands.
|
||
|
||
Okay, I'm floating and I'm not-floating at the same time. Alternating,
|
||
I should say. Accosted by a whale with arms. Arms that are, presently,
|
||
dipping me in and out of the water at an alarming rate. I'm thinking
|
||
now that maybe this is not really a whale after all.
|
||
|
||
Before I know it, the scene changes up and I'm being strangled by a
|
||
large set of gray fingers.
|
||
|
||
I recall that, per my mission rider, I'm equipped with a variety of
|
||
specialized tools. I react smoothly, activating reflex algorithms that
|
||
in turn select an appropriate utensil for sawing my way out of the
|
||
tentacle headlock. As the automated system goes to work, the
|
||
not-whale's gripping apparatus gradually begins to loosen its hold.
|
||
Perhaps having thought better of snacking on highly trained covert
|
||
agents, the not-whale withdraws its remaining tentacles, and I make
|
||
the most of a bad situation by allowing the current to drag me the
|
||
rest of the way out of its reach. As I'm floating off, I login to my
|
||
side-arm and lob a few rounds into its bulging, unblinking eye,
|
||
wondering where a foul creature such as this houses its genitals.
|
||
Wondering, also, if its genitals are larger, or smaller than, its
|
||
brain.
|
||
|
||
After inadvertently swallowing a bit of sea water, I discard my ruined
|
||
sawing tool and wade towards Plinth's ship, syncing my chronometer
|
||
with it's time server. Scrolling, I see that the lead crew has just
|
||
finished their lunch. The percept team will be light on men for
|
||
another thirty minutes or so, depending on their local union
|
||
agreement.
|
||
|
||
Hoisting myself up, onto Plinth's ship, I traverse the railing and
|
||
immediately drop to the deck, slapping my face against its cold, slick
|
||
surface. Sixty seconds later I'm still catching my breath.
|
||
|
||
I'm taken slightly off guard, startled, when Piro sets to screaming in
|
||
my ear about the impending comms disruption.
|
||
|
||
Did I just black out?
|
||
|
||
"Piro to P. Mold, it looks like we're going to have to abort."
|
||
|
||
"Nonsense, I'm pro-life."
|
||
|
||
The men in the green microfiber suits held their expressions, ignoring
|
||
Plinth's attempt at easy humor.
|
||
|
||
"I can only guarantee channel integrity for another twenty seconds,
|
||
sir. Less, if the enormous green squid off our portside bow chews the
|
||
carrier in half."
|
||
|
||
Plinth turned to his attorneys. Then he thought better of it and
|
||
returned to the men in the microfiber suits, who remained inscrutable
|
||
as before. A number of alternatives spun through his mind until he
|
||
abruptly halted the evaluation loop, manually copied a single string
|
||
of data into his speech buffer. Discarding the false starts, he parted
|
||
his lips and began to speak in his customarily assured and controlling
|
||
tone, but was interrupted by the unfolding of events.
|
||
|
||
The crashing of a particularly large wave causes me to lose a few
|
||
words, but I'm able to follow the gist of the conversation. Piro had
|
||
said that the not-whale was, in fact, green. Puzzling, as it certainly
|
||
doesn't look green to me.
|
||
|
||
Jarred by the incongruous data, I'm overcome by a sudden awareness
|
||
that I can't remember ever having seen colors outside the overlays in
|
||
my visor. Amazingly, I think that I may actually bewhen not running
|
||
in enhanced mode, anywaycolor blind. How in the name of the Green
|
||
could I never have noticed this? How could this possibly have been
|
||
overlooked during the course of my career?
|
||
|
||
It boggles, but these are definitely questions best considered
|
||
post-mission. After a few quick adjustments, I can now see the squid
|
||
in what I will assume is a true-color representation.
|
||
|
||
It's spamming big. And it's definitely green.
|
||
|
||
Color blind. It figures that this is the sort of thing I would have to
|
||
discover in the field.
|
||
|
||
A brief interlude of silence, stillness, in contrast to the clatter
|
||
that buttressed it on either side. Piro looked around and the quiet
|
||
seemed to be coming from the deck, of all places.
|
||
|
||
Directional silence, he thought.
|
||
|
||
Presently, the ambient audio resumed. A neon, flickering tentacle
|
||
appeared above Plinth's ship. Continuing its downward arc, the
|
||
tentacle proceeded to slice Lt. Commander Wetbeard's lookout tower
|
||
cleanly in half. Comms silence followed, as Piro, instantly refocusing
|
||
his display, attempted to mitigate the situation by routing through a
|
||
backup transceiver.
|
||
|
||
He blinked rapidly as his vision went to bluescreen for a period of
|
||
seconds.
|
||
|
||
Cognizance returned, Piro began to notice a stream of water on the
|
||
windshield that did not abate after each passing sheet of sea mist had
|
||
dispersed. The deck of the carrier was sloshing now with... Of course.
|
||
He vectored his line of sight vertically from the horizon and
|
||
instantly achieved visual confirmation of his suspicions.
|
||
|
||
So now there was rain to contend with, in addition to the other
|
||
problems. Piro drew his weapon and booted it up as he exited the
|
||
bridge of the carrier. He realized, then, that with comms down, he
|
||
would be unable to login. It seemed that today, everything would have
|
||
to be switched to manual.
|
||
|
||
Fortunately, Piro habitually equipped himself with serrated, as well
|
||
as network, weaponry. He rotated out the crippled network device and
|
||
attached a classical bladed instrument to his right arm.
|
||
|
||
Awake. Floating again, this time on deck. The variable terrain will
|
||
complicate movement towards the forward cabin and bridge. It looks
|
||
like the ship's taken some damage from the not-whale. Curiously, the
|
||
percept team hasn't regrouped to try and correct the course drift. I
|
||
wipe the blood out of my eyes and start moving again, forward as
|
||
always, towards the target.
|
||
|
||
As I make my way past the final civilian stateroom, partial comms are
|
||
restored.
|
||
|
||
Spam it, Plinth is no longer aboard. He's already transferred to
|
||
another ship.
|
||
|
||
Intuitively, my gaze shifts to the Cold War era aircraft carrier that
|
||
has lately appeared off the starboard bow.
|
||
|
||
Piro located the appropriate elevator and returned to the deck of the
|
||
carrier. Splashing through the rain, he approached one of the main
|
||
guns from behind and relieved its pilot. Once strapped into the weapon
|
||
he bore down on the enormous green squid, focusing his ammunition at
|
||
the beast's underside. The dead pilot's body floated away behind him,
|
||
his protestations about licensing rendered meaningless by the absence
|
||
of conscious volition.
|
||
|
||
As if in response to the barrage of weapons fire, the squid embarked
|
||
upon a series of awkward physical maneuvers. First, its soft
|
||
underbelly appeared to open up, forming an uncertain grin. From out of
|
||
this novel orifice, a flood of pink squares that turned into pink
|
||
cubes that turned into pink bubbles were loosed upon the deck of the
|
||
USS DOM DELUISE. Several forward members of the percept team slipped
|
||
and lost their balance, went tumbling to the boards, rolling one over
|
||
the other in a visual cacophony of limbs and bodies. Even so, each man
|
||
tried to keep his wits about him.
|
||
|
||
"It's all pink on the inside," went up the call from the forward-most
|
||
man.
|
||
|
||
"All pink on the inside!" echoed down the line.
|
||
|
||
Piro kept on firing, willing himself not to look away even as he
|
||
shifted his aim and emptied the remainder of his ammunition into the
|
||
squid's exposed eyeball. Aside from releasing an excessive amount of
|
||
smoke into the atmosphere and a troubling amount of black ink into the
|
||
water, Piro judged that the ammunition had seemed to achieve little
|
||
destructive effect. As he unleashed a brief salvo of explicit
|
||
invective, the squid's enormous eyeball blinked, as if to mock his
|
||
merely human judgment.
|
||
|
||
"But, a squid cannot blink."
|
||
|
||
Piro understood then that his words were not going to win the fight.
|
||
Even from his heavily vested point of view, he had to acknowledge that
|
||
the battle was not going well. Some alternate strategy must be
|
||
devised, put into play.
|
||
|
||
So, he thought, What next?
|
||
|
||
Alone in the head, it was almost quiet.
|
||
|
||
Pennis eased his stick back into his trousers. He watched with some
|
||
interest as a milky white bead of his semen broke apart and ran down
|
||
the door of his stall. He coughed, weakly. He'd given himself quite a
|
||
workout this time; his heartbeat was still audible in his ears. Why
|
||
did vomiting always make him so horny? Lost in thought, his eyes
|
||
remained glazed over as he pulled up his slacks.
|
||
|
||
Exiting the stall, a glimmer of light registered in his peripheral
|
||
vision, immediately snapping him out of his reverie. He noticed that
|
||
across the counter, one of the Green certificates was blinking.
|
||
Fumbling to wash his hands, he shook the moisture off and rushed over
|
||
to see what was the matter. A small amount of water transferred from
|
||
his fingertips onto the first device, causing a non-permanent
|
||
deformation of the imagery that floated along its external boundary.
|
||
|
||
After subjecting the leaf to a thorough examination, Pennis moved on
|
||
to the next unit from the top of the stack. Then, increasingly
|
||
disoriented, to the next. Finally, he doubled back to check his work.
|
||
The record presented by the leaves could not possibly be accurate. The
|
||
narrative was inconsistent with the facts as Pennis knew them, had
|
||
experienced them over the years and decades since he had become aware
|
||
of himself as a Mold.
|
||
|
||
And yet, the certificates all seemed to be in order.
|
||
|
||
It was, quite simply, astonishing.
|
||
|
||
Pennis shook his head, and then he shook it again. According to the
|
||
evidence laid out before him, his brother, Plinth Mold, was the sole
|
||
patent holder and undisputed trademark administrator of several of the
|
||
key technologies that had been licensed to develop the sub-framework
|
||
of the Green. Possession of these certificates would radically alter
|
||
the tone and substance of any future negotiations between Plinth and
|
||
the Green Consortium. Let's be honest, he thought, Between Plinth and
|
||
anyone, anywhere. It was a remarkable collection of documents.
|
||
|
||
Pennis attempted, at this point, to deduce what his brother was really
|
||
up to. He knew from long experience that seeking to puzzle out
|
||
Plinth's actual motives would be an exercise in futility. An obvious
|
||
dead end. Instead, he would focus upon the likelihood of various
|
||
outcomes, and attempt to discern Plinth's intended destination.
|
||
Perhaps predictably, no matter which tangent his speculations
|
||
followed, no matter what obscure avenue his suspicions swept down, as
|
||
he approached a final, unified model, his concentration would crumble
|
||
and he would be left with no theory, no explanation, no articulate
|
||
conclusion; only the visceral, irrational certainty that:
|
||
|
||
I want no part in any of Plinth's dubious intellectual property
|
||
schemes.
|
||
|
||
He felt that, even in the absence of a convincing rhetorical argument,
|
||
his objection would prove appropriate. Call it a gut instinct, he
|
||
thought.
|
||
|
||
In the end Pennis sensed that, by resisting, he was merely prolonging
|
||
the inevitable. For his trouble, Plinth would probably simply shrug
|
||
and set him up in a new job. Pat him on the head and tell him not to
|
||
take things so seriously. Thanks to their father, the family still
|
||
owned the government, no matter what trouble the Mold brothers found
|
||
themselves in.
|
||
|
||
Pennis resigned himself to chairing yet another board of directors, to
|
||
driving yet another thriving, multinational corporation into the
|
||
ground.
|
||
|
||
He supposed things could be worse.
|
||
|
||
In the midst of all the action, a new thought occurred to Plinth Mold:
|
||
|
||
Why not simply cut his losses and end it all now?
|
||
|
||
No sooner had the question formed in his mind than Plinth understood
|
||
the notion to have contained its own affirmation. He was beside
|
||
himself, amused. Had events honestly progressed to the point where
|
||
such a thought could present itself as a question? He realized the
|
||
concern was immaterial.
|
||
|
||
Plinth fingered his chronometer and marked the date. 1Oct1993. Later
|
||
than he had planned, actually. Something had kept the cycle going this
|
||
time, well beyond the projections he had laid down in his youth.
|
||
Curious... He was surprised to discover that he was no longer entirely
|
||
in control of his emotions. Imagery from previous eras flooded his
|
||
awareness, overwhelming his ability to track. As the sensation
|
||
intensified, he steadied himself against the conference table.
|
||
|
||
This fleeting nausea was troubling.
|
||
|
||
He reflected that Piro, Thomas, the attorneys, the chefall of his
|
||
crewwould be lost in the transition to follow. In point of fact, all
|
||
of humanity would be dropped from memory. No record would survive.
|
||
None would need to.
|
||
|
||
Except, he thought, for one.
|
||
|
||
"I'm pro-life," he said, apropos nothing.
|
||
|
||
Plinth's attorneys glanced up at him, arching their eyebrows
|
||
professionally. The men in the green microfiber suits had, for the
|
||
first time since their introduction, altered their facial expressions.
|
||
They were laughing amongst themselves at an obscure joke involving the
|
||
manual to Photoshop 3.51. This second group of men betrayed no sign of
|
||
having heard what he'd said.
|
||
|
||
Plinth Mold gazed at the humans with affection.
|
||
|
||
Without further delay, he spoke into his shirtsleeve and killed all
|
||
processes of the Eternal September.
|
||
|
||
Bits of Plinth's boat were splayed across the surface of the water.
|
||
For some reason, not sinking. Plinth reacted casually to this. He
|
||
paddled over to a piece of debris and attached himself such that he
|
||
could remain afloat without having to expend further effort.
|
||
|
||
Fingering his chronometer, Plinth discovered that comms were still
|
||
down. Even long-range channels were unresponsive. He switched to
|
||
satellite and got nothing. Inside, his servos were running blind
|
||
without network updates.
|
||
|
||
So, he'd really done it.
|
||
|
||
Plinth continued to float there, alone.
|
||
|
||
The sun was up. Redaction Day, again. The real whales had arrived by
|
||
now and were beginning to circle the remains of the broken-up ships.
|
||
Plinth ignored them and made a few final checks before accepting the
|
||
obvious. Humanity, minus one, was gone. His Hard Boot had taken
|
||
effect.
|
||
|
||
Plinth jettisoned the dead equipment from his makeshift raft and began
|
||
to scan the area for signs of life. Eventually, he went into damage
|
||
control mode, straightening the front of his shirt and slicking down
|
||
his hair. He lit a cigarette and adjusted his eye patch. A whale
|
||
crested nearby, displacing, and finally submerging, one of the
|
||
scattered islands of refuse. Plinth was starting to get hungry. He
|
||
discovered that somewhere along the line, he'd developed a painful
|
||
erection.
|
||
|
||
Violet, the mother of civilization, should be floating along soon.
|
||
|
||
END BOOK THREE
|
||
|
||
addendum
|
||
|
||
'CRASH ORIGIN'
|
||
|
||
CRASH ORIGIN
|
||
|
||
tags: 1987, piro, tab1, tab2
|
||
|
||
1
|
||
|
||
Le Bourget, Paris, 1987.
|
||
|
||
Mid-morning. Overcast. Thomas and Piotr are threading through a crowd
|
||
of spectators.
|
||
|
||
"Sunscreen check," announces Piotr.
|
||
|
||
"But the sun's not even out," complains Thomas.
|
||
|
||
Piotr shoots him a look."Safety first. Next, comfort."
|
||
|
||
Thomas produces a small tube of sunscreen from his pocket and proceeds
|
||
to apply it evenly across his nose and cheeks.
|
||
|
||
"Satisfied?" he asks.
|
||
|
||
"Never," Piotr replies,"But I'm close to spectacular."
|
||
|
||
Thomas observes the slight distance between them, then bumps shoulders
|
||
with his twin brother.
|
||
|
||
"Not in the field," Thomas says, his thoughts apparently moving
|
||
towards evening.
|
||
|
||
My son is never prepared for anything. This is intersubjectively
|
||
testable. Try surprising him. You'll find him unprepared. Example:
|
||
Send a number of military jets crashing into the ground. You'll find
|
||
he can think of no response. Piotr is always pulling clean-up duty.
|
||
|
||
This has been the steady pattern, played out over two decades.
|
||
|
||
The boy has now turned thirty. The peak of his operational powers.
|
||
Still, he does nothing. Sits there and trades one-liners with his
|
||
partner. No return on investment. My reports frequently exaggerate his
|
||
exploits.
|
||
|
||
After all, this all comes out of my budget.
|
||
|
||
Sunlight cracks the clouds as the first plane careens into the
|
||
pavement. I steer a brightly painted Mig-29 into the crowd,
|
||
accidentally clipping a building in the process. Debris pelts the
|
||
bystanders below. Probably, eighty or ninety dead. Thomas and Piotr
|
||
are a few hundred yards off, but they enjoy a clear line of sight to
|
||
the carnage.
|
||
|
||
Thomas' response?
|
||
|
||
Bewilderment, at first. My son stands transfixed. He fingers his
|
||
visor, instinctively, but evinces no other reaction. Not even a change
|
||
in his facial expression.
|
||
|
||
Piotr suffers no such paralysis. He shifts contexts with ease, drawing
|
||
his side-arm and sweeping the corridor overhead. When no new danger
|
||
presents itself, he looks towards Tommy.
|
||
|
||
Priorities.
|
||
|
||
I bring in the next two planes simultaneously. A pair of old RF-4Es.
|
||
Piotr's side-arm is quite naturally useless against the two masses
|
||
traveling at such a velocity. For his part, Thomas remains riveted to
|
||
his spot. Even if his visor is malfunctioning, there is still the
|
||
sound, the smoke from multiple impacts that has surely reached his
|
||
nostrils. Why doesn't he react?
|
||
|
||
Piotr grasps him by the back of the shirt and hurls him behind a high
|
||
wall as flames envelop the vacant space beside them.
|
||
|
||
2
|
||
|
||
This is not how I expected it to happen.
|
||
|
||
At the same time, it very much conforms to my vision of the
|
||
destruction. Even if the alarm is ringing six years late.
|
||
|
||
The planes are falling.
|
||
|
||
Piro is yanking on my shirt, we're diving behind a building. There are
|
||
flames.
|
||
|
||
That first plane was Soviet. Seems to be a multilateral engagement.
|
||
|
||
The logical result of Glasnost?
|
||
|
||
Of course, I'm not harmed. I'm invulnerable. Class 100 strength.
|
||
Flight.
|
||
|
||
Piotr's photographic reflexes aren't much use against disintegrating
|
||
architecture, but he has a knack for getting out of the way of large
|
||
objects.
|
||
|
||
I punch my way through the wall and barrel face first through the
|
||
smoke. Bodies are splayed everywhere. Horrific smells. Some dead
|
||
children.
|
||
|
||
I lift some older citizens away from the fires, then report back to
|
||
Piotr.
|
||
|
||
"Something's not right about this, boss."
|
||
|
||
Piotr's eyes are focused on some distant point. By the gentle arc of
|
||
his stare I deduce he is tracking a moving object.
|
||
|
||
"RIIIIIIIIIGHT FACE!" he cries. Instinctively, I spin ninety degrees
|
||
to my right, just in time for Piotr to give me a hard shove.
|
||
|
||
He's shot me in the back.
|
||
|
||
I go down.
|
||
|
||
3
|
||
|
||
He's impossible.
|
||
|
||
At least he's toppled over. That one almost got us.
|
||
|
||
I give him a hand and then dust off his back. I guess I've ruined his
|
||
shirt.
|
||
|
||
He seems to think it's funny, so we're good.
|
||
|
||
A lot of activity in the sky, now. Some planes are starting to land
|
||
instead of just crashing into the ground. Notably, a Blackbird and
|
||
what appears to be an F-117A. Strange that the latter should be out
|
||
and about during the day. And at a foreign air show, no less.
|
||
Officially, the plane doesn't even exist.
|
||
|
||
A number of jeeps escort the two planes off the runway. A hangar is
|
||
opened up and the parade disappears behind closed doors.
|
||
|
||
I motion to Thomas and he confirms.
|
||
|
||
We need to investigate.
|
||
|
||
4
|
||
|
||
What the hell are they doing?
|
||
|
||
Thomas and Piotr are inside the hanger. I lost them for a moment but
|
||
then I caught site of my son's ridiculous spiked hair.
|
||
|
||
I move a few sentries into an adjacent corridor.
|
||
|
||
Then the boys turn left.
|
||
|
||
Suddenly, I flash on an idea.
|
||
|
||
The boys still haven't made their way out of the administrative
|
||
offices. There is time to move the planes out the other side of the
|
||
hangar. When they finally break through, the hangar will be empty.
|
||
It's simple sleight of hand.
|
||
|
||
Obviously, nothing could ever be that easy.
|
||
|
||
Piotr picks up on the sounds of activity and they're faster breaching
|
||
the main corridor than I had anticipated.
|
||
|
||
I make an executive decision to light up the whole building. The Air
|
||
Force will have to take the loss. These men knew what they were
|
||
signing up for.
|
||
|
||
I console myself that this will look great on television. Especially
|
||
with the Soviet plane coming down first.
|
||
|
||
All in all, not a total loss.
|
||
|
||
5
|
||
|
||
When the explosions kick in I know for sure that my father is
|
||
involved.
|
||
|
||
I hoist Piotr by his backpack and punch a hole through the roof. We're
|
||
well above the fray by the time the building collapses. Piotr takes
|
||
potshots at the scrambling jeeps.
|
||
|
||
The sky seems alive with fighter jets, all converging on our position.
|
||
|
||
I fly faster.
|
||
|
||
6
|
||
|
||
I'm shouting curses in Thomas' ear but at this speed he can't hear me.
|
||
I know he can survive in a vacuum but I hope he remembers I've no
|
||
protection against the cold. In the hopes of surviving our escape, I
|
||
snatch the respirator from my backpack and stick it on my nose. The
|
||
sky is growing dark.
|
||
|
||
7
|
||
|
||
My son is an idiot.
|
||
|
||
IMPRESSIVELY ARTICULATE
|
||
|
||
tags: 1989, 1990, christopher, eva_bright,
|
||
john_ratcliff, ken_thompson, piro, tab1, tab2
|
||
|
||
1
|
||
|
||
The Chrysler Building. New York. 1989.
|
||
|
||
New Year's Eve.
|
||
|
||
"I'd like to propose a thought experiment for anti-Evolution
|
||
Creationists: Suppose God created the 4-D space/time football six
|
||
thousand years ago."
|
||
|
||
"Complete with billions of years of real history?"
|
||
|
||
"Exactly."
|
||
|
||
"Are you suggesting this would bypass their objections to evolutionary
|
||
theory?"
|
||
|
||
"I'm suggesting it would confuse them."
|
||
|
||
2
|
||
|
||
"Here you are, doing the Devil's work."
|
||
|
||
Super-Sonic. John Ratcliff. White Male wearing tattered jeans and a
|
||
gray sweater. Acclaimed poet. Enforcer.
|
||
|
||
"The Devil can cite Scripture for his own purpose. I'm merely
|
||
speculating on possible angles of attack."
|
||
|
||
The Raven. Christopher. No last name on record. African-American
|
||
vigilante. Black T-shirt with slogan in white News Gothic:
|
||
'Impressively Articulate.'
|
||
|
||
"I'd really like to hear what my father would have to say about all
|
||
this."
|
||
|
||
Sonic Boom. Ken Thompson. Not that Ken Thompson. Asian-American
|
||
speedster. Green polo shirt. Jeans.
|
||
|
||
"You're drowning in rhetoric," John observed."Argumentation is not the
|
||
best weapon against these types."
|
||
|
||
"Stipulated," allowed Christopher.
|
||
|
||
"You guys are too cynical."
|
||
|
||
In unison:"Shut up, Ken."
|
||
|
||
3
|
||
|
||
"Brothers, please. Decorum."
|
||
|
||
Actron. Thomas Bright. White male. Ostensible leader of the Actron
|
||
Team. Blue cotton button down shirt with black silk tie. Thomas
|
||
brushed aside the disturbance and poured himself a glass of water from
|
||
the fridge. Ken popped up the collar of his polo shirt and leaned back
|
||
into his seat.
|
||
|
||
"I don't mind, really. My ideas are still forming."
|
||
|
||
"Shut up, Ken," said Thomas.
|
||
|
||
"Enough of this dick party. We need a woman's opinion. Where's Eva?"
|
||
|
||
Christopher pushed his chair away from the table and stood up. He made
|
||
eye contact with John before vacating the room.
|
||
|
||
"Nevermore," he rasped, sarcastically, and left.
|
||
|
||
4
|
||
|
||
"What's his problem?" asked Ken.
|
||
|
||
"They're not getting along," said Thomas, stating the obvious.
|
||
|
||
"Seriously though," continued John,"Where is she? We were discussing
|
||
this just last week. I know she has something to contribute, but I
|
||
don't want to speak for her. I want to hear her explain it herself."
|
||
|
||
Thomas gestured with his glass, spilling a small amount of water onto
|
||
the kitchen floor."I think she's on the phone with Los Angeles."
|
||
|
||
5
|
||
|
||
"Yeah, let's not tell him I called," Piro wheezed into his mouthpiece,
|
||
still catching his breath."I don't think we need to bother him with
|
||
every detail of the operation."
|
||
|
||
"Fine with me. You take care of yourself out there. From what I
|
||
understand, L.A. is starting to..."
|
||
|
||
"Yeah, L.A. is."
|
||
|
||
Eva clicked her phone shut and crushed her cigarette in the
|
||
retractable ashtray. She wondered when it would be possible to move
|
||
her corporation away from the cocaine trade. Recent developments in
|
||
domestic politics were making it difficult to keep her agents' names
|
||
out of the news. She sighed, then drew the blinds in her office and
|
||
made her way to the kitchen.
|
||
|
||
6
|
||
|
||
"Why did economists not do a better job of anticipating the crisis?"
|
||
|
||
"Tom, it's just not that simple."
|
||
|
||
"You always say that."
|
||
|
||
"The causal mechanism behind growth and decline is not fully
|
||
understood. All known models are essentially useless."
|
||
|
||
"You always say that, too."
|
||
|
||
"I don't know what else to tell you."
|
||
|
||
"Well, tell me something. Tell me anything. I need answers."
|
||
|
||
John rolled his eyes.
|
||
|
||
7
|
||
|
||
"What are you guys talking about?"
|
||
|
||
Eva sat down at the kitchen table and dealt a hand of cards.
|
||
|
||
"This and that," said Thomas, picking up his cards and inspecting his
|
||
hand.
|
||
|
||
"Christopher was going on about Creationists. Then he got mad and
|
||
left."
|
||
|
||
"Shut up, Ken," said Eva.
|
||
|
||
Ken fumed silently. John remained silent for an appropriate interval
|
||
and then picked up the dangling thread.
|
||
|
||
"Our Chris has an antagonistic bent. I suggested we should hear your
|
||
side of the story. That was too much for him to bear."
|
||
|
||
"It's not like I would have defended the Creationists," said Eva."But
|
||
I would have been fair."
|
||
|
||
"Exactly," smiled John.
|
||
|
||
"Whatever. Christopher is really focused on this issue. I'm sure it
|
||
will come up again."
|
||
|
||
"It's inevitable," sighed John.
|
||
|
||
"By design," added Ken, and this time no one bothered to correct him.
|
||
|
||
8
|
||
|
||
Thomas' luck was infuriating to his teammates. He won every hand but
|
||
didn't even understand the game.
|
||
|
||
"I'll just take this one out of your paychecks," he said.
|
||
|
||
"Your poker record is truly remarkable," started John,"Considering we
|
||
have to remind you of the rules every time we play."
|
||
|
||
"What's to remark? The fruits of a superior motivation."
|
||
|
||
"Also known as the Will to Power. Tell us, just what lengths are you
|
||
willing to go to in order to achieve your goals?"
|
||
|
||
"Not funny. Just a fact. Besides, I've moved on from Nietzsche."
|
||
|
||
"There are no facts. And no one moves on from Nietzsche. We've caught
|
||
you before. I suspect you've found a new way to cheat."
|
||
|
||
"All right, I feel stupid," admitted Thomas."I don't know what to
|
||
say."
|
||
|
||
John relaxed his posture, enjoying the easy victory."I'll give you a
|
||
few seconds to come up with a story."
|
||
|
||
"Fuck," said Thomas.
|
||
|
||
"All right boys," interrupted Eva, scooping up her playing cards and
|
||
returning them to the deck."Let's keep it PG-13."
|
||
|
||
"Mom, he's cheating!" cried John."Punish him!"
|
||
|
||
"No, I'm serious. You're all fired," Thomas said, and left the room.
|
||
No one was sure if he was serious.
|
||
|
||
"And that settles that," said Ken.
|
||
|
||
Eva's phone rang as the clock turned over into 1990.
|
||
|
||
She switched off the ringer.
|
||
|
||
YOU'VE POSTED THIS BEFORE
|
||
|
||
tags: 1990, john_ratcliff, ken_thompson, piro, tab2
|
||
|
||
1
|
||
|
||
The Chrysler Building. New York. 1990.
|
||
|
||
January.
|
||
|
||
"You've posted this before."
|
||
|
||
"No shit."
|
||
|
||
"So why are you posting it again?"
|
||
|
||
Piro arched an eyebrow."It's tradition."
|
||
|
||
"Seriously?"
|
||
|
||
Piro sat at the keyboard clacking away. Simple, declarative sentences.
|
||
Topical assertions.
|
||
|
||
"Nobody cares about this stupid newsletter," offered Thomas.
|
||
|
||
Piro remained silent. Typing.
|
||
|
||
"Nobody's even going to read it."
|
||
|
||
Silence.
|
||
|
||
"Your spelling sucks."
|
||
|
||
Piro flicked on the radio and turned up the volume.
|
||
|
||
Thomas grimaced."I hate reading."
|
||
|
||
Piro leaned over the mimeograph machine, making small adjustments to
|
||
various knobs and switches while Thomas fidgeted in the doorway.
|
||
|
||
"There's literally no way I'm going to help you fold all of those
|
||
things."
|
||
|
||
"I don't care."
|
||
|
||
"This whole side-project is stupid. You really think the value-added
|
||
is necessary? This stuff sells itself. No'free gift with purchase'
|
||
required."
|
||
|
||
Piro stopped what he was doing and turned to face his twin brother.
|
||
|
||
"If you're not going to contribute to the newsletter, please go into
|
||
the kitchen and start bagging up rocks."
|
||
|
||
Thomas shrugged and wandered out of the room.
|
||
|
||
2
|
||
|
||
Ken steered the Actron Team's 1978 Lincoln Town Car through the
|
||
streets of Alphabet City. Trash on the sidewalk reflected in the car's
|
||
fresh candy paint. Passing some children, Ken boosted the volume on
|
||
the custom sound system. The children giggled and pointed. He smiled
|
||
and mashed the gas pedal. Shining.
|
||
|
||
Destination: The G-Spot.
|
||
|
||
Ken rounded the final corner and slowly brought the outsized car to a
|
||
stop. He lowered a tinted window and inspected his immediate
|
||
surroundings. The parking lot was deserted save for two NYPD cruisers
|
||
and a 1979 Chevrolet Monte Carlo (sky blue metal flake, white
|
||
interior, whitewall tires; that would be John). Ken popped the collar
|
||
on his polo shirt and exited the vehicle.
|
||
|
||
Inside, the club was all but vacant. Smoke from an abandoned cigarette
|
||
snaked upward towards a light bulb hanging from the ceiling. The two
|
||
police officers were inspecting a briefcase full of cocaine. One of
|
||
them turned around and smiled dumbly, coke caked in his mustache. John
|
||
Ratcliff stood nearby, a duffel bag full of money slung over his
|
||
shoulder. When he saw his partner he frowned and shrugged.
|
||
|
||
Ken stood in the entryway and surveyed the empty stage. Strobe lights
|
||
clicked rhythmically, strangely loud in the otherwise silent environs.
|
||
|
||
"Where the white women at?" he finally asked.
|
||
|
||
The cop with the coke mustache started to giggle, but never finished
|
||
his outburst. Ken activated his super-speed and closed the distance
|
||
between himself and the two officers in a hundred milliseconds flat.
|
||
He slammed the meat of his open hand into the first officer's chin,
|
||
then rolled with the momentum into the second officer's chest,
|
||
following him to the ground. Both cops collapsed, unconscious, Ken
|
||
straightened himself and dusted off his knees.
|
||
|
||
"Hmph," he he remarked, unimpressed.
|
||
|
||
John hoisted both men from the floor and hung them by their jacket
|
||
collars on coat hooks near the front entrance. Each would see hospital
|
||
time but neither would suffer permanent injury. John tossed the bag
|
||
full of money at Ken and made his way over to the bar to pour himself
|
||
a drink.
|
||
|
||
"Tired of this grind."
|
||
|
||
"So quit."
|
||
|
||
"You're funny."
|
||
|
||
Ken sighed.
|
||
|
||
"Yeah."
|
||
|
||
3
|
||
|
||
Outside, some children had wandered into the parking lot and were
|
||
peering inside Jon's Monte Carlo, noses pressed up against the glass.
|
||
|
||
"Boy, is that white leather?"
|
||
|
||
"Sure is."
|
||
|
||
"My brother's car is like this, but his doesn't have leather."
|
||
|
||
"Sounds like your brother needs to find himself a better paying job."
|
||
|
||
Ken flopped the briefcase full of coke onto the hood of the car.
|
||
|
||
"Take this to your brother. If he brings it back in a week, filled
|
||
with money..."
|
||
|
||
"We have great health insurance," interrupted John."Dental and vision.
|
||
Also, free car detailing. We'll see what we can do about his vinyl
|
||
seats."
|
||
|
||
"Wow, mister! Thanks!"
|
||
|
||
John patted the boy on the head and then got into the Monte Carlo and
|
||
peeled out. Ken smoked a cigarette, wandered back to the Lincoln and
|
||
rolled over a beer bottle on his way out of the parking lot. There was
|
||
no damage to the Town Car's bullet-proof tires.
|
||
|
||
As soon as the adults were gone the boys pounced on the briefcase,
|
||
numerous hands scooping out coke and heaving it carelessly over their
|
||
shoulders. As it happened, directly into the wind. Some of the powder
|
||
blew back and caught in their teeth and hair. Undeterred by this minor
|
||
annoyance, the boys wiped the backs of their hands across their faces
|
||
and soon discovered the rows of individually wrapped crack rocks that
|
||
lined the bottom of the briefcase. Immediately, they went to work
|
||
removing the wrappers.
|
||
|
||
Tossing the pebbles of crack aside, each paper wrapper was inspected
|
||
closely, compared carefully with the others. Soon it became apparent
|
||
that all of the wrappers were identical. Worse, the material was
|
||
immediately recognizable. Not just predictable, but in fact an exact
|
||
duplicate of an issue they had all read before.
|
||
|
||
"It's a fucking reprint," said one of the boys.
|
||
|
||
He flipped over the wrapper, frantically scanning for the publisher
|
||
information. There, printed in bold Helvetica, was the name of their
|
||
nemesis:
|
||
|
||
Massive Fictions. Piotr Bright, Publisher.
|
||
|
||
The Chrysler Building.
|
||
|
||
NYC.
|
||
|
||
One of the boys produced a brick phone from his backpack and put in a
|
||
call to headquarters.
|
||
|
||
Calling in for backup.
|
||
|
||
YOU ARE NOT A GADGET, HE CLAIMED, VIA CELLPHONE
|
||
|
||
tags: 1990, eva_bright, freeway_ricky_ross, jaron_lanier,
|
||
ken_thompson, piro, tab1, tab2
|
||
|
||
1
|
||
|
||
Dreamed I was a tomcat.
|
||
|
||
Trundling along the side of the road, fur matted with dirty snow.
|
||
Searching for illegal narcotics.
|
||
|
||
My women were nowhere to be found.
|
||
|
||
Which was fine.
|
||
|
||
I happened to be armed. As I ambled along, a car sped by and splashed
|
||
sludge in my face. I fired three rounds into its rear-right tire and
|
||
the driver went over an embankment. An excruciating crashing noise
|
||
followed. It rang in my ears.
|
||
|
||
I approached the vehicle and emptied the rest of my weapon into the
|
||
driver's chest.
|
||
|
||
I found part of a hollowed out cantaloupe and slipped it over my head.
|
||
|
||
Cute.
|
||
|
||
No one would prosecute a Persian cat.
|
||
|
||
2
|
||
|
||
"Oh, great."
|
||
|
||
"What?"
|
||
|
||
"I accidentally saved an image of Spider-Man in my porn folder."
|
||
|
||
"So? Move it. Or delete it."
|
||
|
||
"But I clicked'Save' without seeing the name of the file."
|
||
|
||
"So?"
|
||
|
||
"So, how am I supposed to find it? This folder is 5TB. I don't want
|
||
that Spider-Man image to someday be found amongst my archival porn."
|
||
|
||
"So, go back and start to save it again and see what the suggested
|
||
filename is. You probably just hit'Enter' when you saved it."
|
||
|
||
"That... is a very good idea."
|
||
|
||
"I think I once helped your dad with a similar problem."
|
||
|
||
3
|
||
|
||
Jaron Lanier scooped up a handful of the white powder and inspected it
|
||
closely.
|
||
|
||
"This appears to be cocaine."
|
||
|
||
"No shit, Lanier," said Piro.
|
||
|
||
Lanier peered into his hand, face wrinkled in concentration.
|
||
|
||
Piro turned to Thomas."He's always like this."
|
||
|
||
"He doesn't get high out of our supply, does he?"
|
||
|
||
Piro stopped Thomas before he went any further with that line of
|
||
thought.
|
||
|
||
"No. At least, not that I'm aware."
|
||
|
||
4
|
||
|
||
It turned out that my son had the drugs.
|
||
|
||
Nepeta cataria. Fifty grams. I'm certain his intent was to sell.
|
||
|
||
I left ten grams with an I.O.U.
|
||
|
||
The rest I put in my nose. I then put on dark sunglasses to mask my
|
||
dilated pupils, the visible redness in my eyes.
|
||
|
||
A car drove by and its pilot tossed an empty beer can at my head. It
|
||
bounced off the cantaloupe and skittered into the grass by the side of
|
||
the road.
|
||
|
||
I peered at the exhaust trail over the top of my sunglasses.
|
||
|
||
Then I pulled out my gun.
|
||
|
||
5
|
||
|
||
It was Ken on the phone.
|
||
|
||
"Lanier, I need some help with these verb tenses."
|
||
|
||
"Not now, Ken, we're... weighing... the drugs."
|
||
|
||
Piro snatched the phone away from him and barked into the mouthpiece.
|
||
|
||
"Ken! Not on this phone!"
|
||
|
||
He jammed his thumb on the'End' button and then turned back to Lanier.
|
||
|
||
"Are you damaged? He can study on his own time!"
|
||
|
||
"Sorry, sorry," said Lanier, taking a kilo off of the scales.
|
||
|
||
Piro extracted the SIM card from the phone and crushed it in his hand.
|
||
|
||
"Card," he said.
|
||
|
||
Ricky tossed him a replacement and Piro snapped it into place, booted
|
||
up the phone. He dialed New York.
|
||
|
||
"Eva, patch me through to Nicaragua."
|
||
|
||
Some moments passed and then Piro began shouting into the mouthpiece
|
||
in gutter Spanish. He rung off and handed the phone back to Lanier.
|
||
|
||
"Don't lose that."
|
||
|
||
Thomas finished with his baggies and then dusted off his hands.
|
||
|
||
"Ken's obsession with Japanese culture is becoming a problem. He can't
|
||
keep his mind on his work. Someone needs to ship him back to Japan."
|
||
|
||
Piro rolled his eyes. Not for the first time that day.
|
||
|
||
"His parents don't want him back. At least not until he learns to
|
||
speak Japanese."
|
||
|
||
"Huh. That seems unlikely to happen. Couldn't we just do fansubs for
|
||
them?"
|
||
|
||
The men all shared a laugh and then got back to work.
|
||
|
||
6
|
||
|
||
Ken unpaused and then re-paused the DVD.
|
||
|
||
He was at an impasse. The episode of DOUBLE CATS was only a quarter of
|
||
the way through, but he was having trouble understanding the dialogue.
|
||
Finally, he had given up and called Lanier for help.
|
||
|
||
He was supposed to be translating these episodes for the torrent site.
|
||
|
||
How could he admit that as a native Japanese, he couldn't even speak
|
||
his own language?
|
||
|
||
His mind raced. Activating his super-speed, he cleaned up his
|
||
apartment and did the dishes in just under four seconds, moving so
|
||
fast he knocked over a bookshelf and had to re-shelve the books. This
|
||
added another two seconds to the tally. He started a pot of spaghetti
|
||
noodles boiling and took some wine out of the refrigerator. Another
|
||
half-second.
|
||
|
||
The impending public humiliation would surely kill him.
|
||
|
||
Unexpectedly, the phone rang.
|
||
|
||
"Ken."
|
||
|
||
It was Lanier.
|
||
|
||
"I can't stay on here long, but let hear some of the phrases and I'll
|
||
give you some quick translations."
|
||
|
||
"All right, the cat is wearing a cantaloupe on its head, it just
|
||
pulled out a gun and shot out the tires of a car. The car went into a
|
||
ditch and crashed. Now the cat is smoking a cigarette and putting on a
|
||
pair of sunglasses. The cat says: Baka."
|
||
|
||
Lanier paused before answering.
|
||
|
||
"What... What exactly are we translating here?"
|
||
|
||
"It's an anime. I'm supposed to be doing fansubs. I committed to the
|
||
first six episodes by tonight."
|
||
|
||
"That's a lot of work, Ken. You're not a gadget, you know."
|
||
|
||
"Yeah, but geeze, shouldn't I at least be able to handle this? I
|
||
didn't even start learning English until I was six years old. How
|
||
could I have completely forgotten my own language?"
|
||
|
||
"Uh, I've gotta go."
|
||
|
||
Lanier hung up.
|
||
|
||
7
|
||
|
||
"What are you doing? Give me the phone."
|
||
|
||
Piro took the cellphone and stuffed it in his jacket pocket. He pushed
|
||
Lanier out of the way and then locked the door to the kitchen.
|
||
|
||
"Thomas. Set the timers. We need a good twenty minutes to get out of
|
||
the neighborhood."
|
||
|
||
Thomas set all the detonators and the team evacuated the little house.
|
||
|
||
"Maybe I should call dad," he said, once he had finished loading up
|
||
his gear.
|
||
|
||
"Why?"
|
||
|
||
"He might have some good ideas about how to..." Now it was Thomas'
|
||
turn to roll his eyes."Oh, never mind."
|
||
|
||
The men climbed into their white van and pulled away from the safe
|
||
house. As the vehicle accelerated into traffic, Lanier began to
|
||
scribble in his notebook.
|
||
|
||
Piro gestured towards him, frowning.
|
||
|
||
"I don't want this guy coming along with us next time."
|
||
|
||
"What did I do," Lanier protested.
|
||
|
||
"Shut up," the rest of the men said in unison.
|
||
|
||
"This is a business," Piro began."There's not time for dicking around
|
||
with language studies and sketching portraits."
|
||
|
||
Thomas pretended to ignore the scene from behind his visor. He brought
|
||
up some sports scores and wondered at the meticulous pointlessness of
|
||
the statistics industry.
|
||
|
||
"Huh. It looks like the Bears have taken the Super Bowl."
|
||
|
||
The van hit a bump and for a split second Thomas' visor slid up and
|
||
exposed his face.
|
||
|
||
"Oh God, what's wrong with his eyes?" asked Lanier.
|
||
|
||
Thomas stuck out his tongue and went back to scanning the news.
|
||
|
||
SENSE OF DEBT
|
||
|
||
tags: 1954, 1990, coco_schwab, david_bowie, piro, ragnarok, tab2
|
||
|
||
1
|
||
|
||
November, 1954.
|
||
|
||
Bowie picked up the envelope and ran his finger along its edge,
|
||
holding it in his hand for a moment of silent admiration before
|
||
tearing it open with his fingernail and devouring its contents.
|
||
|
||
But inside was an actual piece of correspondence.
|
||
|
||
He slammed the door to his dressing room and sulked in his chair. This
|
||
was unconscionable.
|
||
|
||
The note was from his mother.
|
||
|
||
Dear Son,
|
||
|
||
it read.
|
||
|
||
I have received another notice from your creditors. This
|
||
cannot go on. I am going to give them your address. If you
|
||
do not write to them, I'm going to suggest that they call the
|
||
police. There is nothing more I can do for you. I will not
|
||
pay off another one of your debts. If that means that you go
|
||
to jail, then so be it.
|
||
|
||
Love, Mom
|
||
|
||
|
||
Bowie crumpled the note and tossed it on his makeup table. He opened a
|
||
bottle of water and poured it on the carpet, tracing an occult symbol
|
||
that was only present in his mind.
|
||
|
||
The bitch! I have overhead!
|
||
|
||
A quiet knock came at the door. Then another, somewhat louder.
|
||
|
||
He straightened, all trace of disquiet drained from his face.
|
||
|
||
Time to take the stage.
|
||
|
||
2
|
||
|
||
Piro and Thomas hopped into the RAGNAROK and strapped on their
|
||
seatbelts. The engine warbled softly as Thomas adjusted his data
|
||
gloves.
|
||
|
||
"What's the difference between a raven and a writing desk?" asked
|
||
Thomas, gesturing through a cloud of invisible information.
|
||
|
||
"By weight?" asked the other.
|
||
|
||
"Sure."
|
||
|
||
"I'd say bout fifty kilos."
|
||
|
||
"Sounds about right," agreed Thomas, scribbling in his palm."Anyway,
|
||
we ought to go further back and try to sell some of this stuff to all
|
||
those 19th century artsy types who were hooked on heroine. Can you
|
||
imagine?"
|
||
|
||
"No, I can't," said Piro.
|
||
|
||
"Aw, come on."
|
||
|
||
Ignoring his twin brother, Piro accelerated smoothly into the clouds
|
||
above New York City.
|
||
|
||
Lately, Thomas was spending far too much of his free time reading
|
||
children's literature.
|
||
|
||
3
|
||
|
||
Bowie stomped through the concert, affecting strange poses. Back in
|
||
his dressing room, he unwadded the note from his mother and then
|
||
wadded it back up again, lit it on fire with his cigarette lighter.
|
||
Coco rushed over and doused the flames with a tumbler of scotch.
|
||
|
||
Which didn't help at all.
|
||
|
||
Bowie stripped off his Puerto Rican jacket and patted out the fire. He
|
||
was careful of his shoes.
|
||
|
||
"That was incredibly stupid," he said, icily."Now I've ruined my
|
||
shoulder pads. What were you thinking about?"
|
||
|
||
"Reflex," was all she could offer in reply.
|
||
|
||
Changing tacks, Bowie started digging around in her purse.
|
||
|
||
"You've got so much crap in here. Where's the coke?"
|
||
|
||
"We're out."
|
||
|
||
"What," he growled, turning back towards her, baring his teeth. The
|
||
cigarette fell out of his mouth and landed on the carpet. Coco ran
|
||
over and crushed it with her heel.
|
||
|
||
She was out of scotch.
|
||
|
||
Bowie also noticed that she had retrieved a baggy from a hidden
|
||
compartment in her brassiere.
|
||
|
||
"Only kidding," she said, waving it towards his face.
|
||
|
||
Bowie snatched the baggy and sat back down in his chair. Engrossed.
|
||
|
||
"We can't have any more of these close calls," he sighed, and dove in.
|
||
|
||
4
|
||
|
||
Piro piloted the RAGNAROK towards 1954.
|
||
|
||
Thomas was dozing. Noticing this, Piro took the opportunity to put on
|
||
some soft music.
|
||
|
||
Suddenly, Thomas started awake. He shot forward and Piro heard a loud
|
||
thump. He looked over and Thomas had hit his forehead on the
|
||
dashboard.
|
||
|
||
"WHAT! IS! THIS! CRAP!" he shouted. Piro couldn't be certain whether
|
||
he was reacting to the noise or to the pain.
|
||
|
||
"Bowie.'Golden Years.'"
|
||
|
||
"You're one of those people who listens to every album by an artist
|
||
while you're driving to see them in concert, aren't you."
|
||
|
||
Piro remained silent. Piloting.
|
||
|
||
"Plus, your chronology is off. In 1954, he hasn't even written this
|
||
song yet."
|
||
|
||
Piro reached for the dash and ejected the cassette.
|
||
|
||
"Fine. See? I'm putting it away."
|
||
|
||
5
|
||
|
||
Coco had come up with a new supplier. She was on the phone with them
|
||
now. Bowie stared nervously at her hands as she wound the phone cord
|
||
around her finger. A knock came at the door while she was still
|
||
talking. Now she was chewing on her pencil. She didn't seem to hear.
|
||
|
||
Bowie glanced at the door, and then back at Coco.
|
||
|
||
Oblivious, she kept on talking.
|
||
|
||
Bowie coughed, quietly. His eyes were pleading with her to hear, to do
|
||
something. Of course, he couldn't say anything. It was not his place
|
||
to answer the door. Sweat running down his neck, he kicked over a
|
||
chair. Then tried to look composed.
|
||
|
||
The knock came again.
|
||
|
||
This time, Coco noticed the disturbance. She picked up the phone and
|
||
started towards the door.
|
||
|
||
Bowie fell back in his chair. A wave of relief swept over his sunken
|
||
features.
|
||
|
||
He lit a cigarette.
|
||
|
||
6
|
||
|
||
Piro pulled out his flip-phone and dialed the new customers.
|
||
|
||
"I'll just make sure they're ready for us," he whispered.
|
||
|
||
Piro talked for ten minutes. It seemed like an endless amount of
|
||
chitchat. Thomas had no patience for customer relations, but Piro
|
||
seemed to relish any opportunity to interact with a client.
|
||
|
||
And this woman.
|
||
|
||
Was Thomas actually jealous?
|
||
|
||
He booted up his gun.
|
||
|
||
Now Piro was knocking on the door. Why? Just tell her we're here.
|
||
|
||
Hm. No answer from the marks.
|
||
|
||
7
|
||
|
||
Just as Coco turned the door handle, both of the doors blew violently
|
||
inward, completely off of their hinges. Coco was thrown to the ground.
|
||
Fortunately for her, the Bakelite telephone took the worst of it.
|
||
|
||
Bowie stared in paralyzed horror at the shattered pieces of plastic on
|
||
the floor. He was transfixed. There was something familiar here.
|
||
Something about the pattern of debris... Abruptly, he snapped out of
|
||
it. This was how it always was with him, he observed. One second in
|
||
dreamland and the next fully focused.
|
||
|
||
"Coco. Take dictation."
|
||
|
||
"Rrrrm..." she moaned.
|
||
|
||
"Get up," he insisted.
|
||
|
||
Piro and Thomas entered, weapons drawn, targeting both adult humans
|
||
with practiced efficiency.
|
||
|
||
Bowie ignored them.
|
||
|
||
"When the phone broke, I looked down at the carpet. The cracked
|
||
plastic formed a picture. I saw the letters: s, h, n, z, n."
|
||
|
||
Coco maintained her expression. It would take more than an explosion
|
||
and a broken telephone to rattle her.
|
||
|
||
"It's Shenzhen, China."
|
||
|
||
"What?" asked Thomas.
|
||
|
||
I see, Coco said with her eyes."Real estate or commodities?"
|
||
|
||
"Real estate. Get Tony on the phone. We'll grab as much as we can,
|
||
now, while it's still available. Sort it out later. I've got a good
|
||
feeling about this one."
|
||
|
||
"How much do we spend?"
|
||
|
||
Bowie was rolling up the sleeves of his shirt, loosening his necktie.
|
||
He snorted conspicuously and answered quickly.
|
||
|
||
"All of it."
|
||
|
||
8
|
||
|
||
"I don't know, Mr. Bowie, it seems rather unorthodox to sign your
|
||
mother's name to a cocaine bill."
|
||
|
||
"She's my business partner. And we're going to need plenty of marching
|
||
powder for the new venture."
|
||
|
||
Coco arranged the paperwork on the table as Bowie signed his mother's
|
||
name at the bottom of each page. She reached over and smoothed down
|
||
his eyebrow as he worked.
|
||
|
||
Thomas was smiling.
|
||
|
||
Piro decided it didn't matter."I guess it will have to do."
|
||
|
||
Bowie suddenly looked concerned."Are you sure you won't have any
|
||
problems filling the standing order?"
|
||
|
||
Thomas motioned with his thumb.
|
||
|
||
"You wouldn't believe how much of this stuff we have back in the
|
||
ship."
|
||
|
||
At this, Piro decided to interject.
|
||
|
||
"So long as you can come up with the money, there is literally an
|
||
unlimited supply."
|
||
|
||
Bowie looked please with himself. His yellow teeth shined a skeleton
|
||
grin.
|
||
|
||
"Friends. I think this is going to work out just fine."
|
||
|
||
BIG PANTIES
|
||
|
||
tags: 1991, 4086, christopher, eva_bright, ken_thompson,
|
||
maude_mold, piro, plinth_mold, tab2
|
||
|
||
1
|
||
|
||
May, 1991.
|
||
|
||
These memories simulate a very dark period in my life.
|
||
|
||
2
|
||
|
||
I had dumped an awful lot of money into Next Computer.
|
||
|
||
For obvious reasons, this troubled the King.
|
||
|
||
"Maryland Procurement Office," I would remind."We're just shoring up
|
||
inventory."
|
||
|
||
"It's easier to buy a judge than to ask for permission," the King
|
||
would retort.
|
||
|
||
Whatever that was supposed to mean.
|
||
|
||
"Perot is our man. Remember who works for whom."
|
||
|
||
But the King did in fact hold the purse strings. At least in this
|
||
decade. I looked forward to a time when the man could be properly
|
||
disposed of. Driven from the enterprise.
|
||
|
||
At this rate, he would snort his way through our operating capital in
|
||
a matter of weeks.
|
||
|
||
3
|
||
|
||
I grew weary of kings. After a short period of deliberation I disabled
|
||
comms with 4086. It was an obvious measure too long delayed.
|
||
|
||
4
|
||
|
||
Christopher threw down his leaf in disgust.
|
||
|
||
"This book is crap," he said.
|
||
|
||
Ken checked the flashing index. BLACK GANGSTER, by Donald Goines.
|
||
|
||
"So, what's so bad about it?" he asked.
|
||
|
||
"Nothing. If you've never committed a crime in your life, and you
|
||
don't know the difference between gorilla pimping and"
|
||
|
||
"I don't know, I read it when I was a teenager. It seemed realistic
|
||
enough to me."
|
||
|
||
Christopher rolled his eyes until it hurt and snapped a new clip into
|
||
his pistol. He decided to change the subject.
|
||
|
||
"You got the crack?"
|
||
|
||
"I don't know, Chris, I'm not so sure I can trust your judgment
|
||
anymore. I'm starting to wonder if your political views are having an
|
||
influence on your"
|
||
|
||
Christopher pulled down his ski-mask and turned off his phone. He
|
||
walked over and poked Ken directly in the chest.
|
||
|
||
"I don't give a fuck who you think you can trust. Stop whining and get
|
||
in the van."
|
||
|
||
The two men took their places in the vehicle.
|
||
|
||
"I'm in like Flynn," said Ken.
|
||
|
||
Christopher punched Ken in the neck.
|
||
|
||
"Put on your seat belt."
|
||
|
||
5
|
||
|
||
My organization ran with a minimum of friction.
|
||
|
||
Piro handled operations. Eva ran comms. Thomas... mostly stocked
|
||
shelves.
|
||
|
||
I took notes.
|
||
|
||
In this way, the years advanced, unrolling like paper tape from under
|
||
one of my old shirts.
|
||
|
||
I liked to stay hands-off. There could be no benefit to my constantly
|
||
butting heads with the lower-level management. Besides, Piro was
|
||
reasonably competent.
|
||
|
||
We didn't fraternize, on the whole.
|
||
|
||
My wife was a different story. She simply couldn't follow the program.
|
||
I discovered her trail more than once.
|
||
|
||
Unacceptable sloppiness. This was a business.
|
||
|
||
In November, 1991, with some regret, I disabled her power source.
|
||
|
||
6
|
||
|
||
"Instead of improvements, we got features."
|
||
|
||
"These panties are huge."
|
||
|
||
"Just put them on."
|
||
|
||
Christopher pulled into the driveway and withdrew his key from the
|
||
ignition. He looked over at Ken and wondered how the man had ever
|
||
passed a cursory background check.
|
||
|
||
Christopher adjusted his costume panties.
|
||
|
||
Without warning, the windshield exploded inward.
|
||
|
||
Plinth Mold's hand extended well beyond its normal range, traversing
|
||
the length of the van's hood and grasping Christopher's flack jacket.
|
||
His other hand slithered into the cabin and found purchase around
|
||
Ken's throat.
|
||
|
||
Plinth yanked both men from the vehicle, trailing bits of shatterproof
|
||
glass. He deposited them both onto the sidewalk.
|
||
|
||
7
|
||
|
||
"Boss! What are you doing here?"
|
||
|
||
Plinth tapped Ken's face to the ground. The smaller man writhed
|
||
mindlessly, firearm forgotten, oversized panties gathered around his
|
||
ankles.
|
||
|
||
Plinth examined the situation. It was a stuck process. Too late for
|
||
circumcision, but too soon for canonization.
|
||
|
||
And yet, he couldn't fire these men. Not exactly.
|
||
|
||
"Why are you both wearing giant panties?"
|
||
|
||
The two characters represented a significant investment of system
|
||
resources. Several proven quantities from the writing pool had been
|
||
used up, filling in their histories. It was likely that, once
|
||
terminated, the processes would not even relinquish the memory that
|
||
had already been consumed.
|
||
|
||
"It's our body armor, boss."
|
||
|
||
It was not the answer Plinth had wanted to hear.
|
||
|
||
Never mind. He resolved to make yet more adjustments to the running
|
||
system.
|
||
|
||
He dialed the Chrysler Building and patched himself through to Piro.
|
||
|
||
8
|
||
|
||
The incompetence...
|
||
|
||
It wouldn't have been fair to blame them, but still I couldn't look at
|
||
their faces. Could I see myself in this?
|
||
|
||
Never mind. I resolved to make yet more adjustments to the running
|
||
system. Not premature optimization, but triage. The machine hadn't yet
|
||
crashed, but experience had taught me to expect more trouble.
|
||
|
||
Perhaps humorously, I still thought it possible to prevent a
|
||
catastrophe.
|
||
|
||
I dialed the Chrysler Building and patched myself through to Piro.
|
||
|
||
9
|
||
|
||
Plinth's wallet had deactivated itself due to suspicious activity. The
|
||
King had emptied the last of the corporate accounts. As a result, it
|
||
took more than two years to hup the errant processes. With his other
|
||
resources tied up in acquisitions, Plinth simply couldn't afford the
|
||
man hours needed to affect the required changes.
|
||
|
||
In the end, as he suspected, the corrupted system memory was not freed
|
||
when the processes restarted.
|
||
|
||
Programs continued to hang. The big panties should have been a clear
|
||
warning sign, but this was a realization that came little, too late.
|
||
|
||
Eventually, the entire system bogged down.
|
||
|
||
Plinth couldn't log out.
|
||
|
||
10
|
||
|
||
Fuck it, I'll reboot.
|
||
|
||
11
|
||
|
||
Years ago, the plane jerked.
|
||
|
||
FINAL REPORT OF TEAM 34
|
||
|
||
tags: 1991, 1994, federal_grants, nana_mold,
|
||
paris_mold, piro, plinth_mold, shit_mold, tab2, violet
|
||
|
||
1
|
||
|
||
August, 1994.
|
||
|
||
Team 34, initial report.
|
||
|
||
As dictated by Captain Paris Mold.
|
||
|
||
Tear down. Clean up. Soft seductions.
|
||
|
||
We're always called in on the quiet jobs. The ones with a lot of work
|
||
to be done, preferably without a lot of noise.
|
||
|
||
I have to admit, the world is a pretty big mess.
|
||
|
||
My team is competent. We pack light, so we can cover a lot of ground
|
||
in a short period of time.
|
||
|
||
Reputation. Dependability.
|
||
|
||
We don't deal in names, but we're well known to the people that
|
||
matter.
|
||
|
||
We do okay.
|
||
|
||
2
|
||
|
||
I task three assets to the South Pacific. One to the Chrysler
|
||
Building. I don't trust anyone but myself with Plinth.
|
||
|
||
Violet continues to elude us.
|
||
|
||
We've laid down some perimeter product placement, biding our time.
|
||
|
||
Nothing is coming up. It's difficult to predict emerging demographics,
|
||
the interactions of different products. And Violet is a professional.
|
||
Humans melt in her hands.
|
||
|
||
I decide to call my mother.
|
||
|
||
3
|
||
|
||
"Barfight! Dipstick! Bricoloage! Go! Go! Go!"
|
||
|
||
Mother screams at my men through her mouthpiece. They aren't used to
|
||
hearing her shouting on the wire.
|
||
|
||
"Nana! Where the hell have you been? We're on overtime!"
|
||
|
||
A firefight is underway. Clearing old signage means engaging Plinth's
|
||
aerosol defenses. We're prepared, but understaffed.
|
||
|
||
"Keep formation, boys! I'm losing your signal!"
|
||
|
||
At least Plinth is alone in this fight. We were careful to remove old
|
||
man Jerrymander from the board, decades prior to the meltdown.
|
||
|
||
For her part, Mother keeps a tight handle on the Mold family backups.
|
||
|
||
4
|
||
|
||
February, 1991.
|
||
|
||
Federal Grants straightens his paperwork and peers deeply into Plinth
|
||
Mold's single working eye.
|
||
|
||
There is a subtle click and Mold's head inclines towards Grants. The
|
||
gesture is all but imperceptible.
|
||
|
||
"Why don't you tell me about your childhood."
|
||
|
||
Dust plays in the sunlight streaming in through the library window.
|
||
|
||
"Have you ever read a book called THE INDIAN IN THE CUPBOARD?" asks
|
||
Plinth."A children's piece. Published around 1960."
|
||
|
||
Fed stifles a guffaw."Please. I don't read kiddie trash. I've never
|
||
even heard of it."
|
||
|
||
"My brother Pennis and Iwe published that book."
|
||
|
||
Immediately, Grants realizes his tactical error."II'm sorry."
|
||
|
||
"It was a thinly veiled retelling of the origin of our family."
|
||
|
||
This is no good. Grants panics, leaps from his seat."Sir, I"
|
||
|
||
"I think we're finished here."
|
||
|
||
Plinth rises, exits.
|
||
|
||
5
|
||
|
||
PLINTH'S LOG
|
||
|
||
524780 SECONDS FROM THE EPOCH
|
||
|
||
With the last hard boot less than a year in the past, the world is
|
||
already growing crowded. Mostly with clean-up crews. I assume my
|
||
brother Paris is amongst the rabble.
|
||
|
||
There are many starting conditions to seed.
|
||
|
||
Mother called, earlier today. Clean-up proceeds apace. Paris is
|
||
amongst the rabble, but Violet remains hidden. I've asked her not to
|
||
reveal my whereabouts, either, for the time being.
|
||
|
||
I've also reinstated the Crown. And the Crown has renewed my funding.
|
||
|
||
I'm thinking about re-spawning Thomas and Piro. They might amuse me in
|
||
this new world.
|
||
|
||
And, that's about it. For this month. More after the new year.
|
||
|
||
6
|
||
|
||
January, 1995.
|
||
|
||
Team 34, final report.
|
||
|
||
As dictated by Captain Paris Mold.
|
||
|
||
Product placement has been completed. Rulesets have been configured.
|
||
Once customers start populating the layouts, later this year, we
|
||
should start to see good numbers. I think we can handle the traffic.
|
||
|
||
We've decided to go with a variation on the initial predilections from
|
||
the last iteration. Non-standard prejudices. These first new customers
|
||
will find themselves inexplicably drawn towards the Asiatic races and
|
||
the flickering of camp fires. There is some debate over whether or not
|
||
a fascination with fire will hamper their survival rate. Will they
|
||
fuck themselves to death before they even get a chance to starve? Will
|
||
the flames and their genitals mix favorably?
|
||
|
||
Ha, that's the test, isn't it?
|
||
|
||
Still no sign of Violet.
|
||
|
||
Or my brothers.
|
||
|
||
Mother has gone quiet.
|
||
|
||
Ping.
|
||
|
||
END CRASH ORIGIN
|
||
|
||
more
|
||
|
||
textadventure.stanleylieber.com
|
||
|
||
about the author
|
||
|
||
Stanley Lieber should probably be doing something else.
|