The Forbidden City
August 14, 2015 August 14, 2015 ~ Michael Davis
Oh no. She'd send you there, wouldn't she? She'd transport you there just so she could feel your pain and write about it. But you're not going. You're never going back to Texas. Not for fame. Not for money. Not for the glory of Victoria Volt. Not for that article she wants you to outline. Not for anything. Not on your life.
Sure. You check your bags in at SFO and get on the plane. You hate everything about yourself as far as Nevada. You can't imagine the number of things Victoria demands, all the things she wants from you. You don't want any of them back. There might have been a time when the deal could have been reciprocal. But now, no. Now you're lost in lackeyland. If you had a personal life, it's dead. Working for Victoria kills.
While you're cursing and grinding Delta peanuts and hating yourself for giving in again, the perfect date is going on two blocks east of Coit Tower back in San Francisco at a little café called Nunu's—where the perfect couple is getting together under a Tiffany lamp with carpets on the floor and drinks and everything good. There's no weird. There's no crazy. No pretend happy. No dull-eyed shrugs. No lying. No flight to DFW. Your boyfriend, Dane, and his new girlfriend, Adriana, will have their perfect date and then get married and live the rest of their lives together and die on the same day and be buried in the same grave and everyone will talk about how right and how beautiful it all was.
None of that will ever happen in or anywhere near Texas. The last time you were there, you saw a house out in the desert half-full of sand, a dead horse by the side of the road, a coyote wandering in circles because it drank from a poisoned spring. Years ago, your older brother, Stevie, dead in a Lubbock parking lot. The Klan and rancid TexMex and border towns that look like the zombie apocalypse. There's a vein of spite flowing up in the contrails of the sky and blocked up anger in bowels of the earth. Texas is a tragedy. It hates you and maybe your dog and the President. It isn't a state of the Union; it's a state of disunion, a wretched state of mind, of being in a rotten place at a lousy time with locusts and bad Santeria and guns. To hell with Texas. But that's redundant.
Victoria doesn't believe in direct flights and always sends you coach. The plane is packed and smells of all the drama and passion of the Lone Star State. You can't get away from it. The guy sitting next to you once had curly brown hair but now it's gray and his name is, in fact, Curly. Dark blue jeans, plaid long-sleeved shirt, suede blazer, his fingers covered in silver and turquoise. Curly introduces himself at pushback, shaking your hand a little too long, grinning a little too much. He drinks beer after beer, telling you about his life in San Antonio and asking too-personal questions when you'd prefer to brood in silence.
"Little lady, whatcha got there? What do you do for a living? You married?"
"Got a boyfriend?"
"Yes." No hesitation. Because you do, right?
"You live in San Francisco, don'tcha? I can tell. You got a San Francisco accent."
He tells you he owns a chain of vegetarian restaurants and he figures that being from San Francisco, you'd be into that. You look at Curly and think, yes, he looks like Texas. He drinks beer like Texas. His name is Texas. And you're thinking that everything about him comes straight out of the old stereotype you knew as a girl, when your dad would make you drive part of the way, long distance from Bakersfield to his refrigerator factory in Lubbock. You hated Texas for that reason alone. On some other level, you knew it was your father's attempt to spend some quality time. But it didn't feel like anything but a rolling prison to your 12-year-old self, forced to drive the truck while your father read the paper or slept in the passenger seat. That drive from Bakersfield to Texas. It was shit. And then your brother died.
Still, you're thinking that this Curly might actually be okay. Slightly unstable—but who doesn't seem slightly unstable if you look closely enough—an affable old coot. And when it comes to men from Texas it might not get much better than "old coot." Old coot might be the best that Texas ever has to offer. So you think: maybe. Maybe the odds are getting better. Maybe, on this trip, Texas won't be what it has always been, a depressing, disturbing bout of alienation and repugnance.
Then he starts talking about his restaurants. "Are you a vegetarian, little lady?"
"Well shit you have to come to my restaurant in Houston. I own about 15 of the fuckers." He gives you his card. It says Silver Star Vegetable House – Curly Morgan, CEO. A white card with an embossed star in the middle, shaped out of silver leaves.
"Really? Texan vegetarian cuisine?"
"We grow all our own produce. Science is amazing. I can grow a bell pepper half as big as a Volvo. Have you ever eaten a mutant bell pepper just for dinner? A stuffed bell pepper? We put sour cream in those fuckers. Shredded cheese? Fake tofu bacon chips? Just dump it in there. I got some of them bigger than a plate. They look like small dogs. It's amazing. People love it. And you know what? You don't have to eat meat to have food that good." He pounds the arm rest, takes a fierce gulp of beer. Curly really cares about his mutant peppers.
"That's interesting." What else are you going to say? You're stuck with the mutant vegetable restaurant tycoon of the universe for the next three hours.
"Yeah, and it's real popular with the tourists who come from, you know, California." He winks. "A lot of tourists come in terrified, traumatized, because they think Texas is all just steer and beer. But we grow our own stuff."
At this point, you're fighting a flashback, thinking of Jim Logue, your father's partner. Creepy Uncle Logue, who always came by for dinner whenever you and your father got into Lubbock. He managed the refrigerator factory and did everything while your father was home in California. Uncle Logue used to poke you in the shoulder and say you were growing up to be a sexy little thing and to call him in 5 years.
That creepy-crawly feeling you'd get from Uncle Logue—that's what Curly's giving off. Only he's not thinking about you. He's thinking about a Honcho bell pepper as big as a small dog. It makes you wonder what Curly gets up to with his mutant bell peppers at night when nobody's around. And suddenly, all the possible ideas you have about what Texas could be, vanish into what it clearly is. You look around the plane and realize that nothing changes—that every city in Texas has a different permutation of the same dysfunctional human blight. Uncle Logue was supposed to teach Stevie the business. But Stevie got killed. He'd only been in Texas for a few months.
"People need it big. They want it now, you know? And if it moves, we can kill it dead. And if it don't move, we can cook it," Curly says with his vegephile grin. That's how it is. People need it big.
Why you choose to live in California: everybody who hasn't been to California says Los Angeles, fires, crazies, gangs, riots, San Francisco, godless homosexuals, cults, earthquakes, falling into the ocean, weirdo freak Democrat liberals. But maybe that's okay. And even if that's all there is, you'll take it any day. In fact, the perfect day in San Francisco goes like this. You'll get up late and you'll take the BART from Hayward into the City. You'll have a crepe at Tart-to-Tart and walk down 7th Street pleased with the world. Then you'll go by the Japanese garden in Golden Gate Park and look at the dogs playing on the grass and at the wandering peacocks and the Korean girls trying to make sense of tourist maps on rented bicycles.
The sky will be blue. And someone will be doing Tai Chi beside a pond. The disc golfers will be laughing. You'll pause to watch a mime do the entire second act of Hamlet, playing all the characters himself. And then you'll go sit by the stone lion in front of the de Young museum, where there's an Andy Goldsworthy installation that's just a crack that runs down the center of the entryway. You'll wait and nobody will notice it, thinking it's just a crack in the concrete. And you'll enjoy watching everyone, until a crowd of extremely self-conscious tourists in electric blue jumpsuits arrives on Segways. And then you'll go in and look at the art. And this will be your day.
Curly's ordering another Amstel, flirting with the flight attendant. You've bored him. You put his card in your pocket and close your eyes. You'd give anything to have a job that's stable, that would allow you to pay your bills and live back in the City. And then Dane would realize that you are around and that he really does love you. But life isn't like that. It would be too perfect. That perfect couple on their perfect date back in San Francisco are as far from Texas as Texas is from anything good.
Knowing this, you also know the fault is yours. You're the one that got on the plane, telling yourself you had to. Your last experience in Houston (fiancée George, dentist, mistake) was as horrific as your first experience in Waco (12 years old, on a trip with dad, thrown from a horse, six weeks in bed). Sitting in the factory office in Lubbock for hours with nothing to do but watch the workers load refrigerator shells into the backs of trucks. Stevie in his coffin, laid out in a black suit that he'd never worn while he was alive, the deep cuts in his cheeks spackled and rouged. Texas has enough bad memories and ghosts for you to fill the back end of a horror story—when all you want is to make up with Dane, at least to break even as friends, at least to walk with him down Embarcadero one more time and look at the bay. But here you are.
So you touch down in the mutant cyclops state that only gets one star. DFW's full of idiots in cowboy hats, morons in mongoose, monitor lizards in Durango dusters. And you're going to get on that connecting Fokker F-27 and it's going up in the sky and coming down in Houston. Blind date in Texas? Oh yes, motherfucker, you're all about it. You're doing it for Victoria. You're doing it to get paid. You're doing it because she forces you to do things like this. And then she'll write about it as if she did it herself and you'll fade into freelance vapor. You'll try to recover, curling up in your studio apartment in Hayward, feeling like a beaten animal, nursing your wounds. Blind date in Texas? Shit, you're helping Victoria Volt get famous. You're fueling her image, doing what she's supposed to be doing instead of raising her son on 7 acres in upstate New York, eating vegan, and going to yoga twice a day. Research assistant? There's no such thing in Texas. You're going to wind up skinned in a barn, tied up on a farm, overwhelmed by locusts, lynched by rednecks.
You get off the plane and avoid the urban cowboys, the dudes with handlebar moustaches trying desperately to look like Sam Elliott. You sit in a small bank of chairs far away from everyone between the boutique that offers bells and little glass angel chimes and the food court with four varieties of Authentic Texas Bar-B-Que. It's a trade-off. You have to smell the meat, sauce on a slab of death, but it's far enough from the gates to discourage new cowboy friends.
The first thing you have to do before you read the files Victoria sent is check your email—the special account you have just for messages from She Who Must Be Obeyed. You open your laptop and go through the motions. There she is. She's left you the usual video message. She has the clearest skin of any woman you've ever seen. Short brown hair in a bob and a radiant white smile—so constructed, so perfectly put together that it makes you think of an artificial sun. She wears blue contacts, does Yogalates multiple times a day. She has an obese 10-year-old boy named Frederick, but there isn't an ounce of fat on her body. In fact, Victoria has biceps cut so severely you can see them ripple.
Her face is frozen on the screen in that perfect smile, ready to deliver the usual instructions, veiled threats, and warnings about spending any unnecessary money. You plug your headphones into the computer and notice Curly embracing a tall Asian man, dressed in a black suit, black Stetson, and a clear glass bolo tie with a spider encased in it. They're standing right in front of you, but Curly doesn't notice.
Curly says, "Well, shit, Robbie, what the hell have you been doin' with your life?"
Robbie bows. "Do you want me to get your bags, Mr. Morgan?"
Then you hit play and your patron and mentor, Victoria Volt, begins her pronunciamento, which will regulate and define all things for the next minute and 38 seconds of your life: "Hi Allison," she says, losing her smile a little as if your name were a term for something necessary yet disappointing. "I hope you're well. By now, I'm sure you're already either on the plane or touching down in my favorite state. I understand it's not your favorite state, but let's not forget this is a job I need you to do. You're going on a blind date, Allison! This should make you happy. Does it make you happy? It makes me happy thinking that you'll be getting out for a change with an eligible guy. This is as much for you as it is for me. You need to get out more, you know. By sending you on this trip, I'm doing my part to help you out. And if writing comes out of it, then all the better, right? Think of it as a paid vacation. I'm paying you to go out on a date. How much better could it be? And this guy, Harley Winslow, he's perfect for a human interest piece. I discovered him through a friend of mine at the Houston Chronicle. Harley's amazing. He used to be a travelling preacher, but now he raises alpacas on a farm and it's really fantastic because he wrote a book. Would you believe it? It's a book about dating."
She holds the book too close to the camera then pulls it back and the image of a glowing white crucifix on a hill comes into view with a man and a woman holding hands and kneeling before it. "It's called Sacred Love: the Words of Jesus as the Ultimate Guide to Life and Romance. How about that? I think he might be an idiot, which would be perfect." She puts down the book and raises her eyebrows. Directive number one: make sure you note any details that would make him seem like a fool.
"Anyway, he's not very attractive. Not too hunky. At least by my standards. But he's certainly interesting. You need to find out all about him. I think he's human interest gold. Magazine readers would find him very entertaining. Don't you think so? I hope you do. You'd better." Victoria smiles—not at you, but beyond the webcam lens at the Universe, with whom she shares various running jokes. You watch the video a second time with a certain Zen detachment.
Victoria's real last name, her maiden name, is Vichinsky. You have no idea what her husband's last name is. Victoria would send you into a swamp to investigate alligators. But she'd do it with a wink and her supernova smile. Every time she sends you on a job, which is about once every three weeks according to her writing schedule, she frames it as something that's good for you, something that can make you better and more like her. If you thought in such terms, you might be flattered, since she's the most attractive competent woman you know; though, you suspect she spends hours a day on her appearance. You also suspect she's OCD, a hypochondriac, and very possibly an agoraphobe.
But that's all beside the point. The point is: you have a job to do. As you watch people from the plane drift into Authentic Texas Bar-B-Que and drift out, looking slightly bilious and poisoned, you realize that part of Victoria's success and beauty lies in the fact that she hardly ever leaves home or deviates from her schedule. She lives on several acres of old farm land in upstate New York in a barn that has its own air purification system and is riot-proof. It's even got a moat. On those rare occasions that she does go out, she checks the driving routes in case everything hits the fan while she's on the highway. Her husband carries a gun to protect her.
She has only granted an in-person audience to you once—when she hired you. And, even then, there was a certain skittishness about her, the sense that you might, in fact, be a vector for some kind of bacteria that would eventually kill her and her entire family. These are things the world doesn't know about Victoria Volt, columnist, celebrity, who has appeared on Oprah, Doctor Phil, The O'Reilly Factor, and even Charlie Rose. Radiant avatar of failed marriage and doomed romance, hidden away in her secret temple in Saugerties, New York, who has written many books, who is everywhere and yet nowhere. The times she has to do a show or an interview are periods of great stress and there's always a blackout interim before and after in which she speaks to no one—probably doing Yogalates.
You open the Word file that Victoria sent. It gives contact details, your motel, what she wants you to do. Victoria writes that Harley calls himself Lord Harold sometimes, which is his bowling club nickname. He was an itinerant preacher on the old chitlin circuit. He went to Hosanna Bible College of North Texas and drove around in a 1972 Winnebago with a box full of Gideon Bibles, sanctified nails, and gallon milk jugs of holy water. He was casting out devils, exorcising the peoples—until he had a faith crisis and became a Unitarian. Then the Longree Pentecostal Sanctuary in Bethel kicked him out. He started selling power tools door-to-door, but that didn't work, either, because he was more interested in talking about the Lord. So now what does he do? Now he's a cell phone salesman at The Galleria in Houston and he raises alpacas. He does Christian Star Wars reenactments in his spare time. This is the guy she wants you to go out with—the embodiment of everything Curly could have been had he made slightly different decisions and not had a fetish for oversized Honcho peppers.
There's a small photograph embedded in the Word document. Harley's details: 6'2" tall; sunburned pink scalp under sparse blond hair; blue eyes; small nose; thin lips, but a prominent chin with a cleft. In the picture, he's wearing a western shirt with pearled snaps. And you think he isn't attractive, but he doesn't look that bad. More like an extra in a cowboy movie. Someone you take for granted as you're watching a young Clint Eastwood put a steel plate under his poncho to stop bullets before a gunfight. Victoria has set you up on a date with this man in order to vicariously live it and write about it. Yes. Okay. You can do this. You're a professional. But dating for money sounds like something else—something that almost came up before. What if Victoria decides to write about what it's like to be a hooker again? Does she send you out to some guy's apartment and tell you it's going to be good for you? Every now and then, she tries to broach the subject.
You've got 20 minutes before boarding starts for the short flight to Houston. So you wander around the airport. There's a kiosk with shelves of tiny ceramic dogs. Serapes are hanging everywhere for sale, more serapes than in all of Mexico. And DFW smells like dust. The hot dust of Texas. Even in the hermetically sealed biodome of an airport, the outside world will seep in over time. And this is true even here at Dallas-Fort Worth. The airport resembles a dystopian bubble city from bad 70s science fiction—with its own rail system and outlying terminals designed to contain a terrorist blast. You think DFW probably has machines in the basement that could independently support it as a city-state in a post-apocalyptic wasteland. Logan's Cattle Run. You can even see the dust on some of the people just in through security. You wonder if you're going to smell like Texas when you get back and how many showers it will take to get it off you. This is something Victoria would know.
In the restroom, you look at yourself in the mirror, your brown hair has streaks of gray in it like little lightning bolts of death. Gray already at 31. You keep your hair tied back most of the time. It's easier that way. You haven't worn nail polish or lipstick in a dog's age and why would you? All you do is work. And the type of work you do doesn't require you to look like Victoria Volt. It requires a laptop, focus, and self-discipline most days. When you have to meet with someone, you have the basic ensemble ready—a black two-piece Donna Karin business suit, a few silk blouses.
But right now, you're wearing the blue Cal sweatshirt that belonged to Dane. You kept it because giving it back would have been like giving him back to the world. And that isn't on the docket. He's still your boyfriend. Looking at yourself, at your gray in the mirror, you feel a wave of sadness rise up through the center of your being. But nothing's changed. Everything's on track. You're going to do this job, make 2 gs. You're going to go back to the bay area and call Dane and he'll actually answer the phone and you'll go out and have dinner at the aforesaid chic little café called Nunu's, his favorite.
If you don't call him your ex, he's not really your ex—Dane now has Adriana and, yes, she's from Brazil. But it's because you're never around. And really, let's not kid ourselves, it's because of Victoria. Adriana's a model who doesn't shower. And even though she stinks, she's possibly the most well-put-together woman you've ever seen in real life other than Victoria. Her father owns a villa in Belo Horizonte, which you know because Dane has a framed picture of it on his wall. And when you come by his place to check on all your things still in his closets, Adriana's always there and you leave faster than you arrive. Victoria wants you to write about that, too—at least to make an outline for her as usual and work "frenemy" into the title.
The crowd on the Fokker F-27 is sparse, which is strange because the trip from DFW to Houston is popular, but today there's hardly anyone on the plane. You have an entire row to yourself. Below, the tawny lion hide of Texas goes past as the plane reaches 37,000 feet. The flight attendants are all female, blonde, and look vaguely porny. Centerfold material. They have a festive air. They're telling jokes to each other, imitating people they know and laughing hysterically. The few passengers consist of a South Asian gentleman who goes to sleep immediately, three old ladies sharing a crochet bag, a business man on his day off in an Izod polo and a baseball cap, reading the Wall Street Journal, and you.
It will be a short flight. You consider watching Victoria's message again. But you know Harley's waiting for you. He told Victoria he'd pick you up at the terminal. You won't have a chance to put yourself together. He's going to be there from the minute you set foot in Houston—another thing you don't like. But you're not being paid to look good for Harley Winslow or even to like him. You are a prosthetic eye that will not be touched and that's how it's going to be. You are the agent, representative, and sometimes ghost writer for a famous author. So you put your laptop back in its leather shoulder bag, drink the 7-Up that Miss November just brought you and close your eyes, listening to the hiss and rumble of the plane. Someone had too much Authentic Texas Bar-B-Que and it's evident. Your seat is up against the restroom bulkhead. You close your eyes and try to ignore the smells and sounds of air sickness coming through the wall.
This is your life. You had a Confucian exit strategy as recent as last year—the cheerful retreat, the thank-you-for-teaching-me-so-much-master, the take-care-can-I-use-you-as-a-reference sort of thing. But reality: you don't know how to operate a hydro-encephelator or manage IT security for an auto parts chain or give MRIs. You could apply to wash dishes at Golden Wok across from the library in Hayward. You could maybe get a job selling shoes at the mall. Instead, Victoria pays you $2,000 to spend the weekend riding along to meth labs with the LAPD. She then sells the article to Vogue, "Dark Days: Victoria Volt goes Undercover in the Inland Empire." Your title.
She acts like she's your mentor, like she's grooming you to be her. But you're already Victoria in many ways, her muse, her lackey. She supports herself with blogs and pastel-colored books on divorce. She's the divorce queen. The diva of despair. Five Things I Learned from Divorce. Vengeance and the Abandoned Spouse. Things You Should Never Do After a Divorce. Men: Do we Need Them? Seven Things About Me You Didn't Learn Until You Divorced Me. You Haven't Divorced Me…Yet! Maybe You Haven't Divorced Me But It's Like We're Already Married So Maybe You Could. And What I Hate About You: A Book of Holiday Lists.
Victoria has a problem. But it isn't divorce. She's married to a guy she calls "The Plumber" because he's a plumber. But there's supposed to be a double meaning in that. He doesn't get a name. He's just The Plumber. She has attempted to castrate him 17 times with a wood chisel. It's an ongoing project. And she writes about it, about how he's distantly amused by it: The Plumber comes into the room and says, "Tried to use the chisel on me last night, eh?"
She has written that the Plumber sleeps in a different bedroom. She needs to pick the lock every time she wants in. But he's always one step ahead of her. He leaves crumpled up newspapers around his bed. He has pepper spray stashed everywhere. He doesn't talk much, this plumber. But they communicate in absolutes, in physical essentials, like: "Did you try to castrate me with a wood chisel again?" or "Did you lock me out last night?" According to Victoria, she hasn't had sex in seven months, 22 days, and 7 hours. She has some scheduled for around Christmas Eve—when she'll put down the chisel and he'll unlock the door and first they'll go have prime rib in some restaurant in Saugerties and she'll blog about it later.
But you'll be shivering in someone's basement with a can of pork and beans, even though you're a vegetarian and you hate pork and beans. You'll be eating it anyway for some kind of experiment of Victoria's—because she'll want to know what it's like to spend Christmas alone in a cold basement and eat pork and beans out of a can. And that would be the lesser of evils. You've dug out latrines and spent the night in subways and halfway houses and bungee corded into rivers and all sorts of other things that Victoria wanted to pretend she'd done. Only Victoria and The Plumber know about you. Whenever you narrowly escape something awful, she says, "I think your reportage is really coming along."
And how much is she paying you and why do you do it? It's because you majored in English. That's why. Because there are no jobs. Because you're not good at poker and you couldn't afford the gas to Vegas anyway. You answered the ad in your last year of grad school: Research Assistant for Nationally Recognized Columnist. Must be obedient, smart, and hard working. Victoria said you got two out of three, but it was enough. She liked the fact that you didn't know how to dress yourself when you flew out for the interview and she offered to teach you how to write because people don't learn anything in graduate school. "I'm absolutely willing to learn" you said, which was code for: soon I will have a MA in Victorian lit., which is to say, soon I will have nothing. I have massive student loans. And I need a job like I need the air. "Breathe," Victoria said.
Harley drove 47 miles from Bethel, Texas, to pick you up. Harley opens the trunk of his white Crown Vic in the airport parking lot and points everything out because he thinks you'll want to write about it. In his trunk: a rubber tourniquet, a box of spoiled Taco Bell chalupas, duct tape, a bag of shriveled biscuits, a Taser gun, a Dragunov SVD sniper rifle, and an enormous fucking jar of Metamucil.
You wonder what Victoria told him about you. He's a lost tumbleweed that blew up against your door. The last thing anyone wants to do is take something like that in, break it open, and see what kind of strange sick thing is curled up inside. The whole research project has felony murder potential. It's the tumbleweed of death. It's a tractor wheel rolling downhill and killing an old lady at a bus stop. A random bolt of lightning. The zombie apocalypse. It's the end times. You look at the rifle—DRAGUNOV SVD on the stock in slanted black letters—and decide that going on a date with Harley just so Victoria can write about it isn't even a real job. It's a tragedy. You tell yourself this won't become a felony murder. And the sky won't be filled with bullets. You tell yourself it's just another research project. But you're not stupid. You can't deny your sense that the excrement is heading for the air conditioning. And Texas is where it's at.
"I collect all kinds of stuff. I just keep it all in my trunk. You ever heard of Watts Towers?"
"I'm from California, Harley."
"Watts Towers is a beautiful thing, man. I got five books on it."
"I'm not a man, Harley."
"Have you accepted Jesus as your personal savior, Allison?"
"I realize that this is some sort of test tube experiment for that writer. But could we at least try to make the best of it and be friends?"
"You've got a rifle and a tourniquet in your trunk."
"Sniper rifle, honey. And that's actually a hospital grade medical tourniquet."
"Are you a junkie or a juicer of some kind?"
"I have been known to make a mean banana-guava smoothie."
"What's a former preacher doing with a Taser?"
"Technically, it's a stun gun. Don't tase my balls, bro! You see that video? That was funny. Internet. It's on the internet."
"I'm going, Harley. I'll talk to you tomorrow."
"Don't you want a ride?"
"I'll get a cab."
It was supposed to be a date that lasted three days. The first day lasted three minutes. After a year of working for Victoria, of coming up with ideas and outlines for chapters of books and magazine columns, there's one thing you know for sure: as long as you get her a nice article to write—not too serious, not, as she says, "offensively smart"—she'll love you long time. You'll get paid. Victoria will get the credit. Life will continue.
It's 7:00 PM in room 14b at the Roundup Motel when you decide to call Dane again. His cell phone rings and rings. Sometimes it's good just to hear his voice on the outgoing message. You used to leave messages for him, trying to sound casual:
It's me. Just checking in. Just want to see how you're doing.
Hey, I saw this funny thing on Facebook and I thought—hey, are you online?
Hey, I thought maybe you and—your friend—want to catch a movie. Or maybe just you.
Hi, it's me—wondering what you're up to. It's so weird. I'm going to be in the neighborhood again.
Hey you! Thinking maybe we could meet up if you want to get a cup of coffee, may at that café down by the tower. What was it called?
Everything in room 14b is vinyl. It has a Bates Motel lamp hanging loose by a cord from the ceiling—something to send shadows all around the room while an occupant gets knifed. The motel is outside the city on Highway 35. Victoria's all about the work and never about luxury. You can't count the number of roadside motels you've stayed in—Motel 6s, Super 8s, Red Roof Inns, Budget Suites. Truckers welcome. Once, she sent you to Osaka for two days and you stayed in a coffin hotel—which, although creepy and uncomfortable, was still infinitely cleaner and better put together than any American low-budget motel you've used.
The smell of the dust is here, too. But this time, it's not Texas dust per se, just motel dust. Still, you unroll your sleeping bag on the bed because there's no way in hell you're getting in those sheets. At this point, you feel you know about motels. The only vegetarian fare on the menu is a small apple and a bottle of water. You have suspicions about the water. Somehow, Texas would find a way to put meat in it.
So you sit there in the mustard colored bank chair with cigarette burns in the wooden armrests, looking into the mouthpiece of the ancient room phone. It's holes are crusted with the creeping crud of the ages. You listen to Dane's outgoing message: Hi. You've reached Dane Robbins. Leave a message, okay? He doesn't mean it. You call back and listen to it three times. His voice is beautiful. Like him. At the beep, you always hesitate. What do you say? Dane, I'm in Houston but I'll be back in a few days. (Would you be interested in leaving that stinking bitch from Brazil? Moving in with me? Getting married? Having 2.3 children? Changing our names and moving up to Pacific Heights where we'll have perfect jobs, perfect happiness, and relief from the horrors of life?). But you just listen and hang up.
For some reason, your cell phone can't connect whenever you call Dane, but you won't believe he blocked you. When you call him, you always have to do it from hotel phones. You wonder if Victoria has paid attention to those charges because she always requests the motel receipts. She knows you have no living family. What does she think about the fact that you call the same San Francisco number every time? She has to wonder. But she's never brought it up. Hopefully, she never will.
The psycho killer lamp, the single light source in room 14b, is dim. Not enough light to read. The TV is a Zenith. Its screen is a dark 1970s olive green. You turn it on and get the agricultural channel, three channels of Spanish news, and Doctor Phil. Tonight, he's featuring real life vampires and the people who love them. You turn it off. Outside the hotel, there's a truck stop gas station and a Burger King. You're scheduled to be picked up by Harley at 4:00 PM tomorrow, when he will take you on a tour of his alpaca farm and then buy you dinner. That's the plan.
You take a shower and get back in your sleeping bag, but you can't stand the buzzing of the gas station floodlights, enormous orange sodium vapor floods that cast a flat matrix of light and shadow around the motel. The 16-wheelers are giant rumbling monsters blinking their headlights and hissing in the dark. It will be a long night. So you hop over to the TV in the sleeping bag and turn on the Doctor. It's the middle of the show. A very large pale man with purple streaks in his long black hair and a silver stud below his lower lip holds hands with a heavyset woman in an orange sundress. Doctor Phil says, "Really? And you go to these clubs and you never have any trouble with him getting together—"
They both start talking at once. Then the woman holds up a hand and says, "It's a lifestyle thing. This isn't like cheating."
The crowd boos.
"I'm not being unfaithful," the man says. "It's just part of our vampire culture. We're predatory. We need to hunt."
"Yes." The woman nods. "It's a need."
"And you're okay with this? You take precautions? Isn't this sexually dangerous?"
This time, the man holds up a hand bedecked with steel rings. "Being a sexual outlaw is part of it. You take a chance in your life walking across the street. But, you know, it's like playing roulette. We don't expect the mundanes to understand."
Everyone laughs.
Doctor Phil raises an eyebrow the way Victoria might if she were proposing that you walk naked through Times Square just so she could learn what it feels like. "Sexual roulette? You're sexually gambling?"
The woman grips the armrest of the chair with her free hand and leans forward, displeased. Then she says, "It's not random like that. He has this ability."
"Yes," the man says. "I can sense my prey. I can sense when someone wants it. Can't you, Doctor Phil?"
Silence and then a few tentative boos from the audience. The camera pans over the faces—people straight out of middle America. Weight problems. Bifocals. Chunky sweaters and bad haircuts. The disapproving frowns of suburbia. Doctor Phil makes an interested face with an under layer of extreme boredom. He says that after commercial they'll be back to talk to someone who claims she must drink blood in order to survive.
You fall asleep with that thought: some people have to drink blood to survive. And you dream that you're in China in the Forbidden City. And Sun Yat Sen, dressed in saffron robes, is giving you a tour through its empty rooms. And then he's sitting at the foot of your bed, smiling and nodding and telling you the location of the emperor's silverware that he hid many years ago—a treasure room of such vast proportions that it's amazing it has never been found by the government. A treasure room cunningly hidden far below the Forbidden City. And even in your dream, you're putting together an outline on this for Victoria.
You eat a greasy truck stop breakfast and drink a small chemical orange juice. Then you call a cab and take it into downtown Houston and walk around, feeling lost, feeling like a ghost, a Sun Yat Sen poltergeist. You snap some photos with your cell phone for Victoria so she can write more convincingly about what the place looks like. She wants photos, video, sounds of people talking, images of food, descriptions of the weather, major landmarks. It works quite well. The final copy of her articles read as if she were really there. She always wants you to start with downtown—places, she says, that the rednecks might avoid, even in Texas, because she hates rednecks. This takes you several hours, as always, before you go to Starbucks to email it all.
While there, you look at Victoria's latest blog post. It reads like straight fiction. "The Chisel Report: How to Know What You Need in a Man." It describes her latest attempt to overpower The Plumber while he slept. This time, she picked the lock early and waited all day in the closet, razor-sharp chisel, mallet, latex gloves, coffee, bag of doughnuts, penlight, the question: Does he really need his balls to be my husband? circling through her thoughts. But Victoria fell asleep.
Four or five paragraphs into the post, she speculates: was it was the extra cruller? Too much milk in the coffee? The lack of movement and light? The warm closeness of The Plumber's overcoats and suits around her like a comforting wooly uterus? Victoria admits that she doesn't know exactly why she drifted off. When she awoke it was the middle of the night. She crept out into the dark bedroom, feeling a sense of triumph, tasting victory at last.
However, when she drew back the comforter, she saw that he had anticipated all of it. He'd shaped an outline of himself with pillows under the blankets and left her a note that said he'd been living at the Holiday Inn Express in Tannersville for the past week. Toward the end of the post, Victoria admits that she hadn't noticed his absence.
In the last paragraph, she writes, This is what I need in a partner instead of husband-ballast, dead weight, a man who brings nothing to the table. I need a man sharp enough to stay one step ahead. This is what we all need in a partner if it's going to last and I know I'm a fortunate girl. This is love in case you were wondering. Are you lucky in love?
You think this might be one of the worst pieces of writing you've ever seen from Victoria. It's surprising. But she's told so many lies about her life and herself at this point—her participation in Viet Nam protests as a toddler; beating and making a citizens arrest of a potential rapist in Central Park using only a rolled-up magazine and Krav Maga techniques; turning down an invitation to MENSA. The Victoria Volt image, brittle and constructed, a gilded eggshell.
During a Skype call in which you were waiting for Victoria to come back from the restroom, The Plumber once paused on his way past the computer to ask you how you were. He's a short paunchy man who wears baseball caps and has a pencil-thin moustache. And, as he stooped over the webcam, he seemed like someone from a different era, maybe the 1930s—the sort of man who'd peer carefully through a peephole before opening the door to a speakeasy. He wiggled his fingertips at you and said, "I admire your skills and so does Victoria. We've got a lot to thank you for." At the time, you didn't know what to say. Now, if you could relive that moment, you might say, "No, actually you don't."
Doctor Phil is always on. You return to Room 14b and watch a rerun of an earlier broadcast. No vampires this time. Now it's people who secretly try to make their spouses obese. The panel members on stage are very large and very unhappy. They speak over each other, a certain dark luster in their eyes. You picture them skinny under their voluminous T-shirts and muumuus with pillows strapped to themselves so they could be on TV. You try to imagine the hidden world of such people, delighted, desperate, depressed, full of the need to be on television, to be seen.
The sun goes down and Harley never shows. Once again, you watch the telephone, imagining the best worst Dr. Phil episode: Ex-Girlfriends in Denial Who Call from Texas. Some of them are sad and desperate. Some of them will drink your blood. It's easy to be in denial when you don't know what went wrong. You have four pictures of Dane in your wallet and you lay them out on the bed like Tarot cards: Dane playing water polo with his headgear pushed slightly back, his arm in mid-throw. Dane in his living room trying to play a didgeridoo. Dane riding his father's horse, Sugar, in Connecticut. Dane laughing at the Gypsy palm reader that day in Berkeley.
You shut off the TV and the room is silent. You think of the last time you saw him. You'd gone out for a drink to celebrate his acceptance by Hastings. You said congratulations and he just shrugged. "I'm so dedicated to life," he said, "that I can't tolerate weakness in others for very long. It gets disgusting waiting for the world to catch up." But Dane had cried like a baby when he didn't get into Boalt Hall and stayed drunk for a week. He'd hired a ringer to impersonate him and take the LSAT again. You didn't bring these things up. Why would you?
It's then that you see the procession beyond the curtains of Room 14b and you forget about Dane completely. Maybe you notice it out of sheer luck or fate. Or maybe it's just something randomly ejected from the great machinery of happenstance that turns beneath the sodium floods outside all one-horse motels. It doesn't surprise you at first because you've heard about the kinds of things people have seen in Texas: ghost caravans emerging out of the fog, a semi-transparent circus, a silent menagerie floating north toward Nacogdoches, invisible by dawn.
A heavy mist, maybe a fog, has risen six feet above the ground. A ghost mist from which anything might emerge. But you're not prepared for a night procession, cars rolling past, a hearse covered in flowers, various old convertibles driven by skeletons, and at least 50 mourners afoot, each carrying 7-day vigil lights, little sugar skulls. Some are dressed as the Grim Reaper. Some carry statues of saints. Some have burlap bags over their heads, inching forward in prayer. All in perfect silence.
You stand in the doorway to your room and close your mouth. If there is anyone else staying at the motel, their cars are gone from the parking lot, their windows dark, curtains drawn. Maybe they're terrified of this. You look at your long shadow stretched out before you in the light from the room. Then you look at the procession still going by and take picture after picture with your phone. No one looks at you.
What are you now? Are you the ghost? The ghostwriter? Are you a journalist? Are you still that prosthetic eye and is this something that the eye should see? Is this something you could tell Dane about? Maybe it's not something you could describe to anyone. It's not something Victoria would ever write about. It's not something Doctor Phil would want on his show, five kinds of Grim Reaper sitting on the stage and an audience in skeleton drag.
Taking a step backward, you almost fall. You're dizzy with surprise and unsure whether to shut the door. You could zip yourself all the way into your sleeping bag, like a body bag, and pretend that you, too, are part of it somehow in the dust and vinyl of Room 14b. Or you could walk out and take more pictures and follow this strange parade.
You run back into the room, pull on your jeans, Nikes, a T-shirt and the Cal sweatshirt. Then you lock the door behind you and fall in with the mourners, your heart triphammering in your chest. No one speaks to you or looks your way, except for an old woman who hands you one of her candles—a white taper with a paper guard to keep hot wax off your hand.
Silent, you walk for over an hour according to the clock on your phone. And when you reach the graveyard hidden from the highway by buttes on either side, it's a quarter past midnight. When the hearse rolls down a dirt path and stops at an open grave, you realize it's November 1st, the Day of the Dead. This is someone's funeral mass. You make your way to the front of the crowd and kneel with the family by the mound of fresh earth as the coffin is lowered.
The priest is all in white with a green stole. And the graveyard is already full of burning candles like a fairy metropolis, pinwheels, tiny chimes tinkling in the wind. The priest says, "Oremos" and everybody bows their heads. You do, too, even though you were raised atheist and have never been to a religious service in your life.
"Escuchanos, Señor," the priest says.
"Amen," responds the congregation.
A woman beside you collapses forward, wailing. No one touches her. She drops her candle on the mound of fresh dirt, digs in it with her hands. She pulls on her hair and moans and says things not in English or Spanish but in the special language of grief that everyone eventually learns. And part of you feels you should take a picture of this, if not for Victoria, then for yourself. But it wouldn't come out or make sense if it did.
The image of your brother beaten to death by someone you'll never know. He'd had an open casket and you were not grateful for that. No embalmer's art could completely obscure the lacerations or reconstruct the extent to which Stevie's cheekbones had been crushed, shattered, they thought, by a metal bar. Hit by a bar repeatedly, they said, in the restaurant parking lot.
Then you're crying, too. You're looking down at Stevie laid out in the bottom of the grave in his cheap black suit. His eyes are open, staring at you. Dizzy, you can feel the tendrils of the mist on your neck as you listen to "Bendito seas por siempre." And the great world seems hollow, the great gilded eggshell world—a fragile empty thing made to seem fine and rare but secretly thin, as brittle as bone, and capable of shattering in an instant.
Hit by a bar.
You think of all those years back and forth to Lubbock with your father, who has now also passed on. And a great terrifying knowledge rises up inside you where before there has been merely an empty space that sometimes filled with longing. This knowledge, like the rising mist, like the body now in its coffin, like Stevie's broken face staring up: the knowledge that you will return to Hayward, that the sun will come up, and that these moments will be hidden by the lying, prevaricating customs of the daylit world. You will submit your outline and materials to Victoria, carrying on the gilded fairy tale that everything is fine, that Victoria Volt is a brilliant journalist. You will continue to think of your brother as the victim of an impersonal tragedy—as if he'd been caught in an earthquake or drowned at sea instead of being beaten to death in Texas by someone he knew holding a metal bar. Beaten repeatedly. The heart of things, the truth, will sink back into the rotten shell of the earth where no one wants to look. But you will have seen the Forbidden City, at least in your dreams.
This is how you spend your night, crying silently with a Mexican woman dressed in black with dirt in her hair, watching, listening, kneeling. They take communion by the open grave. And by the end of the service, people start drifting back toward the road. You follow, feeling that you've left your body, that you've seen something hidden, horrible, beautiful—something that you shouldn't have seen, something that cannot exist after sunrise, that could not be true in the same universe as Victoria Volt, that has never existed anywhere near Coit Tower or Dane Robbins or a chic little café named Nunu's.
When you reach Room 14b, the sun is rising from the middle of the road beyond the Roundup Motel. The mist is gone. Your TV shows the morning news. They're talking about a Day of the Dead gun battle between rival gangs in downtown Houston.
Later, as you doze, Sun Yat Sen comes to you again in a dream, dressed as a Buddhist monk. He takes you by the hand and leads you through hallways of filigreed gold, down red carpets with embroidered dragons, through hidden doors beneath Fou dogs. You travel far beneath the Forbidden City into the caves, through waterfalls in caverns as big as football stadiums. You follow him down a twisting stair into a darkness, where his torch shines like a lingering candle flame in a hidden graveyard. And when you reach the bottom, he's no longer there. But you do see the Emperor's silverware—enormous mounds of it, forks, spoons, knives, chopsticks shaped like dragon claws, like tiny Dragunovs, like the mandibles of great golden scarabs. And there are horses made of rubies. And there are mountains of inlaid plates and loving cups and jade bowls. And even a mountain of brass bullet casings, smoking in the torchlight. You wake up covered in sweat, your sleeping bag stuck to your bare skin. And you breathe the dust of the motel and you still want to cry but you tell yourself there's nothing to cry about.
A few hours later, you wake up and listen to Dane's outgoing message again. The connection picks up but there's nothing on the other side other than the sound of whistling air, a series of clicks, a weird insectoid trill. What does this mean? You know it should upset you. You should take it as a sign. But something is different. You can't say, Hi! I'm just up the street! because you aren't. You can't say, I just attended a midnight mass and saw the ghost of my dead brother. It seems that those clicks, that empty whistling, that computerized insect song is fitting—wind through an empty shell. You hang up, dial again, and then hang up before it connects.
There was that day after you both had class. You walked down Telegraph with Dane and saw the Psychic Hoodoo Palm Reader. You both went in just for fun, Dane repeating that he didn't believe that horseshit and you daring him. "What's the problem, then?" you said, winking, happy, laughing.
An older woman dressed in stereotypical Gypsy silks, as if she were in a perfectly arranged Gypsy Halloween costume, with a head scarf and big silver hoop earrings and electric blue eye shadow and blood red nails. All part of the fun. You sat in what used to be the living room of a house but was now done up in purple velvet. Her name was Madam Philomena. The requisite crystal ball was in the middle of the table. She held Dane's right hand in both of hers as if it were made of fine china.
You remember that moment when he couldn't control the muscles around his mouth and she said, "A dark-haired man with blue eyes. Your uncle has an evil cloud over his head. He's addicted. He's speaking Spanish to a policeman. He has a message for you."
And Dane looked sick and terrified. "Where is that in my palm?"
"It's not in you palm," she said. "It's in your face."
"My uncle has blonde hair." He stood up and threw down a twenty. But what he didn't say was that the rest was exactly right. His uncle died a few months before, trying to bring cocaine over the border.
As he walked out, you took his picture, laughing again, ha ha, what a joke.
He grinned. "The stupidest twenty dollars I ever spent."
Neither of you brought it up again. You held onto the picture of Dane you took that day because he didn't want it. His family told everyone that his uncle got framed by corrupt Mexican police, that he was a victim. That it just happened like a rainstorm or a flood, another innocent American victimized south of the border, shot for being in the wrong place. In time, even his family believed it.
You dial his number again by heart, one last time, and this time it doesn't even ring. There's only that whistling sound, that black space, as if the wind is twisting through a hole in a window that no one cares to replace.
Your hands won't stop shaking. So you buy a pack of Marlboro Lights at the truck stop, even though you haven't smoked in months. You're halfway through it when Harley knocks on the door.
He looks you up and down. "Rough night?"
"Yeah," he nods. "For me, too. But I guess we gotta do this. I promised."
"Let me get in the shower before we go. Do you mind waiting?"
"Not at all." Harley bows slightly. "I'll be in the car."
When you come out, you're almost awake. But you bring the cigarettes in your purse. As soon as Harley pulls away from the motel, you ask him if he minds.
"Just roll down the window," he says. "I personally have never smoked, but it doesn't bother me." You go through two cigarettes before he gives you a sideways look. "I guess you're supposed to be interviewing me or something. But maybe you want me to ask a few questions like, what happened to you last night?"
"I went to midnight mass."
"You mean the graveyard mass they have sometimes back down the road? They do it for Day of the Dead if somebody's died around that time. I hear there was some pretty bad stuff back in the city."
"What do you really do, Harley? You don't sell phones in the mall."
The highway opens up and every now and then when a car or truck passes, heading in the opposite direction, people raise their hands in salute. Harley does the same.
"What do I do? Well, I suppose you're asking because I stood you up yesterday. I suppose I owe you an explanation."
"You don't have to talk about it if you don't want to."
"I'm a known exorcist, Allison. You know what that is?"
"I read something—you travelling around with holy water. Something like that."
He turns right onto a dirt access road and everything gets bumpy. You still feel like you're not completely in your body, not completely present, like part of you is back at that service the night before, kneeling on a grave with candles all around. If asked, you might have considered trading the experience for more of Curly and his Honcho peppers. That you can understand, expect, laugh at. But this? You can't shake the image of your brother, of those candles amid the headstones, of the priest like a ghost floating above the grave, and the mourners drifting by the motel—a secret parade that only appears on the night of the Day of the Dead.
"Here we are," Harley says. "My place."
It's a nice one-story ranch house. A big affair with two backyard pools and a guest house done up in Western-brick-fireplace grandeur. But he doesn't take you inside. And you don't want to go in anyway.
"I was going to show you the 'pacas, but quite frankly, I hope you don't mind if I just go to the range."
"The range?"
"The firing range. I hope that doesn't bother you."
You light your 15th cigarette off the butt of the 14th with slightly trembling hands and shake your head. "Whatever. It's all for Victoria."
Harley coughs and squints at you. "Right."
His trunk, in addition to the Dragunov SVD sniper rifle and the various other items he showed you before, now contains a large box of assorted melons. He places them at periodic intervals of 900 feet, head high along a wall of square hay bales. Beneath every melon, he tacks a fresh black-and-white bull's-eye target with numbers on the rings. Then he comes back.
"You ever shoot a rifle?"
He laughs. "You got quite a mouth on you. I'll give you that. But that's okay. I guess I deserve it 90% of the time."
Harley unrolls a felt blanket on a slight rise of earth. He puts a clip into the rifle. He chambers a round and adjusts the scope. "Stay behind me."
DRAGUNOV SVD is written on the stock, but you might have guessed a name like that. It looks like a long black mandible, a sleek dark stinger with nothing on it that would glint in the sun. When he takes a shot, a cantaloupe vanishes in a mist.
"Marine sniper school," he says. "That was my real job." The brass casing ejected from the gun smokes on the ground beside him. "You can take the man out of the Corps, but, well, you know how the saying goes."
A loud pop like five balloons punctured at once. And what used to be a honeydew melon is no more.
"Nothing I have says you were a military sniper."
"Yeah, well, it's not something I necessarily put on my resume anymore. I like to think of myself as a godly man."
Pop. Another melon down.
"How do you justify it?"
"Justify it? I know it's a waste of good melons, but you gotta pick your battles."
"No, being a sniper and being, you know, a preacher."
"I did two turns in Iraq. I gotta believe in god, honey. If not, what was all that killing for?"
"I never accused you of wasting melons." You're thinking of that midnight mass, the woman on hands and knees clawing the dirt from the open grave, the carpet of candle lights between the headstones in the darkness, the priest with his hands outstretched. You're thinking about Harley as a young man somewhere in Iraq, dug in with a rifle just like this one, sighting into a building, saying the Lord's Prayer. You're thinking of your vision of your brother in a black suit, staring up at you from the bottom of the grave.
"I guess this isn't much fun for you and for that I apologize. But exorcisms will change a man. They leave a spiritual taint. And you don't get that off you for a couple days. I'm afraid it sours my disposition."
"When the devil gets up in someone, you gotta pull him out. It can go on for hours. It can go for a whole week. And you better pray hard."
"You want to tell me about how you do it?"
"Not particularly, Allison. I understand you came here to parody me. Well, I can be parodied and that's fine. Most of my life is a bad joke. But I'd prefer that my spiritual beliefs not be made fun of by some New York writer."
"I can understand that."
"Thought you might."
He kills two rows of melons in silence with only the pops and the mist of melon juice as punctuation. Then he does a round of wine bottles. And then he starts on the paper targets. 90 minutes later, you're back in the truck. He hands you the targets and you hold them up so you can look through the bullet holes.
"You can have 'em," he says as he pulls up outside Room 14b. "I suppose that will give your boss something to write about."
"I think it will, Harley." You extend your hand. He takes it and kisses the back.
"I'm honored to have made your acquaintance, Allison. And I hope that someday our paths may cross again, if only for the pleasure of seeing you once more."
You've smoked all your cigarettes. When the white Crown Victoria pulls away, you stand in the parking lot of the hotel and think of Stevie buried up in Lubbock and that you might go find him sometime.
Your flight leaves at noon. Before the cab arrives, there's time to walk out to the hidden graveyard. You leave Dane's four pictures beside a burned-down vigil candle. You look around the graveyard at all the drippings, wax spilled onto headstones, wrought iron fences tilting into the dirt over forgotten graves, tall glass holders lying on their sides, flowers and an ornate black and white cross made of sugar laid on the freshly filled plot. It's here that you will put your love for Dane to rest and let the sun bleach the pictures. You will never come here again. It will be as if you had never visited this secret place. No one for a thousand years will discover your path to the emperor's silver.
Waiting in the room for the cab to come, you see the same things on television, the agricultural channel, the news, the temperature at the Alamo, Dr. Phil coming on in 14 minutes. Then you go back to the parking lot with your suitcase and breathe the hot dust of a Texas afternoon, composing your letter of resignation to Victoria. It will say, Dear Victoria, I appreciate everything. I'll remember everything. But the time has come to lay our relationship to rest. Harley Winslow might be insane. But even if he is, he's still too good for you. Come meet him yourself. She'll be furious. She won't say that your reportage is coming along. She'll say she's going to bury you, that you'll never work again, that she'll hound you to the ends of the earth. But none of that will be real.
* Note: this story first appeared in Forge 8.4, April 2015.
Posted in publication, Writing	publicationShort storyshort storyWriting
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