Underground (Greywalker, Book 3)
Page 36
EPILOGUE
I slept more than I worked for the next few days and didn’t notice that Seattle had returned to normal temperatures and normal business while my attention was turned aside. Quinton had kept a covert eye on Fern Laguire and Detective Solis, and their actions were about the only thing—aside from rushing through work for Nan Grover and wrestling with the insurance company over my destroyed truck—that I was aware of surance company over my destroyed truck—that I was aware of for a while.
Laguire had managed to wrench all investigation into the deaths of the homeless and any possible monsters in the sewer away from Solis and bury it in a national paperwork tomb from which I doubted it would ever emerge. Solis had kicked at first, but a spate of shootings pulled him into other work that no one wanted to hide or interfere with. He didn’t forget about the bizarre deaths, but he let them lie for the time being and roused no stink about me or the mysterious “Mr. Lassiter” I was spending a lot of time with.
In spite of worries that his cover was dangerously rickety, Quinton remained in his Seattle hideaway and in my life. He stayed in the condo for three nights after patching me up and clearing my office and home of bugs, further ingratiating himself with Chaos in the process—the fickle little beast—before returning to his own place. We were both loners at heart and Quinton was still wary of Laguire’s local radar, so playing house was out of the question. But we found plenty of other things to do in between cleaning out the last of Sisiutl’s zombies.
Quinton kept Bella with him for a while, but eventually he handed the miserable, orphaned dog over to Rosaria Cabrera of Women in Black. The dog became her constant companion. Though prone to bristle and growl at strange shapes in the fog, Bella proved to be a fine mascot.
Of Tanker there was never a sign, dead or alive.
Ben survived Sisiutl’s attack, though not without scars. Being Ben, however, he was downright ecstatic about his tussle with an eldritch beast. Mara felt differently and took him to task about foolish risks while she struggled with the question of what to do with Albert. Eventually, the net full of ghost vanished from the rooftop of the Danzigers’ home, but Mara didn’t reveal what she’d done with it.
Chaos forgave me for stinking of monsters after a while and went back to climbing the bookshelves, stealing my shoes, co-opting my breakfast, and attacking my toes anytime they were bare. One day, she dumped the wooden puzzle ball Will had given me onto the floor, making her victory chuckle as she chivvied it around and stopped to dance about it in mustelid glee. I’d put Will forcibly out of my mind, and seeing the thing gave me a pang. I was happy with Quinton, but I would always have a soft spot for Will, in spite of our harsh breakup.
As Chaos played with the puzzle ball, the battered pheasant feather slipped from the shelf, caught a draft, and drifted, spiralingdown to land quill first against the ball with an otherworldly chime. The puzzle shifted and the Grey rippled with a hush like someone cracking the seal on an airtight door that I could feel in every hollow of my body. The feather fell away and drifted to the floor, but the breathlessness in the Grey remained. Chaos leapt and spun, waving her toothy maw at the disturbance before she declared victory over whatever unseen thing had ruffled her fur. Then she bumped the ball back into motion and continued with her game, chuckling.
I watched the Grey-gleaming thing trundle across my floor and wondered what fresh hell might be contained at its core.
AUTHOR ’S NOTE
In this book I’ve played faster and looser than I usually do with Seattle’s real-life geography. In fact, the underground is mostly condemned, inaccessible by anyone but utility workers, or in use by the tenants of the various buildings that rise over it. If you aren’t on the Underground Tour or don’t have legitimate access to a building’s cellar, you won’t get into it without breaking a law or perpetrating a miracle. But the idea of the underground—with monsters—was so intriguing that I threw a lot to the wind and plunged into it anyway.
I did try to keep as much of the reality intact as possible, however, and I got a lot of help with the history and the layout of the area from Rick Boetel, the chief historian of Bill Speidel’s Underground Tour. I’ve presented the history and fact of the underground as truthfully as I could: toilets really did flush backward at high tide before the streets were raised; people really did fall to their deaths from the streets to the sidewalks; a shaman really did exorcise the ghosts of native spirits from the underground corner at Yesler and First; and prostitution and other crimes and vices really did thrive in the darkness below the city streets right into the 1970s. There really was a Roy Olmstead (though I hope not an Albert Frye), who really was both a policeman and a bootlegger. And, yes, there really was a dumping ground near where Occidental crosses Royal Brougham.
Rick’s help was invaluable, but I was also able to get additional information from books and Web sites. Surprisingly, one of the most useful books was Distant Corner, by Jeffrey Karl Ochsner and Dennis Alan Anderson, an architectural treatise from the University of Washington Press on the influence of architect H. H. Richardson (no relation) on the rebuilding of Seattle after the Great Fire. This book details the buildings; who built them; where and when; what they were made of; as well as their original purposes and what had previously been on the site. It contains a lot of photos, drawings, and maps, and it often discusses what became of the buildings in later years. This book provided the information on the buildings that collapsed during construction and some information about others that were damaged in the 1949 earthquake. It was also a surprisingly fun read.
With some idea of the history and geography of the underground in mind, I then needed a monster. It’s harder than you might imagine to find a really good man-eating monster that isn’t already working its fangs off in a half-dozen other series or films or TV shows. After several false starts, I settled on the Pacific Northwest Native American legend of the Sisiutl. And promptly got teased by both my agent and my editor. No one, they said, could take seriously a monster with such a goofy-sounding moniker. Being a stubborn cuss, I swore I’d make it work. I hope I did, but if nothing else, I got a great argument out of it that made it into the book as the discussion between Harper, Quinton, and Fish as they drive away from the Tulalip reservation. That’s not quite how it happened in real life, but it makes much better reading.
As with many legends, Sisiutl’s tales are occasionally contradictory and change with the telling or the teller. I ended up picking and choosing in order to make the monster suit my story, but I hope I was true to the spirit of the creature. The mythology and legends of the Pacific Northwest Salish are rich and weird, and I owe a lot to the Seattle Public Library’s collection, which includes a reprint of Mythology of Southern Puget Sound: Legends Shared by Tribal Elders, which was collected and translated from the Lushootseed principally by Seattle historian Arthur Ballard. It’s a great book, and it offers a wonderful peek into the culture of the local tribes at the time. I was also able to find audio recordings of spoken Lushootseed online at the Seattle Times Web site (seattletimes.nwsource.com/news/local/seattle_history/about_audio ).
As I was writing the story, Seattle experienced one of its coldest winters on record—with overnight temperatures in the single digits. The drama of the unusual weather was an irresistible addition to the book. Yes, it was that cold.
Of course, I consulted a lot of other sources for my background research, and I hope I utilized the information well—or at least haven’t enraged the authors by clumsy handling. I’ve made every effort to neither plagiarize nor distort, and to present as realistic a picture as possible of my rather fantastical Seattle, but this is still a work of fiction and isn’t intended as anything else. Where I’ve twisted history, fact, or geography, I’ve done it for artistic reasons, meaning no malice or insult, nor any attempt to present my story as fact. Where there are errors, they are entirely my fault.
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