This Is the Way the World Ends (S.F. MASTERWORKS)
Page 4
Carrie of Cape Cod slogged on. Near summer’s end, Carrie saw a seagull pick up a clam and drop it on a rock. The shell shattered, and the bird ate what was inside.
‘How did the seagull know the clam was dead?’ Holly asked.
I must get her a scopas suit, thought George. I’ll break into Frostig’s truck and steal one.
‘I know!’ said Holly. Freckles were sprinkled on her face. Her skin seemed lit from within. ‘If the clam is alive, he opens his eyes, and then the seagull knows not to eat him!’
‘Yes,’ said George. ‘That’s the answer.’
She pondered for a moment. ‘But then how does the clam get a new shell, Daddy?’
If George could have one wish, he would remake the world as Holly saw it. This Utopia would consist largely of cuddly ducks, happy ponies, and seagulls who spared live clams. ‘I don’t know how the clam gets a new shell,’ he said. Maybe he puts on a scopas suit instead, he thought.
At the climax Carrie walked the nocturnal beach, gazing toward heaven and identifying the constellations. One of them was the Big Dipper. ‘Why is it called that?’ Holly asked.
‘It looks like a dipper.’ George was always careful to speak in complete, grammatical sentences around Holly. ‘Do you know what a dipper is?’
‘What’s a dipper?’
Instantly George was off to the kitchen. He returned bearing a small saucepan that more or less resembled an ancient Greek dipper. He believed it was for melting butter.
‘I wish I could see the Big Dipper,’ Holly said.
‘One night soon we’ll go out and look for it.’
‘Daddy, I have something important to say. This is important. Could we go out and look for it now?’
‘You don’t have any shoes on.’
‘Could you carry me?’
He seriously considered doing so. ‘It’s pretty cloudy tonight. I don’t think we could find it.’
‘Let’s try. Please.’
‘No, honey, it’s late,’ he said, extricating himself from her little finger. ‘We’ll look for it some other night. I’ll tell you a story instead.’
‘Goody.’
He started out with the grasshopper and the ant, then suddenly realized he didn’t like the ending, and so he ad-libbed his way through the chronicle of a clumsy bunny who wanted, more than anything, to be able to ride a two-wheeler bicycle. The bunny tried and tried and kept falling off, covering his fragile body with little bunny bruises. (The wind could hurl you three hundred feet, young Gary Frostig had said.) Then one day the rabbit hutch caught on fire. The determined bunny leaped on his two-wheeler, raced to the fire department, and saved the day.
‘I wish I could ride a two-wheeler,’ said Holly.
‘You’ll learn,’ said George.
‘I know that,’ said Holly, slightly annoyed. She closed the book. ‘It’s going to be a long world.’
CHAPTER THREE
In Which the United States of America Is Transformed into a Safe, White Country
Halloween was coming, the pumpkins were off their diets, and the little cemetery where George worked had acquired a ghost.
When he first glimpsed the specter, she was contemplating him through the front window of the Crippen Monument Works. Inside the office, barrel-bellied Jake Swann perused a sales contract – a big order set in motion on Columbus Day when Jake’s uncle had come home and shot all of his immediate family dead – and as the customer reached for the pen to write his signature, George looked up.
Spider webs and arabesques were scribbled on the window in frost. A blood-red October leaf was pasted to one pane. George and the specter locked eyes. While he sincerely doubted that the old woman was in fact a ghost – Unitarians did not believe in ghosts – her every aspect suggested a netherworld address. She wore a mourning ensemble, loose-fitting as a shroud: black cloth, black gloves, and black veil – raised. Her complexion had the greenish pallor of mold. Her frame displayed the jagged profile of a dead tree. When she smiled at him, jack-o’-lantern teeth appeared, and one of her eyelids collapsed in a wink.
Ice formed in George’s gut. His throat tightened like a sphincter.
‘You got the sniffles?’ asked Jake Swarm, a phlegmatic man who had not been noticeably affected by the prodigal loss of kin.
George took the contract, knitting his brow in a manner he thought appropriate to a tomb professional. Furtively, he glanced out the window. The specter was gone.
But later, as George was leaving the office, she reappeared, kneeling amid the sample stones. Mud spattered her mourning dress; the veil was down. He ducked behind Design No. 3295. The old woman stared at a wordless headstone for several minutes, as if reading an epitaph written in a medium only ghosts could perceive, then reached forward with black velvet fingers and stroked the granite surface of Design No. 6247, the one with the praying Saint Catherine on top. George considered speaking, but the remarks that suggested themselves – ‘That one has real value,’ ‘We also offer it in Oklahoma pink,’ ‘For whom are you in mourning?’ – seemed inappropriate.
Evening pressed softly on the Crippen Monument Works. The woman uncrooked her back, hobbled forward. ‘I have a task for you,’ she said. A spry voice inhabited her antique body. ‘You’ll learn of it soon.’
‘Have we met?’ he asked.
‘I have always been with you,’ she said, smiling, ‘waiting to get in,’ and then she vanished into the dusk.
As the week progressed, George noticed her a dozen more times – peering through the window, bending over a sample memorial, standing outside the decaying picket fence that enclosed the little cemetery.
Waiting to get in . . . ?
On Halloween afternoon she watched from the weedcorrupted field on the other side of Hawthorne Street. She sat on the ground, a basket of apples in her lap. Her dark dress was covered with leaves; she appeared to be stuffed with them. Her weak and decimated teeth had to fight their way into each apple. George wondered why she had selected such an ambitious lunch. Some early trick-or-treaters came past: a witch, a devil, a cat, a preschooler from Venus, a ghoul. When the woman offered the children an apple, they shrieked gleefully and ran off, laughing all the way down Hawthorne Street. At the corner they stopped laughing but kept going, faster now, panting, sweating, trembling with terror, to the far end of Blackberry Avenue and beyond.
Fade-in on a man seated at a desk. He wears a business suit and is flanked by American flags. During his speech the camera dollies forward and a subtitle tells us that this is Robert Wengernook, Assistant Secretary of Defense for International Security Affairs.
WENGERNOOK: As one of the officials charged with implementing America’s defense strategy, I know where our security lies. We must prove to the Soviets that they can never succeed in their ugly schemes for winning a nuclear war . . . The key to our security is deterrence. The key to our deterrence is civil defense. And the key to our civil defense is a technology developed by Eschatological Enterprises . . . If you’ve already bought that scopas suit – wear it. If you haven’t – well, don’t you think you owe it to yourself and to your country’s future? Remember, deterrence is only as good as the people it protects.
Fade-out.
In the screening room of Unlimited, Ltd., Phil Murcheson of Eschatological Enterprises blew cigarette smoke into Robert Wengernook’s projected face.
‘He looks nervous,’ said Murcheson as the tail leader of the thirty-second spot rolled out of the film gate and began flapping around on the take-up reel.
‘Intense, we thought.’ Dave Valentine, Creative Associate at Unlimited, Ltd., shut off the projector. ‘He looked intense to us.’
‘Nervous.’
‘He needed a cigarette,’ said Valentine.
‘You’ll notice a big difference when it’s transferred to tape,’ said Lou Marquand, Assistant Creative Associate. ‘Film is high resolution, right? It’s not his medium. Wengernook is definitely low-res iconography.’
‘Nervous as a c
at,’ said Murcheson. ‘This is not a man I would want leading me into battle, and our customers won’t want him either.’
‘I hate to fail you like this, Phil,’ said Valentine. ‘I can’t tell you the pain I’m experiencing right now.’
Murcheson lit a fresh Pall Mall. ‘Look, what you did is okay for the six o’clock news, the Rise and Shine show, the Sunday morning evangelists. No problem. But this country has a Super Bowl coming up in a couple of months. This is not a Super Bowl presence you’re giving me here, Dave.’
Valentine began jumping up and down. ‘Hold on, Phil! Concept time! Hold on! Here comes the egg . . . now the sperm . . . direct hit! Insemination! You’ll love this. It has action, a medieval knight, and a sex-role reversal.’
‘I like the knight. Sex-role reversal?’
‘We’re on top of it. Eighty-five percent of male viewers enjoy sex-role reversals, as long as you keep the threat factor in harness.’
‘Okay. But life is short – need I remind you? The Super Bowl, Dave.’
‘Phil, you’ll have it in time for the goddamn Army-Navy game.’
Robert Wengernook proved a far more persuasive scopas suit salesman than anyone at Eschatological Enterprises had anticipated. Seven seconds after the commercial was aired for the first time, John Frostig’s phone rang. It was the chairman of the Wildgrove Board of Selectmen; he wanted two adult units and three child-size ones. No sooner had John replaced the receiver when the phone jangled again. The principal of Wildgrove High School required seven suits.
By Thanksgiving, John had supplemented his panel truck with a factory showroom, the Civil Defense Stop, open every night till nine.
America was becoming a safe, white country. From sea to shining sea, citizens began wearing their civil defenses as a matter of daily routine. Cheerfully they mastered the arts of eating, sleeping, working, and playing in perpetual preparedness for warheads. Not only did the suits promise survival in times of nuclear exchange, they also discouraged muggings and rapes.
Spin-off industries flourished. Rare was the entrepreneur who could not turn a profit from dry-cleaning scopas suits or adorning them with sashes, plumes, jewels, and decorative inlays. Little girls placing orders with Santa Claus commonly requested scaleddown scopas suits for their dolls. Patches bloomed everywhere, woven from fireproof thread: TRACY LIVES HERE . . . WHICH WAY TO THE FRONT? . . . HAUTE PROTECTION CIVILE . . . DETERRENCE IN PROGRESS.
Fade-in on a village somewhere in medieval Europe. A gang of fat, bearded brigands is running amuck, setting the peasants’ huts on fire. Women and children flee in panic. Men are cut down by the brigands’ spears, axes, and swords.
NARRATOR (voice-over): The threat. It’s always been there. It always will be. Wherever you find freedom, you find forces seeking to destroy it.
A helmeted knight enters the village on a white charger. His armor catches the glow of the burning huts. He dismounts, draws his sword, and falls upon the brigands. Their weapons prove useless against breastplate and mail.
NARRATOR: But for every threat, there is a defense. In ancient times, body armor deflected swords. Today, scopas suits deflect blast, heat, and fallout.
As the victorious knight removes his helmet, his armor is magically transformed into a particularly svelte scopas suit. Surprise: the knight is a woman. She swirls her head, sending luscious blond hair in all directions. The background dissolves. A suburban living room emerges in its place. The woman’s husband rushes over, children trailing behind.
DAD: Marge, you did it! You saw our Eschatological representative!
MOM: Deterrence is only as good as the people it protects, Stan.
DAD: I’m so glad we had that talk.
Fade-out.
When Justine Paxton saw the thirty-second spot during the Army-Navy game, she concluded that she could have done a better Mom than the woman who played the part.
Her acting teacher agreed.
One bitter December morning, as George sat at his work table putting the final cuts in a stencil, he was enveloped by a sense of well-being. The feeling seemed to originate from outside his body. He turned.
The specter stood in the middle of the shop, veil up, smiling. A handbag dangled from her black-shrouded arm. She glanced longingly at Design No. 7034, rendered in South African granite. The granite was blacker than her eyes, the blackest of the black, as Arthur Crippen called it.
‘My name is Nadine Covington,’ she said. How smooth her voice, how young.
‘Why have you been spying on me?’
‘Not spying. Appreciating. You are a good man, George Paxton, a saint in a business swarming with ghouls.’ Although she had no trace of a foreign accent, she spoke as if English were an unfamiliar language. ‘I am honored to meet you.’
Sensations of peace and contentment continued to flow from the specter to George. ‘This is a service business,’ he said. ‘The product comes second. We must be as sensitive as any funeral parlor director – it’s amazing what people have on their minds when they come in here. The idea is to make the customer feel good about his choice, even if it’s the cheapest.’
‘You’re skillful at that.’ Nadine went to an electric heater and began massaging the winter out of her finger bones.
‘No memorial will take away grief, ma’am, but it can help.’ George had not drawn such pleasure from the sheer act of talking since he was three. ‘I’ll tell you what gets me upset, though. It’s when people buy, er, you know’ – what to call them? – ‘guilt stones.’ (That sounded right.) ‘I’m thinking of . . . well, I won’t say his name, but he treated that kid of his like junk. And then, after the boy drowns, what does this guy do? Has us order a four thousand dollar model of the Taj Mahal.’
‘I must give you your task,’ said Nadine. ‘An ordinary commission – not a guilt stone. I need an epitaph, and something to put it on.’
‘Is this a pre-need?’ he asked.
‘A what?’
‘Do you want the stone for yourself?’
‘No. Some people very close to me are dying . . . my parents.’
‘I’m sorry.’ Good God – how old were her parents?
‘The stone must endure,’ she said.
‘We carry the best bonded granites.’
‘I fancy this material.’ Nadine caressed the South African sample, which was polished to a mirror brilliance. ‘I can see my face in it.’
‘Our stones have extreme density – they can take the most detailed carving. Also low porosity – no moisture gets inside, ever. The guarantee is unconditional, valid to you, your heirs, and your assignees. If a crack appears, even a hairline, you get a new monument, free.’
‘I have no heirs or assignees. My real concern is the epitaph. I want . . . eloquence.’
‘Eloquence?’ said George lightly. ‘Really? But why, ma’am? I mean, it’s not like it’s going to be carved in stone or anything . . . That’s a little joke we have around here.’ He reached into the shelves above his work table and pulled out a plastic binder containing twenty sample epitaphs, typed, double spaced. It began with Number One, IN OUR HEARTS YOU LIVE FOREVER, followed by ASLEEP IN THE ARMS OF JESUS, then I AM THE RESURRECTION AND THE LIFE, all the way through Number Twenty, GOD IS LOVE. He handed the epitaphs to the old woman, who studied them with pursed lips.
‘No, no,’ she insisted, tapping the paper. ‘There’s no honesty here. I want you to write it.’
‘I don’t write epitaphs, ma’am, I inscribe them.’
‘Show me how,’ said Nadine, lifting the utility knife off the work table.
As George took the knife from her, her thumb strayed across the blade. At first he thought she was unharmed – but no, her ancient flesh had split. Violently he sucked in a mouthful of air, and then she expirated with equal vigor. For several seconds they continued to co-breathe in this manner, George neglecting to exhale, Nadine to inhale.
The old woman’s blood was black. Black as her eyes. Black as South African granite. It had a s
ulphurous smell.
‘Would you like a bandage?’ he asked.
‘Please.’ She sucked her thumb.
His nervous fingers returned to the shelves where the epitaphs were kept and procured a tin box. He punished himself by biting his inner cheeks. Way to go, George. Always be sure to draw blood – best way to firm up a sale.
Ripping the tabs from the bandage, Nadine wrapped it around her black, burning wound.
A rubber stencil spanned George’s work table. He sliced some final touches into the inscription. IN LOVING MEMORY OF GRACE LOQUATCH . . . THE HAMMER GROWS SILENT. Grace Loquatch’s birth and death dates followed. She had been a carpenter. The epitaph was her sister’s inspiration.
Black blood? What awful disease had Mrs Covington contracted?
He affixed the stencil to Grace Loquatch’s monument, Design No. 4306 on Vermont blue-gray. Using a hoist-and-chain he transported it across the shop, a job that if necessary he could have accomplished with his bare hands. Grace Loquatch’s immortality moved past three droning electric heaters, the mounted pencil drafts awaiting customer approval, and several shipping crates filled with uninscribed stones from the great quarries of Canada and Vermont.
‘Then we have your self-hatred stones,’ he said. (Self-hatred stones? Yes, that wasn’t a bad term for them.) ‘The customer uses them to take revenge on himself for never having gotten around to being alive, know what I’m saying? Yesterday we buried . . . a woman. She came here as soon as the doctor told her about the lung tumors. “For once I want to do something really nice for myself,” she said. So we worked up this special thing, all sorts of flowers and birds. Angels. Job took twice as long as usual, but I didn’t want to charge extra, she had enough problems. I brought the pencil draft into her hospital room. She said, “It’s beautiful.” Then she said, “I don’t deserve it.” ’