“What are you waiting for?” Anna asks anxiously, and she points at the squat rectangular smudge in the distance. “That’s it. We’ve found it.”
“I’m beginning to think this is what you wanted all along,” Julia says, speaking low, and she can hardly hear herself over the Bel Air’s idling engine. “Anchor Bay, spending time together, that was all just a trick to get me to bring you out here, wasn’t it?”
Anna looks reluctantly away from the house. “No,” she says. “That’s not true. I only remembered the house later, when we were on the beach.”
Julia looks towards the faraway house again, if it is a house. It might be almost anything, sitting out there in the tall grass, waiting. It might be almost anything at all.
“You’re the one that’s always telling me to get my nose out of books,” snaps Anna, starting to sound angry, cultivated indignation gathering itself protectively about her like a caul, and she slides away from Julia, slides across the vinyl car seat until she’s pressed against the passenger door.
“I don’t think this was what I had in mind.”
Anna begins kicking lightly at the floorboard, then, the toe of a sneaker tapping out the rhythm of her impatience like a Morse code signal.
“Jesus,” she says, “It’s only an old house. What the hell are you so afraid of, anyway?”
“I never said I was afraid, Anna. I never said anything of the sort.”
“You’re acting like it, though. You’re acting like you’re scared to death.”
“Well, I’m not going to sit here and argue with you,” Julia says and tells herself that just this once it doesn’t matter if she sounds more like Anna’s mother than her lover. “It’s my car, and we never should have driven all the way out here alone. I would have turned around half an hour ago, if there’d been enough room on that road.” And then she puts the Bel Air into reverse and backs off the dirt road, raising an alarmed and fluttering cloud of grasshoppers, frantic insect wings beating all about them as she shifts into drive and cuts the wheel sharply in the direction of the trees.
“I thought you’d understand,” Anna says. “I thought you were different,” and she’s out of the car before Julia can try to stop her, slams her door shut and walks quickly away, following the path that leads between the high and whispering grass towards the house.
Julia sits in the Chevy and watches her go, watches helplessly as Anna seems to grow smaller with every step, the grass and the brilliant day swallowing her alive, wrapping her up tightly in golden stalks and sunbeam teeth. And Julia imagines driving away alone, simply taking her foot off the brake pedal and retracing that twisting, tree-shadowed path to the safety of paved roads. How easy that would be, how perfectly satisfying, and then she watches Anna for a few minutes more before she turns the car to face the house and tries to pretend that she never had any choice in the matter at all.
* * *
The house stands like a grim and untimely joke, like something better off in a Charles Addams cartoon than perched on the high, sheer cliff, the pampas grass and a bumpy ride ends. This ramshackle grotesquerie of boards gone the silver-gray of old oyster shells, the splinterskin walls with their broken windows and crooked shutters, steep gables and turrets missing half their slate shingles, and there are places where the roof beams and struts show straight through the house’s weathered hide. One black lightning rod still standing guard against the weather, a rusting garland of wrought iron filigree along the eaves, and the uppermost part of the chimney has collapsed in a red-green scatter of bricks gnawed back to soft clay by moss and the corrosive sea air. Thick weeds where there might once have been a lawn and flower beds, and the way the entire structure has begun to list perceptibly leaves Julia with the disconcerting impression that the house is cringing, or that it has actually begun to pull itself free of the earth and is preparing to crawl, inch by crumbling inch, away from the ocean.
“Anna, wait,” but the girl’s already halfway up the steps to the wide front porch, and Julia’s still sitting behind the wheel of the Chevy. She closes her eyes for a moment, better to sit listening to the wind and the waves crashing against the cliffs and the smaller, hollow sound of Anna’s feet on the porch, than to let the house think that she can’t look away. Some dim instinct to tell her that’s how this works, the mere sight of it enough to leave you dumbstruck and vulnerable.
My god, she thinks. It’s only an ugly old house. An ugly old house that no one wants anymore, and then she laughs out loud, like it can hear.
As if it’s listening.
After she caught up with Anna and made her get back into the car, and after Julia agreed to drive her the rest of the way out to the house, Anna Foley started talking about Dr. Montague’s article in Argosy again, talking as though there’d never been an argument. The tension between them forgotten or discarded in a flood of words, words that came faster and faster as they neared the house, almost piling atop each other towards the end of her monologue.
“There were stories that Dandridge murdered his daughter as a sacrifice, sometime after his wife died in 1914. But no one ever actually found her body. No, she just vanished one day, and no one ever saw her again. The daughter, I mean. The daughter vanished, not the wife. His wife is buried behind the house, though I’m not sure…”
Only an ugly, old house sitting forgotten beside the sea.
“…to Poseidon, or maybe even Dagon, who was a sort of Mesopotamian corn king, half man and half fish. Dandridge traveled all over the Middle East and India before he came back and settled in California. He had a fascination with Indo-Iranian antiquities and mythologies.”
Then open your eyes and get this over with, and she does open her eyes, then, staring back at the house, and Julia relaxes her grip on the steering wheel. Anna’s standing on the porch now, standing on tip-toes and peering in through a small shattered window near the door.
“Anna, wait on me. I’m coming,” and Anna turns and smiles, waving to her, then goes back to staring into the house through the broken window.
Julia leaves the keys dangling in the ignition and picks her way towards the house, past lupine and wild white roses and a patch of poppies the color of tangerines, three or four orange-and-black monarch butterflies flitting from blossom to blossom, and there’s a line of flagstones almost lost in the weeds. The stones lead straight to the house, though the weedy patch seems much wider than it did from the car.
I should be there by now, she thinks, looking over her shoulder at the convertible and then ahead, at Anna standing on the porch, standing at the door of the Dandridge house, wrestling with the knob. No. I’m so anxious, it only seems that way, but five, seven, ten more steps, and the porch seems almost as far away as it did when she got out of the car.
“Wait on me,” she shouts at Anna, who doesn’t seem to have heard. Julia stops and wipes the sweat from her forehead before it runs down into her eyes. She glances up at the sun, directly overhead and hot against her face and bare arms, and she realizes that the wind has died. The blustery day has grown suddenly so still, and she can’t hear the breakers anymore, either. Only the faint and oddly muted symphony of the gulls and grasshoppers.
She turns to face the sea, and there’s a brittle noise from the sky that makes her think of eggshells cracking against the edge of a china mixing bowl, and on the porch Anna’s opening the door. And the shimmering darkness, somehow wet and sticky, that flows out and over and through Anna Foley makes a different sound, and Julia shuts her eyes so she won’t have to watch whatever comes next.
* * *
The angle of the light falling velvet soft across the dusty floor, the angle and the honey color of the sun, so Julia knows that it’s late afternoon, and somehow she’s lost everything in between. That last moment in the yard before entering this place without even unconsciousness to bridge the gap, then and now, and she understands it’s as simple as that. Her head aches and her stomach rolls when she tries to sit up to get a better look at the room,
and Julia decides that maybe it’s best to lie still a little while longer. Just lie here and stare out that window at the blue sky framed in glass-jagged mouths. There might have been someone there a moment ago, a scarecrow face looking in at her through the broken window, watching, waiting, and there might have been nothing but the partitioned swatches of the fading day.
She can hear the breakers again, now only slightly muffled by the walls and the wind around the corners of the house; these sounds through air filled with the oily stench of rotting fish and the neglected smell of any very old and empty house. A barren, fishstinking room and a wall with one tall arched window just a few feet away from her, sunbleached and peeling wallpaper strips, and she knows that it must be a western wall, the sunlight through the broken window panes proof enough of that.
Unless it’s morning light, she thinks. Unless it’s morning light, and this is another day entirely. Unless the sun is rising now instead of setting. Julia wonders why she ever assumed it was afternoon, how she can ever again assume anything. And there’s a sound, then, from somewhere behind her, inside the room with her or very close to it; the crisp sound of a ripe melon splitting open, scarlet flesh and black teardrop seeds, sweet red juice, and now the air smells even worse. Fish putrefying under a baking summer sun, beaches strewn with bloated fish-silver bodies as far as the eye can see, beaches littered with everything in the sea heaved up onto the shore, an inexplicable, abyssal vomit, and she closes her eyes again.
“Are you here, Anna?” she whispers. “Can you hear me?”
And something quivers at the edge of her vision, a fluttering darkness deeper than the long shadows in the room, and she ignores the pain and the nausea and rolls over onto her back to see it more clearly. But the thing on the ceiling sees her, too, and it moves quickly towards the sanctuary of a corner; all feathery, trembling gills and swimmerets, and its jointed lobster carapace almost as pale as toadstools, chitin soft and pale, and it scuttles backwards on raw and bleeding human hands. It drips and leaves a spattered trail of itself on the floor as it goes.
She can see the door now, the absolute blackness waiting in the hall through the doorway, and there’s laughter from that direction, a woman’s high, hysterical laugh, but so faint that it can’t possibly be coming from anywhere inside the house.
“Anna,” she calls out again, louder than before, and the laughter abruptly stops, and the thing on the ceiling clicks its needle teeth together.
“She’s gone down, that one,” it mutters. “She’s gone all the way down to Mother Hydra and won’t hear you in a hundred, hundred million years.”
And the laughing begins again, seeping slyly up through the floorboards, through every crack in these moldering plaster walls.
“I saw a something in the sky,” the ceiling crawler whispers from its corner, “No bigger than my fist.”
And the room writhes and spins around her like a kaleidoscope, that tumbling gyre of colored shards, remaking the world, and it wouldn’t matter if there were anything for her to hold onto. She would still fall; no way not to fall with this void devouring even the morning, or the afternoon, whichever, even the colors of the day sliding down that slick gullet.
“I can’t see you,” Anna says, definitely Anna’s voice, though Julia’s never heard her sound this way before: so afraid, so insignificant.
“I can’t see you anywhere,” Julia replies and reaches out (or down or up) into the furious storm that was the house, the maelstrom edges of a collapsing universe, and her arm sinks in up to the elbow. Sinks through into dead-star cold, the cold ooze of the deepest seafloor trench. “Open your eyes,” Anna says, and she’s crying now. “Please, god, open your eyes, Julia.”
But her eyes are open, and she’s standing somewhere far below the house, standing before the woman on the rock, the thing that was a woman once, and part of it can still recall that lost humanity. The part that watches Julia with one eye, the desperate, hate-filled, pale-green eye that hasn’t been lost to the seething ivory crust of barnacles and sea lice that covers half its face. The woman on the great rock in the center of the phosphorescent pool, and then the sea rushes madly into the cavern, surges up and foams around the rusted chains and scales and all the squirming pink-white anemones sprouting from her thighs.
Alone, alone, all all alone,
The woman on the rock raises an arm, her ruined and shell-studded arm, and reaches across the pool towards Julia.
Alone on the wide wide sea
Her long fingers and the webbing grown between them, and Julia leans out across the frothing pool, ice water wrapping itself around her ankles, filling her shoes, as she strains to take the woman’s hand. Straining to reach while the jealous sea rises and falls, rises and falls, threatening her with the bottomless voices of cachalots and typhoons. But the distance between their fingertips doubles, triples, origami space unfolding itself, and the woman’s lips move silently, yellow teeth and pleading, gill-slit lips as mute as the cavern walls.
—murdered his daughter, sacrificed her—
Nothing from those lips but the small and startled creatures nesting in her mouth, not words but a sudden flow of surprised and scuttling legs, the claws and twitching antennae, and a scream that rises from somewhere deeper than the chained woman’s throat, deeper than simple flesh, soulscream spilling out and swelling to fill the cave from wall to wall. This howl that is every moment that she’s spent down here, every damned and salt-raw hour made aural, and Julia feels it in her bones, in the silver amalgam fillings of her teeth.
Will you, won’t you, will you, won’t you, will you join the dance?
And the little girl sits by the fire in a rocking chair, alone in the front parlor of her father’s big house by the sea, and she reads fairy tales to herself while her father rages somewhere overhead, in the sky or only upstairs, but it makes no difference, in the end. Father of black rags and sour, scowling faces, and she tries not to hear the chanting or the sounds her brother is making again from his attic prison, tries to think of nothing but the Mock Turtle and Alice, the Lobster Quadrille by unsteady lantern light. Don’t look at the windows, she thinks, or Julia tries to warn her. Don’t look at the windows ever again.
Well, there was mystery. Mystery, ancient and modern, with Seaography: then Drawling—the Drawling-Master was an old conger-eel…
An old conjure eel—
Don’t ever look at the windows even when the scarecrow fingers, the dry-grass bundled fingers, are tap-tap-tapping their song upon the glass. And she has seen the women dancing naked by the autumn moon, dancing in the tall moonwashed sheaves, bare feet where her father’s scythe has fallen again and again, every reaping stroke to kill and call the ones that live at the bottom of the pool deep below the house. Calling them up and taunting them and then sending them hungrily back to down to Hell again. Hell or the deep, fire or ice-dark water, and which makes no difference whatsoever in the end.
Would not, could not, would not, could not, would not join the dance.
Julia’s still standing at the wave-smoothed edge of the absinthe pool, or she’s only a whispering, insubstantial ghost afraid of parlor windows, smoke-gray ghost muttering from nowhen, from hasn’t-been or never-will-be, and the child turns slowly towards her voice as the hurting thing chained to the rock begins to tear and stretches itself across the widening gulf.
“Julia, please.”
“You will be their queen, in the cities beneath the sea,” the old man says. “When I am not even a memory, child, you will hold them to the depths.”
And they all dead did lie, And a million million slimy things Liv’d on—and so did I…
“Open your eyes,” Anna says, and this time Julia does. All these sights and sounds flicker past like the last frames of a movie, and she’s lying in Anna’s arms, lying on her back in the weedy patch between the car and the brooding, spiteful house.
“I thought you were dead,” Anna says, holding onto her so tightly she can hardly breathe. Anna sou
nds relieved and frightened and angry all at once, the tears rolling down her sunburned face and dripping off her chin onto Julia’s cheeks.
“You were so goddamn cold. I thought you were dead. I thought I was alone.”
Alone, alone, all all alone…
“I smell flowers,” Julia says, “I smell roses,” because she does, and she can think of nothing else to say, no mere words to ever make her forget, and she stares up past Anna, past the endless, sea-hued sky, at the summer sun staring back down at her like the blind and blazing eye of Heaven.
•
This Is How the World Ends
by John R. Fultz
They always said the world would end in fire.
Mushroom clouds, atomic holocaust, the pits of Hell opening up and vomiting flame across a world of sin, corruption, and greed. The world would be a cinder, and Christ would come down from the clouds to lift the faithful skyward.
I used to believe those things. My daddy taught me the Bible, and Revelations was his favorite chapter. He believed in the wrath of God, and he feared the fires of Hell.
But the world wasn’t burned away by righteous fires. There was no great conflagration.
The world didn’t burn.
It drowned.
One thing the Bible did get right: the sea did turn to blood.
The coastal cities were the first to go. Two years ago the first of the Big Waves hit. The newscasters called them “mega-tsunamis.” Los Angeles, San Diego, Seattle, San Francisco…so many sandcastles flattened and drowned. Watery graves for millions. New York, Miami, even Chicago when the Great Lakes leapt out of their holes like mad giants. A single day and all the major cities…gone.
After the tsunamis came the real terror. The waves washed terrible things onto the land…things that had never seen the light of day. Fanged, biting, hungry things. They fed on the bodies of the drowned, laid their eggs in the gnawed bodies. Billions of them…the seas ran red along the new coastlines. Survivors from Frisco fled inland, carrying tales of something even worse than the vicious Biters. Something colossal…some called it the Devil himself. It took the fallen skyscrapers as its nesting ground, ruling a kingdom of red waters.
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