The Mammoth Book of Best New Horror 18

by Stephen Jones (ed. )

“It’s a little bit of everything,” I heard Jacova say, though she never actually said anything of the sort to me. “Silt, phytoplankton and zooplankton, soot, mucus, diatoms, fecal pellets, dust, grains of sand and clay, radioactive fallout, pollen, sewage. Some of it’s even interplanetary dust particles. Some of it fell from the stars.”

  And Tiburon II lurches and glides forward a few feet, then slips cautiously over the precipice, beginning the slow descent into this new and unexpected abyss.

  “We’d been over that stretch more than a dozen times, at least,” Natalie Billington, chief ROV pilot for Tiburon II, told a CNN correspondent after the internet version of the tape first made the news. “But that drop-off wasn’t on any of the charts. We’d always missed it somehow. I know that isn’t a very satisfying answer, but it’s a big place down there. The canyon is over two hundred miles long. You miss things.”

  For a while – exactly 15.34 seconds – there’s only the darkness and marine snow and a few curious or startled fish. According to MBARI, the ROV’s vertical speed during this part of the dive is about 35 meters per minute, so by the time it finds the bottom again, depth has increased by some five hundred and twenty-five feet. The sea-floor comes into view again, and there’s not so much loose sediment here, just a jumble of broken boulders, and it’s startling how clean they are, almost completely free of the usual encrustations and muck. There are no sponges or sea cucumbers to be seen, no starfish, and even the omnipresent marine snow has tapered off to only a few stray, drifting flecks. And then the wide, flat rock that is usually referred to as “the Delta stone” comes into view. And this isn’t like the face on Mars or Von Daniken seeing ancient astronauts on Mayan artifacts. The lowercase δ carved into the slab is unmistakable. The edges are so sharp, so clean that it might have been done yesterday.

  The Tiburon II hovers above the Delta stone, spilling light into this lightless place, and I know what’s coming next, so I sit very still and count off the seconds in my head. When I’ve counted to thirty-eight, the view from the ROV’s camera pans violently to the right, signaling the portside impact, and an instant later there’s only static, white noise, the twelve-second gap in the tape during which the camera was still running, but no longer recording.

  I counted to eleven before I switched off the television, and then sat listening to the wind, and the waves breaking against the beach, waiting for my heart to stop racing and the sweat on my face and palms to dry. When I was sure that I wasn’t going to be sick, I pressed EJECT and the VCR spat out the tape. I returned it to its navy-blue plastic case and sat smoking and drinking, helpless to think of anything but Jacova.

  IV

  Jacova Angevine was born and grew up in her father’s big Victorian house in Salinas, only a couple of blocks from the birthplace of John Steinbeck. Her mother died when she was eight. Jacova had no siblings, and her closest kin, paternal and maternal, were all back east in New Jersey and Pennsylvania and Maryland. In 1960, her parents relocated to California, just a few months after they were married, and her father took a job teaching high-school English in Castroville. After six months, he quit that job and took another, with only slightly better pay, in the town of Soledad. Though he’d earned a doctorate in comparative literature from Columbia, Theo Angevine seemed to have no particular academic ambitions. He’d written several novels while in college, though none of them had managed to find a publisher. In 1969, his wife five months pregnant with their daughter, he resigned from his position at Soledad High and moved north to Salinas, where he bought the old house on Howard Street with a bank loan and the advance from his first book sale, a mystery novel titled The Man Who Laughed at Funerals (Random House; New York).

  To date, none of the three books that have been published about Jacova, the Open Door of Night sect, and the mass drownings off Moss Landing State Beach, have made more than a passing mention of Theo Angevine’s novels. Elenore Ellis-Lincoln, in Closing the Door: Anatomy of Hysteria (Simon and Schuster; New York), for example, devotes only a single paragraph to them, though she gives Jacova’s childhood an entire chapter. “Mr Angevine’s works received little critical attention, one way or the other, and his income from them was meager,” Ellis-Lincoln writes. “Of the seventeen novels he published between 1969 and 1985, only two – The Man Who Laughed for Funerals [sic] and Seven at Sunset – are still in print. It is notable that the overall tone of the novels becomes significantly darker following his wife’s death, but the books themselves never seem to have been more to the author than a sort of hobby. Upon his death, his daughter became the executor of his literary estate, such as it was.”

  Likewise, in Lemming Cult (The Overlook Press; New York), William L. West writes, “Her father’s steady output of mystery and suspense potboilers must surely have been a curiosity of Jacova’s childhood, but were never once mentioned in her own writings, including the five private journals found in a cardboard box in her bedroom closet. The books themselves were entirely unremarkable, so far as I’ve been able to ascertain. Almost all are out of print and very difficult to find today. Even the catalog of the Silinas Public Library includes only a single copy each of The Man Who Laughed at Funerals, Pretoria, and Seven at Sunset.”

  During the two years I knew her, Jacova only mentioned her father’s writing once that I can recall, and then only in passing, but she had copies of all his novels, a fact that I’ve never seen mentioned anywhere in print. I suppose it doesn’t seem very significant, if you haven’t bothered to read Theo Angevine’s books. Since Jacova’s death, I’ve read every one of them. It took me less than a month to track down copies of all seventeen, thanks largely to online booksellers, and even less time to read them. While William West was certainly justified in calling the novels “entirely unremarkable,” even a casual examination reveals some distinctly remarkable parallels between the fiction of the father and the reality of the daughter.

  I’ve spent the whole afternoon, the better part of the past five hours, on the preceding four paragraphs, trying to fool myself into believing that I can actually write about her as a journalist would write about her. That I can bring any degree of detachment or objectivity to bear. Of course, I’m wasting my time. After seeing the tape again, after almost allowing myself to watch all of it again, I think I’m desperate to put distance between myself and the memory of her. I should call New York and tell them that I can’t do this, that they should find someone else, but after the mess I made of the Musharraf story, the agency would probably never offer me another assignment. For the moment, that still matters. It might not in another day or two, but it does for now.

  Her father wrote books, books that were never very popular, and though they’re neither particularly accomplished nor enjoyable, they might hold clues to Jacova’s motivation and to her fate. And they might not. It’s as simple and contradictory as that. Like everything surrounding the “Lemming Cult” – as the Open Door of Night has come to be known, as it has been labeled by people who find it easier to deal with tragedy and horror if there is an attendant note of the absurd – like everything else about her, what seems meaningful one moment will seem irrelevant the next. Or maybe that’s only the way it appears to me. Maybe I’m asking too much of the clues.

  Excerpt from Pretoria, pp. 164–165; Ballantine Books, 1979:

  Edward Horton smiled and tapped the ash from his cigar into the large glass ashtray on the table. “I don’t like the sea,” he said and nodded at the window. “Frankly, I can’t even stand the sound of it. Gives me nightmares.”

  I listened to the breakers, not taking my eyes off the fat man and the thick grey curlicues of smoke arranging and rearranging themselves around his face. I’d always found the sound of waves to have a welcomed tranquilising effect upon my nerves and wondered which one of Horton’s innumerable secrets was responsible for his loathing of the sea. I knew he’d done a stint in the Navy during Korea, but I was also pretty sure he’d never seen combat.

  “How’d you sleep last night
?” I asked, and he shook his head.

  “For shit,” he replied and sucked on his cigar.

  “Then maybe you should think about getting a room farther inland.”

  Horton coughed and jabbed a pudgy finger at the window of the bungalow. “Don’t think I wouldn’t, if the choice were mine to make. But she wants me here. She wants me sitting right here, waiting on her, night and day. She knows I hate the ocean.”

  “What the hell,” I said, reaching for my hat, tired of his company and the stink of his smoldering Macanudo. “You know where to reach me, if you change your mind. Don’t let the bad dreams get you down. They ain’t nothing but that, bad dreams.”

  “That’s not enough?” he asked, and I could tell from his expression that Horton wished I’d stay a little longer, but I knew he’d never admit it. “Last night, goddamn people marching into the sea, marching over the sand in rows like the goddamn infantry. Must of been a million of them. What you think a dream like that means, anyway?”

  “Horton, a dream like that don’t mean jack shit,” I replied. “Except maybe you need to lay off the spicy food before bedtime.”

  “You’re always gonna be an asshole,” he said, and I was forced to agree. He puffed his cigar, and I left the bungalow and stepped out into the salty Santa Barbara night.

  Excerpt from What the Cat Dragged In, p. 231; Ballantine Books, 1980:

  Vicky had never told anyone about the dreams, just like she’d never told anyone about Mr. Barker or the yellow Corvette. The dreams were her secret, whether she wanted them or not. Sometimes they seemed almost wicked, shameful, sinful, like something she’d done that was against God, or at least against the law. She’d almost told Mr. Barker once, a year or so before she left Los Angeles. She’d gone so far as to broach the subject of mermaids, and then he’d snorted and laughed, so she’d thought better of it.

  “You got some strange notions in that head of yours,” he’d said. “Someday, you’re gonna have to grow out of crap like that, if you want people round here to start taking you seriously.”

  So she kept it all to herself. Whatever the dreams meant or didn’t mean, it wasn’t anything she would ever be able to explain or confess. Sometimes, nights when she couldn’t sleep, she lay in bed staring at the ceiling, thinking about the ruined castles beneath the waves and beautiful, drowned girls with seaweed tangled in their hair.

  Excerpt from The Last Loan Shark of Bodega Bay, pp. 57–59; Bantam Books, 1982:

  “This was way the hell back in the fifties,” Foster said and lit another cigarette. His hands were shaking and he kept looking over his shoulder. “Fifty-eight, right, or maybe early fifty-nine. I know Eisenhower was still president, though I ain’t precisely sure of the year. But I was still stuck in Honolulu, right, still hauling lousy tourists around the islands in the Saint Chris so they could fish and snap pictures of goddamn Kilauea and what have you. The boat was on its last leg, but she’d still get you where you were goin’, if you knew how to slap her around.”

  “What’s this got to do with Winkie Anderson and the girl?” I asked, making no effort to hide my impatience.

  “Jesus, Frank, I’m getting to it. You want to hear this thing or not? I swear, you come around here asking the big questions, expecting the what’s-what, you can at least keep your trap shut and listen.”

  “I don’t have all night, that’s all.”

  “Yeah, well, who the hell does, why don’t you tell me that? Anyway, like I was saying, back about fifty-nine, and we was out somewhere off the north shore of Molokai. Old Coop was fishing the thousand fathom line, and Jerry – you remember Jerry O’Neil, right?”

  “No,” I said, eyeing the clock above the bar.

  “Well, whatever. Jerry O’Neil was mouthing off about a twelve-hundred-pounder, this big-ass marlin some Mexican businessman from Tijuana had up and hooked just a few weeks before. Fish even made the damn papers, right. Anyway, Jerry said the Mexican was bad news and we should keep a sharp eye out for him. Said he was a regular Jonah.”

  “But you just said he caught a twelve-hundred-pound marlin.”

  “Yeah, sure. He could haul in the fish, this chunt son of a bitch, but he was into some sort of Spanish voodoo shit and had these gold coins he’d toss over the side of the boat every five or ten minutes. Like goddamn clockwork, he’d check his watch and toss out a coin. Gold doubloons or some shit, I don’t know what they were. It was driving Coop crazy, ‘cause it wasn’t enough the Mexican had to do this thing with the coins, he was mumbling some sort of shit non-stop. Coop kept telling him to shut the hell up, people was trying to fish, but this guy, he just keeps mumbling and tossing coins and pulling in the fish. I finally got a look at one of those doubloons, and it had something stamped on one side looked like a damn octopus, and on the other side was this star like a pentagram. You know, those things witches and warlocks use.”

  “Foster, this is crazy bullshit. I have to be in San Francisco at seven-thirty in the morning.” I waved to the bartender and put two crumpled fives and a one on the bar in front of me.

  “You ever head of the Momma Hydra, Frank? That’s who this chunt said he was praying to.”

  “Call me when you run out of bullshit,” I said. “And I don’t have to tell you, Detective Burke won’t be half as understanding as I am.”

  “Jesus, Frank. Hold up a goddamn second. It’s just the way I tell stories, right. You know that. I start at the beginning. I don’t leave stuff out.”

  These are only a few examples of what anyone will find, if he or she should take the time to look. There are many more, I assure you. The pages of my copies of Theo Angevine’s novels are scarred throughout with yellow highlighter.

  And everything leaves more questions than answers.

  You make of it what you will. Or you don’t. I suppose that a Freudian might have a proper field day with this stuff. Whatever I knew about Freud I forgot before I was even out of college. It would be comforting, I suppose, if I could dismiss Jacova’s fate as the end result of some overwhelming Oedipal hysteria, the ocean cast here as that Great Ur-Mother savior-being who finally opens up to offer release and forgiveness in death and dissolution.

  V

  I begin to walk down some particular, perhaps promising, avenue and then, inevitably, I turn and run, tail tucked firmly between my legs. My memories. The MBARI video. Jacova and her father’s whodunits. I scratch the surface and then pull my hand back to be sure that I haven’t lost a fucking finger. I mix metaphors the way I’ve been mixing tequila and scotch.

  If, as William Burroughs wrote, “Language is a virus from outer space,” then what the holy hell were you supposed to be, Jacova?

  An epidemic of the collective unconscious. The black plague of belief. A vaccine for cultural amnesia, she might have said. And so we’re right back to Velikovsky, who wrote “Human beings, rising from some catastrophe, bereft of memory of what had happened, regarded themselves as created from the dust of the earth. All knowledge about the ancestors, who they were and in what interstellar space they lived, was wiped away from the memory of the few survivors.”

  I’m drunk, and I’m not making any sense at all. Or merely much too little sense to matter. Anyway, you’ll want to pay attention to this part. It’s sort of like the ghost story within the ghost story within the ghost story, the hard nugget at the unreachable heart of my heart’s infinitely regressing babooshka, matryoshka, matrioska, matreshka, babushka. It might even be the final straw that breaks the camel of my mind.

  Remember, I am wasted, and so that last inexcusable paragraph may be forgiven. Or it may not.

  “When I become death, death is the seed from which I grow.” Burroughs said that, too. Jacova, you will be an orchard. You will be a swaying kelp forest. There’s a log in the hole in the bottom of the sea with your name on it.

  Yesterday afternoon, puking sick of looking at these four dingy fucking walls, I drove down to Monterey, to the warehouse on Pierce Street. The last time I was there, t
he cops still hadn’t taken down all the yellow CRIME SCENE–DO NOT CROSS tape. Now there’s only a great big for-sale sign and an even bigger no-trespassing sign. I wrote the name and number of the realty company on the back of a book of matches. I want to ask them what they’ll be telling prospective buyers about the building’s history. Word is the whole block is due to be rezoned next year and soon those empty buildings will be converted to lofts and condos. Gentrification abhors a void.

  I parked in an empty lot down the street from the warehouse, hoping that no one happening by would notice me, hoping, in particular, that any passing police would not notice me. I walked quickly, without running, because running is suspicious and inevitably draws the attention of those who watch for suspicious things. I was not so drunk as I might have been, not even so drunk as I should have been, and I tried to keep my mind occupied by noting the less significant details of the street, the sky, the weather. The litter caught in the weeds and gravel – cigarette butts, plastic soft-drink bottles (I recall Pepsi, Coke, and Mountain Dew), paper bags and cups from fast-food restaurants (McDonalds, Del Taco, KFC), broken glass, unrecognizable bits of metal, a rusted Oregon license plate. The sky was painfully blue, the blue of nausea, with only very high cirrus clouds to spoil that suffocating pastel heaven. There were no other cars parked along the street, and no living things that I noticed. There were a couple of garbage dumpsters, a stop sign, and a great pile of cardboard boxes that had been soaked by rain enough times it was difficult to tell exactly where one ended and another began. There was a hubcap.

  When I finally reached the warehouse – the warehouse become a temple to half-remembered gods become a crime scene, now on its way to becoming something else – I ducked down the narrow alley that separates it from the abandoned Monterey Peninsula Shipping and Storage Building (established 1924). There’d been a door around that way with an unreliable lock. If I was lucky, I thought, no one would have noticed, or if they had noticed, wouldn’t have bothered fixing it. My heart was racing and I was dizzy (I tried hard to blame that on the sickening color of the sky) and there was a metallic taste in the back of my mouth, like a freshly filled tooth.