Go Go Justice Gang! ft. Apollo Young
Oh no.
Downtown Clash City has been beset by a hypnagogic Leviathan, a terrifying kludge of symbology and violence, an impossible horror from beyond the ontological wasteland. Citizens flee, police stand by impotently, soldiers fire from tanks and helicopters without success, their bullets finding no purchase, their fear finding no relief.
It is a bubblegum machine gone horribly, horribly awry, a clear plastic sphere with a red body and a bellhopian cap, except there is a tree growing inside it, and also it is a several hundred feet tall. The tree is maybe a willow or a dying spruce or something like that. It is definitely a sad tree, the kind of tree that grows on the edges of graveyards in children’s books or in the tattoos of young people with too many feelings, when not growing on the inside of giant animated bubblegum machines.
It trudges along Washington Avenue on its root system, which emerges from the slot where the bubblegum ought to come out, and inflicts hazardous onomatopoesis upon people and property alike with its terrible branches.
Bang. Crack. Boom. Splat. Crunch.
Splat is the worst of them, if you think about the implications.
Various material reminders of American imperialist power under late capitalism, the bank and the television station and the army surplus store, are made naught but memory and masonry in its wake. The ground shakes like butts in music videos, and buildings fall like teenagers in love. Destruction. Carnage. Rage. Can nothing be done to stop this creature? Can the city be saved from certain destruction?
Yes!
Already, Apollo Young, a.k.a. Black Justice, is on his way to the Justice Gang Headquarters. Even as his fellow citizens panic, he keeps a cool head as he drives his Justice Vehicle headlong into danger. When his wrist communicator begins to buzz and play the Justice Gang theme song, he pulls over to the curb, in full accordance with the law.
“Black Justice! Come in! This is Red Justice!” says the wrist communicator.
“I read you, Patrick! What’s the haps?!”
“The city is in danger! We need your help! To defeat this evil, We, the Justice Gang, need to combine our powers to form White Justice!”
“Yes. Only White Justice can save the city this time!”
“Also, can you please pick up Pink Justice? She is grounded from driving because she went to the mall instead of babysitting her little brother.”
“What an airhead!”
“I know. But she is also a valuable member of the Justice Gang. Only when Pink Justice, Blue Justice, Black Justice, and Mauve Justice combine with me, the leader, Red Justice, can our ultimate power, White Justice be formed!”
“As I know.”
“Yes. All thanks to Princess Amarillia, who gave us our prismatic justice powers in order to prevent the evil Lord Tklox from answering the Omega Question and destroying civilization!”
“Righteous!”
“Just as white light is composed of all colors of light, so White Justice will be formed from our multicultural, gender-inclusive commitment to Good and Right.”
“Okay! Bye.”
Apollo hangs up and gets back on the road. He picks up Pink Justice on the way. She is a stereotypical valley girl, but that is okay, since the Justice Gang accepts all types of people, as long as they love justice, are between fifteen and seventeen, and present as heterosexual. They ride together in silence, as they are the two members of the Justice Gang least likely to be paired up for storylines, owing to the potentially provocative implications of a black man and a white woman interacting together, even platonically.
“Do you ever think that we’re just going in circles?” asks Pink Justice, staring idly out the window.
“What do you mean?” asks Apollo.
“A monster appears, we kill it, another monster appears, we kill it again. We feel good about getting the bad guy in the moment, but it just keeps happening. Week after week, it’s the same thing. Another monster. More dead people. We never actually fight evil. We just kill monsters. Evil is always still there.”
“But what about justice?”
“What is justice? People are dying. I just don’t know what we’re fighting for sometimes, why we keep fighting. It’s the same every time. It’s just tiring, I guess.”
“I think we have to fight. Even if nobody gets saved, we are better for having done it. Maybe the world isn’t better, but it’s different, and I think that difference is beautiful.”
“Like, for sure!” says Pink Justice.
A police car flashes its lights at Apollo. He pulls over. The man in the police uniform walks to the passenger side and asks Pink Justice if she is okay.
“I’m fine. There’s no problem,” she says.
The man in the police uniform tells Pink Justice that he can help her if something is wrong.
“Everything is fine. Nothing is wrong.”
The man in the police uniform tells Apollo to get out of the car.
“What is this about? What’s your probable cause? Yes sir, officer,” says Apollo, getting out of the car.
The man in the police uniform slams Apollo into the side of the car and pats him down. Pink Justice gets out and begins to yell that they have done nothing wrong, that he has to let them go. This obviously agitates the man in the police uniform.
Apollo’s wrist communicator goes off, and without thinking, he moves to answer it. The man in the police uniform tackles him to the ground, sits on his chest, and begins to hit him with a flashlight. Apollo’s windpipe is blocked. It continues to be blocked for a long time. He dies.
• • • •
Come on. Really? That one was really good. The white guy was in charge and everything! This sucks. I’m trying to do something here. The point of adventure fiction is to connect moral idealism with the human experience. The good guys fight the bad guys, just as we struggle against the infelicities of the material world. That’s the point of heroes. They journey into the wilderness, struggle against the unknown, and make liminal spaces safe for the people. That’s how it works, from Hercules to Captain Kirk. It’s really hard to create ontological safety when people keep dying all the time. Barth was right; literature is exhausting.
So I guess Apollo shouldn’t have been in a car with a white lady? That’s scary, I guess. He didn’t do anything, but he was probably no angel. He was a teen. Teens get into all kinds of shit. When I was in school, I knew so, so many kids who shoplifted and smoked drugs. They were mostly white, but still. Teens are shitty. The man in the police uniform probably had good intentions. Like, he wanted to make sure the girl wasn’t being kidnapped or anything. Why else would they be together? I still think he only wants to keep people safe, especially potentially vulnerable people.
I’ve fucking got it. This is 2016, right? Sisters are doing it for themselves. Why not a lady-protagonist? Women are empathetic and non-threatening and totally cool. Everyone is chill with ladies. That’s why phone robots all have feminine voices. True story. Why would you just kill a woman for no reason? She’s not going to hurt you. This time, no one is going to hurt anybody.
Apollonia Williams-Carter and the Venus Sanction
Naomi walks into Apollonia’s private office just before 5:00. It is a cramped and dingy room, lit by a single fluorescent bulb and smelling strongly of mildew. Without greeting or warning, she drops a thick, yellow binder down on Apollonia’s desk.
“Read this,” she says.
The binder is marked A.M.A.R.I.L.L.I.A. Project. It is filled with photographs, exotic diagrams, and pages and pages of exhaustively researched reports. Apollonia proceeds slowly, taking in each and every fact printed on the pages, running them over in her mind and allowing them settle. She feels a sinking sensation in her stomach as she journeys deeper and deeper into the text.
“Dear God,” she whispers. “Can this be true?”
“Yes,” says Naomi.
“This is absolutely disgusting. How could they do something like this? How
could they sell us out to aliens?”
“They don’t care about our world. Not anymore.”
“What can we do?”
“I don’t know. That’s why I brought this to you.”
Apollonia opens one of her drawers, retrieving two shot glasses and a bottle of whiskey. She pours a double and pushes it toward Naomi.
“Have some. It will calm your nerves.”
Naomi throws the glass to the ground, shattering it.
“This is no time to drink! We’ve got to do something!”
Apollonia takes her shot. “We can’t do anything if we can’t keep our cool.”
“You want me to be cool? The department will have my head if they even knew I am talking to you.”
“My head’s on the line, too. I might be a vice-president here, but they’d kill me as quickly as a break-room cockroach.”
“So what do we do? I came to you because I have the utmost respect for your work with the company.”
“We go to the press. It might cost us our lives, but at least the truth will be out there.”
“Should we try to rescue the girl?”
“No. First, we get the truth out. I’ll handle this. Delete any digital copies of these files and meet me tonight at the Port Royale.”
“Fine.”
“Remember. Anyone you know could be one of them. Use caution.”
Naomi nods and exits.
Apollonia takes another double shot of whiskey as she continues to read the binder. How could this happen? She had never trusted the powers that be, but how could they be doing this? How could they be killing people with impunity? The notes on the files indicate that it is in the name of safety and the greater good, but whose safety are they really talking about? Man or monster?
Apollonia leaves at 7:00, as she does every evening. She hides the pages of the binder in her purse. She puts on a cheerful face, smiling at coworkers and greeting the support staff as she passes. She takes the elevator down from her floor to the lobby, then the stairs to the parking garage. She makes sure no one is following her as she walks down the corridors of the unlit parking garage, turning her head every few moments to get a full view of her surroundings. She sees her car and breathes a sigh of relief. She is almost out.
“Hey there.”
She turns to see a young man in a suit. He is at least six feet tall and aggressively muscled. He smiles brightly and broadly at Apollonia, as if trying to hide something.
“Hello Patrick,” she says.
“Where ya headed in such a hurry?”
“Just going home.”
“Home, huh? I remember home.”
He laughs. She joins him.
“Long hours, huh? I feel for you.”
He sticks out his finger at her purse. She clutches it closer.
“Hey. Is that new? I think my girlfriend pointed that purse out at the store. I’m sure it was that one.”
“I’ve had this thing forever.”
“Do you mind if I see it? I just want to know if it’s well made.”
Apollonia swallows. “I’d really prefer it if you didn’t.”
The smile leaves his face, and his eyes begin to narrow. Apollonia takes a step back. She has been trained in self-defense, but this man has at least one hundred pounds on her and also might be an alien. She begins to slowly, subtly shift into a combat stance. If she times it right, she might be able to stun him long enough for her to escape. She just has to find the right moment. She waits. And waits. And waits.
Finally, he chuckles. “You’re right. That was a weird question. I haven’t been getting enough sleep lately. Sorry. I’ll see you later.”
Apollonia gets into her car. On the way to the Port Royale, she is pulled over by the man in the police uniform. While patting her down for drugs, he slips his fingers into her underwear. She tries to pull his hands away, prompting him to use force to stop her from resisting arrest. Her head is slammed many times against the sidewalk. She dies.
• • • •
She. Didn’t. Do. Anything. And even if she did do something, killing is not the answer. That’s it. I’m not playing anymore. I can quit at any time. No one can stop me. Look, I’ll do it now. Boom. I just quit for two days. Boom. That was two weeks. Boom. Now I have to change all the dates to 2016. What’s the point of writing this thing? What’s the point of writing anything? I just wanted to tell a cool story. That’s it. No murders. No deaths. Remember? It was just a love story.
I once read that people get more into love stories and poems in times of political strife and violence. What better way to assert meaning in the face of meaninglessness than by celebrating the connection between human beings? Our relationship with the state, the culture, the world, these are just petals in the winds compared to the love that flows between us. Fuck politics. I set out to do a love story, so I’m doing a love story. Plus, I’ve got a plan. So far, the Apollos have all died while messing around outside. The solution isn’t relatability at all. It’s so much simpler than that: transit. It doesn’t matter if the guy can’t sympathize with Apollo if he can’t find him. There are tons of great stories set in one place. I’ll just do one of those.
Apollo Right and the Architectural-Organic Wormhole
Apollo and Naomi sit alone on the couch by the window, the dusty brown one held together with tape and band-aids, quiet, listening to the rain and the night, watching the play of wind and glow on the raindrops outside, refracted lamplight and neon diffusing into glitter in the dark. His head rests on her lap, which is soft and warm and comfortingly “lap-like,” which is to say that it possesses the qualities of the Platonic lap in quantities nearing excess, qualities which are difficult to articulate, neotenous comforts and chthonic ecstasies of a sublime/cliché nature, intimacy rendered in thigh meat and belly warmth. Her left hand is on his shoulder, just so, and her right is on his chest, and he takes note of the sensation of her fingers as his chest expands and contracts, and it is pleasant. He takes a breath, sweet and slow. There is a little sadness, because this moment will wilt and wither like all moments, and he does not want it to, more than anything.
“Remember this,” he says.
“What?”
“I would like it if you would remember this. Tonight. Or at least this part.”
“Why wouldn’t I remember tonight?
“You never remember any of the good parts.”
“You say that.”
“It’s true. You only remember the bad parts. The before and after. Anxiety and regret. Never the moment.”
“Who says this is a good part?”
“That’s a cutting remark.”
“I just think we have different definitions of the good and bad when it comes to certain things.”
“So this is a bad part?”
“I didn’t say that.”
“Which is it, then?”
“It’s good to see you.”
“You know what my favorite memory of us is?”
“Leon.”
“I’m sure you don’t remember it.”
“Don’t.”
“It’s not weird or anything. One time I came over to your place, and you smiled that smile you have—not the usual one, the good one—and you gave me a hug. Just a long, deep hug, like you were just really happy to see me. Genuinely happy. Not angry or annoyed at all. Just cruisin’, y’know. Just cruisin’. We made out afterwards, and maybe had sex? I don’t remember that super great.”
“The fact that you don’t see anything weird about that is why we had to break up.”
“Whatever, lady.”
The door flies open. The man in the police uniform shouts for everyone to get down. A flashbang grenade is thrown inside. Apollo pushes Naomi away but is unable to get away. He suffers critical burns to his head and chest. After being denied medical treatment on the scene, he dies weeks later in the hospital from opportunistic infections. Ironically, the man in the police uniform was actually meant to go to the next apartment
over, where a minor marijuana dealer lives.
• • • •
They didn’t even get to the cool part. There was going to be a living wormhole in the closet, and all kinds of space shit was going to come out, and in the process of dealing with it they were going to rekindle their love. It was going to be awesome. We can’t even have love stories anymore? What do we have if we can’t have love stories?
Okay. Now I’m thinking that the issue is with the milieu. 2015 is a weird time. Shit is going down. It’s politicizing this story. I’m not into it. What we need is a rip-roaring space adventure in the far future. That’ll be cool. All this shit will be sorted out by then, and we can all focus on what really matters: space shit.
Apollo _____ vs. the Vita-Ray Miracle
The crystal spires of New Virtua throw tangles of intersecting rainbows onto the silver-lined streets below, such that a Citizen going about his daily duties cannot help but be enmeshed in a transpicuous net of light and color. A Good Citizen knows that this is Good, that beauty is a gift of Science, and he wears his smile the way men of lesser worlds might wear a coat and hat to ward off the cold damp of an unregulated atmosphere.
Lord Tklox is not a Good Citizen, and he rarely smiles at all. On those occasions when he does experience something akin to happiness (when his plans are coming to fruition, when he imagines the bloody corpses of his enemies, when he thinks of new ways to crush the Good Citizens of New Virtua under his foot), his smile is not so much worn as wielded, as one might wield the glowing spiral of a raymatic cannon.
The Long List Anthology Volume 3 Page 16