by Gene Wolfe
“His wife tried to sell the farm, but nobody wanted that house. She moved back with her folks, quit calling herself Sarah Jackson. She was a good-looking woman, and the land brought her some money. After a year or so she got married again and had a baby. Everybody forgot, I suppose you could say, except maybe for the families of the girls that had died. And the house, it’s still standing back there. You just saw it yourself.”
Howie pronounced the final words as though the story were over and he wanted to talk of something else, but I said, “You said there were more bodies found later.”
“Just one. Some kids were playing in that old house. It’s funny, isn’t it, that kids would find it when the sheriff and all those deputies didn’t.”
“Where was it?”
“Upstairs. In her sewing room. You remember I told you how he’d said she could have a room to herself too? Of course, the sheriff had looked in there, but it hadn’t been there when he looked. It was her, and she’d hung herself from a hook in the wall. Who do you think killed her?”
I glanced at him to see if he were serious. “I thought you said she killed herself?”
“That’s what they would have said, back when she married Jackson. But who killed her now? Jackson—Redbeard—when he killed those other girls and cut his throat like that? Or was it when he loved her? Or that district attorney? Or the sheriff? Or the mothers and fathers and brothers and sisters of the girls Jackson got? Or her other husband, maybe some things he said to her? Or maybe it was just having her baby that killed her—baby blues, they call it. I’ve heard that too.”
“Postnatal depression,” I said. I shook my head. “I don’t suppose it makes much difference now.”
“It does to me,” Howie said. “She was my mother.” He pushed the lighter into the dashboard and lit a cigarette. “I thought I ought to tell you before somebody else does.”
For a moment I supposed that we had left the highway and circled back along some secondary road. To our right was another ruined gate, another outdated house collapsing slowly among young trees.
AFTERWORD
Long, long ago, when Rosemary and I were still a young couple with small children, we moved to a tiny town out in the country. If I remember right, the population was under three hundred. Everyone in town—except for us—knew everyone else. Half the time, they’d gone to kindergarten together. More than half the time, they were at least distantly related. Rosemary and I were outsiders, and very much so. It was much lonelier than an isolated house would have been, and lonelier too than any city apartment.
Often I drove past a big white house in which no one lived. Most of its windows were broken; one shutter hung from a single hinge. The yard was full of weeds. I never found out why the house had been abandoned or who had abandoned it, but it has come to haunt my fiction.
THE BOY WHO HOOKED THE SUN
O
n the eighth day a boy cast his line into the sea. The sun of the eighth day was just rising, making a road of gold that ran from its own broad, blank face all the way to the wild coastline of Atlantis, where the boy sat upon a jutting emerald; the sun was much younger then and not nearly so wise to the ways of men as it is now. It took the bait.
The boy jerked his pole to set the hook, and grinned, and spit into the sea while he let the line run out. He was not such a boy as you or I have ever seen, for there was a touch of emerald in his hair and there were flakes of sun-gold in his eyes. His skin was sun browned, and his fingernails were small and short and a little dirty, so he was just such a boy as lives down the street from us both. Years ago the boy’s father had sailed away to trade the shining stones of Atlantis for the wine and ram skins of the wild barbarians of Hellas, leaving the boy and his mother very poor.
All day the sun thrashed and rolled and leaped about. Sometimes it sounded, plunging all the Earth into night, and sometimes it leaped high into the sky, throwing up sprays of stars. Sometimes it feigned to be dead, and sometimes it tried to wrap his line around the moon to break it. And the boy let it tire itself, sometimes reeling in and sometimes letting out more line; but through it all he kept a tight grip on his pole.
The richest man in the village, the moneylender, who owned the house where the boy and his mother lived, came to him, saying, “You must cut your line, boy, and let the sun go. When it runs out, it brings winter and withers all the blossoms in my orchard. When you reel it in, it brings droughty August to dry all the canals that water my barley fields. Cut your line!”
But the boy only laughed at him and pelted him with the shining stones of Atlantis, and at last the richest man in the village went away.
Then the strongest man in the village, the smith, who could meet the charge of a wild ox and wrestle it to the ground, came to the boy, saying, “Cut your line, boy, or I’ll break your neck,” for the richest man had paid him to do it.
But the boy only laughed at him and pelted him with the shining stones of Atlantis, and when the strongest man in the village seized him by the neck, he seized the strongest man in return and threw him into the sea, for the power of the sun had run down the boy’s line and entered into him.
Then the cleverest man in the village, the mayor, who could charm a rabbit into his kitchen—and many a terrified rabbit, and many a pheasant and partridge too, had fluttered and trembled there, when the door shut behind it and it saw the knives—came to the boy saying, “Cut your line, my boy, and come with me! Henceforth, you and I are to rule in Atlantis. I’ve been conferring with the mayors of all the other villages; we have decided to form an empire, and you—none other!—are to be our king.”
But the boy only laughed at him and pelted him with the shining stones of Atlantis, saying, “Oh, really? A king. Who is to be emperor?” And after the cleverest man in the village had talked a great deal more, he went away.
Then the magic woman from the hills, the sorceress, who knew every future save her own, came to the boy, saying, “Little boy, you must cut your line. Sabaoth sweats and trembles in his shrine and will no longer accept my offerings; the feet of Sith, called by the ignorant Kronos son of Uranus, have broken; and the magic bird Tchataka has flown. The stars riot in the heavens, so that at one moment humankind is to rule them all, and at the next is to perish. Cut your line!”
But the boy only laughed at her and pelted her with the shining stones of Atlantis, with agates and alexanderites, moonstones and onyxes, rubies, sardonyxes, and sapphires, and at last the magic woman from the hills went away muttering.
Then the most foolish man in the village, the idiot, who sang songs without words to all the brooks and boasted of bedding the white birch on the hill, came to the boy and tried to say how frightened he was to see the sun fighting the line in the sky; though he could not find the words.
But the boy only smiled and let him touch the pole, and after a time he too went away.
And at last the boy’s mother came, saying, “Remember all the fine stories I have told you through the years? Never have I told you the finest of all. Come now to the house the richest man in the village has given back to us. Put on your crown and tell your general to stand guard; take up the magic feather of the bird Tchataka, who opens its mouth to the sky and drinks wisdom with the dew. Then we shall dip the feather in the blood of a wild ox and write that story on white birch bark, you and I.”
The boy asked, “What is that story, Mother?”
And his mother answered, “It is called ‘The Boy Who Hooked the Sun.’ Now cut your line and promise me you will never fish for the sun again, so long as we both shall live.”
Ah, thought the boy, as he got out his little knife. I love my mother, who is more beautiful than the white birch tree and always kind. But do not all the souls wear away at last as they circle on the Wheel? Then the time must come when I live and she does not, and when that time comes, surely I will bait my hook again with the shining stones of Uranus and we shall rule the stars. Or not.
And so it is that the sun swims far fr
om Earth sometimes, thinking of its sore mouth, and we have winter. But now, when the days are very short and we see the boy’s line stretched across the sky and powdered with hoarfrost, the sun recalls Earth and her clever and foolish men and kind and magical women, and then it returns to us.
Or perhaps it is only—as some say—that it remembers the taste of the bait.
AFTERWORD
Every so often I get optimistic and explain the best method of learning to write to students. I don’t believe any of them has ever tried it, but I will explain it to you now. After all, you may be the exception. When I read about this method, it was attributed to Benjamin Franklin, who invented and discovered so much. Certainly I did not invent it.
But I did it, and it worked. That is more than can be said for most creative writing classes.
Find a very short story by a writer you admire. Read it over and over until you understand everything in it. Then read it over a lot more.
Here’s the key part. You must do this. Put it away where you cannot get at it. You will have to find a way to do it that works for you. Mail the story to a friend and ask him to keep it for you, or whatever. I left the story I had studied in my desk on Friday. Having no weekend access to the building in which I worked, I could not get to it until Monday morning.
When you cannot see it again, write it yourself. You know who the characters are. You know what happens. You write it. Make it as good as you can.
Compare your story to the original, when you have access to the original again. Is your version longer? Shorter? Why? Read both versions out loud. There will be places where you had trouble. Now you can see how the author handled those problems.
If you want to learn to write fiction, and are among those rare people willing to work at it, you might want to use the little story you have just finished as one of your models. It’s about the right length.
PARKROADS—A REVIEW
O
ne hardly knows what to say about Parkroads. Released in 1939 and 1984, it violates many of the canons of cinematography and must be considered a failure. Yet it is impossible to understand this remarkable film without an enlightened awareness of its many inexplicable experiments.
Strictly speaking, it is without opening credits. Instead the credits, such as they are, continue throughout all six (possibly seven) reels, spoken by the cast at pseudoappropriate moments. For example, as Tanya (or Daisy) reclines beside Belvedere Lake, her face concealed by an immense straw hat, she is heard to murmur, “Choreography by . . .” Jonquils are tossed by the wind, but there is no dancing per se.
Parkroads is neatly divided into alternating sequences, though in a few instances an episode of one type is followed immediately by another, quite different, episode from the same sequence. The later episodes—appearing generally in the first half of the film as it has been released in the U.S.—were produced in Brooklyn in the mid-1930s, presumably between Roosevelt’s election and the dissolution of the NRA. They are set in Belgium (largely in Bruges) in the early years of the closing quarter of the present century.
The earlier episodes, in which each character explains or at least attempts to explain the plot, were completed in various parts of the Low Countries several years ago. They are laid in and around New York, and the effect of traffic simulated by putting cars, trucks, buses, and subway trains aboard canal boats is at times very pleasing. The plot (and unlike so many experimental films Parkroads has one and is almost too concerned with it) involves a Chinese family called Chin.
Or rather, it involves a Korean-Chinese family called Park, founded when a Chin daughter weds a Korean as the Chins pass through Korea while moving eastward to the West. A letter (possibly forged) received by another family in the Chins’ native village in Hunan speaks of a paradisaical “Golden-Mountain-Land.” Chin Mai and Chin Liang resolve to undertake the trip, and the rest of the family—parents, three sisters, and a grandmother—accompanies them.
They travel to Wuhan, Nanjing, and eventually Peking (Beijing). While working as scullions in the famous Sick Duck, they encounter a wily junk captain who promises to transport them to Golden-Mountain-Land in return for one of the daughters. (There is an amusing scene in which the three vie in bad cooking.) His choice falls on Pear Blossom, whom he sells to a brothel.
The remainder of the family takes ship at Tsingtao and crosses the Yellow Sea. They disembark at Inchon, believing the junk will anchor there for several days; it sails without them.
One of the remaining sisters, Cloud Fairy, is betrothed to Park Lee, a Korean. With the aid she persuades him to provide, the other Chins move on, vaguely eastward, to P’ohang and perhaps eventually to Japan. Cloud Fairy lives out the remainder of her life in the Land of Morning Calm but bequeaths to her descendants a yearning irresistible and indefectible.
Drawn by their inherited memories, they reach California but fail to identify it as Golden-Mountain-Land (if indeed it is). They continue eastward, hitching rides with disappointed Okies returning to the Dust Bowl. In New York (these are the episodes recently completed in Belgium) they are befriended by a Turk who tells them that the world is circular, being in fact the crater of a quiescent cosmic volcano, Mount Kaf, which surrounds it upon all sides. The slopes of the crater, says the Turk, are doubtless Golden-Mountain-Land, but to reach them it is necessary to walk straight through the world, whose roads have the trick of bending human steps. Frank Park nods and soon vanishes. This bald stating of its theme is perhaps the weakest element in Parkroads.
As already indicated, Parkroads has been released in six reels; they are so staged that it is by no means easy to determine the order in which they are to be shown. There is, of course, a conventional indication on the film cans for the guidance of the projectionist, but this is almost certainly incorrect. The incidents in Hunan now given in flashback may have well been intended, at least at one time, as the opening of the picture. The sequence in the public gardens of Ghent during which Doris is asked why she has embraced decadence and answers, “Directed by Henry Miller” (or perhaps Müeller), was surely intended as the last, or next to last. Publicity releases from 1939 assert that if all the reels are projected in the correct order, it will be apparent the Parks have discovered that the village in Hunan that was the original home of the Chins was in fact Golden-Mountain-Land; in short, that the paradise described in the letter was merely that of nostalgia. One hopes not.
If so, it is a problem readily amenable to mathematical treatment. Any of the six reels could be chosen as the first. Five then remain for the second, yielding thirty combinations. Four remain for the third—one hundred and twenty combinations. Three remain for the fourth, two for the fifth, and only one for the last—a total of seven hundred and twenty showings, surely not an impossible number.
However, there are references to a missing seventh reel. If such a reel exists, the number of showings is substantially increased (to five thousand and forty), and the reel must first be found. But it is probable that the veiled hints in the old press releases only mean that when the six reels are projected in the correct order someone will be inspired to produce a seventh, in which the Parks’ unwearied journeying returns them to the Far East.
In the brief space allowed me, I have been unable to comment on the performances of individual cast members, but it would be unjust to close without mentioning the late William Chang, who portrayed the captain of the junk. His scenes aboard seem initially grandiose. The vessel is too large, its mast impossibly tall, its rigging unnecessarily mysterious. Then we realize we are seeing it through the Chins’ eyes. The Chins themselves appear small, shabby, and awkward, Chang a demigod; eventually we realize we are seeing him and them through the junk’s eyes. Distributed by Unconscious Artists, Inc. Rated R. Two and a half stars.
AFTERWORD
This story first appeared in a university literary magazine. To the editor’s intense delight, he received plaintive requests for months afterward. People—and particularly people who taught courses
having to do with film—wanted to know where they could get it.
So would I.
GAME IN THE POPE’S HEAD
A sergeant was sent to the Pope’s Head to investigate the case.
—FROM THE LONDON TIMES’ COVERAGE OF
THE MURDER OF ANNIE CHAPMAN,
SEPTEMBER 11, 1888
B
ev got up to water her plant. Edgar said, “You’re overwatering that. Look how yellow, the leaves are.”
They were indeed. The plant had extended its long, limp limbs over the pictures and the sofa, and out through the broken window, but the weeping flukes of these astonishing terminations were sallow and jaundiced.
“It needs water.” Bev dumped her glass into the flowerpot, got a fresh drink, and sat down again. “My play?” She turned up a card. “The next card is ‘What motion picture used the greatest number of living actors, animal or human?’ ”
Edgar said, “I think I know. Gandhi. Half a million or so.”
“Wrong. Debbie?”
“Hell, I don’t know. Close Encounters of the Third Kind.”
“Wrong. Randy?”
It was a moment before he realized that she meant him. So that was his name: Randy. Yes, of course. He said, “Animal or human?”
“Right.”
“Then it’s animals, because they don’t get paid.” He tried to think of animal movies, Bert Lahr terrified of Toto, Lassie Come Home. “The Birds?”
“Close. It was The Swarm, and there were twenty-two million actors.”
Edgar said, “Mostly bees.”
“I suppose.”