Shriek: An Afterword

by Jeff VanderMeer

  Meanwhile, everything Duncan had told me about his underground adventures began to recede into the distance as “real life” took over again, for both of us. A retreat of sorts, you could call it—me from what Duncan had said, Duncan from what he had done. Perhaps he needed time to absorb what had happened to him. Perhaps he had been exhausted by what he had seen, and he couldn’t physically undertake another journey so soon. Whatever the reason, he would become, in a sense, a religious man, while I would take a different path entirely. {I never became any more or less religious than I’d always been, or do you mean this as a joke? What I became was more aware of the world, the texture and feel of it, the way it changed from day to day, minute to minute, and me with it. And I did continue with my work, although I don’t blame you for not noticing.}

  If I gave Duncan’s life less attention in those years after the starfish, it was because my fortunes waxed unexpectedly. Martin Lake—an arrogant, distant prick of a man—rose to prominence through my gallery, his haunted haunting paintings soon a fixture next to the telephones in the living rooms of the city’s wealthiest patrons of the arts. {And who can say, in the long run, which was the worthier work—Lake’s bizarre melancholia or the telephone’s febrile ring.}

  My gallery sparked a nameless, shapeless, and unique art revolution that soon became labeled {pinned like one of Sirin’s butterflies} “the New Art.” The New Art emphasized the mystical and transformative through unconventional perspective, hidden figures, strange juxtapositions of color. {It would be most accurate to say that the New Art opened up to include Martin within its ranks, and that he devoured it whole.}

  As soon as I saw the change in Lake’s art—he had been, at best, uninspired before whatever sparked his metamorphosis—I sought out anything similar, including the work of several of Lake’s friends. Within months, I had a monopoly on the New Art. Raffe, Mandible, Smart, Davidson—they all displayed their art with me. Eventually, I had to buy the shop next door as an annex, just to have enough space for everyone to come see my art openings.

  I had begun to experience what Duncan had known briefly after the publication of his first book: fame. And I hadn’t even had to create anything—all I had had to do was exploit Lake’s success, and build on it. {You’re too modest. You made some brilliant decisions during that time. You were like one of the Kalif’s generals, only on the battlefield of art. Nothing escaped your attention, until much later. I admired that.}

  Suddenly, the local papers asked for my opinion on a variety of topics, only a few of which I knew anything about, although this did not stop me from commenting.

  I have some of the clippings right here. In the Ambergris Weekly, they wrote, “The Gallery of Hidden Fascinations lives up to its name. Janice Shriek has assembled a group of topnotch new artists, any one of whom might be the next Lake.” The Ambergris Daily Broadsheet, which Duncan and I would one day work for, noted, “Janice Shriek continues to build a dynasty of artists who are determining the direction of the New Art in Ambergris.” The clippings are a bit faded, but still readable, still a source of pleasure. {As well they should be—you worked hard for your success.} I can remember a time when I kept such clippings in a jacket pocket. I’d pull them out and make sure they still said what I thought they had said, that I hadn’t imagined it.

  However, the New Art soon became about something other than artistic expression. A kind of tunnel vision set in whereby a painting was either New Art or Not New Art. Those works identified as Not New Art were dismissed as unimportant or somehow of lesser ambition. I admit to participating in this mindset, although for the ethically pure reason that I wanted my gallery to make money. So I would do my best to label whatever I had hanging there as “New Art,” from the most experimental mixing of media to the most hackneyed scene of houseboats floating idyllically down the River Moth.

  “That’s an ironic New Art statement,” I would say of the hackneyed houseboats, mentally genuflecting before the latest potential customer. “In the context of New Art, this painting serves as a condemnation of itself in the strongest possible terms.”

  I have to say, I loved the sheer randomness of it all—there is nothing more liberating than playing an illogical game where only you understand all of the rules.

  My gallery grew fat on Lake’s leavings, even after he left me, while Ambergris continued to prosper even as it headed ever deeper into complete moral and physical collapse or exhaustion. As the city’s fate, so my own—and it took so little time. This is what, looking back, I marvel at—that I could discover so many new appetites, vices, and affectations in so short a time. Four years? Maybe five? Before beginning the inevitable plummet. These things never last—you ride them, you live inside of them, and then, almost without warning, you are flung to the side, spent, used up. {Although you must admit that, in this case, you flung yourself to the side.}

  Most nights, I would be at a party until close to dawn. If not a party, then permanent residency at the Café of the Ruby-Throated Calf, drinking. I wore the same clothes for three or four days, no longer able to distinguish between dawn and dusk. It was one continuous swirling spangle of people and places in which to revel in my fame ever more religiously.

  I met many influential or soon-to-be-influential people during that time {unsurprising, as you were one of those people, Janice}, Sirin being a prime example.

  My first memory of Sirin, our enigmatic future editor, has me slouched in a chair at the café and feeling someone slide into the chair next to me. When I opened my eyes, a slender, dark-haired man sat there. He held his head at a slight angle. He smelled of a musky cologne. His mouth formed a perpetual half-smile, his eyes bright, penetrating, and reflectionless. The man I saw reminded me of old tales about people who could shape-change into cats. He looked like a rather smug, perhaps mischievous, feline. {He was the most exasperating, talented, maddening genius I’ve ever met. My initial reaction to meeting him was to want to simultaneously punch him, hug him, shake his hand, and throw him down a dark well. Instead, I generally stayed clear of him and let Janice serve as my intermediary, as she saw mostly his charming side.}

  “Janice Shriek,” he said. It was not a question.

  “Yes?”

  “Sirin,” he said. He handed me a card.

  Still struggling with context {with alcohol, you mean}, I looked down. The card gave his address at Hoegbotton & Sons, on Albumuth Boulevard.

  “I like what you do,” he said. “Come find me. I may have a use for you.”

  Then he was gone. At the time, Sirin was a great womanizer, attending parties and cafés just to identify his next victims. I wasn’t sure what “use” he might have for me, and I was skeptical.

  Sirin’s fame as an editor and writer had begun to spread by that time. He had, like the mythical beast he took his name from, generic yet universal qualities. He brought to his editing the same sensibilities found in his writing. He could mimic any style, high or low, serious or comedic, realistic or fabulist. It sometimes seemed he had created the city from his pen. Or, at least, made its inhabitants see Ambergris in a different light. That he thought too much of himself was made tolerable by the depth and breadth of his talent. It never occurred to me that he would want me to write for him.

  People like Sirin would come out of the haze of lights and nights, and I would receive them with a gracious smile, an arm outstretched, to indicate, “Sit. Sit and talk awhile!” I was very trusting and open back then. {Trusting? Perhaps. But can you be trusting or suspicious when you are not yourself? I came to some of those all-night sessions at the café, Janice, but most of the time you were in such an altered state that you didn’t recognize me. And that conversation you recall so fondly? Your end of it was often, I hate to say it, a garbled warble of slurred speech and mumbled innuendo. Although it probably didn’t matter, because only rarely were the people you spoke to any better off. I don’t mean to reproach, but I must bring a sense of reality to this glorious, decadent age you write of with such wi
stful fondness. I became so bored that I stopped coming to the café. It wasn’t worth my time. I’d rather be underground, off on the scent of some new mystery.}

  Sybel—luminous, short, sweet Sybel—was one of those people I met during this time. He had a thick rush of dirty blond hair exploding off the top of his head like waves of pale flame, clear blue eyes, a grin that at times appeared to be half grimace, and he wore outrageous clothes in the most impossible shades of purple, red, green, and blue. He rarely sat still for very long. In those early years, he had the metabolism of a hummingbird. A coiled spring. A hummingbird. A marvel.

  The first thing Sybel said to me was, “You need me. New Art will soon be dead. The newest art will be whatever Janice Shriek decides it is. But you still need me.” Which made me laugh.

  But I did need him. Sybel had explored every crooked mews in Ambergris. A courier for Hoegbotton, he also knew everyone. A member of the Nimblytod Tribes, he had an affinity for tree climbing that no one could match, and a cut-bark scent that clung to him as if it was his birthright. His only pride revolved around his knowledge of the streets, and his well-tended, lightweight boots, which had been given to him by his tribe when he had left for the city. He couldn’t have been more than eighteen years old when I met him for the first time.

  “I’m quick and good,” he said, but did not specify good at what. “I’m eyes and ears and feet, but I’m not cheap,” he told me, and then named a large monthly fee.

  I suggested a smaller amount, but added, “And you can stay at my apartment whenever you like.” After all, I was rarely there, except to catch up on three or four hours of sleep.

  So it was that I acquired a roommate I rarely saw. I know he welcomed the refuge, though: his tumultuous love life meant he was continually getting kicked out of some woman’s bed.

  I soon found I had chosen well. From careful observation at Hoegbotton—when he was not out all night cavorting with painters and novelists, sculptors and art critics—Sybel had learned how to run a business, something I never did well. Over time, he became my gallery assistant—on and off, because he had a habit of disappearing for several days at a time. But I was hardly punctual myself, and I loved his energy, so I always forgave him, no matter what his transgressions. I used to imagine that every once in a while, Sybel got the urge to return to his native forests, that he would fling off his clothes and climb into the welter of trees near the River Moth, soon happily singing as he leapt from tree to tree. But I’m sure his absences had more to do with women. {Actually, Sybel’s absences had a myriad of causes, because he led a myriad of lives, some of which he did not tell you about. I cannot remember exactly when I entered into one of those lives, but I do remember many a morning when, having emerged from yet another dank hole in the ground, grimy with dirt and sweat, I would stand exhausted by the banks of the River Moth beside a particular tree chosen in advance, inhabited by a certain member of the Nimblytod Tribe.

  {Sybel always smiled down at me from that tree. I don’t know if he liked the dawn or liked the tree or liked me, but it always made me smile back, no matter how grim the context of my emergence.

  {Our meetings had a practical purpose, though. The Nimblytod were renowned for their natural cures, using roots, bark, and berries. Sybel made a considerable amount of money on the side selling various remedies. You had to go to him, though, and that meant appearing at a particular tree by the riverbank at a particular time.

  {For me, he did two things—sold me a tincture of ground bark and leaves for fatigue and, if I thought it was warranted, snuck a rejuvenating powder into your tea, Janice, to balance the effects of your debauchery.

  {“If she ever found out, she’d be furious,” Sybel told me once.

  {“Better that than dead,” I said.

  {“She’s much stronger than you think,” Sybel said. “She can go on this way for a long time. So can I.” He was looking at me with some measure of amusement—me in my fungal shroud, giving every appearance of being on my last legs. Who was I to lecture anyone about these things?

  {I just stared back at him and said, “I want my tincture. Where’s my tincture, tree man?”

  {He never left that damned tree during any of my meetings with him there. Not once. Just tossed my cure down to me.}

  Sirin and Sybel were the only men I didn’t sleep with during that time—for, suddenly, I had dozens of lovers. I slept with more men than there were paintings on the walls of my gallery, my nights a blurred fantasy of probing tongues, stroking hands, and hard cocks. I slept, quite a few times under the stars, with Lawrence, with John, with James, with Robert, with Luke, with Michael, with George…and the list goes on without me, intertwined with the sound of drums and a line of dancers. About as interesting, in retrospect, as Sabon’s necklace. I’m sure Duncan rolled his eyes behind my back whenever I mentioned a new “boyfriend,” since the longevity of my boyfriends was akin to that of a mayfly. I can hardly remember their names. {Since I was actually paying attention during that period, I remember them. There was the painter James Mallock, whom you called “old hairy back” and the sculptor Peter Greelin—too clutchy, you said; and the theater owner Thomas Strangell, who had trouble getting it up on opening nights; and so many more—“an endless parade of erotic follies,” as you used to typify it. In an odd sense, it didn’t bother me, Janice. At least you were enjoying yourself. I don’t know if you ever realized this, but before that you rarely seemed to enjoy yourself.}

  I became addicted to anonymous sex, sex without love, sex as an act. I loved the feel of a man’s chest against my breasts, the quickening of his breath while inside me, the utterly sublime slide of skin against skin. Each encounter faded from memory more quickly than the last, so that I only became more ravenous. Before, I had been starving; now, I felt as if I could never be satiated.

  In other words, I began, under the steady, orgasmic pressure of fame, to become someone totally different than I had been. Can I blame me? It felt marvelous. It felt so good I thought I would die from ecstasy. I was successful for the first time ever. For the first time ever, it was me, not Duncan, who commanded respect. If our father had been alive, he wouldn’t have ignored me—he couldn’t possibly have ignored me. {He never ignored you, Janice. No one ignored you. You just couldn’t see them looking at you, for some reason.}

  And still I consumed and consumed and consumed. I could not stop. Even in the midst of such carnality, a part of me remained distant, as if I were pulling the strings of my own puppet. I used to walk through a crowd of people, most of whom I knew intimately, and feel utterly alone. I had written that letter to Duncan about the golden threads and yet forgotten everything it meant.

  Even Sybel had his doubts about my philosophy of life, despite how perfectly it fit in with the New Art ideal. We’d sit on the steps leading into the courtyard at Trillian Square, eating fruit that Sybel had plucked from some trees near the River Moth.

  “How do you think everything is going?” Sybel would ask, a typical way for him to start a conversation if concerned about me.

  I’d reply, “Great! Wonderful! Spectacular! Did you see that new painting? The one by Sarah Sharp? And it only cost us half of what it should have. If I can sell it, there are twenty more where that one came from. And after that there will be twenty more from somewhere else and then before you know it another gallery and after that, who knows. And that reminds me, did you see the mention in the Broadsheet? You need to make sure the theater owners see that—free advertising for us both. We have to maximize any leverage we get.”

  And I couldn’t. Stop. Talking. And Sybel would eat his fruit and sometimes he’d put his hand on my shoulder and he’d feel that I was trembling and that I couldn’t control it, and that touch would become a firmer grip, as if he were steadying me. Righting me.

  Despite this, I didn’t stop. I refused to stop—I wanted to eat, drink, and screw the world. Each new party, each new artist, each new day, started the process anew. With what glittering light shal
l we drape the new morning? Starved for so long, I now became the Princess of Yes. I. Simply. Could. Not. Say. No.