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Octavia was at the last gate when the alarm sounded. A small army of bristling weapons encircled her. The bag shuddered in her grip, panic rippling through its weave. She gripped it tighter, reassuring it. It’s your hair, it sent tremulously. Told you to straighten it and bind it tight; they don’t like big black hair. She squeezed it tight against her side: Hush, hush. “Step aside, ma’am,” said a man in a grey uniform.
The alien came to play ball. Or so I thought. It didn’t say so outright. Not exactly. Couldn’t speak English far as we could tell. But every day that summer, it would meet us there at the sandlot. The thing would come and stand behind the dugout, which was a rusty old hope chest Willie stole from his big sister. It would stand out there, the alien, not moving or nothing. Just observing, if that’s even the right word.
The carpenter was alone and living out of his truck. He had been out of work for a long time when he found an envelope in his post office box. The envelope was black and coarse as hair. Instead of a seam, it had a mouth. When the carpenter picked it up, the mouth bared iron teeth and told him that he was hired. It would be his job to go to old houses the bank owned, fix them up, and kill their monsters.
You’re far more likely to have heard of my artist wife Lucille Hrade than of me. Her paintings have a way of communicating directly to people. They’re realistic—you can see the subjects of her portraits breathe, feel the heat of her sun-baked landscapes—but at the same time, like Andrew Wyeth’s work, they have just enough of what I call the askew in them to make you think you’re daringly enjoying experimental art.
No one had ever seen Tatter D’MaLeon’s face. Even those who thought she was just a legend agreed that she was always masked. That was about all anyone agreed upon. Although the female pronoun was usually applied to “her,” even Tatter’s sex was in doubt, as was her humanity, her age, and whether or not she existed. But believe or not, there was scarce a one who didn’t love the stories. Anthropologists had tried to pin down exactly when the first Tatter D’MaLeon stories had been told.
It isn’t until I realize I can’t find my son—really can’t find him—that I think of all the other things I can’t see in the starlit orchard. “Cruz!” I yell. “Buddy! You win!” There is no moon. The trees are thick with blossoms. I hear Cruz in the tall grasses, rustling, giggling. He is six years old. This wouldn’t bother my wife. Alyssa believes that Cruz should learn to use a knife, to light a match, to walk beside a river without stumbling and drowning.
It was just a luckychance that I had been defrosted when I was—the very year that farprobe 992573-aa4 reported back that it had found a goodstar with a shattered crystalsphere. I was one of only twelve deepspacers alivewarm at the time, so naturally I got to take part in the adventure. At first I knew nothing about it. When the flivver came, I was climbing the flanks of the Sicilian plateau, in the great valley a recent ice age had made of the Mediterranean Sea I had once known.
The dragon-horse awakens in moonlight. Drops of cold dew drip onto his forehead, where they meander down the curve of his steel nose. Plink. He struggles to open his eyes, rusted eyelids grinding against eyelashes. A pair of silvery specks reflects from those giant, dark red pupils. At first, he thinks it’s the moon, but a careful examination reveals it to be a clump of white flowers blooming vibrantly in a crack in the cement, irrigated by the dew dripping from his nose.
Tomorrow is Easter, and I will have to welcome into my home the woman who is going to murder my son. I need to prepare side dishes in advance. Take a heaping bowl of injustice, mash it to a pulp, season with tears of rage, bake, and serve in a dish speckled with four-leaf clovers. The question is, should I put the rat poison in hers alone, or would it be better for all of us to go together?
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