Radiance

PART TWO

THE BLUE PAGES

The camera is much more than a recording apparatus, it is a medium via which messages reach us from another world.

—Orson Welles

Many cities of men the traveller saw, and learned

the turnings of their streets and of their minds.

Many sufferings he learned as well,

drifting heartsick upon the endless open sea,

striving to keep his life within his breast

and bear his comrades home.

But he could not lift their stars from their shoulders,

not even with his whole strength.

Recklessness destroyed them all,

those blind fools who in madness

devoured the Cattle of the Sun—

and so it was that bright god removed from them

their homecoming.

—Homer, The Odyssey

The Radiant Car Thy Sparrows Drew

(Oxblood films, dir. Severin Unck)

SC2 EXT. ADONIS—DAY 6 POST PLANETFALL 23:14 [30 NOVEMBER, 1944]

[EXT. Former site of the Village of Adonis, on the Shores of the Sea of Qadesh, Night.

SEVERIN UNCK and her CREW have lit the cracked braziers of the village; this is the only light source, but it is ample. Callowbrick flames flicker ghostlike over what was once the centre of town, Ahab Square—whose name provides a neat indicator of the general humour to be found in callowhale villages such as this, all over Venus. The ruins of Adonis’s dwellings and public buildings are visible as tall shadows, unsettling shapes, no longer recognizable as human habitation, their angles stove inward and burst open to become the shattered bones of a place once living. Lashes of a milky substance splash foliage, ruins, beach, roads. A light rain falls.

Dead Adonis, laid out in state on the beachhead, possessed of one single mourner. The great ocean provides a score for this starlit landfall. In the old days a Foley boy would thrash rushes against the floor of the theatre to simulate the colossal, dusky red tide of the Sea of Qadesh, the great waterway that flows through all the corners of Venus, having no beginning and no end. The audience would squint in the dark, trying to see some sense of scarlet in the monochrome waves, emerald in the undulating cacao-ferns. The black silk balloon of the Clamshell’s amphibious dinghy crinkles and billows lightly on the strand.

SEVERIN steps into frame, into the diffident, limping light, her bobbed hair sweat-curled in the wilting wind. She has thrown the exhibition costume into an offscreen campfire and is clothed now in her accustomed trousers and black aviator’s jacket.

Other shapes move with busy intensity as the CREW sets up camp. SEVERIN holds her hand out like she would to a horse or a dog—walking carefully, quietly—but she does not walk toward a horse or a dog. SEVERIN looks uncertainly over her shoulder at the long snarl of sea behind them—and at ERASMO ST. JOHN, temporarily trusted with the care and feeding of George. He says something to her offscreen—he must, because she cocks her head as though considering a riddle and says something back to him. Her mouth moves, but the microphones have not been set up yet. Her lips make words the audience can never quite read.

A SMALL BOY walks in circles around the stub of what was once a Divers Memorial. All such villages have a Memorial: a cairn of diving bells bolted together on a pedestal in the town square, one for each diver who perished fast to a whale, lost in pursuit of the precious pale gold of callowmilk. Adonis’s monument has its bells no longer, vanished with the population, but the pedestal remains. The boy stares down as he turns and turns, endlessly. His hands flicker and blur as if he is signing something, or writing on phantom paper. He wears an adult’s diving costume, its brass bell attached firmly round his neck. Its folds and grommets drag against him, slow him down.

SEVERIN calls to him. He does not flinch or stop. He does not look up. The camera watches him. SEVERIN watches him. Slowly, the CREW cease their activity and turn their gazes to the child. The footage crackles into life as the sound equipment comes online. SEVERIN squats down on her heels in a friendly, schoolteacherly fashion, still holding out her hand, beckoning. She tilts her head in an aw, come on gesture. Two kids in a garden. One wants to play. The other does not.]

SEVERIN

Hey, little guy…it’s okay now. It’s fine now. I’m here. My name’s Severin. You can call me Rinny if you like that better.

[The BOY simply turns and turns and turns, over and over. His huge diving bell casts a shadow like a black spotlight. The film is damaged. It has always been damaged. It was damaged in the dailies. No one has ever seen it uncorroded. The BOY seems to leap forward and backward round the ruined Memorial, jumping in and out of reality as the print cuts in and out, in and out.

CUT TO: EXT. ADONIS, DAY. 07:45: MARIANA ALFRIC is screaming, clutching her hand to her breast FILM DAMAGED FOOTAGE SPLICE CORRODED SKIP AFFECTED AREA SKIPPING SKIPPING UNABLE TO COMPENSATE ERROR 143 SEE ARCHIVIST FOR ASSISTANCE]

Production Meeting,

The Deep Blue Devil

The Man in the Malachite Mask

(Tranquillity Studios, 1960, dir. Percival Unck)

Audio Recorded for Reference by Vincenza Mako

MAKO: No, no, Percy, listen to me. It’s not working.

All right, it’s working, but it’s not right. The noir setup has a certain energy, I agree, but it sits pretty heavy on the action. Though I like making Cyth Brass a secretary. We should keep that. She’ll probably sue us for defamation. But we said we’d give him a love interest, not a probation officer! And what are we going to do when we get to Venus? And we do have to get to Venus, I promise. You can dawdle all you like, but it’s there in the middle of the story, throwing its gravity around, warping everything toward it. The point is, what kind of hardboiled finale did you mean to stick on it? Shootout at Adonis? Breathless bullets and betrayal and a fedora on her grave? Is that what you think happened? That she’s buried in a swamp somewhere with a hole in her head? If you go with noir, you’re building in a certain expectation of violence. Of death.

PERCIVAL UNCK: Varela has said she’s dead all along.

MAKO: And Erasmo has said she isn’t. You said you’d rather not have death, but you’re stuffing it in from all sides. And…Severin’s outside the scope of the story. She can’t help it. That’s all a script like that will let her be. An object on a mantle that has to go off by the third act. A gun that must be fired. She’s not a person, the way you’ve got it set up, with your broads and bitches and dark streets at the edge of space. She’s just a goal.

UNCK: Not a goal, Vince. A Grail.

MAKO: Sure. Fine, Percival. A Grail. Very clever. Very subtle. But a Grail isn’t an alive thing. It has no blood but the blood of another; it has no life but the life it grants. Its job is to sit there and…be a Grail. To be sought. That doesn’t sound like anyone we know. And, frankly, it’s all a bit pedestrian for you. For us. I think you’re holding back. I know I am. Because…because we think she’d want us to. To double down on the kind of stories she liked to tell. Really, how different is your Te Deum from the actual digs? Barely a streak of grime out of place. It’s just…events that could really happen taking place in a real city. That’s not you. That’s not me. That’s her.

UNCK: But it did really happen. In a real city. Just not that city.

MAKO: When has that ever slowed us down? We put vampires in The Abduction of Proserpine! That was a real thing that happened in a real city. And Proserpine is a real city that really disappeared off the map of Pluto, I think it’s fair to point out, not so different from Adonis. We shovelled in vampires by the coven and we didn’t even blink. We just ordered up a vat of fake blood and started stitching capes.

[Unck laughs, a laugh that is half a grunt.]

Listen, I have an idea brewing. It’s just a little shift, really. In perspective. In framing. Because noir isn’t really a new thing at all. It’s just a fairy tale with guns. Your hardscrabble detective is nothing more than a noble knight with a cigarette and a disease where his heart should be. He talks prettier, that’s all. He’s no less idealistic—there’re good women and bad women, good jobs and bad jobs. Justice and truth are always worth seeking. He pulls his fedora down like the visor on a suit of armour. He serves his lord faithfully whether he wants to or not. And he is in thrall to the idea of a woman. It’s just that in detective stories, women are usually dead before the curtain goes up. In fairy tales, they’re usually alive. Fairy tales are about survival. That’s all they’re about. The princess lives to get married in the last act. The detective solves the woman; the knight saves her.

And really, really, when you put a fairy tale together with grime and despair and industrial angst you get the Gothic, and that’s where we live, Percy. That’s our house. So why don’t we lose the trench coat and pick up a black cloak. Turn the Byronic all the way up. An ancestral curse, a mad lord, a brooding castle. Obsession, desire, secrets. It’s all already there. And a ghost. Because the truth is…the truth is, this is all a ghost story. It always has been. We’re pouring out a bowl of blood on the banks of the Styx, asking her to drink it and speak.

UNCK: That’s…not bad.

MAKO: I know, dummy. It’s my idea. Of course it’s not bad. We’ve already sent him to Pluto. It’s perfect. Nothing darker and more mysterious than that blasted place. For all anyone ever hears out of Pluto these days, it might as well be Hades itself. A whole planet that’s nothing more than the haunted mansion on the hill. Lights in the dark. Sounds in the night.

Percy…we owe her our best, not just our most polite. You and I, we’re no good at telling a story straight. It won’t come off right. Like a dog reciting a sonnet. Impressive, but how much better to let him howl? So, look. She’s…she’s captive in a black palace of a thousand rooms. Imprisoned by a terrible master. Behind briars, Sleeping Beauty in black lipstick. No one has seen her for years. She’s a legend, a whisper in the taverns and the alleyways.

UNCK: And a stranger comes to town.

MAKO: A stranger with a hidden past. An unnatural secret. A concealed deformity?

UNCK: And a curse, Vince. You’ve got to have a curse. It’s the accessory the fashionable antihero cannot go without. How about…when asked, he must always tell the truth. It’s not even much of a leap from the detective who must deliver the truth to his bosses. We’ve still got all the Pluto sets from Proserpine. And the Bertilak woods from Sir Gawain on Ganymede.

MAKO: And Varela slots right in. He was always hip deep in a phantasmagoria anyway. You want to look that liar in the eye? Let’s do it. Maximo Varela did actually run off to Pluto when Oxblood turned him loose.

UNCK: And the end, Vince?

MAKO: How do all Gothics end? With magic. And with revenge.

The Deep Blue Devil

The Man in the Malachite Mask:

My Sin

20 February, 1962. Early morning. Obolus cantina.

During the whole of that frozen, dark transit through the glittering, howling autumnal moorlands of the trans-Neptunian wastes, as the ice road hung thin and ragged as funereal curtains beyond the portholes, I had been keeping studiously to myself within the confines of our slim vessel as it passed through that singularly lonesome expanse of darkness and, whilst the blue and ghostly shades of morning at the edge of civilization roused the passengers, drew within sight of the melancholy face of Pluto.

Breakfast brought an oppressive gloom down upon my spirit. Soft-boiled eggs oozed a golden ichor of loneliness onto my spoon; the buttered rolls spoke only of the further torment of my being. Failure swirled in the milky depths of my tea and the bacon I devoured was the bacon of grief.

“There is naught on Pluto but magicians, Americans, and the mad,” rasped the old woman who had settled in beside me in the Obolus cantina, a lavishly appointed, elegant space filled topful with the intolerably irritating chime of cutlery and soft whisperings. She needn’t have troubled me; there was room enough for her to encamp at a table of her own and gum at her crumpets whilst leaving me in peace. I despised her for failing to do so and turned up the corner of my greatcoat against any further conversation. It is always damnably cold on these ships. At the evening receptions, the décolletages of all the earnest and well-meaning ladies prickle with gooseflesh and the throats of the paler girls sheen a trembling, vampiric blue. The crone with whom I unwillingly shared my morning meal, however, did not worry herself with the chill. She wore red and violet, and she had pinned in her white hair black silk calla lilies with long, viridescent stamens thrusting suggestively upward, as though her head were a radio array tuned every direction at once. She smelled sour—but then, so did I. So did the blue-necked ladies dancing in their rosettes and pink damask. Everyone reeks after six months on the Orient Express. There is no hiding our animal nature out here on the ice road. Crone, maiden, paladin, my own unhappy self: not a one of us smells better than a week-dead lion on the veldt.

“Is that so?” I groused at her, nose plunged deep into my tea, praying for her to return to the counter for more of today’s pastry (sugared gardenias in a glazed puff globe), more of today’s jam (fig-candleberry), more of anything but my attention. My own flaky globe and pot of jam sat unmolested before me—how quickly I had forgotten my previous starvations, privations, depredations, and come to that unimaginable point wherein I refused the obscenely precious food supplied by our invisible, unmentionable hosts at Oxblood Films. The price of my breakfast, which only increased with every day further distant from any place where a gardenia or a candleberry could grow, could purchase a small estate in the less fashionable bands of the Kuiper Belt, yet I could hardly taste it. The past coated my tongue and robbed the present from me—and yet I own no nobility on that account. Give me a little bacon and milk and I become, inevitably, a decadent like all the rest of them.

I wondered what use our hosts could have for this doddering old woman, what favour she had done or would do them, to earn passage. I had grudgingly reached first-name terms with most of the other passengers, but for six months, this baggage of a woman had declined to share her name with anyone at all. Perhaps she had once been a starlet. Perhaps I would recognize her younger self, if presented with evidence of those lilies in red hair thick as blood and life. Her voice had that old-fashioned, hard-edged showman’s twang, that affected, too-bright accent of the Nation of Theatre, as though all plays came from a single strange planet where you could pick up, without meaning to, the local dialect. That voice had no relation to her broken body, to the lump in her back or the long, sad draperies of her skin. Her voice was a wholly separate being, one flush and good and bright and subtle. She was all voice. In the dark, I might have worshipped her.

“Oh yes,” she said, crunching a sugared gardenia between her shockingly white teeth. An addict, then. Af-yun turns the teeth a lambent, unsettling, inhuman white, so white it edges into lavender, into a colour as clean as death. That’s what comes of eating the muck scraped off of Venus’s underside, of breathing the stars’ putrescence.

I will not say my teeth are brown.

“The question is,” the crone chortled in that surprisingly rich, full, clotted-cream voice, spilling bits of flower and pastry down the front of her red gown, “which one are you? I’m American, which doesn’t bode well for you, I’m afraid. Well, I’m American now, in any event. Morocco never treated me as well as I deserved, so I saw no reason to stand by my man. Pluto is the end of everything. Last Chance Gulch. For me, that spells home.”

I made a noise in my throat that could be interpreted as agreement, rebuttal, amusement, disgust, or commiseration—I have perfected this noise. I consider it vital, for rarely do I wish to say anything to another person which a well-timed grunt cannot replace.

My tormentor, however, wheedled on as though I had clasped her to my chest and implored her to speak, speak now, speak forever, speak until the sun gutters and the snow road melts! “But you are a young man. Only the young are so rude and unpleasant. There’s no fortune to be made on Pluto, if that’s your mind. Someone ought to have told you.”

“I have business.”

“With whom? The buffalo?”

I sighed and fixed her with a black gaze. I have perfected that gaze also—it is necessary in Te Deum and elsewhere. If you cannot wither a man with your eyes you will be withered by his fists. Yet my best back-alley glare did not move that ridiculous soul whom I by now had to admit had become my breakfast companion. “With Maximo Varela, if you insist on prying into my affairs. Though it has been indicated to me that he is no longer going by that name.”

The woman snorted. Even her snort had melody. Incredulity shaped itself upon her face. “That…that he is not.”

“We are to be met at the Depot by his daughters and escorted safely to his house, though neither the house, nor the daughters, nor the Depot, nor the meeting are any concern of yours.”

Her rheumy eyes swam with dark mirth. “Poor lamb,” she crooned, and patted my hand in a grandmotherly fashion. “What a pity we wasted this voyage in not knowing one another. I might have told you tales. I might have told your fortune. I might have told you to yourself. People used to listen to me, oh how they used to listen! Hung on every word. I made gold out of horseshit in my day, my boy. Imagine what I could have done with you.”

I, naturally, did not share her sentiment. We would disembark at midnight tomorrow and already my feet itched for earth, my heart for silence, for the surcease of the endless thrum of engines in the walls, the constant hum and rumble that maddened me, made my blood ricochet up and down my spine, no less than the equally endless need for the smallest of talk shared between the few rarefied passengers, all of us avoiding the plain fact of the ghastly waste of this ship, its food and fuel and polish spent on sixteen nervous, uncertain souls.

“If you have information on Varela, I will certainly hear it,” I allowed, knowing I might as well accept my defeat. I would be her creature until lunch service, and probably dinner, too. She would never let me be.

The crone with the bronzed voice looked out the bolted porthole at the growing spheres of Pluto and Charon, opals hanging in the stony blackness, clouds like hands clutching their few, scattered continents, clutching warmth, clutching life. When she spoke, the pitch of her voice plucked at my sinews. It was as familiar as my own shadow, yet I could not, could not recall where I had heard it before. Its rhythms changed, peaked, rolled—and I felt as though my mother were telling me a tale before bedtime, though I have no memory of my mother and would not know her if she called my name from the depths of hell.

“Once upon a time, a man, weary of both body and soul, shipwrecked upon a faraway isle. This isle dwelt in the midst of an endless, wine-dark sea whose depths were strewn with stars and horned leviathans and secrets kept by unguessable fathoms—and upon this isle it was always night. This man possessed in his heart and his hands the power to command light and force it to follow his will, but this power no longer comforted him, for he had once been charged with the protection of a maid both good and beautiful, and had lost her. But the whispers of the world said that he had done more than lose her, that he had killed her with his own hand. In shame, this man threw his name, the name of a man who could cast an innocent girl into darkness, underfoot and trampled upon it. From the moment his foot touched the sweet-smelling shores of that faraway isle, he called himself Prospero, a name so famous he could bury himself within it. He put upon his head a jester’s crown and on his feet the belled dancing shoes of a fool, and spoke only madness to any who came before him, begging him to perform his old feats of light and shadow. Yet even this did not bring him the oblivion he craved, the anonymity of the guilty or the rest of the defeated. The more absurd his speech, the more frenzied his dance, the more he behaved like a jungle creature in a man’s skin, the more he found himself sought after by the folk of Pluto, for whom amusement is the only currency.

“On that lawless carnival isle, the castle of Prospero became a constant Saturnalia, a house on a high icy hill where unholy lights flashed and burst through the permanent night of that world of phantasms. Even to breathe the air of those halls was to become intoxicated. To light a single lantern was to invite ghosts and will-o’-the-wisps and sirens from every gable and eave. Into this miasma the man thought he could finally disappear. But word reached the great Emperor of the shadowy isle that wonders unheard-of were afoot in the house of Prospero, a house which was quickly becoming a kingdom unto itself. The Emperor donned a mask, the face of a black coatl whose tongue dripped with nightrubies, and went to the revels to see for himself. What he saw there no man can say, yet when he emerged, he had made Prospero his only heir, and placed the coatl crown on that poor magician’s grieving head.

“This is the isle toward which our pretty silver ship flies, for whose sake our golden sails catch the sun’s good wishes and bear us both across the starry, frozen wasteland between our former lives and the End of All. And the man I speak of is Maximo Varela: Prospero, the Mad King of Pluto. I wish you your fill of him—you will have it, I’m sure, and more.”

The old woman looked back to me and laughed like a young girl. A flush rode high on her cheeks. She clapped her hands, applauding herself. “I reckon I’m as good as I ever was, don’t you? Give me a script; I’ll eat you alive and you’ll love every moment. Now clear off and quit bothering an old woman at her breakfast.”

I returned to my quarters in a consternation of curiosity and black dread. I felt, far beneath the polished green floorboards, the fragrant Ganymedean banyan with its glinting golden grain, the pneumatic array gasping into life, the intimate suckle of gravity cupping the Obolus and drawing it down, down into its long well. Very soon my work would have to begin, truly begin, rather than remaining comfortably far off, like a suit in a closet with all its attendant discomfort, ready to be worn sometime soon, but not today.

The smell of our staterooms flowed over me: sweat, skin, stale breath, lavender, talc, shoe polish, typewriter ribbons, last week’s peach-xochipilli preserves left uncovered on a night table. Above and below it all, penetrating every surface, every linen and lantern glass, was that perfume I had grown to both loathe and long for, Madame Zed’s latest vicious, stinking, delicious golden bottle: My Sin. It smelled like a forest of fallen women.

I looked down at the shape of Cythera Brass, the source of My Sin, in the emerald sheets of her bunk. She wore that witch’s unguent so often I was convinced that even her marrow would stink of its musk and spice. From her alone I had never smelled—from Uranus past Neptune’s unhinged orbit—even the slightest noxious emanation. Any foulness of air in our quarters belonged to myself alone. I smelled only My Sin on her, only that alien wood where a creature like her might cut her teeth. My warden, my minder, my leash. Her long, lovely limbs lost in sleep—but not so lost that she did not wrap her arms around her shoulders, her head sunk in her chest, guarding and girding herself even in dreaming. I despised her: for her orderliness, her efficiency, her beauty, her imperturbable calm, her—quite correct—disdain of my person, her loyalties, and her constant reminder that I was being tolerated only for the work I could perform. All aboard presumed her my wife, for she kept closer to me than any lover, always at my elbow, my side, practically barracked in my waistcoat pocket. I had risen inhumanly early in order to escape her company at breakfast—but one can never escape the quiet, implacable hell of company.

I did, in a moment of extreme and regrettable sobriety, try to kiss Cythera at the little Christmas ball held in the starboard conservatory. Shards of the ice road swirled and banged beyond panes of submarine glass overhead. Pine boughs hung festively all about—though of course not actual pine. Our yuletide green had been knitted out of jute and wire and shredded dresses by the Udolpho triplets, those wanton Martian contortionists and—as I had discovered—wanted counterfeiters, from Guan Yu. Each of the nine women aboard had donated a green gown to the effort. We whirled away under Cythera’s lime spangled flapper-fringes, Harper Ibbott’s hunting cloak, every girl’s bright emerald and olive hoopskirts cut and ruched into garlands. We were a strange lot, the Obolus cargo, some famous, most not, all vibrating with the things we did not tell each other. Cythera seemed happy for once, in a long, ghost-grey sigh of a dress, assaying a Charleston, singing carols. True to the word of our mutual masters, Miss Brass had brought along a steamer of intoxicants and exotics that would turn a pirate into a teetotaller, but in those early days I had hatched the comical notion that I would do my job well. I spent my nights reading and rereading the histories and reports provided by Oxblood, staring at photographs as though my gaze could set them ablaze; coming close, I thought, to connections that danced just beyond the reach of my deprived, shrivelled brain, which had thrived on liquor, opiates, and hallucinogens. I could see her, I could see Severin, big and dark as a heart, at the nexus of some glowing web whose edges I was so close to touching.

Alas, that is the danger of sobriety. Everything seems possible.

At midnight on Christmas, with the disc of distant, turquoise Uranus like a tiny crescent moon above us, I slung my arm around the waist of Cythera Brass and kissed her. It was a good kiss, one of my best. We are the same height, but our noses did not clash, nor our foreheads collide. The scent of My Sin drenched my fingers, my eyelids, my mouth. I thought perhaps I had impressed her with my dedication to the work, that though we had been forced into sharing a certain chain of events, we might find warmth—indeed, even strength—in each other.

Those long limbs went to stone in my arms. When I withdrew, her face crackled with contempt. “I am not a perk of your position, Mr St. John,” she said, with the finality of the grave. “Do not mistake me for an opium pipe.”

And that was the utter terminus of any camaraderie or goodwill between us.

Yes, I despised her. But I am a strange creature. I am strange even to myself. There is no specialness in my ashen feelings toward Miss Brass. I despise myself as well, and all my works. It does no good. No matter how I practice my despising, I remain Anchises, and my works keep working.

“Wake up,” I barked, and though I did not mean to bark, I was not sorry. “We make Charon orbit in ten hours.”

She stirred beneath those soft green linens. My Sin filled the air.

I spoke more softly, then. I doubt she heard me. “By the way, I think I just had breakfast with Violet El-Hashem.”

21 February, 1962. Noon (thereabouts). Pluto, High Orbit.

Shall we have trumpets? Shall we have banners? Shall we have garlands and chords and bursts of coloured flame to announce our presence, descending in a slow angelic spiral from high Plutonian orbit down, down, down into the fields of pale flowers that soften the face of that little lonely world and her twin?

Perhaps a little trumpeting. Perhaps a little flame.

Night is Pluto’s native crop. I thought myself darkness’s man, but I had never even kissed her cheek until the sun set on that flower-choked world. Night poured itself down my throat. Night was my wine and my meat. Night wed me and bedded me, widowed me and murdered me and resurrected me whole a thousand times over with each hour. I saw before me, in that selfsame hall that had boasted our Christmas ball, beyond the veins of frost forking through the glass panes, a carousel hanging in space. Severin never came here. The one world she missed in all her profligate travels. At last, I shall have something she did not.

I will warn you now, Reader: Pluto is a place too mad for metaphor. What is there can only be what it is: a world far gone, decayed from the moment of its birth, lost in the unfathomable tides of these black rivers, so far from the sun that is our heart that it is, quite plainly, a place of delirium and dissolution.

It is a bestiary of the grotesque.

It is a Jacobean horror-hall.

It is a brothel of the undead.

It is so beautiful.

Welcome to America, to the Grand Experiment’s last light bulb, left burning long after the household has locked up and fled.

Your Friend Pluto!

(Patriot Films, 1921)

[VISUAL DAMAGED, UNSUITABLE FOR VIEWING.]

VOICE-OVER

Welcome to the American sector!

Feast your eyes on glorious Pluto, her wild frontier, her high standard of living, her rugged, hardworking citizens, her purple mountains majesty! Ride the mighty buffalo! Marvel at the bustling industry of the great cities of Jizo and Ascalaphus! Climb the peaks of Mt. Orcus and Mt. Chernobog!

Congratulations! You have chosen to stake a claim on your corner of the bountiful Plutonian pampas and start a new life here on the Little Free World. Out here, the old empires fear to tread! On Pluto a man can make his own fate and no one will trouble him to get on his knees and kiss a crown.

A joint venture of Uncle Sam and the Iroquois League, Pluto and Charon are a wholly self-sufficient binary system—we gotta be! Our unbeatable location requires a special kind of soul: an enterprising, fearless, burly, bootstrap-pulling sort of man with a high tolerance for cold and work ethic to beat a Puritan senseless. We here on Pluto are delighted to welcome you into our family. We only take the best, and you have been specially chosen for one of our provisional citizenship programs, entitled to benefits and privileges that remain the envy of the nine worlds. Please refer to your complimentary deep-freeze rated pocket-size Constitutions for a full accounting of these rights—as well as inspiration, comfort, and the sense of profound well-being conferred by the presence of that most exceptional document.

No matter your nation of origin, you are now a part of the great American project—and if that doesn’t make you proud, I don’t know what will! In its short time on the interplanetary stage, Pluto has produced, abetted, or sheltered first-class poets like Miss Dickinson and Mr Frost, inventors such as Mr Tesla and Mr Marconi, titans of industry and politics with names as grand as Morgan, Rockefeller, and the great Emperor Norton II, as well as architects by the bushel who have put the streetscapes of Vienna and Venice to shame. Now you can stand tall among their number and make your mark on this miraculous planet.

Now that you and Pluto have made a proper acquaintance, you’ll find in your intake portfolio a region assignment, dependent on your skills and background, as well as where folks are needed most. Are you bound for the ivory waves of blossoms on Pluto Actual, or the lucrative mines of Charon? Or perhaps you’re headed for the fashionable districts and urban excitement of Styx, the Great Bridge! Homesteads are available in all three regions; assignments may be revisited every five years.

Whatever your destiny, Citizen, a life like no other awaits you!

Each new Plutonian citizen is furnished with sufficient materiel for the construction of a dwelling, a sturdy and reliable Bunyan Brand Heating System with a free backup generator, seeding for a fast-fertilizing infanta crop, two shotguns, and basic-model breathing masks for the whole family. The rest is up to you! The extraordinary properties of the unique infanta blossom mean that no soul on Pluto will go hungry—easy to grow and easy to harvest, each flower provides a complete nutritional profile, save for folate, riboflavin, Vitamin A, and iron. Our scientists are discovering new and useful qualities of this wonderful species day by day! Don’t eat them all at once!

Now, a day on Pluto comes out to a week back home, and a year lasts about two hundred and forty-eight Earth years, but lucky for you, good old corn-fed Frank McCoy, John Smoke Johnson, and the crew of the Red Jacket made worldfall smack in the middle of spring—a twenty-year span we call the Rose of May. We won’t see winter in our lifetimes, no sir. And now that summer is on the horizon, it’s a perfect time to put down roots. Summer on Pluto is a balmy life indeed—and there’s a whole lifetime of summer for your pleasure. The lagoons of Tawiskaron call to bathing beauties and fishermen alike; watching the magnificent Sunday Sunsets from the balconies of Mormo will take your breath away. Nowhere in the solar system is a world more blessed, more genteel, with a richer portion of God’s bounty. No more must man labour under the Union Jack or the Red Hammer, Vienna’s long arm, or Nanjing’s watchful gaze. In point of fact, the passage of the Sun between Earth and Pluto some years back means that those lace-cuffed dinosaurs aren’t watching much of anything but their afternoon tea. We won’t be getting word from the Old Worlds until round about the year 2112, so sit back, relax, pour yourself a whiskey and ice, and blow them a real nice kiss.

Please note that Proserpine and her environs are off-limits to all non-police personnel. The incident there is considered concluded by all involved, and no outbuildings or further items of interest remain. All relevant structures have been subsequently dismantled, recycled into building materials, and used in nearly every Plutonian city as a gesture of solidarity and collective mourning. We declare openly our hostility to treasure hunters, occultists, and other bandits who come to raid our sweet, peaceful land for purely imaginary secrets. There is no mystery; colonies fail. Seek that mother of the Plutonian experiment in the ironworks of Mormo, in the bricks of Niflheim, in the roof tiles of Elysium, in the spires of Tawiskaron and the cobblestones of Lamentation, in the great citadels and their deep foundations.

We are all Proserpine.

We ask that you respect the personal tragedy of that city’s loss as you would the widowhood of a dear grandmother—the lady would prefer not to discuss it, and it behoves us all to abide by her wishes.

Trespassers will be shot on sight.

Yes, we all pull together here on Pluto. Be a good neighbour and you’ll have good neighbours. Please report weekly to your local Depot for callowmilk and vitamin supplements, work assignments, and other sundry entertainments.

You can be anyone on Pluto. The possibilities are endless.

The Deep Blue Devil

The Man in the Malachite Mask:

Totentanz

February 21, 1962. 4:34 p.m.

Pluto is such a small place. When you dance with the gas giants, you become accustomed to vastness. But this is a doll’s world. We circled the pale planet like a raven round a mouse scurrying over a grey and blasted heath. Down, down into the wishing well of its gravity, gravity like a handshake between Pluto and Charon, those dark, sullen twins, forever bound, waltzing without end on the edge of known space. Neither of them much bigger than Africa, wearing their tawdry bracelets of glaciers and black, brittle land—land covered in fields of infanta flowers so bright and broad I could see them as we spiralled off the ice road: swathes of light, faintly violet, faintly lime. I imagined that if I floated outside of the Obolus, I would have been able to smell them, their perfume permeating the empty void like a nervous lady announcing her presence.

I will tell you what I saw in my descent, for I have seen no photograph of it nor any film, only sound stages peopled with half-witted guesses, fancies far too sensible to match the original. Cythera stood by me at the porthole, each of us in our own way policing our faces so that the wonder we felt made no mark upon our cheeks. Pluto and Charon in a verdant jungle embrace: between them grew vines as thick and long and mighty as the Mississippi river, great lily-lime leaves opening, curling toward the distant star of the sun like grasping hands wider than Lake Erie. And upon them unspeakable blossoms, petals of lavender tallow, infanta greater than ships, obscene chrysanthemums pointing like radio antennae in every direction. Those mighty Mississip-vines lashed round both planets in a suckling clutch, so enmeshed that I could not say whose earth they grew in, just that whoever’s plant it was loved the other world so much that it could not let it go. And the Styx, the bridge of flowers! Towers and spires in Boschean number and Escherean style, torqued and corkscrewed by the currents of gravity and pollen that pooled between Pluto and Charon, their angles all out of proportion, sinuous, unreal, a hanging garden of architecture, upside down and right side up and protruding in every possible direction like broken, arthritic hands. Coloured lights glowed in warped windows. Tunnels of some sort of taffy-like glass ran like flying buttresses between the gnarled edifices. The braided bridge twisted like the very double helix of life, and on it life seemed to bristle, to boom. I felt sick. My breakfast moved in me no less than gravity.

“‘When I looked upon that new world, splendid in every way and in every way terrible, I looked upon a tiger with stars falling from his striped tongue. I looked and saw my true bridegroom—but would it also be my grave?’”

So said the crone, who appeared silently beside us as if she ran on wheels and not flight-swollen feet. I knew those words. Everyone knew them: episode one, series one, broadcast March 1914.

“It’s bad taste to quote yourself, Violet,” I said, certain now in my guess. She merely snorted as that Plutonian Babylon rose up to envelop us. “The new Vespertine is shit,” I added, with the barest twitch of a smile. I took her hand in mind and kissed it as our engines roared into undeniable red life, braking into the thin atmosphere, skidding into the tiger feet first, eyes open.

24 February, 1962. Midnight. Setebos Hall.

This is how one becomes temporarily American: stuff yourself into the uttermost depths of the best cold-weather gear you’ve managed to borrow and hoard, hold your documentation before you like a knight’s shield—Yes, Officer, a bear and phoenix rampant indicates that I summered on Mars three years past; four panthers passant mark my sabbatical on Callisto; this single whale embowed shows me Venus-born. My passport is my troth; you may find upon it all my soul displayed. Queue in the most disorderly fashion you can manage, always remembering to yell when you could just as easily whisper. Intrude upon the privacy of the gentleman beside you while he tries to enter the pleasant meditative trance any citizen of the Empire craves upon taking a number and waiting his turn in the embrace of bureaucracy. Ask him his name at least three times, his business, his romantic history, his dreams and hopes and failures, his favourite way of preparing beef when he can get it, how many bones he has broken, whether he prefers men or women or Proteans, if he has any plans for supper, and how many times he has seen The Abduction of Proserpine. Before allowing him to answer any of these questions, interrupt with your own chronicle of longings and losses and boeuf bourguignon. As you move through the queue and the queue moves through you, you will pass through little nations without number: Here, a lady in an atrocious plaid cloche has managed to get a tuba through the weight restrictions; a throng presses round her, throws her coins and bread, and, by god, she can make a tuba sound as mournful and subtle as it was never intended. A slim lad with a choirboy voice warbles extemporized lyrics to her weird, sad, lovely, bleating horn. There, six or eight travellers in white furs and sealskin wallop on their trunks with drummers’ hands, hooting in rhythm and grinning. Though it is February, a family sings Christmas carols in a pretty, uneven harmony, then switches to the alphabet song and multiplication mnemonics, anything to pass the time and keep the little ones pleasant. And when your number is finally called, you show your worth, plead your case, watch a short informational film, and don your mask.

Everyone wears masks here. It is a Plutonian necessity, eminently practical, and, in the space of minutes, my own became dearer to me than a lover. They say the wind on Earth can steal your breath, but such phrases are quaint antiquities now. The mask is a semipermeable heat shield, cycling the warmth of your breath back into useful service, oxygenating the thin air, keeping the sensitive airways safe from the worst of the vicious Stygian cold. All one needs is a callowfibre mesh, a hypoallergenic liner, a secure strap, a simple filter, and flat-disc heating unit.

Naturally, Pluto has turned simple necessity into a seething mass of carnival masks to make any midnight masquerade blush.

In the receiving station alone I saw minotaurs with topaz-spangled horns, ravens beneath cascades of night feathers, leopards, maenads, stained-glass butterfly wings framing dark eyes behind turquoise panes, elephants with muralled ears and bladed tusks, gilded and tricorned bauta, onyx moretta painted with phosphorescent trailing vines, silver-lipped volta with sapphire teardrops at the corners of the eyes. My eyes became drunk as the Depot reeled with colour and frost, with sound and epileptic glittering.

I chose my own mask from a hawker hoisting dozens of them on long black poles like ears of dried corn. My contrary nature, riled by the odious flamboyance of the American stew around me, fixed on the simplest one I could see—plain white with a thin black mouth and pinholes of red in the knife-sharp hollows of the cheeks. It would suffice. Cythera selected a sun-queen’s mask, golden rays and copper peacock feathers arrayed around a burnished, rounded face engraved with a detailed map of the Virgilian underworld. A cloisonné Lethe sliced across the patrician bridge of her new nose.

When she lifted her new face from its hook, I saw another lying beneath it. I startled at it as though it were my own face, and I knew that against its dark beauty my contrariness had already crumbled. It was a plague doctor’s mask, black, a beak so thick and long it would cover half my chest. Bubbles of green glass cupped the eye sockets; in threads of tiny emeralds the Totentanz—the old Germanic dance of death—whirled around the shaft of that long hooked mouth, the savagely angular cheekbones, as if a mask could starve. A sparkling green pope skipped after a king spun after a peasant leapt after a child in malachite rags gambolled after a maiden whose long ultramarine hair rippled and ran along the edges of the mask’s face; all cavorting, careening, capering after Death, who jigged upon the brow, partnered in own his dance with his scythe, his leg lifted in a flamenco stride, his bone hands clapping the beat of a human heart as it sped or slowed to nothing. A fan of stark shear-blades gave the mask a brutal tiara. I put my fingers against its slick lightless face, the shimmer of the prancing child, his little arms straining toward the maiden dancing out of reach before him; but she did not spare a single glance backward, her green, living breast surging forward, forward, her arms open, taut, eager, stretching toward Death, her eyes shining only for Him.

“Hundred bucks, one-eighty for both,” said the mask-seller.

Safe inside that emerald Totentanz I swam within the rhotic rumble of the Depot: the sound of clothes moving against the people inside them; the bell-toll of station announcements; the luggage porters’ shabby uniforms; the beggar children asking not for coins but for news of Earth, some sugary morsel of life back home to scurry away with to some hovel and pore over with a pervert’s concentration.

Our escorts were, of course, unforgivably late, which I suppose one must expect when they are sent by a fellow who calls himself a Mad King, but it was no less irritating for being supposed. What use is it to detail the hours spent waiting? At six o’clock in the evening a klaxon sounded and the whole of the Depot surged to one side—How Many Miles to Babylon? was coming through on the public antenna, as clear as it was going to get, come one, come all. Sit together, draw close, Vespertine is in trouble again and it feels like being alive. I saw Violet El-Hashem, my ancient shipmate, position a chair so that she could watch the Plutonians gathering at the radio, to see her audience in the flesh for the first time. An old episode, either repeated or new to this furthest of the outer planets. Or perhaps arranged by her studio so that she could have this moment in the cold while plastic cups of cider went round the throng. I felt a bizarre, unwanted pang of missing her; I put it away like an old handkerchief.

Madame Brass, a shark in woman’s skin, unable to hold herself still and do nothing, even for a moment, questioned any passersby too slow to escape her: We are for Setebos Hall, is there a road, a public conveyance? At what hour do the trains stop running? I let her. I excel at doing nothing. It is, you might say, my hobby. But she got no satisfaction from the parade of masked Plutonians. A man in a creased and beastly blood-red boar mask shook his head and held up his hands. Do not ask—better yet, do not go. A flatiron-chinned copper bauta with a frozen tricorne of split pomegranates begged off: No one goes there unless summoned. If you have not been summoned, thank your stars and keep your head down. A woman in a wine-dark moretta with the circles of heaven painted on it and a body so lovely that you could see her shape even under her pillowed snowsuit actually crossed herself.

Our small talk was too small to relate. Cythera Brass and I had long ago exhausted our stores of acceptable conversation, but our interpersonal cisterns had been briefly topped off by the landing, disembarkation, the tuba and the masks, the finding of fault with Americans and their goings-on, and the unloading of our mysterious cargo, which turned out to be mail: impossibly precious on the outer planets and yet impossibly quotidian. My post is worth all the diamonds in antique Africa; yours is scrap for the furnace grate. I care nothing for some Venusian bastard sending money to the bottom of the solar barrel or a Martian mother complaining about her daughter’s choice in men, in career, in dress, in every little thing—oh, but she tucked in her recipe for lime pie! Well, then! I still do not care.

In film, even in realité such as Severin’s, these sorts of human intermissions are happily elided with jump-cuts or montages. Action to action, point of interest to point of interest, that’s the way! In life they must be suffered, wallowed in. We waited into the night, sitting on our suitcases like refugees, not daring to leave the rendezvous point even to forage for a prepacked lichen-slab meal.

Our escorts arrived just after midnight. You will think I am joking when I say that we were collected by stagecoach. Stagecoach! After the Talbot limousine in Te Deum and the absurdly posh appointments of the Obolus, I was spoiled. It is easy to become spoiled—a little taste, a little ease, a little shaft of light let in and suddenly nothing is good unless it bests the last luxury. And now we were meant to travel as though the last hundred years had never occurred, as though this was that wretched preflight America of raccoon hats and pony expresses. Was this a colony or an amusement park full of animatronic Americans and roller coasters shaped like the Rocky Mountains? A stagecoach—and not just that, but a buffalo-drawn stagecoach, driven by twin girls with livid dyed-purple hair, uncut black rubies binding their chests like bandoliers, and identical fuchsia masks stippled with wild gold fairy tattoos and mouths painted in the shapes of orange starfish.

The buffalo were my first experience with the Plutonian sense of humour. I had seen vast herds of buffalo in my youthful travels to America—woolly and prodigiously bigheaded, -horned, and -hoofed. These animals that dragged their mistresses’ coach behind them were in no sense buffalo, though the girls insisted on calling them that. They were, as best I can describe them, sleek blue lizards the size of cougars, their glassy night-eyes bulging like fish, their silver tongues lolling and lashing like whips, their three tails held curled and upright like scorpions, tipped in strange silver bulbs. They bore wild strips of honey-coloured fur running the lengths of their spines and six swinging mammalian breasts, each black nippled and heavy with milk that dribbled in magenta trails behind them like oil leaking from an engine.

Everyone calls them buffalo, in fact. They run wild over the whole of both planets, native fauna, their hoots and howls unnervingly wolf-like on the Plutonian moors. They are domesticable, barely, and I have heard it said that like parrots, the smartest of them can mimic human speech. Their meat, which I was to sample rather sooner than I liked, is somewhat softer than beef but not so sweet as chicken and has a peculiar, almost floral aftertaste. It did not agree with me and my indigestion was fierce—but I get ahead of myself. Four of these “buffalo” stood bridled to the black stagecoach. Two green callowlanterns hung from its roof, illuminating the constant night of Pluto.

The daughters of Prospero introduced themselves as Boatswain and Mariner; the buffalo as Sarah, Sally, Susie, and Prune. They told us sternly to keep the windows shut tight and not to trouble them with our problems, and handed us long goose-down coats (I shudder to think what Plutonian geese look like) to fit over our already thick, quilted, furred travelling clothes. Once inside it all I felt quite like a stuffed caterpillar. Boatswain (I think) assured us that the journey was not long, not long at all. The two of them repeated some phrases over and over, as though they could not quite believe they’d actually spoken. Eat, eat, eat, they said. Not long, not long at all. Quiet now, quiet, quiet. We ate. We kept quiet. Into our hands they pressed infanta flowers, petals heavy as eyelids, white-violet and wet with juice and pollen. I held mine gingerly, all my old longing to taste the thing pooling in my mouth, waiting and wanting. Offworld, no amount of money could purchase even one of these blooms, not even Oxblood money. The Americans would not part with them, even if the delicate flowers could survive transit. I devoured mine ravenously; I tore it with my teeth. It shredded like lacework, turning to sweet ash on my tongue, evaporating like fairy floss. It did not taste like honey or coffee or mother’s milk. It tasted nothing like I had heard. I cannot even compare it to another taste—it was its own. I can only compare it nonsensically: It tasted like a shade of white near blue; it tasted like the idea of pearls; it tasted like a memory nearly grasped but lost at the last moment.

The journey—which, in truth, took us through to dawn—unfolded over a long, flat countryside. Infanta blossomed everywhere, their perfume flooding through the mouths of our masks, stomping upon and drowning the last of My Sin with velvet shoes. I took deep, gulping breaths. The scent was so sweet I felt I was not inhaling it but eating it and gaining sustenance, but it left an aftertaste of unsettling, dank musk. Yet I drank and drank of the air and felt so drunk as to fall down flat. The fields of blossoms gave an illusion of fertility—what land could be lonely that gave birth to such wild and splendid things? And yet, as the hours drew on, their sameness began to look like meanness, a paucity of imagination in the core of the planet itself.

As the morning crept in, we watched the carnival bridge between Pluto and its moon brighten in the sky, a harlequin umbilicus. Its light haloed and twisted in the freezing air, brightening the hills around us. The slabs of ice, the long black cliffs falling off into shallows, the glassy seas took on that same rainbow halo, that prism-corona, rimmed in shimmering St. Elmo’s fire. That mad bridge called Styx was their sun, its waxing and dimming cutting a rough day and night out of the single black cloth provided by this miserly world. The long cries of untamed buffalo echoed on the pampas and the ruffs of our own mounts rippled in reply, each individual bristle glowing with its own savage colour. Though the carriage possessed a curling horn through which we might have spoken to the twins, asked after all that we saw, silence was strictly observed until the great house reared into view.

Cythera, in a rare unguarded moment, had fallen asleep and allowed her head to droop, ever so lightly and hesitantly, onto my shoulder. Infanta juice dribbled off her chin and dried on her collarbone, like a fingerprint, faintly shuddering with phosphorescence. I stared at it for a moment. The mark writhed and bubbled in my vision, a sweet, painless acid burning into her body, altering her, filling her with light. And then, as the carriage pranged upon an outcropping of black rock, the light on Cythera’s skin guttered out and became once again no more than crusted sap and spittle. I roused her then to see what waited for us like an open mouth: a house alive, a house beating against the ancient glaciers like Hades’ own pulse, a house no more a house than those four cerulean lizards were buffalo.

My pupils contracted with pugilistic force. Within a crystal dome as wide and high as Vesuvius, a volcano of light released its heart’s blood in gouts and arterial sprays. Like a terrible wedding cake, it rose in tiers of porphyries and agate and deep red wood. The castle began with elephants: a ring of carved stone beasts, their trunks raised, tusks displayed, legs fused together to make a glimmering wall of violet rock. Cathedral windows rose from their heads; candlelight and shadows moved within them. Above the windows rose green stone griffins, their paws outstretched, their haunches flowing into one another, delicate balconies hanging from their chests. Up and up it went, in rings of black unicorns thrusting their horns into the air like spiked ramparts, red polished wood bears, and weathered grey walruses. The whole structure was crowned with a small ring of smoky quartz girls sitting with their legs kicking out over the great menagerie, laughing in stone, their crystal chins in their crystal hands. Within their circle a Ferris wheel turned, empty but lit, an absurd diadem for that maddened and maddening place. Light dripped from every crease in the rock, the wood, the glass.

I was dazzled. I covered my face with my hands.

“Home,” said a voice, and the voice belonged to one of the buffalo. Her feathers ruffled in the black wind.

In that haze we entered Setebos Hall, the castle of Prospero, through the bodies of the elephants, dragged and prodded by Mariner and Boatswain, their masks catching and exploding every candelabra’s exhalation until their faces seemed to become stars. Even within the crystal dome they did not remove those masks, whether due to some Yankee affectation or personal deformity or local custom, I shall hazard no guess. I cannot begin to recount the stairs and hallways we sped down and through—they streamed by in a rich, jagged blur. Wild laughter and music echoed from deep within the hall, but the passageways we ran along were utterly empty.

Now that I am closed into my bedchamber, surrounded by deep ochre silks and curtains and writing with ink of that same sunrise shade, I recall only the throne room. I can call it only that. In our headlong flight we passed by a pair of open doors and looked within—we are human, we must always look. The room thronged with people, pulsed with warmth stolen from some impossible engine made to fight the awful extropy of Pluto’s strict climes. Masks moved and spun like a field of un-sane flowers; some bore not only masks on their persons but wings and tails protruding from their bodies. And how those bodies writhed, how they arched and shook! In the midst of it all, on a tall black chair tipped with garnet pomegranates and silk asphodel and cascades of ribbons, sat a man who wore a mask made to look precisely like a human face. Not his own—not the face of Maximo Varela, for I know now it was none other than he—but the face of Severin Unck, moulded in resin and satin and paint, as perfect as the first moment I saw her, brow as clear, colour as bright, pride as pointed in those high, high cheeks.

My flower-fattened belly lurched in horror and fascination; my skull seemed to wriggle within my skin. The body beneath the mask was a man’s—lithe, healthful, ageless, and beautiful, but male, dressed in a magician’s motley colours, a tunic tight at the waist and thigh, blossoming at the shoulders. The black hair that fringed the mask was longer than Severin had ever worn it, cascading in curls as thick as any Juliet’s on any stage, a savage woman’s hair, a Medusa’s, a lion’s. Bubbles of music popped and frothed around me. He rose from his throne. A youth and a maid, lying sprawled at his feet, trailed their hands after him, willing him to stay. Severin’s face floated to me, moving through dancers and prowlers and pipers and hounds. As if no other soul in that place existed, the Mad King of Pluto took me into his arms, crushing me to him, whispering into my ear in a deep voice I knew out of the depths of my memory—a rough voice, a fragile voice, the wrong voice, not hers at all, but bearing the words I had so yearned to hear her say:

Anchises, Anchises, you’ve come home.

From the Personal Reels of

Percival Alfred Unck

[SEVERIN UNCK stands amid a tangle of cables on the set of The Abduction of Proserpine. Vampire extras mill around her, touching up their makeup, chatting, taking their teeth out to smoke. She is very small, perhaps four or five. She wears a black dress with a black bow and black stockings. Her face is painted deathly white. She looks up at a demonic ice dragon with sword whiskers and icicle teeth, a massive puppet managed by the renowned TALMADGE BRACE and his team. She does not see her Uncle Madge pulling on the puppet’s works. It towers over her. She stares at its tinfoil eyes intently, quietly, hands clasped behind her back. She rocks up on her toes.]

SEVERIN

Did you eat that big old city all up?

[The ice dragon nods solemnly. His lines creak.]

SEVERIN

What a bad thing you are. You ought to be punished.

[The ice dragon nods again. TALMADGE works his lines and pulleys just out of frame, slumping the creature’s snow-puff shoulders in deep shame. He can barely suppress his amusement.]

SEVERIN

Why did you do it? If you were really so keen, I should think you’d have waited till the city fattened up a bit. It couldn’t have filled you up! It was only little.

[TALMADGE cannot answer; the beast will never have a voice, so he had no reason to devise one to match its vast crinoline body.]

SEVERIN

Daddy says the settlers dug too deep and woke the ancient heart of Pluto. But you have wet glue on your nose, so I don’t think you are the ancient heart of Pluto.

[The ice dragon shakes with TALMADGE’S silent laughter. Severin reaches up and wipes away the glue with her thumb. She whispers into the puppet’s huge, glitter-spackled nostril.]

SEVERIN

I forgive you. I get hungry, too.

And the Sea Remembered, Suddenly

(Oxblood Films, 1941, dir. Severin Unck)

(ACCOMPANYING MATERIAL: RECORD 8, SIDE 1, COMMENCE 0:12)

SC1 INT. LOCATION #19 NEPTUNE/ENKI—STORM

OBSERVATION DECK, DAY 671. NIGHT

[29 NOVEMBER, 1939]

[FADE IN on a balcony crusted with salt and electric green coral. Its coils and floral motifs and columns recall the balustrades of New Orleans. Rust-bound lanterns hang on long, Marleyesque chains, casting white-blue light onto the churning cobalt sea that covers the whole of the unspeakably vast surface of Neptune. A semipermeable glass bell encloses the balcony; rain spatters onto the crystal and rolls down, but wisps of marine wind are allowed through—nothing, however, compared to the gales outside, which would murder any human in their path in the space of a thunderclap. The soft, grinding, gentle rumbling of Enki moving through its equatorial circuit underlines every spoken word.]

SEVERIN UNCK

The city of Enki is also a ship, perhaps the greatest ship ever sailed. She circumnavigates her planet once a decade, following a lugubrious echo of the Gulf Stream that flows more or less true, avoiding with grace the white and squalling knot of the mother storm from which all the other cyclones of this world descend. This balcony and thousands like it blister the exterior walls of the Neptunian capital. Whatever else occurs in this city—whatever work, whatever ambition, whatever decadence—its souls always return to these lookouts: a pilgrimage, a comforting hearth, a night watch. They come to see the storm. To stare it down. Whether for an hour or eight—or, in the cases of some old-timers, every moment not spent sleeping or eating—Enki-siders are drawn to this primeval sight of their world contorted, writhing in her constant oceanic distress, to bear witness to the eternal maelstrom that is the ancient heart of Neptune.

[All the camera can see is blue. Monstrous waves lash an indigo sky oppressed by clouds. Whitecaps crest and shatter; shadows of kelp forests the size of Asia skitter and dance. But there is no scale, can be no scale, because there is no land in sight. It could be the Pacific; it could be Lake Geneva. But it is neither. Only when a fishing vessel drifts into frame and, a moment later, the body of some unphylumed leviathan breaks the surface off its portside, geysering the sea into the methane-rich air, is there a moment of sickening understanding. There are cities on Earth smaller than that barnacled beryline beast.]

SEVERIN (V.O)

Enki is a nomad; she follows the tide. There are, of course, other ships on this sea: Manannan, Snegurochka, Ys, Lyonesse, Sequana. But Enki dwarfs them all.

[SEVERIN rests her hand on the balcony rail. Coral crinkles and drifts away under her fingers. She looks exhausted—dark rings around her eyes, a thinness to her skin.]

SEVERIN

Silence is the rarest commodity in Enki. The ear never rests; the engines that roar life into the city call and answer, call and answer, without ceasing.

And yet, from home? Nothing. Though nominally a French colony, Neptune will pass behind the sun tonight, disappearing from radio contact with Earth for an estimated seventy-two years. The voices will stop. The only news will come from lonely ships creeping through the black on the longest of roads. They will not hear any rumbling of war, any rattling of Viennese sabres or English guns. If the government in Paris changes once again, they will learn too late for it to matter much. No one will know whether Tybault will defeat the Invisible Hussar this time, or whether Doctor Gruel will succeed at last in making Vespertine his bride and his victim. It will all happen without us.

I say us. There is, of course, a passenger liner leaving before the lines go dark. A last chance to jump ship for civilization. The truth is, I have not yet decided whether I will be on it. My crew is going home. Tickets in their breast pockets, cabins reserved, champagne already chilling in silver buckets below polished portholes. Mariana, Amandine, Max, Margareta, Santiago, Horace, Konrad. Even my Raz has tired of kicking snowballs around on the frozen arse-end of the universe.

But me? Me, I don’t know. I find myself at the end of this journey I mapped out after the death of dear Uncle Thaddeus—how many uncles have I had? I think every man on the moon has been my fuddy old uncle at one time or another. I suppose it has all been a funeral march to outlast the dreams of Hades. Saturn back to Mars and out again to Neptune. And I do not know if I am done. There is always somewhere further to go. Until there isn’t.

[PAN LEFT to the warmly lit interior of Enki’s starboard hull. Women in dresses with iridescent hoopskirts wide enough to conceal small armies raise their hands to the glass; rain drives down across their dry palms. The women, men, and children all wear shades of blue and green, sea shades, full-fathom colours, the turquoise of each rosette, the emerald of each brooch painted onto the film frame by frame, as Virago Studios did in the old days, as Clotilde Charbonneau did. The clothes were chosen for the evening’s celebration: old-fashioned, seventy years out of date, dug out of grandmothers’ trousseaus and costume trunks, just as their own clothes, made new today, will be seventy years past la mode when Earth comes round again. Chandeliers dangle like seabirds and music can be heard, harpsichords and strings and drums made tinny by the thickness of glass.]

SEVERIN (V.O.)

Tonight, Enki is dancing. Before Tritonrise, I will dance as well. This is not a night to stay in, curled up with a pipe and a book and a snifter. This is the end of the world, but the beginning of the world, as well. This is Cinderella’s ball. And at midnight, Neptune will flee her Prince into the gloaming, leaving the nameless, lonesome shoe of her last broadcasts abandoned on the steps of the stars.

And what broadcasts: They have killed a Nereid, and she was full of roe.

[DISSOLVE TO a fishing vessel, approximately the size of the Isle of Wight, crawling with thousands of Nereid-men, the broad-muscled, ice-bearded career hunters who have tracked and killed the creature being hauled on board with cranes and hydraulic lifts.]

They may never catch another in their lifetimes, but for them this once is enough. They are Ahabs without rancour, living for the chase, men and women whose hearts quicken only at the eardrum-shattering bassoon song of their prey.

[The storm batters them mercilessly; still the fishermen heave and ho as the dark mass of the Nereid rolls, obscenely, onto the decks. CUT TO: the flensing plain, a white expanse of artificial sand and salt crystals on Enki’s lower levels. Despite her size, the Nereid looks bereft and helpless in the blazing lights, naked and abandoned by whatever god rules these dragons. She is quite dead. She is icthyosauran: a long neck ending in two heads, each covered in sea detritus and pink Neptunian lampreys, her four eyes blue, lifeless, but strangely primate-like in that cetacean head. The black-green body, the myriad flippers, the vestigial legs, the orange sailfin, the tail tapering for an imperial mile. Her bulk swallows the lens. The image jiggles with the slightly uncanny effect of coloured paints hovering over the black and white footage, never quite sinking through. The Nereid-men open their catch with equipment meant for industrial forestry—just a small gash at first, they can manage no more. But from this gash the deluge comes, magenta roe, quivering, each egg as big as a dancing girl, tumbling like awful Easter eggs across the flensing floor. The Nereid-men cheer; tears course down their cheeks amongst the ruby muck of countless unborn calves. CUT TO SEVERIN.]

SEVERIN

The Nereid-men have made their fortune tonight. The Nereid has lost hers. And if Paris or London or Nanjing expresses concern for the conservation of these astonishing animals—for all xenofauna—after tonight, it will not be heard.

[CUT FROM the Nereid-men sharpening long knives to a YOUNG BOY cleaning his pocketknife. He empties his pockets, counts his coins, then counts again.]

There are no rules at the end of the world. Everything is permitted. [SEVERIN smiles with one side of her mouth.] The people of Enki have spent weeks painstakingly hammering out the rules for a ritual of rulelessness. Parliamentary procedure was decorously observed. [SEVERIN produces a beautifully typeset broadsheet. She reads out its contents.] The final official broadcast from Paris will play until orbit silences it at approximately forty-six minutes past midnight. For a period of not more than seventy-two minutes afterward—one for each year the Earth will slip beyond notice—law and order shall be suspended. Post-hoc prosecutions will blind themselves to all incidents save the most egregious crimes of murder and rape, grievous harm to Enki or her essential mechanisms, or injury to children. To this end, firearms must be turned over to the constabulary, as ballistics are, at best, unpredictable bedfellows. Rank shall not be enforced or acknowledged. Stores of food and alcohol shall be open to the public. All other contraband will fall under the discretion of its purveyors, and the council certainly knows nothing about the identity or location of such persons. Those not wishing to partake in the festivities may enclose themselves in the southern sphere of the city, whose gates will close at twenty minutes to midnight and not reopen until morning under any circumstances.

The list goes on.

It is not yet nine in the evening. The public announcement system pulses a warm and comforting stream of French. They have read us a bit of Molière and Voltaire, some Victor Hugo, some Chrétien de Troyes, a bit of Apollinaire and Balzac. They have sung us “La Marseillaise” seven times, by my count. They have exhorted us to remember the ideals of the French Republic and the glory of Jeanne d’Arc, Charlemagne, the Sun King.

[A MAN’S VOICE crackles over the shot of SEVERIN on the balcony.]

RADIO FRANÇAISE

Rappelez qui vous êtes. N’oubliez pas d’où vous venez. Nous ne vous oublierons pas. Nous vous attendons pour vous. Terre est votre maison pour toujours. La France est toujours votre mère. Le Soleil est encore Roi sur tout… Remember who you are. Don’t forget where you come from. We will not forget you. We will be waiting for you. Earth is always your home. France is always your mother. The Sun is still King over all.

SEVERIN

I recognize the voice: Giraud Lourdes, who fell off the Moon, as they say. Monsieur Lourdes failed so utterly on-screen that he suffered a most modern form of professional disgrace—he returned to Earth. And then became Chaunticleer, the voice of Radio Française, reading the news each morning and telling his tall tales every Wednesday night.

He is a bigger man than his sweet, soft voice might suggest. A thick red moustache. A preference for purple cravats. A weakness for women, poetry, and marzipan. These are the things that make up the beginnings of a person. But for me he is only those things. I met him just two or three times as a child and I remember nothing else. And now I can add to that list that his is the voice Paris chose to sing Neptune to sleep, for it is easier for Paris to pretend that they will go to sleep for seventy years than face the fact that when they come back into the fold, they will be no more French than England. So Giraud uses his seductive vowels to plead with a planet to behave itself while the cat’s away, to freeze itself in time, to lie still, to change not. He sings it, he recites it. The violins of a Berlioz concerto whisper: Hush now, my far-off children. Prick your fingers on the spindle of our voice. Be the kingdom that fell asleep for a hundred years and woke unchanged.

But who knows what wild things Sleeping Beauty dreamt of while waiting to awake?

[CUT TO: SEVERIN, ERASMO ST. JOHN, and AMANDINE NGUYEN recline on black-and-white chaises, watching the party flicker and move within the oily, distorted storm glass separating the observation balcony from the interior of Enki proper. AMANDINE belongs to a levitator cult based on the tiny moon of Halimede, where the wind hardly blows at all. She is a titanium sculptor; she practices a sexual variant of Samayika meditation. Her hair is lashed with traditional leather whips that hang down around her face like wires or liquorice. Her skin is dyed green, as is the custom on Halimede. The gravity of Neptune does not allow her to practice her faith here. She seems to stretch upward slightly with every movement, as though her body remembers its home, where it floats instead of merely sitting. SEVERIN drinks clay cups of creamy saltbeer with the levitator. ERASMO nurses a pink lady that looks rather orange. The lights of Enki turn their faces into a play of shadows.]

AMANDINE

I have sometimes wondered if we will make it.

SEVERIN

What do you mean?

AMANDINE

[She shrugs.] Perhaps when Earth peeks around the Sun again Enki will be gone. Lyonesse, too, and Manannan. Halimede might become a ghost moon. Or maybe we will all just…float. Like the Flying Dutchman, skeleton ships following the current forever, with only spirits as cargo. It has happened before. Places have vanished. Proserpine. Enyo. Adonis, now. We send up cities like fireworks, but there is a tax, I think. The empty worlds we expand to fill…sometimes the emptiness takes something back. To keep the books balanced, maybe.

SEVERIN

Colonies fail. It happens.

ERASMO

You know better than that. Colonies fail because crops fail, or supply ships don’t come in time, or some Babylon-fanatic fancies himself a warlord and straps on bandoliers. Proserpine didn’t fail. It was ripped to pieces. The foundations of the houses shattered. A thousand people vanished. It’s been twenty years and nothing grows there, not even infanta.

AMANDINE

I’ve heard it was worse than that.

SEVERIN

Stop it, both of you. [She moves her hands as if to clear the fact of Proserpine out of their little oceanic bubble like cigarette smoke.] You haven’t the first idea what does or doesn’t grow on Pluto. You’re just telling slumber party stories. Besides, what planet is there without a mysteriously vanished colony to pull in the tourist cash? Slap up a couple of alien runes on a burned-out doorframe and people will stream in from every corner of space. Might as well call them all New Roanoke and have done with it.

[SEVERIN loads a lump of af-yun into her netted atomizer. ERASMO takes a pink lady from a tray of sweets and quaffables, raises it to his lips and manages to frown around the cocktail glass’s rim. SEVERIN’S voice begins, unconsciously, to pick up the shy, breathy Halimede accent of her companion, mirroring without noticing, her lunar syllables disappearing beneath the Francophone sea of the Neptunian dialect.]

We like these stories because they aren’t really stories about losing things. They’re stories about finding them. Because everything gets found, sooner or later. Everything gets remembered. Eventually, somebody did find Proserpine, and took it all apart, and put it back together to make new cities on Pluto and Charon. It comforts us, tells us there are no lost children anywhere, not really. Not even cities. It’s all just Atlantis in another dress.

[SEVERIN looks out at the storm. Foam spatters across the glass bell.] Atlantis, that great floating city where humans got so beautiful and so wise, so strong and so able that they invented civilization. Invented being alive, in the sense of plumbing and temples with friezes and taxation and clay laws and hecatombs and public sporting events. And the sea took it back, if that is how you want to tell it, how you want it to be told to you, because, well…because humans feel uneasy in tales without punishment. No good thing can last forever, because people are terrible and we have this feeling, we all have this feeling, that if not for that essential terribleness we could have gotten further by now. Done better. Done more. We have failed collectively since Plato first choked on an olive. So it’s no surprise when we fail individually—when we shirk duty, when we hate our parents, when we run away, when we get drunk every night, when we lose love…when we lose love. Because by all rights we should be living in the crystal palaces of Atlantis or in the Tower of Babel’s penthouse apartments, right? Comparatively, our private blunders are insignificant. Just part of the general pattern of human awfulness. We map our little disasters onto a beautiful picture of a great one, so that there’s continuity. So that there’s balance. We fail because we always fail. It’s not our fault. For evidence, see the paradise we lack.

But there never was any Atlantis, my darlings. Nor Babel, nor Shangri-La. There was Santorini and the Visigoths and the Great Vowel Shift, but you wouldn’t have liked living in ancient Santorini one little bit. And Proserpine failed because it’s bloody hard to farm anything but flowers on Pluto, and quakes can crack up anywhere there’s a crust and a core.

AMANDINE

But you admit that cities have vanished. And there are no stories of finding the people, only the wreckage.

SEVERIN

I do admit that. If it makes you happy.

AMANDINE

But not totally vanished. Something is always left behind. The ruins, yes, the loss, that horrid fluid splashed everywhere—but something else, too. It happens in the space of a night. Three times now. Radio silence, then a city cut out of the very earth. And in its place…something new. I have heard that in Proserpine it was a voice. If you go there, if you stand where those people must have stood, under the twilit sky, you can hear a voice. A woman’s voice.

SEVERIN

[She arches an eyebrow.] Yes. I’ve seen the movie, you know.

ERASMO

But Percy got it from somewhere. He didn’t make it up. Vince brought in the dragons and the vampires and all that, but Percy wanted to make that movie because the story was floating around already. I heard it on the backlots. I’ve heard it everywhere. A voice repeating one word.

ERASMO AND AMANDINE

Kansas.

SEVERIN

But no one is allowed to actually enter Proserpine. How would anyone know that there’s a voice saying that? Or saying anything? It’s nonsense, anyway. What the hell is a Kansas?

ERASMO

In Enyo, on Mars…oh Rinny, don’t look at me like that! What better night could there be to share ghost stories round a fire? And what better fire than a city lit up to celebrate going into the dark? Weird things do happen, you know. Not everything in the universe is cinema verité!

SEVERIN

You’re not really going to tell a ghost story, are you? Maybe I’ll go see how the Neptunian Crime Spree Hour of Fun is shaping up.

ERASMO

Shush. You don’t get a vote. So. Enyo was a Martian trading post near the Chinese-Russian border—surrounded by kangaroo ranches and brothels and dice halls and mining stakes. Good times for all! And in one night—gone. Windows smashed, buildings shattered, as though someone pulled them up by the roofs and dropped them. Callowmilk, or something like it, splashed twenty feet high, like blood spatter or graffiti. No bodies. No blood. But something else.

[ERASMO stops. He pinches SEVERIN’S knee and grins sidelong at her.] Want me to stop? [She says nothing. Her lips part slightly.] Very well. Let the record show Miss Unck wants to hear a ghost story. This one even less reliable than the voice shouting Kansas at the outer reaches of space. I have heard it said—only a few times, but I’ve heard it—that in the centre of town where the pump used to be, the Martian constables found a reel. A movie reel. Just sitting in the dust, covered in milk.

SEVERIN

And? What was on it?

AMANDINE

I’ve heard about the reel, too. People say a thousand things. It’s the destruction of the town. Or it’s some print of a porno the miners loved. A woman crying. Forty minutes of blackness. Worse. Better. Who can know? Who has the reel now? No one even claims to have seen it, only heard from someone who met someone in a Depot queue who had a family friend in Martian salvage and demolition. Enyo is the sort of thing you thrill about late at night, when shadows feel like electricity on your skin.

But then there’s Adonis. Adonis is different.

[ERASMO drinks his pink lady; he lets AMANDINE take the story.]

It wasn’t a trading post or a farm town. It wasn’t just getting started. It was a whole colony—gone. Divers mostly, like most settlements on Venus. Slaves to the great callowhales, like the rest of us. But in Adonis they built a lovely hotel and carousel for the tourists who came to get their catharsis revved up as the divers risked their lives to milk our benevolent, recalcitrant mothers in their eternal hibernation. I have heard it was a good place. A sweet village on the shores of the Qadesh, plaited grease-weed roofs and doors hammered from the chunks of raw copper you can just walk around and pick up off the Venusian beaches. They lived; they ate the local cacao; and they shot, once or twice a year, a leathery ’tryx from the sky, enough to keep them all in fat and protein for months. There’s good life to be had on Venus. I almost went there instead of Halimede. But in the end, I wanted to fly. Maybe, if I had not flown, I would have found my way to Adonis and helped build the carousel. Then I would have been stuck. Because, just like Enyo and Proserpine, one day—pop! All gone. Houses, stairs, meat-smoking racks, diving bells.

[SEVERIN drinks her saltbeer. You can see her thinking, some new and massive idea taking shape behind her eyes. ERASMO chews on the crust of a crab-heart trifle, mesmerized by AMANDINE’S voice. AMANDINE casts her eyes downward within the equine blinders knotted to her head.]

All gone except for the something new. Only this time, it’s not a reel and it’s not a voice. It’s a little boy, left behind. They say he’s still there. I’ve heard it on the radio, so it’s as true as anything is. He’s stuck, somehow, in the middle of where the village used to be, just walking around in circles. Around and around, like a skip on a phonograph. They can’t get him to talk. He doesn’t eat or drink. He never even stops to sleep. He’s just…there. He’s been there a year already. Like a projection. But flesh.

ERASMO

What do you think happened, Amandine? Don’t listen to Rin, just…what do you think?

AMANDINE

[She is quiet for a long moment.] I think we are all suckling at a teat we do not understand. We need callowmilk. We cannot live without it. We cannot inhabit these worlds without it. But we made a bargain without thinking, because the benefits seemed to be endless and the cost nothing but a few divers, a few accidents—what’s that next to what we stood to gain? My god, it was nothing, nothing at all. All these empty worlds could be ours—no one living there, no one to make us feel ashamed. Not like the New World, with its inconvenient millions. A true frontier, without moral qualms. You must admit how compelling that is. Whole planets just waiting there for us, gardens already planted and producing. A little gravity wobble this way or that; a slightly unpleasant tang to the air; oh, perhaps we can’t have as much hot buttered corn on the cob as we’d like—but they were so ready for us. Edens full of animals and plants, but no folk.

Except the callowhales. We don’t even know what they are, not really. Oh, I went to school. I’ve seen the diagrams. But those are only guesses! No one has autopsied one—or even killed one. It cannot even be definitively said whether they are animal or vegetable matter. The first settlers assumed they were barren islands. Huge masses lying there motionless in the water, their surfaces milky, motley, the occasional swirl of chemical blue or gold sizzling through their depths. But as soon as we figured out how unbelievably useful they were, we decided they didn’t matter. Not like we mattered. Beneath the waterline they were calm, perhaps even dead leviathans—Taninim, said neo-Hasidic bounty hunters; some sort of proto-pliosaur, said the research corps. The cattle of the sun. Their fins lay flush against their flanks, horned and barbed. Their eyes stayed perpetually shut—hibernating, said the scientific cotillion. Dreaming, said the rest of us.

And some divers claim to have heard them sing—or at least that’s the word they give to the unpredictable vibrations that occasionally shiver through the fern-antennae. Like sonar, those shivers are fatal to any living thing caught up in them. Unlike sonar, the unfortunates are instantly vaporised into their constituent atoms. Yet the divers say that from a safe distance, their echoes brush against the skin in strange and intimate patterns, like music, like lovemaking. The divers cannot look at the camera when they speak of these things, as though the camera is the eye of God and by not meeting His gaze, they may preserve their virtue. The vibrations are the colour of need, they whisper.

Of course, no one works as a callowdiver forever. We aren’t built for it. The Qadesh or the callowhales or maybe just Venus itself, the whole world; something does us in. Everyone goes milk-mad eventually, a kind of silky, delicate delirium that just unzips us, long and slow, until we fall down babbling about the colour of need. We say the callowhales are not alive like we are alive. But I say: Where there is milk, there is mating, isn’t there? What is milk for, if not to nurture a new generation, a new world? We have never seen a callowhale calf, yet the mothers endlessly “nurse.” What do they nurture, out there in their red sea? And what do they mate with? It would have to be something big. The size of a city, maybe…

[The indistinct crackle of the radio broadcast from home suddenly spikes in volume—Au revoir, mes enfants! À la prochaine fois! Bonsoir! Bonsoir! À bientôt!—then cuts abruptly to silence. Within Enki, the lights go dark.]

AMANDINE

Welcome to the end of the world.

Look at Her Face

Look at her face. It is your face. She is the mask you wear. Look, and you can see the film she wants to make being born across her features. Across your features. It has not happened yet; it doesn’t even have a title. It is less than a full idea. But it is there in her set chin and her narrowed eyes. She frowns sourly in black and white, and her disapproval of such fancies—her father’s fancies: disappeared heroines and eldritch locations where something terrible has surely occurred—shows in the wrinkle of her brow, the tapping of her fingernails against the atomizer as bubbling storms lap their glass cupola and armoured penance-fish nose the flotation arrays, their jaw-lanterns flashing.

Where there is milk, there is mating, isn’t there? There are children. The ghost-voice of Amandine comes over the phonograph as the final shot of And the Sea Remembered, Suddenly flickers silver-dark and the floating Neptunian pleasure domes recede. Everyone knew where Severin was bound next, long before principal photography ever began. You could see it on her face. To Venus, and Adonis; to the little village rich in milk and children that vanished two decades after its founding, while the callowhales watched offshore, impassive, unperturbed. You would have gone, too. You would have yearned to go. Chasing after an ending to a story already in progress. An ending means there is order in the universe, there is a purpose to events. There is a reason to do things, an answer to be found, a solution key at the back of the book that maps to the problems posed. Find one ending, a real ending, and the universe is redeemed, ransomed from death—but death can never be that ending. It is a cheat, a quick shock, but no story truly ends with a death. A death only begs more questions, more tales.

Across your ribs her ship speeds over the ice road as fast as it can go. You almost want to cheer it on—but it speeds toward cessation, toward negation, toward sound and darkness and a final, awful image flickering in the depths.

But you can see her thinking, see her new film, her last film, taking shape behind her eyes.

They are documentaries, yes. They are also confessional poems. She is her father’s girl, though she would rather no one guess.

Severin asked the great question: Where did Adonis go in death? The old tales know an answer. But it can never be her answer. We offer it anyway.

Adonis returned to his mother: the Queen of the Dark, the Queen of the Otherworld, the Queen of the Final Cut.

The Miranda Affair

(Capricorn Studios, 1931, dir. Thaddeus Irigaray)

Cast:

Mary Pellam: Madame Mortimer

Annabelle August: Wilhelmina Wildheart

Igor Lasky: Kilkenny

Jacinta LaBianca: Yolanda Brun

Barnaby Sky: Laszlo Barque

Arthur Kindly: Harold Yellowboy

Giovanni Assisi: Dante de Vere

Helena Harlow: Maud Locksley

Father Patrick: Hartford Crane

[INT. The observation carriage of the good ship Pocketful of Rye, barrelling down the icy, starry tracks of the Orient Express. Ferns and chaises and brandy and cigarettes in gold cases. Io looms overhead, volcanoes glowering, electric cities glittering and blinking. The Pocketful of Rye is thundering through Grand Central Station, the heart of the Jupiter System, a thick knot of gravitational whirlpools thrusting the ship toward beautiful and dangerous Miranda, moon of a thousand seductions.

Little do her passengers know that KILKENNY, master criminal and assassin at large, hides on board! MADAME MORTIMER, lady detective—fresh off of her latest victory over the forces of anarchy and corruption in THE CASE OF THE DISAPPEARING DESPERADO—has taken a private car on the Rye with her loyal companion, the heiress WILHELMINA WILDHEART, hoping for a little rest and relaxation.

In the lounge we find our players: FATHER PATRICK, a missionary with a dark past and a secret to protect, bound for Herschel City; HELENA HARLOW, wealthy owner of Blue Eden, a notorious Te Deum brothel; ARTHUR KINDLY, a veteran of the Martian wars, headed for retirement and the good life in the outer system; BARNABY SKY, a dashing playboy with vicious gambling debts; and JACINTA LABIANCA, a Mercurial horse breeder with a man on the side.

GIOVANNI ASSISI, interstellar coffee baron, lies face down on a Turkish rug with a Psementhean bridal knife in his back. Madame Mortimer stands over him with her hand on the pommel of her pistol.]

MADAME MORTIMER

Oh, I do love a spot of murder with my tea!

JACINTA LABIANCA

What a thing to say! Poor Mr Assisi!

MADAME MORTIMER

Poor, indeed! Didn’t you hear? Typhoons took out his Venusian plantations. The man was just desperate for a wife to top up his coffers—he’s been canoodling with half the ship, really scraping the bottom of the blueblood barrel. He’d have been knocking at Father Patrick’s door before long. It would seem someone has spared him the embarrassment. Well! The cards are dealt! [She claps her hands sharply.] Place your bets, ladies and gentleman. We have a murderer on the ship and I intend to flush him out. And not only on the ship—I have reason to believe the murderer is in this very room!

[All gasp.]

Wilhelmina, darling, would you be so kind as to stand guard by the carriage door? Thank you. I’m afraid I can’t allow any of you to leave just yet. Everything we need to solve this sordid little mess is right here at our fingertips, if only we are keen enough to see, grasp, and act! Confusion spreads out from a corpse like blood. The further one gets from the body, the harder it is to see the truth. Mr Assisi’s death is a fact—everything else is mere supposition.

Let us hew to the facts. Firstly, Giovanni Assisi is dead. Secondly, he lost his fortune. Thirdly, he recently divorced his wife, the long-suffering nurse Annalisa Assisi, leaving her with seven children on Ganymede. Fourthly, he has been carrying on an affair with Miss LaBianca—I’m sorry, my dear, but how many women wear a Venusian coffee flower in their lapel? It’s a hideous plant. Besides, you reek of his aftershave.

JACINTA LABIANCA

I’m sure I have no idea what you’re talking about! I have an aunt on Venus!

MADAME MORTIMER

Don’t worry, dear, he meant to break it off with you before we made planetfall. Your…bank accounts…aren’t nearly large enough for his tastes. And, fifthly, I’m afraid, he was a frequent customer of Miss Harlow’s, and he paid her a great deal of money while we were docked in orbit waiting for our acceleration window. Clearing a bill? Perhaps. A creature of prodigious appetites, our man Giovanni! Next, I believe our young Master Sky owed the deceased a rather large poker debt? He needed you to pay up, and quickly, but you couldn’t, could you, Barney?

BARNABY SKY

How the devil would you know that?

MADAME MORTIMER

Oh, it’s perfectly obvious. You aren’t in the least upset by his death! Our unhappy friend here positively adored cards and played with everyone on board—except you. He wouldn’t come near you, and when you dealt in to a table he got up to leave. And Father Patrick—tsk tsk, Father! One of those seven children is not an Assisi, isn’t that right? Annalisa is a noble beauty and a pure soul, it’s true. But when Papa Johnny here showed Willy and me his lovely family portrait, I couldn’t help but notice that one of the little angels—Lucia, was it?—looked ever so much like you.

FATHER PATRICK

That’s a damnable lie!

MADAME MORTIMER

Oh, I think not. But that’s the marvellous thing about a murder—it brings everything out in the open. All the dark places just scrubbed with sunshine and flung wide for all to see. A sudden and unexpected crime sharpens the soul wonderfully.

[KILKENNY has been sitting in a chair facing the quiet hearth all the while. He is smoking a pipe, wearing a pinstripe suit and a rakish hat.]

KILKENNY

Well put, Miss Mortimer. I quite agree.

WILHELMINA WILDHEART

Kilkenny!

MADAME MORTIMER

Good morning, sir! I trust you slept well in the cargo bay? You missed stormrise—the great red eye is especially beautiful this time of year.

KILKENNY

I expect I shall see it again. Some small sacrifices must be made in the pursuit of one’s ambitions. I’ve seen a few rainstorms in my time. And how is your sister, Miss Mortimer? I do so miss Emily at Christmastime.

[MADAME MORTIMER’S face flushes angrily; her hand tightens on her pistol.]

MADAME MORTIMER

You know perfectly well how she is. And if you were a decent man, you’d tell me where you buried her!

The Ingénue’s Handbook

13 January, 1930, Half Past Three in the Afternoon

The Savoy, Grasshopper City, Luna

I’ve been prancing about in front of a camera for—Heavens!—twenty-two years now, so kindly invest the following statement with grave and dignified Authority.

I love wrap parties more than just about anything else in the world.

Oh, it’s lovely to plan, and lovely to work, but having worked is ever so much better. And dancing yourself silly in pearls knowing you don’t have a thing to do tomorrow is best of all! The fine and the fatigued positively sparkle with the frantic fizz of having pulled it off despite the odds—you can’t help being light on your feet with all that weight off your shoulders. It’s the party at the end of the world—the quick, fantastic world you’ve all made together, a world that now exists only on a heap of black tape in a tin can. Oh, well! On to the next one! And the funny, impish magic of a wrap party is that everyone still has scraps of their characters hanging off them like Salome’s veils, fluttering, fading, but not quite finished tangling the tongue and tripping the feet. You’re not in Wonderland anymore, but you positively reek of rabbit. It’s a secret, rollicking room where everything is still half make-believe. That scamp can’t stop walking like Robin Hood; that other fellow isn’t done trying to seduce you like Heathcliff; those two prizefighters might come to blows tonight because they haven’t quite scrubbed off Cain or Abel; and oh, gracious, the mischief you’ll get up to while your heart’s half Maid Marian, a squidge Cathy, a wee bit Madame Mortimer—but then, I never completely shed MM. I’ve been her almost as long as I’ve lived on the Moon, which is to say almost as long as I’ve been alive. Before the Moon, it hardly counts as living. Madame Maxine Mortimer has thoroughly rubbed off all over me. Why, just the other day, Betty Raleigh’s black pearls went missing from her dressing room and I’d locked all the doors and started interrogating suspects before I came to my senses.

Poor Betts. Her insides are nothing but sunshine and bunny tails, but she’s had a devil of a time lately. It’s intensely trying. Hartford Crane gave her those pearls right before he ran off with Yolanda Brun. The gossip rags are just full of their sopping laundry, and while Yolanda loads up her supper plate with the attention, sweet innocent Betty can hardly squeak for shame. Cheat first and cheat often, Betts, that way you’re never stuck cleaning up after your husband’s midnight snacks.

Thus we circle the point, miss it, put our car in reverse, and come round to it again, and the point is this: The Miranda Affair is in the can, along with the last, rather wobbly, decade. It’ll be Thad’s last talkie—the tide’s against us. Receipts go up the moment I shut my mouth. I’ve always liked my voice. It’s a pity MM will have to save the day with wild gesticulations, but what the people want, the people will have!

Well, never mind! The wrap party is TONIGHT. And no smoky speakeasy for our rarefied carousing, no sir! Banish silence! Tear up the title cards! My darling maestro Thaddeus has thrown us all such a treat: it’s to take place aboard his yacht on the Sea of Tranquillity! The Achelois is a grand, wasteful, brilliant beast of a thing—it’s got its own ballroom, a ninepins alley, a wine cellar fit for a bevy of Roman emperors, and Thad makes sure there’s fresh violets and a dash of snuff in everyone’s staterooms.

Or so my darling Regina tells me. This will be my maiden voyage. The yacht used to belong to Jefferson Dufresne, back when he was the King of the Historicals at Plantagenet Pictures and everyone licked his boots for the chance to fart on Bosworth Field. So Regina, my old flatmate (gosh, it feels like a thousand years ago that I had to split the rent!), got to go after she played Empress Josephine in his great big Frenchie flop. Quelle injustice! That I should have to wait until I am nearly forty, when she got to go at nineteen!

They’ll paddle us all about for a few days, and I don’t doubt we’ll all turn up on Monday with Earth-tans and hickeys. Boats practically require debauchery—why, nothing that happens aboard ship really matters! It’s a little bubble, floating free away from the world. A weak and idle theme, no more yielding but…blah blah blah. Slap that together with the divine nonsense of a wrap party and I’ll be surprised if I survive the weekend.

I plan to wear my best Plutonian buffalo fur, a ruby tiara, and not a lick else. Though at the moment I am looking quite respectable in my ecru suit and a hat with just two skinny old feathers in it. I only have this drab thing for meetings with my agent and tribulations at traffic court…bless me, but I am as clumsy as clown shoes in an automobile! But today I shall (probably) not be admonished for speeding on the Hyperion Speedway—for goodness’ sake, why call it a speedway if you aren’t meant to floor it? Today I have a perfectly ladylike luncheon date with my erstwhile stepdaughter. I’m not certain when my private little teas at the Savoy became teas for two, but I’m ever so glad they did. It’s occasionally refreshing to simply sit with someone who has known you a long while and still thinks you’re worth a damn. I suppose that’s why people have children in the first place. It’s hard to scare up such a thing, otherwise.

I do miss old Percy sometimes. Thad invited him along on the yacht, so I may rescind that statement by Sunday night. I wonder if he’ll bring a date—other than Clara? The better question is, who won’t be there? Even that bitter mongoose of a man from Places, Everyone! will get his fresh violets and snuff. I suspect Thaddeus let his secretary make the guest list. It’s chock-a-block with people who’ve nothing to do with Miranda. It’s a wrap party for my film. I do not see why both my ex-husbands should be in attendance, except that the girl who does her nails while I take my meetings thought that it would be scrumptious to see all her favourites in one spot! The Edisons are coming as well, boorish Freddy and Penelope, that fretful slip of a wife he’s got.

She wasn’t always, you know. When I met her, she was Penny Catarain, a brilliant lit fuse of a girl. A techie, good enough to get hired even with a mountain of boys ahead of her. She always gave the impression of having accidentally wandered in from a mad scientist’s conference, and felt rather desperate to get back. She worked sound on my first big studio talkie, before speaking in a flick became the equivalent of farting at a dinner party. Penny made my voice sound like a crystal fountain. But I suppose being married to an utter pig will wear a soul down to the nub. I shall make certain to get her good and sauced on the Achelois. I’ll get Mrs Edison dancing if I have to put firecrackers in her slippers.

I got Penelope alone once at the Capricorn/Plantagenet Studios treaty signing. You can’t really call it a merger when Plantagenet invaded—with a squadron of soldiers, three biplanes, and one, albeit very old and crotchety, Chinese tank—Capricorn’s backlots in order to liberate two leading men and a stack of prints being held in a vault. Those boys were nothing but an excuse, anyway, a cover to make Mr P look like the injured party. Plantagenet’s real objective was to force Cap to “sell” the rights to their marquee characters Marvin the Mongoose, the Arachnid, and Vickie VaVoom for less than I pay for stockings. I took a bullet in the shoulder over a cartoon rodent. But so it goes on the mad old Moon. I heal like a champion.

It was a jollier evening than you might expect: pink paper lanterns, extras dressed up as Marvin and Vickie signing autographs, plenty of champagne and saxophones. Penelope wore blue, I recall. We jawed about the good old days, and she got that look on again, like she’d only slipped away from her fellow mad scientists for lunch and really had to be getting back.

I took her arm. “Honey, does he beat you?”

Mrs Edison looked quite stunned. “No! Christ, what a thing to ask.”

“Then what is it? You always look like you want to lay down and become one with the floor.”

I didn’t expect an answer. I felt certain she would walk away, head high, and never speak to me again. But instead she shrugged and whispered, “He doesn’t let me work.”

People think Percy’s a vicious bear, too, but he’s not so bad. Husbands come a lot worse than mine. I often thought Percy had his head on the right way round, anyhow. It’s only what you print to film that sticks, in the end. That’s what people will see forever, not your silly, flawed memories and inelegant bumbling after happiness. The power of the final cut is what you want—and if you can make it all a little better, a little brighter, a little more symmetrical, and a touch more mysterious, well, why not do it, after all? So what if I had to do a couple of Christmas mornings over again so the light on my face looked nicer, or Sevvy could summon up a little more joy over those woolly socks? I’ve seen the film: those Christmases were glorious. Nowadays, I can only really remember them the way they looked when Percy played them back to us. It’s not the worst thing in the world, to only remember the best version of yourself.

But it is unsettling to see a child do three or four takes of Yuletide ecstasy without batting an eye, I must say.

Still, I did love him. He never minded if I wore my pyjamas for a week and didn’t brush my hair. That’s a good quality in a man. Maybe the best a girl can hope for, considering. And, by Jove, he loves that child. Did you know you can fall in love with the way a man loves someone else? It sounds all zigzagged, but it’s true. Love takes so much effort. You have to get up ever so early in the morning to really love someone properly.

I don’t suppose I shall have a daughter of my own now. I’m not fussed over it. It was on the to-do list, but you know to-do lists. They get longer and longer until you might as well just carve the last items on your tombstone.

Do the dishes.

Pick up gown from the cleaners.

Sign contract.

Perish.

Oh bollocks, I forgot: Have children.

Cue that sad trombone. Besides, I’m rather off marriage at the moment. First Percy, then poor Nigel Lapine—what a disaster! Remind me, my darling, loyal diary, to never again marry a man who makes love with his socks on. I don’t care how his slapstick flickies make me laugh! Diary, you must stand firm! Nigel told me I ought to quit the pictures and make babies, so I told him he ought to quit my house and make a movie with more depth than getting kicked in the balls, and I’m not the teensiest bit sorry. Comedians have no sense of humour.

Thaddeus asked me to marry him, of course. The same day that he told me Miranda had been greenlit. He does it every time he offers me a new Madame Mortimer picture, comes sailing into my parlour with a part in one hand and a ring in the other. I always take the part, but leave the ring. Saints and ministers of grace! It would seem only directors can love a girl like me. I told the scoundrel not to be absurd. He doesn’t mean it. He’s never so much as kissed me, and he never will. Thad is the Moon’s uncle, every starlet’s confessor—but never their lover. Perhaps I shall just say yes one day. That would shock the red out of his hair! But then I might have to go through with it, and I’d rather have a half-barrel of spinach than a husband at the moment.

For that matter, I’m rather off men these days, full stop. I suppose that would make me perfect for Thaddeus. Perhaps that’s why he’s forever asking me. He knows I won’t spill his plate of beans and he won’t spill mine. We are each quite safe in the company of the other. After all, everyone needs a secret to stick in their lapel.

Perhaps I shall invite Sevvy on our little cruise. It would do her good, poor lamb. Being a teenager is always trying, for them and for everyone else, but she cannot seem to get into the rhythm of the thing. I’ve tried to tell her she doesn’t have to go into the industry. There’s every other thing out there, and a lot of it doesn’t require our sort of genteel schizophrenia. She’s just burning up with ambition, but the poor bunny’s got nowhere to put it. I don’t think the Patented Pellam System for Prevailing Over the Perils of Pubescence would be of much help.

Stop speaking to your parents

Run away from your planet

Take off your clothes as often as possible, but only while reciting Shakespeare (and being paid scale)

Buy a cat

Drink your milk

Mug your destiny in an alley and punch it until it gives you what you want

See? What use is that rot to my girl? I don’t think I will invite her. It’s hard enough to grow up without having to watch adults act like fools and monsters all the time. And it’s hard enough being a fool and a monster without a knock-kneed kid spitting responsibility into your drink.

Aha! Speak of the devil and she arrives, desperate for a proper hug.

16 January, 1930, Two in the Morning…Or Is It Three?

The Butterfly Room, Aboard the Achelois, Sea of Tranquillity

Come on, Mary, sober up! If you don’t write it down, you won’t remember it, and if you don’t remember it, somebody’s going to get away with murder and you’ll never even know who. It’s only a spot of gin, girl. Give yourself a couple of good slaps and steady your damned course.

Thaddeus Irigaray is dead!

God forgive me, I think Percy killed him.

How Many Miles to Babylon?:

Episode 1

Airdate: 24 March, 1914

Announcer: Henry R. Choudhary

Vespertine Hyperia: Violet El-Hashem

Tybault Gayan: Alain Mbengue

The Invisible Hussar: Zachariah von Leipold

Doctor Gruel: Benedict Sol

Guest Star: Wadsworth Shevchenko as the Maroon Marauder

ANNOUNCER: Good Evening, Listeners, if it is indeed Evening where you are. BBC Radio is proud to present to you a Sunday night drama you won’t soon forget. We’ll see you here every week at seven in the evening for rollicking stories of derring-do and breathless excitement. Journey back to the early days of planetary settlement. Join the brave men and women of the Pioneer Age as they explore a Venus untouched by man! Gather in, pour yourself a cup of something nice, and sit back for the first thrilling instalment of the solar system’s newest tale of adventure, romance, and intrigue on How Many Miles to Babylon?

Babylon is a joint production of the United/Universal All-Worlds Wireless Broadcom Network (New York, Shanghai, Tithonus) and BBC Radio, recorded at Atlas Studios, London.

This evening’s programme is brought to you by Idun’s Apples Cosmetics, makers of fine soaps, hair oils, cold creams, lip rouges, and foundations, prepared lovingly from a secret blend of soothing botanicals, exotic scents, and ambergris from the finest Venusian sources. Additional promotional consideration provided by Prithvi Deep Sea Holdings Cooperative, a Family Company; Branston Pickle; Kerykeion Premium Coffees, Roasted on Mercury, Served at Your Table; the East Indian Trading Company; and Edison Teleradio Corp.

[Cue wind effects, hollow, haunting, wild breezes echoing through space. Fade into electronic background noise, beeps #445, 23, 71, and 101.]

TYBAULT: Oh, Vespertine, heart of my heart! When you open the door of this stalwart rocket which has been home and hearth to us for so long, we will behold the surface of a virgin world! Who knows what we may find on the shores of watery Venus? What marvels, what perils?

VESPERTINE: They will be our marvels, my beloved, our perils! We will make a new home, hewn from the tree of our love!

[Door creak #6, footsteps #11 and 12.]

VESPERTINE: [aside] When I looked upon that new world, splendid in every way and in every way terrible, I looked upon a tiger with stars falling from his striped tongue. I looked and saw my true bridegroom—but would it also be my grave?

TYBAULT: A sea as red as a rose garden stretches out before us—but what are those strange shapes on the horizon? We shall investigate on the morrow! Ah, how marvellously the cacao-trees soar into the rosy sky! I shall build you a house of these fine planks. How rich the violet fruit on every bough! We will never starve, my darling!

DOCTOR GRUEL: But perhaps you will BURN!

VESPERTINE: Oh no! Who are you, masked sir?

DOCTOR GRUEL: I am Doctor Gruel, and Venus is mine! I am the Wizard of the Whales! I command their awesome power and ride upon their backs as on a pirate galleon! I will allow no man to dwell upon this Eden planet but me and mine!

TYBAULT: I warn you, Doctor Gruel, I am a strong man—I am not without powers of my own! And I am but the first. More ships follow behind in a great silver wave!

DOCTOR GRUEL: And my banditos and I will DESTROY THEM ALL! AH HA HA HA HA!

His Master’s Voice

Transcript from 1946 debriefing interview with Erasmo St. John, property of Oxblood Films, all rights reserved.

Security clearance required.

CYTHERA BRASS: Are you ready to start again?

ERASMO: I don’t know why you ask that when you’ve already begun recording. Obviously, we have started, whether I like it or not. Is it in a handbook somewhere?

CYTHERA: Actually, yes.

ERASMO: I would love to see that handbook.

CYTHERA: Perhaps after we finish here. Begin session two, day one. Let’s roll it back a little. How would you describe the general mood that first night at the Adonis base camp? Before you ventured into the village itself. December first, 1944.

ERASMO: Let me ask you something. Have you ever worked on a movie?

CYTHERA: [short laugh] I am the Chief Security Officer of the biggest film studio on the Moon.

ERASMO: I know that. But have you ever worked on a movie? As a script girl or a gopher or a rigger or a costumer, or, hell, even as an actress? Actually been part of a crew, not just signed checks and kept out riffraff and called in tactical strikes on Plantagenet lots.

CYTHERA: As a matter of fact, I have.

ERASMO: Oh?

CYTHERA: Cross of Stone. 1919.

ERASMO: I love that flick.

CYTHERA: I was one of Queen Matilda’s handmaidens. You can only see me in the background of one shot.

ERASMO: I knew you looked familiar.

CYTHERA: Don’t be absurd. You couldn’t possibly remember.

ERASMO: Cyth, my love, it is my job to see the smallest details of a film. You wore that ridiculous headdress with two points on it like antelope horns. You tore your veil halfway through the scene but kept your game face on quite admirably.

My point is, if you’ve worked on a movie, you know what it’s like, the night before you start filming on location. There’s an energy bouncing all around like balloons fizzing out. Everyone needs their sleep but no one wants to be the first to go. We just wanted to wallow in that wonderful moment before everything started, because in that moment, we all believed the movie was perfect. All we had to do was go and get it. No one had fucked up a shot or wasted film or started giggling in the middle of a line yet.

So what was the mood? What did we do? We actually sat around an actual campfire and told stories. Arlo tried to tell a joke again. [pause] Did you know him?

CYTHERA: I did.

ERASMO: Did you ever manage to hear him tell a whole joke all the way through?

CYTHERA: [laughs softly] Once. But it was a really short one.

ERASMO: Tell me.

CYTHERA: It was at a company picnic out by the Sea of Serenity. We played cricket against Plantagenet—it’s not all tactical strikes, as you so bluntly put it. Arlo and I were both hopeless. You’d think the Australian would’ve put up a better show than me. The Seneca nation has never had a team and never will. But Arlo made me look aces. After we lost, we were lying on the grass and he turned to me and said: So, two fish are floating in a tank and one turns to the other and says, ‘Hey, do you know how to drive this thing?’ I think I actually applauded.

ERASMO: Good for him. Well, he kept on at the one about the mummy snake and the baby snake, but it was no go. The weather was calm; no storm clouds. We ate bacon sandwiches with hot mustard and roasted sausages over the fire. Aylin Novalis, our guide, asked Mariana about growing up on Mercury. Aylin had never been, which shocked me. Mercury is practically right next door! So Mariana told her all about it.

“I was born in Nefertem, a small town not far from Trismegistus in the Tropic of Gemini, the temperate zone between the hot side of the planet and the cold side. My parents raised dragons. Most everyone in Nefertem did.”

“It’s my lifelong ambition to see one of those up close,” our best boy Santiago said. Now, as far as I can tell, everything imaginable was Santiago Zhang’s lifelong ambition. Did you eat real camel once? He’d practically leap into the air and tell you it was his lifelong ambition to eat real camel. Pilot a ship the whole length of the Orient Express? By god, it was Iggy’s lifelong damned ambition to shoot a rocket down the ice road like a billiard ball.

Mariana said, “Go to a damn zoo sometime, Iggy.” Everybody laughed. She told us what they looked like, the native Mercurial beasties. Komodo dragons crossed with zebras crossed with otters, with the personality of a drunken granddad set in his ways. Have you seen one?

CYTHERA: I have a hacienda on Mercury. They taste marvellous with a béarnaise sauce.

ERASMO: Aren’t you a delight? [sounds of swallowing, a water glass being set down roughly] I bet you never rode one, though. Mari did, when she was little. She wasn’t supposed to, but she made her parents save one from the slaughterhouse so she could have a pet. She rode it around the ranch and called it Sancho Panza. Taught herself to sing leaning against Sancho Panza’s back and singing nursery songs with dragon slipped in to all the lyrics. Twinkle, twinkle little dragon, won’t you come and pull my wagon. Up above the world so high, Sancho Panza in the sky…

Mari had such a pretty voice. But girls who can sing tenor don’t get a lot of work. It’s soprano or bust. So she hired on with Edison Corp. Learned the tech so she could help other people sing.

“What happened to Sancho Panza?” Cristabel asked her.

“Same thing that happened to half of them in the twenties,” Mari said, and you could tell she was still a little heartbroken over it. “Who knew a dragon could get whooping cough?”

After that, Cristabel got to talking about cloud surfing on Titan when she was young. The clouds on Titan get so heavy sometimes that you can hop out of a glider and surf them all the way down to the surface. Crissy never saw a blue sky until she was thirteen! She still wears sunglasses all the time. Her eyes never got strong enough for sunlight without cloud cover to diffuse it. Even the Venusian twilight was too much. She loves film, I think, because it makes everything look silver and soft again, like it did back home. She said, “The clouds fold over you like your mother tucking you into the biggest, softest bed in the world.”

CYTHERA: And how would you describe Mr Varela that night? Happy? Distracted? Did he socialize with the others?

ERASMO: Sure. I suppose.

CYTHERA: Do you remember anything in particular before…[papers shuffling] quarter of two in the morning? That was when it started, wasn’t it?

ERASMO: What you have to understand about Max is that he’s a technician with a leading man’s soul. He’s Henry V, but his England is electricity. If Aylin had asked him about his childhood, he’d have regaled us for hours—and we’d have been totally absorbed, because he was wonderful, really magnetic. But he had to be asked, or he would just sulk. He grew up on Earth, you know. Only one of us who did.

CYTHERA: So did I.

ERASMO: Well, you two would have a lot to talk about. You can also tell him that if I see him again I shall drown him in a ditch.

CYTHERA: Why?

ERASMO: You were asking if Max socialized. He did, in his way. He jawed with Horace and Cristabel about lenses. He cuddled Mari while she sang about Sancho Panza and tried to slip Arlo a punch line on the sly—but old Covington didn’t want any help. Oh…and he got into it with Dr Nantakarn. But they’d both been drinking.

CYTHERA: What did they argue about?

ERASMO: Callowhale anatomy. Max kept saying they were basically a series of balloons, just sacs of fluid, more like plants than anything we’d recognize as an animal. Retta wasn’t having a bit of it. She had a theory that they’re actually cetaceans, that if you could cut one open—God, with what? Bulldozers?—if you could cut one open you’d find something not very different than a humpback whale, just much, much bigger. She’s published papers, so you can imagine how bent out of shape she got after a little of that vile moss-gin when some theatre kid started telling her callowhales are basically houseplants. Max sort of sneered that maybe we’d get lucky out here and she could be the first to autopsy one. Retta just swigged from her flask, winked at Santiago, and said, “It’s my lifelong ambition.”

CYTHERA: Did Varela argue with Severin that night?

ERASMO: Not that night, no.

CYTHERA: And the sounds began…around 0045. Correct?

ERASMO: [very quietly, imploringly] I don’t want to talk about the sounds.

CYTHERA: I’m afraid you have to. They’re a significant factor in all this.

ERASMO: What if I just cut to the end—this isn’t a novel, I don’t need to keep you in suspense.

CYTHERA: [papers shuffling] “…we secured the foodstuffs in lockers in case local fauna came sniffing around for crisps and bunked down around midnight. I don’t really know how long it was, half an hour? Forty-five minutes? Something like that. Half an hour to forty-five minutes later I heard something. It was really, really quiet. Sort of a scratching sound, like somebody rubbing two pieces of burlap together. My brother Franco went outside to investigate.” That’s Konrad Sallandar from craft services. [more shuffling] “I went to bed before everyone else so I could study my maps and just…get a break from all of them. Artistic types don’t really talk. They just wait for their turn to tell a story. It’s amazing, but I’m an introvert. I’m not trained up for that level of social interaction. I’d say I turned my light out around 2330, Earth clock. So I was almost asleep when I heard it. It wasn’t loud—not then. Just the softest noise. Like somebody breathing. Somebody with a bit of a chest cold. I remember looking at my watch, so I can definitively say I first heard it at 0043.” That’s Aylin Novalis. Do I need to go on?

ERASMO: No. Christ, no, please, stop.

CYTHERA: Did you hear something that night?

ERASMO: Yes.

CYTHERA: Did Severin?

ERASMO: We all heard it. I don’t know what fucking time it started. I stuck my head out of the tent and I started giggling. I couldn’t help it; I get the giggles when I’m nervous. Heads popped up out of all the other tents and it looked like a Whack ’Em game at the fair. Once they saw me giggling they all started in, too, and pretty soon we were rolling in the sand. We weren’t scared. You hear funny things on funny planets. In the dark, in the middle of a swamp.

CYTHERA: Once you got yourselves under control, did the sound stop?

ERASMO: No.

CYTHERA: What did it sound like, to you?

ERASMO: Like a radio stuck between stations. It was diffuse, coming from everywhere at once. But it was still very, very distant. You had to shush everyone to hear it. Mariana checked her mics but everything was dark, wrapped up, A-OK. So we all went back to bed and didn’t give it another thought.

CYTHERA: And the next morning?

ERASMO: Up at 0600. Toast and sausages and Venusian coffee and not a worry in the world or a sound in the sky, except those mad black birds that sing in Mandarin.

CYTHERA: And this is December second, the first day of actual filming. The day Severin made contact with the boy.

ERASMO: Anchises.

CYTHERA: That’s not his name, you know.

ERASMO: It has been for a year. That’s long enough to stick to his ribs.

CYTHERA: Do you want to know his legal name?

ERASMO: [surprised snort] Actually, yes. I’d like that.

CYTHERA: It’s Turan Kephus.

ERASMO: [long pause] He likes Anchises.

CYTHERA: Tell me your first impressions of him.

ERASMO: I told you already—we spent most of the morning setting up cameras and lighting rigs. Horace and I set up coverage. Mari’s equipment didn’t seem to like the humidity—she was way behind schedule. We all kept busy…because if you looked at him once, you’d never stop.

CYTHERA: Walking in circles?

ERASMO: You’ve seen the film. But in real life it was…it was just awful. That poor boy. He’d been like that for years, but he still looked like a child. Like all the photos we’d collected of Adonis before the…event. The disaster. It was a genuinely unexplainable thing. Severin kept saying somebody must be feeding him. But I don’t know. Every once in a while he would kind of…wink out. Like a shutter clicking. And then he’d come back, so fast you told yourself it was nothing, it was just you blinking, moron. Until we watched the dailies.

It got to me. I felt sick. I felt like I’d run at full speed straight into a brick wall. We’d come all the way across space to see him, and he was exactly like the stories. Exactly like the photographs. There was no new information. Everybody exaggerates; everyone embellishes. But Anchises was just so bizarre that you couldn’t top him.

CYTHERA: What time did Severin make contact?

ERASMO: Around 1300, I think. The light was perfect; the light is always perfect on Venus. Max didn’t think she should touch him. He said, “Just try talking first. We have all the time in the world.” And Dr Nantakarn said something about trauma victims and how you couldn’t predict their reactions to human touch. I wasn’t really listening. Rinny was definitely gonna hug that kid, so I didn’t consider it an important debate. Rinny didn’t like being hugged all that much, but she was a great practitioner of hugging others. She liked to initiate the whole process. When she was younger, she said it could fix anything, if you timed a hug right and were really good at it. And she was. Really good at it.

Later, she revised that to “almost anything.”

But she did try talking to him first. I don’t remember what she said. Generically soothing stuff. She could be so comforting, if you really needed it. Needed her. Not if you’d just had a bad day or lost your watch or something. She didn’t have a lot of pity for the little tragedies. But if you got stuck in a big one, you’d want her there to kiss it better. [clears throat] Right. So she said a few sweet nothings and then she went in for the hug, and then all hell broke loose.

CYTHERA: What particular kind of hell?

ERASMO: The kid started screaming bloody murder. I thought for a moment he was going to blink out again, to get away from Severin, but she held him still. Held him while he shrieked and shook and clawed at her. Like that girl in the story. Who holds onto Tam Lin ’til the wicked fairies have all marched by. What’s her name?

CYTHERA: Janet.

ERASMO: [chair squeaks] That was quick. Under other circumstances, I think you might be an interesting person to know, Cyth. Janet. She held him like Janet, and at the same time the sound roared up again, nothing like the night before. Loud—and I mean marching band-loud. It was absolutely mechanical this time. Machine noise and voices. We didn’t recognize them at first. We couldn’t begin to understand words out of all that junked-up static—skipping, popping, screeching feedback, looped back on itself, the timbre fucked from top to bottom. But somewhere in there we could hear…voices. We were all pretty freaked out—but that kind of freaked out where you’re excited and alive and so fucking curious your curiosity could punch a hole in the ground.

CYTHERA: Can we discuss the boy’s hand for a moment?

ERASMO: [loud sigh] After all this time I still don’t know what to say about his hand. It was disgusting, I can say that. I couldn’t see it clearly, not right away. He was still hollering his head off. His eyes were absolutely wild. I saw a horse bolt during a fireworks show once. When the gauchos finally tracked her down, she was lying in a lake of her own sweat, panicked entirely out of her ability to stand on her own four legs. And her eyes, her poor eyes, looked like Anchises’s eyes. Irises spinning in their whites.

Anchises held up his hand—the hand—to Severin like he meant to strike her, but she didn’t recoil. I was so proud of her. I would have flinched. All I could think was: He has a mouth in his hand. But it wasn’t a mouth. Later he let us all examine it as much as we liked. With gloves and masks, mind you. We didn’t just shove our thumbs in. He had a gash in his palm that didn’t or couldn’t or wouldn’t heal, and the gash was full of horrid squirming bits of flesh, like tiny tentacles, but so fine. Silky. Wet. Greenish-bronze. And alive: they moved by themselves, stretching out of him. Severin just kept telling him how everything was fine as paint. Giving him her best Face Number 124: Adoring Mother. Instead of hitting her, he touched her cheek with that ruin of a hand. It was such a tender gesture, so…adult. And when he touched her it all shut off. He stopped screaming and the static stopped screeching and he let her scoop him up in her arms. She carried him away from the Memorial and then Margareta conducted her examination while Rinny cradled him in her lap.

Anchises slept in our tent for the next three days. We tried to get him to talk, but he wouldn’t. Just clung to Rin like she was something new to circle round. We sat by the fire singing all the songs we could think of to the kid. Maximo took him for walks and kept up this constant patter, hoping he’d do the primate thing and start trying to mimic the big monkeys.

CYTHERA: If we could step back for a moment: What steps did you take to investigate the source of the static? Did Dr Nantakarn suggest that you might have been hallucinating? It seems that all of you freely indulged in drugs and alcohol…

ERASMO: Oh, please. Don’t patronise us. Retta heard it, too. So did Aylin, and neither of them touched a drop of anything even the slightest bit altering. We did what you’d expect—strip that sound equipment, son! Get into those Edison innards. But it was all fine. Mariana kept saying, “It’s perfect, it’s perfect.”

CYTHERA: The rest of the night passed without incident?

ERASMO: Reasonably. We decided not to try to get anything out of Anchises yet. He slept like he’d died. At breakfast the next morning—

CYTHERA: This is December third?

ERASMO: Sure. Who cares? At breakfast I offered him some eggs—he wouldn’t eat solid food yet, but I made him a plate just in case. Max had taken him walking on the beach earlier in the morning and the boy seemed almost cheerful. I offered him eggs and he opened his mouth and static came pouring out of it—but inside the static we heard something else.

Mariana. Screaming.

It was only a coincidence; he wasn’t making the sound. It came from everywhere—from the sky, from the Qadesh—but he opened his mouth in time for it to look like a cue. Mariana’s scream was clear as bleeding daylight, and we all knew it was hers. Mari lost it. You have to understand, she wouldn’t have suffered the indignity of getting certified on Edison gear if she didn’t have a delicate ear and love that mixer on her hip like a child. She screamed in harmony with herself, holding her hands over her ears, yelling over the sound of this other staticky voice we didn’t recognize yet, garbled, warped, followed by a lot of audio vomit. From then on, it never stopped.

You understand, we didn’t know what it was saying then. Afterward, Cristabel and I played back Mariana’s tape in the studio on the Clamshell and cleaned it up. Only then could we get at the actual words.

CYTHERA: Which were?

ERASMO: “Now my charms are all o’erthrown, and what strength I have’s mine own, which is most faint.”

Billy Shakes, my dear. The Tempest. But it was just growling then. Growling, and that vicious, shrill screaming. It never stopped after that. None of us could sleep in that invisible static mess, listening to shredded voices coming from nowhere. It just swallowed Mari up. She spent the morning banging on her temples to make it stop. Moaning, rocking back and forth, clutching her mixer to her chest.

CYTHERA: Alfric struck the boy, correct?

ERASMO: That is so entirely, utterly irrelevant. Yes, she slapped him, that morning when I gave him a plate of eggs and he gave us the hell’s loudspeaker. When it looked like the sound was coming from him, she slapped the scream off him.

CYTHERA: Was that the only time she made physical contact with him?

ERASMO: I don’t know. Probably not. Maybe.

CYTHERA: Varela said he argued with Severin on the night of December second.

ERASMO: I think everyone argued with everyone on the night of December second.

CYTHERA: Do you know what they argued about?

ERASMO: She said it was nothing. She and Varela had a thing when they were kids—really, just kids. So they couldn’t just disagree on what gels to use, it was always the wrong gel and you broke my heart a million years ago. I usually tuned it out. But Mari was still an absolute wreck and the static kept rising and falling like waves, hitting us over and over, and it wouldn’t stop, it never stopped. Max was worried about Severin. Maybe that was it.

CYTHERA: Was there a physical altercation?

ERASMO: She wouldn’t have told me if there was. I’d have slammed his face into a tree so hard he’d have had to live there. And she liked his face.

We were all on edge. Sleeping in that ghost town, in the middle of all those shattered houses and wreckage and misery, feedback sawing on our ears every minute of every hour and the sun never coming up or going down and this poor helpless kid with the monster in his hand…By the fourth hour, I wanted to slide out of my own skin and return to the invertebrate sea. I would’ve been thrilled to hit something. Anything.

You want to know how bad it was? I can sum it up for you. That night, after eight or nine hours of that horror show ripping through the air, Severin curled up next to me and hauled my arms up over her body. She was hiding in me. And do you know what she said?

CYTHERA: What?

ERASMO: Miss Severin Lamartine Unck said to me, “Baby, I’m so scared.”

CYTHERA: What did you say?

ERASMO: What do you think I said? I said what you say. I said I loved her right in the face. It was just some kind of malfunction in Mari’s gear: you know how touchy all that Edison rot can be, don’t worry, go to sleep, I’m right here. Not going anywhere, my love. We sang “Down to the River to Pray” to Anchises. We always sang beautifully together, Rin and me. We sang to him and he stared up at us and his eyes didn’t seem quite so horsey anymore.

I woke up late that night. Both Rin and the little bit were snoring away. Click, sigh, choke. I put my trousers on and went out to the village well—I suppose that would be the hotel lounge, wouldn’t it? If Adonis had a hotel anymore. I knew Horace would be there. I sauntered up. The static sizzled madly in the air. I mimed holding a glass full of sweet pink lady and lifted it up like I was going to toast my cousin. But he didn’t move. He stared straight down into the well.

“Hey, mate,” I said. “You sleepwalking?”

Nothing. I grabbed his shoulder, a little roughly, but he was upsetting me with this nonsense. I yelled over the static, “Horace, wake up!”

He did. He turned to me and smiled. He looked so much like my father. I saw the scar where I’d got him with the dart all those years ago. And then he jumped into the well.

[long pause. Sounds of fingernails scratching against the table.]

It was very deep. I heard him land.

CYTHERA: Had Horace St. John shown suicidal tendencies before this? Do you have any idea why he would take his own life?

ERASMO: [ragged breathing] Stop it. I don’t like you using his full name. He was just Horace. I loved him. Horace was sixteen months older than me and our fathers were brothers. Horace’s mum sold hats in Grasshopper City. Horace would not abide anyone calling him Ace, and God knows I tried. Horace liked to bake. You wouldn’t think a bloke like him would, but he made coronation cakes that looked like iced heaven. If you lined up everyone I’d ever met, he’d be the last one I’d pick to kill himself.

CYTHERA: And when the others found out?

ERASMO: [quiet weeping] They didn’t, right away. Because Mariana woke up with one of those mouths in her hand where she’d slapped the kid, and she started screaming, and it was the same scream we’d heard on the static wind hours before. So it took a while before they listened to me bawling my eyes out that Horace was dead.

CYTHERA: I know this is difficult. But I have to ask, for insurance purposes—what was Mr Covington’s reaction to all this?

ERASMO: Arlo? Oh, he said the shoot was over and we were heading back to White Peony as soon as the equipment was packed.

Oh, Those Scandalous Stars!

Places, Everyone!, 4^th May, 1924

Column #431: The Man in the Moon

Greetings and salutations, cats and kittens, darlings and dear hearts, galactic apples of my all-seeing eye! What have I got in my pockets for you this week? A little sex, a little decadence, a dash of illicit never-you-mind, a lashing of underage naughtiness? YOU BET.

Yours truly secured an invitation Saturday last to what is sure to be remembered as the shindig of the century, or at least the week: the wrap party for Percy Unck’s newest flickie, The Abduction of Proserpine! Don’t ask how I came to be in possession of my invitation (engraved in silver, naturally, on black paper—our man Unck omits no detail!) for I shall never tell.

I am your eyes and ears on the Moon—I see all and hear all! And what did I hear and see on Saturday?

Well, you already know, loyal readers, that Mr Percival Unck was turned down flat by the Americans when he tried to pop out to the nether quarters of the solar system to shoot his little Gothic trifle in the actual ruins of poor Proserpine. People are so funny about tragedies! So what did the King of the Silver Screen do? He built Pluto on the Moon. That’s right, all that hush-hush hustle and bustle out on the Endymion Flats beyond Grasshopper City, all those trucks bouncing out of the Virago lots, all that grumbling and rattling you heard from the Oxblood and Plantagenet offices? All of that was to whack us up a little Pluto of our own. Oh, it’ll be gone by the time you read this—that’s just how the celluloid crumbles—but it’ll be alive forever up there on the cinema screen come autumn. The camera eats the world: points itself at everything, and sucks it right up into Movieland.

But on Saturday, oh, on Saturday, we all danced the Charleston on Pluto’s night-drenched shores! We drank pomegranate smoke out of stained-glass snifters and wriggled into paper buffalo suits left lying all over the sailcloth glaciers like party hats. Mickey Hull himself played the evening away with his twenty-man band. Miss Mary Pellam, half out of her dress by nine p.m., brought the house down with “It Never Rains on Venus.” Mickey H. belted out “I Left My Heart on Halimede,” and, I tell you, there wasn’t a dry eye.

But I get ahead of myself.

Our host set the soundstage up like a labyrinth—the flats and mattes arranged so that we revellers got quite lost, plunged into the mixed-up world of Unck Brand Patented Instant Pluto—Just Add Cameras! The interior walls—all painted windows with real curtains, candelabras and mantelpieces concealing the triggers to hidden stairways—stood at ninety-degree angles to broad landscapes of the frozen Plutonian tundra: wild silver-tailed buffalo prancing, Charon looming huge and sinister and shimmering with what I could only assume was enough glitter to entirely coat the island of Madagascar. Expanses of the ruined city of Proserpine had been swept aside to make room for sets of the city at its rough-and-tumble height. No one could find their way; we stumbled over each other, giggling like children at a slumber party. Tucked into every turn of the maze were caches of drink and delicacies—usually tipped over and scattered by the time I found them. But all roads led to Unck, and the winding, wriggling paths eventually emptied out into a great central stage where Talmadge Brace’s gargantuan ice-dragon puppet wrapped around Mickey Hull’s band and a ballroom floor the colour of blood. The red positively throbbed in my eyes after all that gentle silver and black and grey and white.

And who did I see on the dance floor but beefy Capricorn Studios golden boy Thad Irigaray putting the moves on Mary P, the current Mrs Unck! Not that the chap was doing much of a job of it. And what’s this? Old Wadsy canoodling with Richard Boreal over by the vampires’ chiaroscuro hideout, my my! Quel scandale—or it would be, if I hadn’t told you all about it months ago. Our leading lady and gent, Miss Annabelle August and Mr Hartford Crane, kissed grandly in public view, but went to the bar separately, wiping their mouths with the backs of their hands. The birdies say those two kids can’t stand each other, and Annie’s looking to jump ship to Capricorn with Thaddy-boy—but who’d let a dove like that go? I smell a skirmish coming, so batten down the hatches and hold on to your hats.

Percy himself held court in a dashing green suit, so unusual for the monochrome mishmash of the Virago homestead! And don’t think I missed the sidelong looks he dished out to that pretty little ballerina we’ve been seeing in the chorus lines in Grasshopper City. I miss nothing.

More troubling to my eyes was the sight of little Severin Unck, but ten years old, weaving in and out of the labyrinth with more ease than any of us, darting into the flats to sling back vodka and Callisto bourbon like a bad wee fairy child, some wastrel by-blow daughter of Puck. By midnight she could be found curled up on the massive snout of the ice-dragon puppet that features so prominently in the film, her fingers tangled in its tinfoil whiskers, stocking feet tucked up under her petticoat, a crystal af-yun atomizer clutched in her fist. She would not be the first child to go that way on our Pleasure Island in the sky, but it hurt my heart all the same.

When the rumpus wound down and the confetti had been thrown, the poor girl woke with a start and found herself alone but for myself and a few of the catering staff tidying up. She climbed up onto the face of that glitter-caked dragon, standing on her tiptoes, surrounded by the funhouse-mirror Pluto, ruins, drawing room, and glacier, and began crying plaintively: Papa! Papa!

And for one moment—the only moment of the whole Proserpine shoot, I’d wager—I felt as though I stood on Pluto in truth; right there at the end of it all in the terrible chill and emptiness of that very real and very dead city, of which all that remains is a ghostly voice crying out one word to the night, over and over, without a reply.

Algernon B

Editor-in-Chief

The Deep Blue Devil

The Man in the Malachite Mask:

The Murder of Gonzago

25 February, 1962. Half four in the morning, Setebos Hall

My hand shakes as I attempt to record the activities of the night. My lantern gutters, casting shadows like ink drops over my knuckles, my pen, my pages. There are sounds in this house…sounds I can scarcely begin to describe. I might call them howlings, and yet there is nothing in that lonely word bloody and primeval enough to encompass what my ears have been made to endure. Perhaps if I knew the Sanskrit for it, that ancient tongue of tongues, that would suffice.

I understand now that what happened in my presence in the throne room of the King of Pluto happens every night—it is a performance that repeats like a skipping phonograph, like a church bell. It was not done for my benefit; I am incidental. It does not alter; The King keeps a wooden hammer ribboned like a maypole at his side, and with this wicked gavel he punishes any improvisation or deviation with swift brutality. I saw with my own eyes a maid who mistakenly sang the word agony beset by hammer blows until she corrected herself, weeping: Ago, ago, I mean ago!

Enough, enough. Anchises, enough. There must be some comfort in relating of events, or else why has any tale been told? To salve, to soothe, that is the only purpose of language.

Cythera and I were guests of honour at supper tonight. We suspected nothing particularly untoward—at least, no more untoward than the average Tuesday on this accursed planet. We dressed accordingly, in black suits that invited no frivolous business. Even I managed to project a professional, detached air of importance, perhaps even a slight edge of intimidation. I flatter myself that I can pull off such a combination on some rare occasions. Cythera took my arm without even her usual sigh of distaste, ever-present yet almost imperceptible to anyone who had not shared quarters with her for three months, a sigh with deniability, as soft as loathing. But tonight she held it in abeyance, so I must have been in fine fettle. I closed my hand over hers and whispered:

“Cythera, you must not let your guard down around Varela. Whatever he has made of himself here, he is…a bad man.” I sounded, even to my own ears, like a frightened child. I had been just that when I last found myself trapped in a room with Severin Unck’s lighting master. Frightened of everything, but of him most particularly, of his stare, of his terrible lights in their black cases, gathered round him like the wall of a gaol.

“You’ve said nothing about him in your notes,” answered she, pausing at the door of our conjoined quarters. “Is there something you’ve neglected to tell me?”

I shut my eyes. From beneath years of drink and worse, images swam upward, breaking the surface: the cantina of the Clamshell, people weeping, men and women yelling, a doctor with yellow hands, a pistol belonging to no one…smoke—Stygian, unnatural, smoke with a vicious taste—but it was a smoke without fire…so much light, so much light. And then a man’s fists—Maximo’s—striking me over and over, his boot crunching down onto my deformed hand…

I swayed on my feet. Cythera steadied me, real concern in the eyes beneath her golden mask. What a wonder. She did worry for me, after all.

“On Venus I remember nothing of him except his smell—he took more care than the others for his personal cleanliness. Even Severin smelled sour in the morning, but Varela…there was always a breath of soap on him. But…on the ship, on the ship home. He beat me; he told me to keep silent. To never speak if I could help it. And he showed me the airlock. He asked if I liked it. Every day he asked. I ran from him…” But there was something on Venus as well. In the photographs, in the files, in my own memory, dancing just over the precipice where my brain dared not delve.

My companion gave me a glass of her own brandy, a Callisto vintage she must have hidden away from me aboard ship; I felt my strength returning. Perhaps all the strength I’ve ever owned has come from a bottle, from an atomizer, from a syringe. Without them I am friendless.

“You are not a child now, Anchises. He cannot hurt you. He certainly can’t hurt me. I’ve stared down men with more mettle than some pisspot theatre-rat, I assure you.”

How kind she was to me then. I’ve no idea what came over her. Perhaps she was ill. If only we had known.

Boatswain and Mariner appeared, once more maddeningly silent, maddeningly masked, and led us into the dining hall. A long black table lay prepared, groaning with wonderful foods, Earth foods: glistening roast turkeys and geese, bowls of green vegetables garnished with sweet nuts and butter, steaming bread, champagne, cold cherry soup, pumpkin tarts, everything as perfect as if it were made by some St. Louis matriarch in one humble kitchen. Merrymakers already sat at table, talking, laughing, even singing, as though nothing could be the matter. We took our places at the far end of the banquet table. At the other end sat Maximo Varela, the great lighting master, the Mad King of Pluto. He wore a suit not much different from ours—yet still, too, that unsettling, uncanny Severin mask.

We ate; yet it did not satisfy. The turkey, the goose gravy, the broccoli and Brussels sprouts all tasted the same, their flavour no stronger than that of the infanta flowers: sweet, complex, but hardly a patch on a leg of lamb as I remembered it. No one spoke to us; they behaved as though we were quite invisible, reaching across us for second helpings, kicking our shins beneath the table. I searched Varela’s eyes for the man in my memory, the man who had pinned my arm with one boot while he ground his other heel into my hand. But all I could see was the plastic face of Severin Unck, expressionless, unnerving.

Afterward, the company processed into a dark chamber adjoining the dining hall. Real fear moved in their eyes. The nakedness of it all unsettled our bones—naked walls, without sound, without light, yet nothing guarded. The hyena of the human heart had been loosed in the rooms of this place. I offered my hand to Cythera, but she refused it.

“It’s not your comforting I was concerned with,” I mumbled, and she gave me that old shipboard glare I knew so well.

Very well. Comfortless, we faced that lightless room, wide and long enough for draughts and echoes to play awful, invisible hosts. I could feel the movement of bodies, hear the rustle of fabrics, the soft thump of objects, but nothing had a name or a shape; nothing was yet itself. Light, finally, began as dawn begins: barely perceptible, except as an ease in the air, a redness. I could hear, suddenly, overwhelmingly, the crash and boom of ocean waves. Shadows leapt into stark existence—cretaceous shadows, of vast ferns and trunks, of tangled bush, of thorns and brambles. I felt a raindrop land on my head. I smelled ozone, moss, a storm just wandered off. Green lights like lost emeralds spattered down from the black depths of the ceiling. The silhouettes of broken ships, of broken palaces, of broken bodies came into relief. Lights the colour of drowned flesh crept in, slithering forward to meet the King as he stepped into the world of his making.

He stepped. And stepped. And turned. In a small, tight circle, round and round. He no longer wore the mask of Severin’s face. Now a grotesque Green Man rode his skull, a tangle of kelp, wild orange blossoms, and cacao-bark; hanging vines and fish bones. The King turned round and round, his head down, clutching his hand to his naked chest. No, no, no, I whispered, shaking my head from side to side, trying to retreat, to back out of that place before the place could see me, but a wall of bodies caught me, kept me. The King spun. The heavy leaves of his mask quivered in a real wind that picked up from nowhere, swirling, clawing at my gloves as if it knew, it knew what it would find there.

I began to weep. I am not ashamed. Any man would.

The King stopped as suddenly as if he had been stabbed through the eye. He turned his head toward me, his body motionless. The eyes of his mask were holes gouged in the green. Two long tendrils hung down nearly to his waist. They ended in coppery globes sloshing with some terrible pale wine—and didn’t I know that wine? How could I not? I clutched at Cythera Brass.

“Get me out of here,” I hissed. “I cannot be here. This is cruel. Protect me. Do your job.”

“Get yourself under control,” she hissed back.

The King spoke: “No tale can truly begin until its author is shriven. Thus, I offer up my confession on the altar of the telling. Will you hear me? Will you do as I ask?”

I did not, could not, answer him.

“Do it!” the King of Pluto roared. He ran at me suddenly, as a lion after wounded prey, his limbs painted, streaked, splashed with black and white, stark, terrible. Pigment dripped from his biceps, his hipbones; viscous, greasy tears.

“Do it,” he cried again, and sank to his ruined knees. His fern-tangled mask implored me with its empty sockets. What did his face look like? I should remember it; should remember him, Max, the man with the lanterns; should recall him as vividly as any child recalls a favourite character from some charming tale told in the wee hours of their youth. But there was nothing. My mind refused. I shook my head, held up my hands, choked back the bile churning through my body. I was all bile; I was nothing else. I did not know what he wanted from me!

“Do it,” he whispered. “Forgive me. Forgive me. I killed her. Forgive me.”

I stared down at the pitiful wreckage before me. Could it be this easy? As simple, as quotidian, as quaint as murder? He loved her, and she didn’t love him; or she fired him, and he could not bear the shame; or they quarrelled, and he did not know his strength? I tried to imagine it, his choking the life from Severin, dashing her brains out on the flat rocks where my parents had laid out laundry to dry before they were clawed from the surface of the world. Perhaps…perhaps I saw it happen, and that is why my mind refuses to grasp those unspeakable days on the shores of the Qadesh.

“Never,” I hissed. “I will never forgive you.”

But he only laughed: high, screeching, shrill, boiling laughter that steamed away into the nothingness of that horrid vault.

Maximo Varela snapped his fingers. A campfire appeared in the centre of the room, its embers seething. Drums began, and pipes as well—hooting, owlish horns. Eight figures danced around it, naked, painted, masked: a silver man in a beaked mask with deep camera lenses over its eyes like a raccoon’s bandit face; a man and a woman painted like flame and forest, her mask a clock face, his the burnt ruin of a diving bell; two men, their clothes all woven of priceless grain, a woman cyclops, her single eye a pit of blackness; an indigo man with the face of a bull and a scar like a star on his cheek; and a chalk-marked child, clutching one of his hands with the other, his mask a simple, harlequin white with two black hearts where the dimples ought to be, his mouth a heart-shaped hole. I clutched my own hand reflexively, instinctively. Beneath my glove I felt the topography of my scars; the ropy flesh; the hidden, seeping wound; the soft, sinuous writhing of it…Saints in heaven, why now? It had not stirred in years.

The child spun among the dancing adults, reaching up to them, to be touched by them, to be held by them, comforted. They ignored him. The women embraced; the camera-eyed man lifted a bowl of milk and poured it over himself, over the others—they lapped it from one another’s skin, swallowed it, danced in its fall like pale rain. The cream beaded on their collarbones, their chests, their flat stomachs. The child sucked his fingers sullenly, crouching by the fire. Then, the woman painted like the forest cried out and vanished into the shadows.

No, no, no.

The man with the face of a bull began to choke. He clawed at his throat. His face began to swell; vomit flew from his lips and the vomit was not liquid but a torrent of light, bubbling, foaming, scarlet light. Long nails pricked at the rags of my memory. Hooks, shards. Ah, but there is nothing there for you, Prospero. My memory is a land where everything dies. The cyclops lurched unnaturally, his limbs jerking at hideous angles, and a blade appeared, stuck through the centre of his monstrous eye.

The King of Pluto entered the scene. He came leading a woman painted red. No—not painted red, but soaked in blood. She wore the Severin mask, but now that porcelain face was ravaged by arterial spray. Scarlet and black blood splattered over naked breasts, clotting in the hollow at the small of her back, pooled and half-dried in the valleys of her clavicle, turning her belly into a country of crimson. She was not Severin. She was not. That body, so blatant and unguarded, was not the body I dreamt of. Still, I looked away as though it were, as though it could be. The King passed her from dancer to dancer; she was tender with each of them, even—finally, finally—with the pale child. She hoisted him up, spun him in the air. He laughed, and she threw him to the ground. I lurched forward despite myself, stupidly. He is safe, of course he is safe. It is only an act, a little mummers’ nonsense to pass the time on this godforsaken world; only you needn’t be so rough with him—he’s only small; he is a good boy. The boy’s laughter opened a door into weeping.

The drums and pipes quickened, and so, too, the sounding sea: harder, urgent, arrhythmic. The silver man, erect as a knife, lifted bloody Severin into his arms and penetrated her, the blood running liquid down her limbs and mixing with the milk—how could there be so much blood? Where was it coming from? I thought my heart would stop. Cythera watched calmly, interested, never turning away for a moment. The music groaned, creaked, sped along its jerking, spasming path toward I knew not what; the silver man fixed his lenses on the wet, red body of his lover as though he could drink her in through those black mouths. She bounced in his arms, screaming now. The others bent in their dancing, hunched over, their arms brushing the ground, fingers contorted into hooks, claws, talons.

The Mad King of Pluto did not dance. He tore a green frond from his mask and cast it into the fire, where it became a great book, spitted on spikes, the flames licking at its spine like a beast roasting. He read from its flaming pages, and his voice echoed against the crash of invisible waves:

“Take her and spare us, take her and spare us, You who moved upon the face of the deep before the dark had any need of God. Take her and spare us. As long ago the daughter of Agamemnon was called upon to present herself to the ships moored at Aulis when the winds would not blow, so the daughter of Percival gave herself so that we might live. Agamemnon’s child came in beauty like the star of the morning. Take her and spare us. The lords of men told her she was to be wed to the greatest of them, and readily she prepared herself for a soft bed garlanded with flowers, to be thus brided. Take her and spare us. But the bed was not a bed, nor were the garlands flowers. Take her and spare us. The daughter of Agamemnon lay down upon a stone altar, bound with rough ropes, and there the priest slit her throat to appease the angry moon. Take her and spare us. And from her bleeding body the winds began to sing and fly so that every man’s ship found its destiny. Take her and spare us, take her and spare us. Send us home, and send her to hell.”

Prospero yanked Severin down from her silver mount by her hair. For a moment, a silken, elastic moment, he danced with her. A formal dance, a waltz, her face tipped up, straining to reach his. He touched her cheek, the cheek of her mask, the cheek beneath. And then he threw her savagely against the green-lit rocks, splashing through the blood and milk and mire. Before my eyes, the remaining dancers shuddered, howled, and transformed into four red tigers and a cub, maskless and striped: real tigers, starving tigers.

In the pit of drums and milk they bent their heads and ate her. I saw her bones snap, I saw the marrow within, I saw her rictus of anguish, I saw the King of Pluto drink her blood, and I saw that woman die with the face of Severin fixed to her skull.

But past the moment of her red death I remember nothing, for it was then that I lost consciousness.

25 February, 1962. I know not what hour.

I have seen her. I have seen her here on Pluto, in this damned city of Prospero’s, of Varela’s, alive, whole, laughing.

She came to me in the ochre bedchamber—how I got there and who brought me, I cannot say. I woke in the night, flushed, trembling, the memory of that poor girl’s clavicle snapping under a tiger’s mouth washing my brain in blood. I clamped my hand over my mouth to keep either shouts or sickness inside, and I still could not say which would have won out. But at that instant, the pale door of my room opened and someone stole in, sneaking—though not very well—through the shadows. Her smell filled the room, her sweat, her hair oil, her breath. Severin, Severin, all the pieces of her that my mendicant memory could scrape together. She crawled in beside me, her skin cold, beyond cold, glowing blue and bloodless. She wore no mask in the dark. Her black hair, a little mussed and frizzy, framed her heart-shaped face, that face bending down over me as it did on the first moment of the miserable life I now lead.

“Move over, silly,” she whispered. “I’m freezing.”

And then I was holding her in my arms. She was naked. Her long, space-stretched bones, her smallish breasts pressed against my chest, her breath light against my throat. A dream, yes; it must be a dream. Impossible to conceive of anything but dreaming. But she had such weight. Such aliveness.

“Didya miss me?”

Her voice was the voice from the cinema, from the phonograph—crackling, even, as a phonograph crackles. Static poured out of her mouth.

“All I’ve done my whole life is miss you,” I answered. I am what I am, and what I am is an answer. I must tell the truth. I can commit every sin but false witness.

“Well, isn’t that nice?” She laughed, and her laugh skipped like a needle over a scratch. I stroked her hair—I could feel it, each strand, beneath my fingers.

“What happened to you? Just tell me, tell me so I can stop wondering.”

“I’m right here, sweetheart. That’s all that matters. I’m here.”

“It’s not all that matters. Everything matters. You disappeared right in front of me…”

Severin raised her perfect black eyebrow. “Did I? What a funny thing for a girl to do.” She punched my arm playfully. “And you said you didn’t remember anything.”

I didn’t remember. I didn’t—until that moment, with her frozen lips nearly touching mine—remember the morning light of Venus and the jungle and the molten, brilliant water shining around her, and then through her, and then through nothing but an empty strand following down to the surf.

She took my face in her hands. “Hey now. Rest easy. It’s okay now. It’s fine now. I’m okay. You don’t have to be so sore about it. You’re a good boy. You always were a good boy. Everybody just loved you, right from the start. Like a little puppy.” She looked so serious and sad, her great deep eyes full of shadows. “Just close your eyes, Anchises. Close your eyes and listen to what I say. Everybody’s alive. Everybody’s alive and happy and I got the shot I wanted. Just the perfect shot. It’ll be shown in film school for a million years, it’s that good. I’m that good, and so are you. So are all of us. There is such a thing as grace. I’m supposed to tell you that. There is such a thing as grace. Everybody’s alive. Mariana and Horace and Arlo and Erasmo and Max and Aylin and you and me. What I say three times is true.”

Severin moved her cold hands over my body, in the secret world of the ochre bed sheets and the unutterably Plutonian night. She stroked me, clutched me, her gestures needful and knowing. Her breath quickened. It smelled of the cacao-ferns of my village. Of Adonis.

“It’s not so bad, where I am,” she whispered, guiding me into her, into the ice palace of her body. “You can see so far from here. So far. I love you, Anchises. I love you. You found me, and I love you. I couldn’t stay dead with an audience like you waiting for me. Clap for me, darling; clap like the curtain’s coming down. Harder, harder, harder.”

As I broke inside her, Severin threw back her head, laughed, and came down on my throat like a guillotine. Her small teeth pierced my skin and she drank as deeply of my body as I ever did of her image.

I woke alone. But I can still smell her on my hands.

26 February, 1962. Seven in the evening. Setebos Hall.

“Is that your answer, then?” Cythera sighed beside me, holding a cup of beef broth with more irritation than I have seen from women holding wet laundry. “Murder? Varela was what…a madman? Well, he’s clearly that. But was he always? After all, no one accused him back then, and why wouldn’t they have pinned it to his chest? How much easier for everyone if it was a massacre. Disappearances invite a lot more questions than massacres.”

“He confessed it!” I coughed and sank further into my sickbed, into my dank cavern of sweat-stiff blankets. I could hardly lift my head. I put a hand to my throat: bandaged neatly. But there had been a wound. Who had nursed me? My head pounded meatily. I could taste nothing but stale infanta and bile in my mouth.

“Come now,” she said, and I do believe there was a softening in her voice, a coaxing. I had studied the haruspicy of her tones for so long I could scry the tiniest alteration. “Be the detective we went all the way to Uranus for. With enough of those damned flowers in my system, I’d confess to assassinating Thomas À Becket with a ray gun. He’ll come and see you soon. Maybe he’ll gloat over getting you to faint like a maiden on her wedding night, maybe he’ll blubber all over you again; but either way, you need to pull yourself together and act like you’ve got a job to do.”

“So do you,” I spat. “You’re meant to protect me from assaults like that, from…from depredations. And that girl! God, the dancing girl! He killed her, no matter what he did or didn’t do on Venus…”

“Did he, though? I was there. I saw what you saw. I saw more, since I didn’t shriek and collapse like a startled grandmother. And I listened, it would seem, somewhat better. He told us the story of Iphigenia. But Iphigenia doesn’t die in the end, you know. She’s replaced with a deer at the last moment and spirited away to a temple on the other side of the world. She finds steady work and lives quietly until the day her brother and his comrade turn up, trussed and shaved for sacrifice, on the steps of the house of those distant, foreign gods—and there she is, like nothing ever happened, gathering bowls to catch their blood. You really ought to read more. People always lie, Anchises. They lie like they eat, without manners, without restraint. They love lying.”

“Even you?”

“Oh, especially me. Good Lord, I work in the movie industry. Given that you’ll never hear the truth out of anyone’s mouth, you must listen to the lies—the specific lies they choose to tell. Prospero—Maximo—could have ginned up his little pantomime around any story he liked. The Judgment of Paris, that has a good Venus bit. Pentheus and the Bacchae, Inanna and Ereshkigal, anything. But he chose one where the girl only looks dead. Where there’s a trick. Just when it looks like she’ll be sawn in half and there’s no helping her, the false bottom gives way on the black box and she goes somewhere else, somewhere safe.”

“You’re better at this than I am.” I squeezed my eyes against a splitting headache. I hadn’t had a drink since planetfall, nor anything to eat but infanta.

“Very true.”

“Why didn’t they just hire you?”

Cythera Brass pulled back my linens with one vicious stroke. “Because I wasn’t there, you blubbering idiot. Now be a goddamned detective and earn your keep for once.”

But for all the hardness and contempt collecting like spittle in the corners of her mouth, Cythera helped me up and bathed me in cold Plutonian water. She had already laid out a suit—and the right suit, at that. I would have worn something too formal. I would have looked like I was waiting for him. I have never been a master of the secret code of men’s suits; only adept enough to know that the jacket is always saying something, the shoes and trousers always whispering, but not enough to know exactly what they’re on about. Cythera had chosen a soft dawn-grey number with a plum-coloured tie—which she tied loosely, messily, an artlessness full of art. She put pomade in my hair and shaved my chin—my hands shook too much to manage it myself. Not too close a shave, but not too bad, either. She was brusque in her ministrations, but I could see her relax—this was something she knew how to do, and there is relief in doing what you’re good at. Had she been married once? I suddenly wondered. I watched the business work on her like laudanum. Her face gentled when she smoothed out my suit lapels; her shoulders straightened when she touched the long razor. Perhaps she’d done this sort of thing for her boss back on Uranus, picking out shoes that communicated Melancholia’s stake in the fixed game of cards that people like her are always playing. When Cythera finished, I looked like a man with better things to do than whatever he was doing at the moment; a man who’d made just a little time for you, sir, but don’t push it.

And she timed it beautifully, fastening my mask in place and excusing herself to rinse the shaving cup just as Prospero, King of Pluto—or Maximo Varela, lighting master for Severin Unck—came into my ochre bedchamber and sank down beside me with the familiarity of a brother. He wore a simple moretta mask, black and dappled with silver stars. My Totentanz mask smelled of sandalwood, of the creams and oils of Cythera Brass.

Though she had left the room, there can be no question that she heard everything—of course she did.

“Anchises, my boy, how are you; are you well? Can I have anything brought up? You are fed, you are watered? You fainted dead away—I should have known it would be too much for you. Insensitive, insensitive, crass!” He struck himself in the temple with a fist and his mask skewed, showing a sliver of his real face, a face I still could not begin to reconstruct in my mind.

“I am fine. Yes, fine, really—please don’t trouble yourself. Only—what was that all about?” Be a detective, I thought. Questions. It’s always about the questions. Seeking the right one like an optometrist’s lenses. Can you see clearly now? And now? And now? “What I mean is, no one really turned into a tiger and ate Severin Unck, did they? Art has its limits.”

“You are the only one who can understand me, Anchises,” came his reply. He scratched his cheek beneath his starry mask. “You were there—you saw everything. You know my heart. Her heart. I used to take you walking along the beach in the mornings, do you remember? Every morning from the first day we met you. I recited everything I could think of, just so you could hear language again and remember how to make it yourself. Homer, Marlowe, Coleridge, Chaucer, a little Poe, a little Grimm. I managed most of The Tempest the day before she…the day before. I was proud of that. I gave you a little chocolate from craft services after every walk, so you’d associate words and sweetness. Didn’t work, but it seemed important. Tell me you remember. Tell me it mattered.”

I considered it. I considered telling him, Of course. Of course I remember: “In Xanadu did Kubla Khan his stately pleasure dome decree.” Yes, of course. Your voice brought me back to the country of human speech on a chariot drawn by Chaucer and Shakespeare. You saved me. Quoth Kubla Khan: Nevermore. It would have been kind, and he looked more strung out than me on my worst day. And in camaraderie he might have told me more than he would otherwise. But I could not do it. He killed her. This is her killer. I felt his guilt sliding off of him like oil.

I felt that old compulsion to speak the truth surge up within me—so inconvenient, so detrimental to my vocation. “I don’t remember any of it, Maximo.” He flinched at the sound of his real name. “I have no memory before she grabbed me in Adonis, and after that…just pieces. Moments. Nothing more. My ‘memory’—in the sense of a series of events that occur in order, in which there is some respect paid to cause and effect, proceeding more or less in real time—that doesn’t start ’til Mars. Erasmo’s house on Mount Penglai. Everything before that, the hospital on Luna, the hacienda on Mercury is…blurred. Scene Missing. I remember Severin’s face. Her voice. I remember her laughing. I remember Mariana screaming. I remember the smell of the cacao and the red sea. Why don’t you tell me what happened? That’s what I’m here for.”

Varela studied my face in disbelief. Our masks faced each other, revealing nothing. Clever, that. Perhaps Pluto had hit upon something essential, necessary. Now that I had one, I certainly did not want to take it off, here or anywhere.

Finally, he sighed. “I don’t deal in unvarnished truths. It’s the varnish that counts. That makes it true. Give me enough light and I can do anything. Make you believe anything. Ghosts, fairies, vampires: Just tell me what you want and I can make it real. Just tell me what you want and I’ll make it so it happened.”

He gripped my hand horribly. His nails were long. “You have no idea what I can do. I made you believe in this place. In death and tigers. I have made a planet believe I am their King. Look around: This is the island of the lotus-eaters, and I am the hungriest of all.”

“What about the dead girl? Was there a real girl dying under all those tigers?”

The tiniest sliver of mirth crept into Varela’s voice. “A magician cannot share all his tricks.”

He leapt up, swung round one of the thick pillars of the bed, and slapped the wall. The room seemed to quiver with the force of his mood.

“Something has to be real, you know. Something real has to anchor the magic. Death is the realest thing there is. Death holds the rest together. You’ll believe everything else if you believe in the death. Once someone exsanguinates in front of you, well, anything can happen. You’re on the edge of your seat. The tension, the tension just rears up. I’m aces at deaths. Always have been.” Varela struck the door with the flat of his palm and it cracked, sending up puffs of dust. “Do you know how I met Severin? I was part of her mother’s circus. Lumen Molnar, I mean, the last mother. I was the magician. Prestidigitation. Knife acts, girls cut in half, disappearances. I loved my work. I went to Saturn with Lumen, me and the whole troupe—even the monkeys. And, Christ, they loved us on Saturn. We lit up every halfpenny theatre in Enuma Elish—they didn’t even care what the act was, they were just so hungry for a show; so hungry. You know, a person will give up food for a good show. Push comes to shove, they’ll give up their last food. They’ll do it and they’ll think they got a good bargain. That hunger goes deeper and bitterer than the need for bread. And we came sailing in just dripping with gravy. They slurped us up. Licked their fingers dry and banged the table for more.” He dragged down one of the orange tapestries that covered the walls. It ripped easily, like crepe paper, and floated down to the floor. “Half the time you could see the rabbit in my trousers, but it never mattered. I’ve had more Saturnine girls than you’ve had cups of tea, boy, with more lined up round the block that I was too tired to see to. Elish would have given Severin the key to the city if they’d had one. Anything she wanted—any access, any transport, anything. Because she brought the circus, and it was better than gold. Boredom will murder you dead on the outer worlds.

“I wasn’t anything until Saturn. A purveyor of cheap tricks. But I learned. I learned the lantern trade. A trick of the light, boy, just a trick of the light. Everything in creation is just a trick of the light—the only difference between heaven and hell is who’s running those lights, who’s got the switch, who knows the cues.” Varela turned and stomped on the hearth, the night table, the lovely little secretary on which I’d written my previous entries. They crumpled like drywall and ash, no more mahogany and metal and lacquer than my own flesh. “A couple of times Severin got up there with me, played my girl in the box. She looked up at me with trust as complete as a promise. You can’t even imagine. You think she’s yours because she let you play the urchin in some miserable B-plot scene, but she isn’t yours—you never even knew her; she’s just a face to you. I saw that face under my hands in a box like a coffin; I saw her understand totally that I would never hurt her, that I would always protect her. And I saw that face go under a diving bell with that same expression, not a twitch of the mouth or slant of the eye different. But what she trusted wasn’t me, wasn’t Erasmo, wasn’t Amandine or Mariana or any of us who had kept her whole on every planet we visited. No, she trusted…Venus. The Qadesh. Her own fucking specialness. And look what happened.”

I had drawn myself up into a corner of the room near the curtained bathroom door that concealed Cythera. I could not see how to get out, past his rampage, to anywhere safer. I summoned up a whisper: “What happened? What did happen?”

“Nothing! Nothing! She was nothing, and nothing happened. Nothing is happening. Nothing is all that ever happens. You look at this place and see a palace: elephants; griffins; a Ferris wheel; lights, lights, everywhere. You look at a masked girl screaming and think she’s dead. I tell you this is the island of the lotus-eaters, and it never occurs to you to stop eating the lotus.” Varela overturned a plate of infanta flowers, their petals already curling brown. “You see everything in such plain terms. You and her and nothing else. I’m an extra in your story. Well, you’re an extra in mine, boy. A punter picking cards out of the rigged deck I offer. The thing about a magic trick is that you have to play fair. You show the audience everything you’re going to do before you do it. You tell them to their faces that you’re going to lie to them. You show them the tools—see how they shine! You show them the girl—see how innocent and lovely she looks in her spangled costume! You show them the knives. You say: I am going to cut her in half and you are going to applaud. And then you keep your promise. If you’re any good, the shock is worse because they knew it was coming, but no one ever believes a man on a stage.”

Varela turned and punched through the polished ebony wall—it crackled away beneath his fist like the sugared crust on a French custard.

“Yet you believe her. Her! You look at her pretty little face on the screen emoting and stuttering and blushing and contemplating her rich girl’s life, and you think there wasn’t a script out of frame at her feet, rewritten to an inch of its life, every rewrite thatched in on coloured papers to keep it straight. Oh, are we on the red pages today, where Severin is a rebel and a champion of truth? Or blue, where she cries about her mothers for thirty minutes? Or green, where the lady who’s never wanted for a thing in her life whines about how much someone else has to pay for her to speak on camera? It was a rainbow by the end, every movie she ever made. And you think it’s real, that Venus was any different. That the heart of that girl wasn’t always an empty goddamned soundstage, and her soul wasn’t a hack-job screenplay with half the pages torn out and floating down the length of the solar system. What happened to her? The same thing that happens to any bad script: Too many people get their hands on it, trying to fix it, ’til it turns into nothing—nothing; not a trick, not a twist ending, just a girl bleeding out in a box. There’s no artistry to that. You can’t cram artistry into it, no matter how hard you try. She’s just a dead girl.”

“That’s not an answer. Did you kill her? Tell me!”

He calmed himself, assessing the wreckage of the room, the torn cardboard and shattered coloured lights and crepe tapestries. I knew he was right, that he was showing me his trick, but the infanta had so addled my senses that even amid the trash heap of the ochre bedroom, everything I saw was still limned with light, with richness, an afterimage of opulence, ghosts in the architecture.

“Listen, boy—and look! Behold my beautiful assistant strapped to the wheel! Vulnerable, tender, entirely within my power! See how the light catches her jewelled bodice like a burst of starlight. We landed on Venus with no complications. Transport from the International Station to Adonis took two weeks. Before your very eyes, I shall drive five knives into her unblemished body! You see the knives are sharp; I do not deceive you—I’ve cut my own finger with their points: one, two, three, four, five!

“We arrived on site and set up camp. We found you on the first day of scouting. I had my light meters and she had George, but she hadn’t intended to shoot anything that day. You were extremely anaemic and dehydrated. We fed you and washed you and Severin took charge of you like a pet. Now the wheel starts to spin! Her sequins dazzle! Her cries arouse! The first knife—ah, direct hit in the left shoulder! See how she bleeds!

“The angels first appeared that night. Seraphim, you understand? Not frilly angels with blousy pink wings and haloes like wedding rings. These ones had wheels full of eyes and voices like the noise of the deep. We poor fools! We thought it was equipment, feedback. All that expensive sound shit nobody needs but Severin just insisted on. Mariana was the only one who could make those machines heel, but even she was new to it; she’d never gotten to work with anything that high-end before. We thought the whining, the thrumming, that horrible, horrible vibrating, was Mariana’s problem. Ignore it, ignore it, just go to sleep.” He covered his face with his hands for a moment, but snapped up again, his mask barely concealing the livid excitement in his quivering body. “Observe the flight path of the second knife: I’ve sunk it in the right shoulder, perfectly parallel to the first—what artistry! What skill!

“But the angels came again in the morning. It wasn’t feedback. The voices of seraphim are the colour of need. When their words entered me, I felt a cancer in my heart, and, at the same time, the blossoming of my body into beauty. Thrumming. Voices. Quiet at first, like when you’re in a room full of people and everyone is talking constantly but you can’t make out the words, just an ocean of sound. A tide, sometimes louder, sometimes softer. The third knife, ladies and gentleman, a blow to the left hip! Oh, that one hurt her, you can tell! Blood running down the inside of her beautiful thigh. See it drip onto the stage.

“On the fourth day, they woke us up in the middle of the night. 2:14 a.m., by my watch. Mariana singing. Singing, screaming. Screaming, singing. She was so beautiful; the look on her face when she heard the angels singing in her voice. How I loved her! It wouldn’t stop. No one could sleep. But I loved it. I ran through the ocean surf trying to get closer—if I could only get closer! If I could get closer, I could see their faces, their eyes and their wheels. You can hear it on some of the footage, whispering in the trees. That’s all an Edison mic can hear of God. They wanted us to leave, but Severin wouldn’t listen. I loved her, too, for that. Something she couldn’t explain was happening right in front of her. Something real. Something outside herself. I don’t have a drug in my cabinet to compete with that. But she and I were the only ones talking about it. And she was convinced, convinced it was all due to the callowhales somehow, because she couldn’t see the seraphim like I could. She couldn’t understand their songs, their songs like rainbows and arrows and dying. She would just stare out to sea at those fish, those big, stupid islands like desiccated brains floating in blood. She stared. Just stared. Like she had been paused. Ah-ha! The fourth knife, as true as the rest, into the right hip like butter, my friends! Go on, gasp! Clutch your pearls! See the rictus of pain on her face—as real as you and I! Doesn’t she wear her blood pretty—like jewellery, those trickles, like strands of rubies. Nothing finer!

“We fought, the night before she and Erasmo went out on their own. Mariana was hurt by then, and I wanted to call White Peony Station for transport. I wanted to take care of my Mari. But, even more, I wanted them all to go, just go, so I could have the voices to myself. So I could finally listen, really hear them, in the quiet. None of them could shut up. They couldn’t open up to the sound. The voices were deafening, by then—you just couldn’t think, couldn’t move. Their verbs tasted like life. The seraphim were touching us, touching me. They talked all the time, like carnival barkers advertising the known universe. Severin and I fought often—we’d been lovers, on Saturn, and you’ll treat someone you’ve fucked far worse than someone you haven’t. She screeched at me: I have to know, I have to know. Take Mari and go if you want; I don’t need you. I hit her—she hit me back. It went like that with us, sometimes. But I pushed her. I pushed her and she fell.

You could never understand. Leave me alone with the wheels and the eyes and the heavens and your pitiful questions. Just keep your eye on the fifth knife—piercing the heart, as true and sharp as love. Stop the wheel, if you please. Get her down, now—mind the sequins. A star of knives—perfect, if I do say so myself. Now, a wave of my hand, of my wand, of the curtain of light—and abracadabra! She’s perfectly well! Turn around and show the audience, honey; show them you don’t have a scratch. She’s fine. She’s fine. See? She’s fine.”

Then the Mad King of Pluto bent his face to the ruined floor of his broken house and wept as though he would never again see the sun.

“Calliope the Carefree Callowhale” PSA

PROPERTY OF THE BBC LUNA, RKO, AND CAPRICORN STUDIOS

FIRST AIRDATE: 28 FEBRUARY, 1930

VOICE-OVER: VIOLET EL-HASHEM AND ALAIN MBENGUE

[CALLIOPE THE CAREFREE CALLOWHALE dances onscreen. She is a joyful, animated character, all cheerful lines and unthreatening colours: a stylized whale, halfway between orca and beluga with a little happy humpback thrown in. Her palette is turquoise, azure, and navy blue, with big cerulean eyes framed by long lashes and purple eye shadow. The BBC shelled out heavily to Edison Corp. for the colour animation.

CALLIOPE bounces on her clownish tail in a field of sunflowers and magenta begonias. A fountain of healthy, nourishing callowmilk spurts continually from her blowhole.]

CALLIOPE

HI, KIDS! I’m Calliope the Carefree Callowhale! I’m here to remind all you growing boys and girls to DRINK YOUR MILK!

[MARVIN THE MONGOOSE (courtesy Capricorn Studios) marches in from the left-hand side of the frame. He wears a jaunty cap.]

CALLIOPE

Hello, Marvin! What have you been up to?

MARVIN

Nothing much, Callie! Only defeating the dastardly Crikey the Cobra with my lightning-quick fists! And I couldn’t have done it without a tall glass of callowmilk for breakfast! It’s got everything I need to keep me strong!

CALLIOPE

Righty-ho! Now, I’ve heard that some parents won’t let their kids have callowmilk. They think I’m full of toxins and mutated protein strands. That hurts my feelings! [Giant tears with rainbows reflecting in their surfaces fall from her eyes.] Those meanie mumsies say I make babies come out all funny-looking! But I’m a good whale. I just want everyone to be happy and healthy! [She continues to weep. The sunflowers and begonias wilt.]

MARVIN

But Calliope, if kids don’t drink their callowmilk, how will they ever have amazing adventures in space, like me?

CALLIOPE

That’s just it, Marvin! They’ll miss out on all the fun! I hate seeing children not having fun with their friends, don’t you?

MARVIN

Sure do!

CALLIOPE

That’s why I’m asking all of you to join my club, Calliope’s Kids! Just get your mum and dad to send the BBC a self-addressed stamped envelope and proof of a year’s worth of callowmilk purchases and, and I’ll send you a badge, colouring book, super-secret Venusian decoder ring, and this spiffy hat that will let everyone know that YOU’RE one of Calliope’s Kids, my very special friends! [The flowers spring back to life. Calliope does a somersault in the air and lands in a blue ocean. Marvin salutes her from a raft. He is wearing a pirate hat, an eye patch, and a Calliope’s Kids badge.]