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The Year's Best Fantasy and Horror. Fifth Annual Collection

Электронная книга - «The Year's Best Fantasy and Horror. Fifth Annual Collection». Краткое содержание книги:

This acclaimed series, winner of numerous World Fantasy Awards, continues its tradition of excellence with scores of short stories from such writers as K. W. Jeter, Karl Edward Wagner, Terry Bisson, S. P. Somtow, Charles de Lint, Kobo Abe, Jane Yolen and many others. Supplementing the stories are the editors' invaluable overviews of the year in fantastic fiction, Edward Bryant's witty roundup of the year's fantasy films, and a long list of Honorable Mentions—all of which adds up to an invaluable reference source, and a font of fabulous reading.
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I didn’t want to listen to her. All I could see was Keo’s face. It all came back to me. Everything we had done. I wanted to relive it. I didn't care if she was dead or undead. I wanted to seize the grail and clutch it in my hands and own it.

Frances threw a switch. The music started, the shrilling of the pinai, the pounding of the taphon, the tinkling of marimbas and xylophones rang in the Chui Chai music. Then she slipped away unobtrusively. I heard a key turn in a lock. She had left the grant contract lying on the floor. I was alone with all the parts of the woman I'd loved. Slowly I walked toward the draped head. The electron wind surged; the cold blue light intensified. Her eyes opened. Her lips moved as though discovering speech for the first time. . . .

“Rus . . . sell.”

On the pizzafaced boy, the hands stirred of their own accord. He turned his head from side to side and the hands groped the air, straining to touch my face. Keo’s lips were dry. I put my arms around the drape-shrouded body and kissed the dead mouth. I could feel my hair stand on end.

“I see big emptiness inside you. Come to me. I fill you. We both empty people. Need filling up.”

“Yes. Jesus, yes.”

I hugged her to me. What I embraced was cold and prickly. I whisked away the drape. There was no body. Only a framework of wires and transistors and circuit boards and tubes that fed flasks of flaming reagents.

“I dance for you now.”

I turned. The hands of the McDonald’s boy twisted into graceful patterns. The feet of the child moved in syncopation to the music, dragging the rest of the body with them. The breasts of the chained woman stood firm, waiting for my touch. The music welled up. A contralto voice spun plaintive melismas over the interlocking rhythms of wood and metal. I kissed her. I kissed that severed head and lent my warmth to the cold tongue, awakened passion in her. I kissed her. I could hear chains breaking and wires slithering along the floortiles. There were hands pressed into my spine, rubbing my neck, unfastening my belt. A breast touched my left buttock and a foot trod lightly on my right. I didn’t care that these parts were attached to other bodies. They were hers. She was loving me all over. The dwarf that wore her pudenda was climbing up my leg. Every part of her was in love with me. Oh, she danced. We danced together. I was the epicenter of their passion. We were empty people but now we drank our fill. Oh, God, we danced. Oh, it was a grave music, but it contented us.

And I signed everything, even the codicil.

Today I am in the AIDS ward of a Beverly Hills hospital. I don’t have long to wait. Soon the codicil will come into effect, and my body will be preserved in liquid nitrogen and shipped to Patpong.

The nurses hate to look at me. They come at me with rubber gloves on so I won’t contaminate them, even though they should know better. My insurance policy has disowned me. My children no longer write me letters, though I’ve paid for them to go to Ivy League colleges. Trisha comes by sometimes. She is happy that we rarely made love.

One day I will close my eyes and wake up in a dozen other bodies. I will be closer to her than I could ever be in life. In life we are all islands. Only in Dr. Stone’s laboratory can we know true intimacy, the mind of one commanding the muscles of another and causing the nerves of a third to tingle with unnamable desires. I hope I shall die soon.

The living dead are not as you imagine them. There are no dangling innards, no dripping slime. They carry their guts and gore inside them, as do you and I. In the right light they can be beautiful, as when they stand in the cold luminescence of a basement laboratory, waiting for an electron stream to lend them the illusion of life. Fueled by the right fantasy, they become indistinguishable from us.

Listen. I know. I’ve loved them.

MAMA GONE

Jane Yolen

Jane Yolen has published more than one hundred books for children and adults and has been called “the Hans Christian Andersen of America” for her many original fairy tales. Her books have won the Caldecott Medal, the Christopher Award, the World Fantasy Award, the Golden Kite Award, and the Kerlan Awards. Her fantasy works for adult readers include Sister Light, Sister Dark; White Jenna; Halls of Grief; Merlins Booke; and Tales of Wonder. Her latest adult work, Briar Rose, retells the Sleeping Beauty legend against the backdrop of World War II.

“Mama Gone,” like much of Yolen’s best work, was first published in Vampires, a collection of children’s stories. It is a chilling little tale, and we are pleased to offer it here for the enjoyment of adult readers.

—T.W.

Mama died four nights ago, giving birth to my baby sister Ann. Bubba cried and cried, “Mama gone,” in his little-boy voice, but I never let out a single tear.

There was blood red as any sunset all over the bed from that birthing, and when Papa saw it he rubbed his head against the cabin wall over and over and over and made little animal sounds. Sukey washed Mama down and placed the baby on her breast for a moment. “Remember,” she whispered.

“Mama gone,” Bubba wailed again.

But I never cried.

By all rights we should have buried her with garlic in her mouth and her hands and feet cut off, what with her being vampire kin and all. But Papa absolutely refused.

“Your Mama couldn’t stand garlic,” he said when the sounds stopped rushing out of his mouth and his eyes had cleared. “It made her come all over with rashes. She had the sweetest mouth and hands.”

And that was that. Not a one of us could make him change his mind, not even Granddad Stokes or Pop Wilber or any other of the men who come to pay their last respects. And as Papa is a preacher, and a brimstone man, they let it be. The onliest thing he would allow was for us to tie red ribbons round her ankles and wrists, a kind of sign like a line of blood. Everybody hoped that would do.

But on the next day, she rose from out her grave and commenced to prey upon the good folk of Taunton.

Of course she came to our house first, that being the dearest place she knew. I saw her outside my window, gray as a gravestone, her dark eyes like the holes in a shroud. When she stared in, she didn’t know me, though I had always been her favorite.

“Mama, be gone,” I said and waved my little cross at her, the one she had given me the very day I’d been born. “Avaunt.” The old Bible word sat heavy in my mouth.

She put her hand up on the window frame, and as I watched, the gray fingers turned splotchy pink from all the garlic I had rubbed into the wood.

Black tears dropped from her black eyes, then. But I never cried.

She tried each window in turn and not a person awake in the house but me. But I had done my work well and the garlic held her out. She even tried the door, but it was no use. By the time she left, I was so sleepy, I dropped down right by the door. Papa found me there at cockcrow. He never did ask what I was doing, and if he guessed, he never said.

Little Joshua Greenough was found dead in his crib. The doctor took two days to come over the mountains to pronounce it. By then the garlic around his little bed to keep him from walking, too, had mixed with death smells. Everybody knew. Even the doctor, and him a city man. It hurt his mama and papa sore to do the cutting. But it had to be done.

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