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

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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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“Blacks and bays, Dapples and grays ...”

and from the earth itself, the final words sang out,

“All the pretty little horses.”

That was when I cried, long and loud, a sound I hope never to make again as long as I live.

Then I went back down the hill and home, where Papa still waited by the open door.

PETER

Pat Murphy

Bay Area writer Pat Murphy is the author of novels that defy publishers’ categorizations, crossing the boundaries between science fiction, fantasy, and mainstream literature. Murphy won the Nebula Award in 1987 for her novel The Falling Woman and the World Fantasy Award in 1991 for her novella “Bones.” Her other works include The City, TSIot Long After and Points of Departure.

“Peter” is a dark look at J. M. Barrie’s fantasy classic, Peter Pan—a book which, for those who have not read the original, is itself more dark and droll than the various screen versions would have you believe. Murphy asks us to consider Wendy and the Lost Boys long after Barrie’s novel closes, sent away from Never-never Land and into the land of adulthood.

—T.W.

I went to see Wendy when I was in London. For old times’ sake. It’s a drag, but she expects it, and what can I do.

“Oh, Slightly, you really are a sight,” she says, and smiles as if she expects me to share the joke. “You look so silly in that black leather jacket. And why do you have a hoop in your ear? Do you think you’re a pirate?” She laughs girlishly, even though she’s over thirty, saddled with a kid, and afflicted with a husband who’s never home.

I don’t even know why I go to see her. She always insists I stay to tea and serves sweet biscuits and fusses over her kid the whole time. She gets to me. We have what passes for conversation in her household.

“Slightly writes for the newspaper, Jane. What do you think of that?” Wendy asks the kid. Jane looks at me owlishly and says nothing.

“He just got back from somewhere very far away and exotic. Where was it this time, Slightly?”

“Nicaragua,” I say. “I was a stringer for the Times. Covering the war. You may have heard about it?”

Can’t get under her skin. She smiles sweetly and I just can’t bear it. “I suppose. It’s so far from our little world here.”

“Could you please call me Hank,” I say, a little testily. “I really prefer it.”

“Very well, dear,” she says. She looks hurt but covers by busying herself with cleaning up a spot of tea that has dripped from the teapot spout onto the oilcloth table cover. “I will.”

She won’t. She never remembers.

Finally, the kid goes out to play, dressed in a little pink frock trimmed with lace. Wendy herself is wearing a housedress that looks a bit worse for wear, but the kid has to have the best. “She’s such a dear,” Wendy says, and then settles in her chair to reminisce. “I was just her age when I first flew off with Peter.”

I don’t want to hear about it, but she’s off and running. “Remember the lovely little house you boys made for me? Oh, I was so happy there.” And then she goes on and on, about the sweet little room under the trees and the fun we had chasing the pirates. In her memories, she even likes Tiger Lily, the Indian princess, though I recall at the time Wendy was quite put out by Tiger Lily’s obvious interest in Peter.

Wendy’s memories are all quite tidy. She remembers the sweet room beneath the trees and doesn’t remember that it stank like wood smoke half the time because the chimney didn’t draw. She remembers the jolly pirate ship and forgets the death cries of the dying pirates. The deck was slick with blood when we were done. I remember it, even if she doesn’t.

They died horribly—two in the cabin at Peter’s blade. The rest on deck, mobbed by the lost boys, harried by Peter. I didn’t kill any myself, but that doesn’t mean I was innocent. I carried the lantern and called to the other boys to follow. I remember flashing the lantern in one man’s face—Bill Mullins, I think his name was—and he ran out half blinded, to be cut down by three boys. Fair play didn’t enter into it—we were just kids. Kids with death in our hands and a song in our hearts. The air reeked of blood and we watched Hook leap overboard into the jaws of the crocodile.

Wendy seems to have forgotten all this. She remembers a tidy Neverland. Perhaps she believes the Disney version, where people died neatly, never soiling their pants.

I look around the room as she talks, chattering about fairy dust and Tinker Bell. The arms of the chairs are covered with off-white doilies that are a little lumpy and don’t lie flat. Wendy’s work, no doubt. The windows are covered with a thin layer of dust, the kind of dirt that hangs in the air of industrial towns, settling on everything. By the door, the carpet is worn; the underlying threads show through. Wendy herself looks worn—tired around the eyes. Her hands are a little chapped; she hasn’t been taking care of herself.

Her husband is an actor, or so Wendy says. He gets work now and then—minor parts in minor productions. Never anything big. He’s a good-looking man, in a callow, beardless way. I’ve met him once or twice, and I didn’t much care for Pat Murphy him. When Wendy’s reminiscences slow down, I ask about him. “How’s your husband? Getting any work?”

She looks worried. “Oh, he has hopes. He’s being considered for a part.”

“I see.” I see all too well. His sort is always being considered for a part. Always having lunch with a producer. Always chasing after the dream and never catching it, leaving his wife to grow worn and tired alone.

“And what about you, Slightly? Are you seeing anyone?”

I’ve been married three times. And divorced three times. It never takes. The third one was the worst. “I don’t mind that you’re gone half the time,” my wife told me. “I knew that when we got married. But you’re not looking for a wife. You’re looking for a mother to rock you to sleep.”

“I’ve sworn off marriage,” I say. “I’m always gallivanting off to some adventure or other. ”

“You sound so much like him,” Wendy says wistfully.

“No. Don’t say that. It’s not so.” But even as I deny her words, I know she’s right. He left his mark on me, just as he left it on her. When all the lost boys came home, I was the one who never fit in. At school, I told the other kids about our adventures with the pirates, the battles with the redskins, the long afternoons by the mermaids’ lagoon. When kids called me a liar, I fought back with my fists and got a reputation as a troublemaker, a bad boy. When the other lost boys were promoted to the next grade, I was kept back. But by that time, it didn’t really matter to me. I couldn’t talk to them anymore. They were busy forgetting the island, forgetting Peter, adjusting to the real world.

Wendy is staring into the fire, ignoring me. I care about Wendy, you know. For all the nasty things I say, I care about her. Though she was just a little girl herself, she tried to be a mother to us all. She tucked us in; she told us stories. And Peter treated her worse than he treated any of the boys.

When he left us here, he promised to come back each spring and take her to Neverland for a week. She was supposed to go help with his spring cleaning.

I found her sitting by the open window the year that he forgot her. She wore a frock that looked too young for her. Though she was only eleven, she was growing up fast.

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