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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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She nods slowly. She shows more enthusiasm for this concept than she really feels. What they want is she should sell out everything her kind had believed in for millennia—sell out her birthright—and she isn’t even supposed to feel the pain. Isn’t even supposed to recognize that there is any pain, just one entity within a larger entity. This was the new epoch for you: absolute corruption without a single identifiable moment of compromise.

“Yeah, what do you take out of the front end?” she asks, shutting her first, translucent lids. Which always freaks them out, the mammals—that tearlike, semi-opaque lid dropping down in the middle of their pitch. Hey, they think, the panic growing in their heaving little chests. She could turn. One bite from those monster jaws and I’m an article in Natural History.

“There’s just one condition,” the furball says, scampering back down the branch. “Just don’t embarrass us in public, you know.” That injured innocence all of them have. He laughs. Looks more feral than ever. Jagged, yellowing teeth emphasizing all the molelike aspects of his demeanor. Chewing on sugarcane, probably. She recalled what Stego had said when they first started noticing them. “No matter how big the cranial capacity, remember what they were when they started out. Moles. You can’t let them ever forget it.”

But she just goes on with her flower. “Hey, you want some?” She offers to blow some pollen his way. The perfect hostess.

Oh, that sends the little fucker scurrying. “Hey, no. I mean—you know, it tastes . . . ” He cuts himself off. Blushing, the way they do—all the hot blood pumping up in their arteries toward their lying little faces.

She blames her mother, too. She had always made her think that it could just go on. Her mother had forced all this girl-lizard thing on her—this dainty, chewing-the-palm-leaves thing. And when she was young, and lit by some inner ambition, she played along with it. But her mother had screwed her up in her relationships with all the other women. So was it any surprise that the last straw for her had been when the furball pointed out that little dopey simian swinging its arms, and said, “See that one? Lucy, they call her. Unlimited potential. Give her a thousand generations, she’ll be walking erect, using tools, making deals. She could become the hottest thing on earth since—well, since you, my lady.” That had cut it. Another woman, like herself. Thanks, Mom.

So head south, young female. The babe from the Antarctic Commission said that they were desperate for production, for any kind of creatures at all, and with the land bridge it was just a couple of long days’ walks away. She had taken the plate-back along with her, for the sex mostly, though he was good company in a kind of lowriding, grungeball way. There would be plenty of empty space down there, and no mammals, just a lot of weird, retro-looking birds. Black and white, all black and white—kind of an art-house look, she guessed.

On the way south, she lies under the stars, awake in the middle of the night, unable to think anything but “I am going to die, he is going to die.” Staring numbly at the stars, knowing that she is but a speck of sand under the fingernail of a larger being who is but a speck of sand under the fingernail of a larger being. Et cetera, et cetera, as they used to say when things just went on forever and her kind ruled the earth. Old plate-back tosses and turns while she looks at the stars. He hasn’t eaten all day.

They were in business together. Go out, get some out-of-country money. Maybe those penguins liked basic action-adventure, monosyllable grunt stuff. That was usually big in the foreign markets—a couple of monster lizards writhing around and biting at each other. O.K., she could do that. Hey, she was adapting, wasn’t she? She had been clean for a couple of weeks, and they were in business together. Plate-back rolls over, his stomach grumbles, and she almost likes him. Hey, they have a working relationship, they have an understanding, they have a deal. You could live with it. Just don’t ask why.

THE GLAMOUR

Thomas Ligotti

Thomas Ligotti was born in 1953 in Michigan. His early stories (mostly from small-press magazines) have been collected in Songs of a Dead Dreamer.

Ligotti’s baroque style is demanding on the reader. He has a unique voice in today’s horror fiction. “The Glamour,” from his new collection Grimscribe, is a marvelous illustration of Ligotti’s ability to project dread and unease in his stories, making readers start at sudden noises and glance around while reading his subtly disquieting narratives.

—E.D.

It had long been my practice to wander late at night and often to attend movie theaters at this time. But something else was involved on the night I went to that theater in a part of town I had never visited before. A new tendency, a mood or penchant formerly unknown to me, seemed to lead the way. How difficult to say anything precise about this mood that overcame me, because it seemed to belong to my surroundings as much as to my self. As I advanced farther into that part of town I had never visited before, my attention was drawn to a certain aspect of things—a fine aura of fantasy radiating from the most common sights, places and objects that were both blurred and brightened as they projected themselves into my vision.

Despite the lateness of the hour, there was an active glow cast through many of the shop windows in that part of town. Along one particular avenue, the starless evening was glazed by these lights, these diamonds of plate glass set within old buildings of dark brick. I paused before the display window of a toy store and was entranced by a chaotic tableau of preposterous excitation. My eyes followed several things at once: the fated antics of mechanized monkeys that clapped tiny cymbals or somersaulted uncontrollably; the destined pirouettes of a music-box ballerina; the grotesque wobbling of a newly sprung jack-in-the-box. The inside of the store was a Christmas-tree clutter of merchandise receding into a background that looked shadowed and empty. An old man with a smooth pate and angular eyebrows stepped forward to the front window and began rewinding some of the toys to keep them in ceaseless gyration. While performing this task he suddenly looked up at me, his face expressionless.

I moved down the street, where other windows framed little worlds so strangely picturesque and so dreamily illuminated in the shabby darkness of that part of town. One of them was a bakery whose window display was a gallery of sculptured frosting, a winter landscape of swirling, drifting whiteness, of snowy rosettes and layers of icy glitter. At the center of the glacial kingdom was a pair of miniature people frozen atop a many-tiered wedding cake. But beyond the brilliant arctic scene I saw only the deep blackness of an establishment that kept short hours. Standing outside another window nearby, I was uncertain if the place was open for business or not. A few figures were positioned here and there within faded lighting reminiscent of an old photograph, though it seemed they were beings of the same kind as the window dummies of this store, which apparently trafficked in dated styles of clothing. Even the faces of the mannequins, as a glossy light fell upon them, wore the placidly enigmatic expressions of a different time.

But in fact there actually were several places doing business at that hour of the night and in that part of town, however scarce potential customers appeared to be on this particular street. I saw no one enter or exit the many doors along the sidewalk; a canvas awning that some proprietor had neglected to roll up for the night was flapping in the wind. Nevertheless, I did sense a certain vitality around me and felt the kind of acute anticipation that a child might experience at a carnival, where each lurid attraction incites fantastic speculations, while unexpected desires arise for something which has no specific qualities in the imagination yet seems to be only a few steps away. Thus my mood had not abandoned me but only grew stronger, a possessing impulse without object.

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