The Year's Best Fantasy and Horror. Fifth Annual Collection
- Автор: Датлоу Эллен, Виндлинг Терри
- Год: 1992
- Язык: английский
- Год: St.Martin’s Press
- Жанр: Ужасы
Электронная книга - «The Year's Best Fantasy and Horror. Fifth Annual Collection». Краткое содержание книги:
“I don’t know what you’re talking about. ”
“Yeah. I was just real positive you wouldn’t know what I was talking about.” “I’m going to ask you again, just like last time, to show me some identification,” Arthur said. “If you’re a government agent, I want to see what kind.”
“What for? I ain’t asking you for nothing. I’m telling you about your girlfriend. That’s all I came in for. I’ll leave this newspaper story with you, to maybe give you something to think about.” He stood up. “And a dime for the coffee, right?” “Keep your damn dime. We don’t want your money.”
“Well now, that’s mighty neighborly of you. So long, sport. Next time we meet it ain’t going to be as pleasant as it has been.”
“I’ll bear that in mind,” Arthur said. He watched the one enemy he ever knew he possessed waddle toward the door, his toothpick waggling up and down under his nose like a mechanical gadget. When he was gone, Arthur took fifteen cents from his pocket and rang the money into the cash register. He had just remembered that he still owed the cafe a nickel for the coffee Ugly Dick had ordered seven years before.
The next dawn found Arthur before his typewriter, struggling with a tale that was not progressing satisfactorily. He could not say why this particular story about visible creatures who inhabited an invisible planet was so difficult, but he had pottered with it two months now and it still didn’t show signs of life. He sighed and stood up, arched his back and stretched his arms above his head. This mid-September morning, though still only pinkly lit by a pink sun, was full of life, cicadas and crickets sounding away and four roosters near and far voicing their victory over the nighttime.
He took up the envelope again for the dozenth time this morning and opened it and took out the clipping. Peering at it closely under the lamplight, he still couldn’t tell. Was the woman in the photograph his Francesca? He would never be certain about the picture, he knew, and had decided simply to trust his instinct. He felt that the news story was about someone he didn’t know.
The truth was, he didn’t know anything. He didn’t know who Francesca was or Ugly Dick, either. He would never understand what tangle of circumstance had bequeathed him the Somewhere Doors. He looked at them now, their colors still vivid, their surfaces still warmly and lightly pulsing with promise. One thing was certain: Ugly Dick with maybe some ugly help would have gotten into his hut and would have tried to open the doors and they had failed. Neither door would open even for Arthur until he made his fateful decision. Nor could they be damaged in any way.
He was forty-four years old now; he had grown middle-aged in this pleasure of indecision. They had hired a teenager to help wait tables and wash up at the cafe, so his work load had lightened, and his financial situation was secure, compared to the bone-scraping poverty he always had endured. His little hut was still brutally cold in winter and it was still an unhandy and often muddy trek to the outhouse at the edge of the field behind, but the Doors were here and their nearness supported him, comforted him, and never failed to entice with the dilemma they presented.
He slipped the clipping back into the envelope and laid it by his typewriter. Then he tugged on a light denim jacket and went out walking, stalking the dusty gravel road to the bridge and the river. The light was brightening now and a breeze came by as fresh as a cool hand across his forehead.
At the bridge he looked above the twisted waters into the swaying tops of the balsam trees and remembered meeting Francesca here in her white party frock and her white shoes. Maybe one of these days the smooth oxblood car would come darkly humming along again; maybe Francesca would step out. He turned to look, but the road was empty in both directions. Once more he sighed and began to retrace his steps to the hamlet.
On the bank by the bridgehead was a stand of six young silver-birch trees and beneath them a clump of knee-tall bright scarlet bee balm. He stopped for a moment to admire.
And then this scene—the lithe young trees with ragged bark fluttering, the brilliant red flowers nodding as the river purled—overwhelmed him. Almost every day he saw these things and did not see them, walking along absorbed. Anytime he liked he could remember this sight and yet he would always mostly forget. He burst into tears and went down in the road on the gritty gravel on his hands and knees, realizing that he had made his decision.
The sadness of utopia was the same sadness as that of paradise. Utopia and paradise could not remember. They were eternal and unaging and had no history to come to nor any to leave behind. They were dreams that Arthur for a long time had been experiencing with all his senses except those of his body. He had already opened both Doors and visited both Somewheres. He was ready to fling open wide the third door, the entrance to the world in which he already lived. Much had passed him by. Oh yes. Yet much awaited him still.
But right now and for five minutes longer he had no strength to rise. He remained on his hands and knees in the hard gray dirt of the road, weeping aloud like a child deceived or undeceived.
POE AT THE END
R. H. W. Dillard
Famous literary figures have often become themselves the subjects of others’ creative art. In the poem that follows, R. H. W. Dillard uses many of the images Edgar Allan Poe invoked in his own work to express his despair at losing his dear wife, Virginia. Whereas such homages are frequently either self-indulgent or hagiographic, Dillard’s poem is a powerful, poetically valid work. “Poe at the End” originally appeared in Chronicles: A Magazine of American Culture. Dillard is a professor of English at a southern university.