MOVIE REVIEW: Pokémon Detective Pikachu

written by David Steffen

Pokémon Detective Pikachu is a live-and-CG children’s mystery/action movie based on the Pokémon franchise.

Through most of the world they are mostly used as the fighting creatures we know them as from the game/card franchises, who are trained by humans and pitted against each other in arena-style battles against other Pokémon. Ryme City is the exception, where humans and Pokémon live together as fellow citizens, each human citizen paired with a Pokémon citizen.

Tim Goodman (Justic Smith) is a 21-year-old insurance salesman in a world where are real. He used to love Pokémon but lost interest when his mother died, and his dad took a detective job in Ryme City and has had very little contact since. But when Tim is informed that his father has disappeared, he travels to Ryme City to take care of his father’s affairs. While he’s there he meets a strange Pikachu (Ryan Reynolds), the only Pokémon he’s ever heard of who can talk with a human. Pikachu wants to be a detective, and seems to have been Tim’s father’s Pokémon partner, but he has no memories.

He also meets junior reporter Lucy Stevens (Kathryn Newton) and her Psyduck companion, who claim that they have information about Tim’s father’s disappearance. They work together to investigate clues about what actually happened.

This was fun and funny, and had plenty of action to keep the kids interested, dialog and story, it’s all around quite a lot of fun. You don’t have to know much about Pokémon to follow the movie, though there are jokes and references that Pokémon followers will get that others want (I knew just enough to get a few of them, but I’m sure I missed many). Recommended, and fun for the kids.

MOVIE REVIEW: MIB International

written by David Steffen

MIB International is a science fiction action/comedy movie, the 4th and most recent movie in the Men In Black series about a secret government agency that keeps the world safe from intergalactic security threats as well as ensuring that extraterrestrial residents of Earth can live in peace and secrecy among us. When someone joins the Men In Black, they give up all remnants of their former life to devote their lives to the cause.

As with previous movies, this one follows a pair of MIB agents working together against some new threat against the world. This time the agents are Agent M (Tessa Thompson) and Agent C (Chris Hemsworth), working under the leadership of High T (Liam Neeson) in the London office of the MIB.

Agent M had been Molly Wright, who witnessed her parents meeting with the MIB after an alien snuck into their house. Molly’s parents thought that she was asleep, so her memory of the event did not get wiped like her parents’ did. She committed her life and extraordinary academic career into seeking out the Men In Black and finally earned a position in them.

Agent C is a living legend, having fought off an invasion of The Hive with High T using only their wits and Series 7 De-Atomizers. His ways are unorthodox, to say the least, much looser than the usual stiff MIB protocol, and probably only tolerated because High T is the leader.

There’s a new threat to the world, a new excursion of the all-subsuming Hive and it’s up to Agent M and Agent C to stop it.

I love the series, and this one had a lot of potential. I love both Tessa Thompson and Chris Hemsworth to bits, and I thought that they did an exemplary job with the parts given to them, but I felt like the parts given to them were a little 2-dimensional. The movie was all right but I wanted more from it, especially since this is #4 in the series, the novelty can’t carry it at this point and nothing spectacularly new was done with the premise. So, not bad, it was fine, I loved seeing the two lead actors in particular, but I felt like it didn’t reach its potential.

TV REVIEW: The Handmaid’s Tale Season 2

written by David Steffen

The Handmaid’s Tale is a TV show presented on the Hulu streaming service, based on the 1984 Margaret Atwood novel of the same name, which was previously reviewed here, about a near-future dystopia in which the USA has become an extremely oppressive theocracy in which women are second-class citizens, especially the handmaids who are little more than breeding stock. Season two aired on Netflix in 2018 (season 1 was reviewed here).

The protagonist is June (Elisabeth Moss), a handmaid in the new nation of Gilead, a dystopian vision of a violent fundamentalist Christian regime in the near future. Women have no rights, can own no property, and the handmaids in particular are basically only treated as breeding stock, meant to get pregnant by the commanders of the society in a monthly ceremony with their wives. She is known officially as “Offred” because she is considered the property of Fred Waterford (Joseph Fiennes), to conceive for his wife Serena Joy (Yvonne Strahovski).

The end of season 1 ended in the same place as the book it was based on, with June being hauled away with no explanation in a van, with no idea if she is going to be freed or killed or something else entirely. She is smuggled away from her household and hidden somewhere else, with the help of Nick (Max Minghella), her household’s driver and her secret lover , but her fate is still far from certain.

This season explores areas of the world of Gilead and the surrounding world in ways that are never directly explored in the book or season 1, seeing what life is like in other countries (especially Canada) as well as other parts of Gilead itself, like the colonies that are the destination of the doomed, and finding out more about the roles of different people in the world and how they are rewarded and trapped in their roles as well.

Season 2 was an excellent addition to the series, continuing to expand on the world and the characters (and I’m in the middle of watching season 3!).

TV REVIEW: The Handmaid’s Tale, Season 1

written by David Steffen

The Handmaid’s Tale is a TV show presented on the Hulu streaming service, based on the 1984 Margaret Atwood novel of the same name, which was previously reviewed here, about a near-future dystopia in which the USA has become an extremely oppressive theocracy in which women are second-class citizens, especially the handmaids who are little more than breeding stock. Season one aired on Netflix in 2017.

In the near-future world of the story, a worldwide infertility epidemic is affecting the whole world, and the United States has been overthrown by a violent fundamentalist Christian regime and renamed Gilead. The leaders of Gilead think that the world’s problems are a punishment from God for their wickedness, and have taken over to enforce their own view of morality on their citizens.

One of the largest of these changes is the introduction of handmaids, fertile women who are assigned to commanders whose wives have not borne children, to be raped every month when they are ovulating with the intent of bearing a child that will then be taken by the commander as his own child.

The protagonist of the book is June (Elisabeth Moss), who is a handmaid officially known as “Offred” (as in “of Fred” because Fred is the first name of the commander she is assigned to(Joseph Fiennes)), who had a husband and a young child before the rise of Gilead and she was made a handmaid because of past infidelity. She is trying to survive despite the extreme circumstances, and she is trying to make her place in this new world with potential friends like the commander’s driver Nick (Max Minghella) and maybe make a difference to someone and if she is very very lucky, make a mistake.

Besides the monthly “ceremony” when she is ovulating, she also has to deal with the passive-aggressive tendencies of the commander’s wife Serena (Yvonne Strahovski), and the overbearing leadership of Aunt Lydia who oversees all of the local handmaids.

For those who have read the book, the first season pretty much matches the timeline and major events as the book, also ending in pretty much the same place. It has been a couple years since I’ve read the book but the parts that I remembered matched the book quite closely.

The writing, the casting, the music, the production, everything about this show is done very well. It is not a show for the lighthearted, and is as relevant (or more relevant) than the story was when the book was originally published in the mid-80s–it is all too easy to believe some of the dystopic religio-political beliefs in Gilead taking root in some current trends. The Handmaid’s Tale is a good story, but even more so than other dystopias it is a warning about where we might end up if we don’t resist changes that would take us to that dystopia.

Highly recommended, if you feel you can handle something so dark.

DP FICTION #54A: “The Inspiration Machine” by K.S. Dearsley

“I’ve got it!” Barnes leapt out of his chair and knocked hot synth-coffee over his work interface and paunch. Perhaps that was why the idea vanished. By the time he had swabbed away the mess, the brilliant flash of creativity was no more than the memory of something that had almost been within his grasp. He needed a few breaths of bottled fresh sea air–his last multi-million global craze–to boost his brainpower.

He had exactly twenty-three minutes to find the next big thing, the product that everyone–young, old, straight, gay, white, black and everything in-between–had to have. Innovations Manager Oona Hardy had smiled at him at the last project development meeting–that smile. Barnes was sure it was produced by twitch implants that pulled back her lips to reveal entirely too much gum and teeth. No one who had been on the receiving end of that smile survived the next meeting unless they came up with something so good no one could understand why it had not been thought of before. The trouble was, the harder he tried to snatch at ideas, the faster they fled. What was that idea he had been about to have?

*

“I don’t need to tell you we’re under pressure. Yes the ‘Shake It’ instant drying fabrics are still selling well, particularly the towels, but with OmniCom launching its ‘Perfect Image Flexi You’ technology we have to come up with something to compete.” Oona Hardy had a way of pausing behind the so-called creatives at the conference table as she paced around it that made each one flinch. When it was Barnes’ turn, he had to fight himself not to draw in his head like a tortoise. She moved on, and Barnes exhaled.

Someone stammered out an idea. Hardy’s lips began to pull back. Any moment now, Barnes would be called upon to speak. If only there was a way to make inspiration come to order. If only there was a way to backtrack to the flash of light and stop it escaping.

“What we need is an inspiration machine.” He had not meant to say it aloud, but Oona Hardy pounced on it.

“An inspiration machine. That has possibilities… expound!”

Barnes filled in the panic with words. “Think of all the priceless inventions that have been lost because an alert beeped or someone spoke. An inspiration machine would take you back to the instant when the idea began to form and allow you to follow it through… ” He was babbling, but Hardy was already filling in the gaps.

“How long before it’s market-ready?”

“Umm… ” He should not have hesitated.

“Four months. Bravo Barnes! Who’s next?”

Barnes tried to breathe naturally, as Hardy’s smile lasered the colleague next to him. Four months, and he had no idea what he had just proposed, let alone how to make it. The trouble was, he needed an inspiration machine to show him.

*

Four months of experimenting with electronically induced hypno-regression, combinations of auditory stimuli and implants in the primitive brain, and Barnes was no further forward. All he had to show for his work was a mess of interlinked nano-chips and nerve switches.

“Is this it?” Hardy’s demand caught Barnes off-guard.

“Yes.” That was it so far.

“Good. Give me a demonstration. Is this how it goes?” Hardy picked up the contraption.

“It isn’t ready yet.” Barnes hastily positioned the kit on her.

“Absolutely. It needs to look more sexy… ”

“I meant… ”

“Switch on… ”

Barnes held his breath as Hardy closed her eyes and waited for something to happen.

“It doesn’t work,” he said.

“Mm… tingling… not unpleasant… ”

“It doesn’t work.”

“Of course it works! I’ve just had a brilliant idea how to market it.” Hardy turned on her smile.

Barnes knew better than to disagree.

*

The more time that passed and the steeper the sales graph rose, the harder it was for Barnes to unglue his tongue. The inspiration machine was a sensation, acclaimed by avant-garde artists and company directors alike. Barnes enjoyed the bonus Hardy gave him, but not the smile she seemed now to reserve for him. He pretended to be working on a way of tapping into parallel universes, but continued his research into trapping the creative moment. Sooner or later, the bubble was bound to burst, and if he could come up with a machine that worked he might not get caught in the blast. He attached himself to the machine’s latest incarnation and closed his eyes. He sighed. It didn’t work, he was on completely the wrong track. The reason he knew was because there was the light of an idea glimmering in the distance.

“This doesn’t look much like a parallel universe interface to me.” Hardy’s smile cut off the protest Barnes was about to make. “It’s amazing what people can do when they believe things are possible. All those testimonials we have from satisfied customers who’ve found our machine increases their innovation. Anyone who hasn’t can’t have any imagination.”

“But I know how to make it work.” Barnes tried not to listen to her: the light was still there.

“Of course you do, you invented it.”

Not the smile, not the smile, not the smile, Barnes repeated in his head. “All we have to do is… ” But there it was–the pulled back lips, the expanse of gums.

“Well?”

“Um… er… ” It was no good, it had gone.

Hardy twitched her smile back until Barnes thought her face would split in two. More alarming still, she patted his hand. “I thought so. Best stick to the parallel universe interface. I’ve got just the market for it.”

 


© 2019 by K.S. Dearsley

 

Author’s Note: Two things were mainly responsible for The Inspiration Machine: the panic when you have to come up with an idea, and that pesky inspiration is hiding again (It’s never there when you want it.), and the memory of team briefings to discuss corporate strategy. I still have nightmares.

 

Karla Dearsley’s stories, flash fiction and poetry have been published on both sides of the Atlantic. She lives in Northampton, England, and when she is not writing she lets her dogs take her for walks. Her fantasy novels are available on Amazon and Smashwords. Find out more at http://www.ksdearsley.com.

 

 

 

 

 

 


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BOOK REVIEW: The Road by Cormac McCarthy

written by David Steffen

The Road is a post-apocalyptic survival novel by Cormac McCarthy, published in 2006 by Alfred A. Knopf (which also inspired a 2009 movie adaptation by the same name).

A man and his son travel across the wasteland that had been the United States of America after a major (but largely unexplained in the text) catastrophe that left almost everything dead. They are following a road traveling toward the south where they believe they will find sanctuary. Subsisting on scrounged food supplies from pantries of empty homes, and avoiding other survivors who might wish them harm, they don’t know if they will find enough food to make it to their destination, or how they will survive the coming winter, or whether the sanctuary they are hoping for actually exists.

This novel, as you might expect, is bleak as hell. They and other survivors they come across are all people who’ve managed to survive for years and years after the end of almost all life on the planet, and so have made tough decisions to survive. While the man and his son have stuck to certain moral choices, many of those who still survive have not, and running into others is frequently a dangerous encounter. I found the book very compelling, despite the characters not being named, and the very sparse (and often repetitive) dialog in the book was a strong element of that, there’s not much to talk about, and much of it is the man answering the same questions or try to tell the boy what he needs to hear, and about how their relationship changes over the course of the book. The boy has never known a pre-apocalyptic world, so his father’s stories about the time before are like a fairy tale, compelling but imaginary. A solid post-apocalyptic book telling a deeply compelling and emotional story about trying to survive and trying to help your surviving family however you can, while still trying to make moral choices.

(When I picked the book up, I could have sworn it was a very old book that was published before I was born that everyone talks about, but it turns out I had it mixed up in my mind with Jack Kerouac’s On the Road, a completely unrelated book, apart from them both being about road trips in some sense)

BOOK REVIEW: The Time Traveler’s Wife by Audrey Niffenegger

written by David Steffen

The Time Traveler’s Wife is a 2003 time travel romance book written by Audrey Neffenegger, about a man afflicted with a condition that causes him to time-travel more-or-less randomly and the woman he marries. The book was very popular and inspired a 2009 movie adaptation of the same name, previously reviewed here.

Henry has experienced the time-traveling condition since he was a child. When he travels, only his body is transported, so he does not take along his clothes, wallet, or any other possessions. He learned from a very early age to be ruthlessly pragmatic as a way to survive, because if you get dumped with no clothes and no resources into random locations you’re always against steep odds of getting arrested or starving or whatever else. He has a more or less central timeline that is the trunk from which all of his time travel branches, so he has some normal continuity, but at seemingly random intervals he will travel for seemingly random amounts of time to seemingly random places.

He spends much of his life just trying to survive and get by, until he runs into Clare in his main timeline (when he is in his 30s and she in her 20s) and she tells him that she’s known him since she was a grade schooler and that they’re going to get married in the future. He hasn’t experienced this yet, but early in her life he gave her a list of the times when he would appear in the grove outside her family’s house so that she could remember to bring food and clothes out to him.

Their romance after that is very complicated, as at any given point they are in different parts of their relationship, just as with this initial meeting where she has known him for most of her life and he’s just met her. He then proceeds to meet her as a child and eventually meet her when it was the first time for her. It’s a story of marriage, the obstacles to finding happiness together and what we do to fight for it, and in many ways is about being in different parts of a relationship at the same time, which I think can be true of real relationships that have no time travel involved.

As with the best speculative stories, this one explores real territory with a speculative lens for emphasis. The characters are very different but compelling (with a plus that I didn’t have to watch Eric Bana’s acting for the book, but the minus that I didn’t get to watch Rachel McAdams’s acting). I thought the book as a whole was reasonably well done.

One of the big hangups I had about the book, not being able to tell where in the timeline this fit in, was resolved in the book by section headings that gave the date and the age of both characters. Time is always somewhat confusing at the best of times, but this made it a lot easier to just go with it than I found the book to be.

I also thought it was interesting how Neffenegger chose to follow the continuity thematically rather than necessarily chronologically for either character in particular. For a series of chapters it may follow Clare chronologically through a particular set of years to explore themes of her childhood, then follow him chronologically from his point of a view for a while to show how he ended up there, then switch to something else. Because of the caption headings this was reasonably seamless and I probably only really thought about it because I was thinking about the writing process.

The big thing that makes the book harder to recommend is that for much of the first quarter or so of the book, 30-something Henry is interacting with grade-schooler Clare and I found that whole section of the book deeply creepy and troubling. By that time, he already knows that he will marry her someday when she’s older, and he depends on her for food and clothing on these visits where he would otherwise have to steal and forage like his other time travel jumps. So, it makes sense from a character motivation perspective. But at the same time, it’s hard to avoid the interpretation that he is grooming her during this period. If you removed the time travel element and you had a thirty-something man hanging around a grade-schooler without her parent’s knowledge while mentally preparing himself to marry her, that would be a story about a predator. There are reasons to think that’s not where this was going, but I found it really hard to shake myself off of that interpretation, so throughout this whole section I really just wanted it to be over and get to the part where they’re both consenting adults (even thought that was also somewhat colored by her having been groomed by him for so long that she’s bound to have feelings for him). I’m not sure that was supposed to be creepy or disturbing, but for me it absolutely was, and it makes the book hard to recommend as a result, though overall I thought it was pretty good.

BOOK REVIEW: American Gods by Neil Gaiman

written by David Steffen

American Gods is a contemporary fantasy/mythology novel by Neil Gaiman, published in 2001. I’ve heard the book highly recommended by many readers, and in 2017 Starz started airing a TV series adaptation, so I decided I needed to find out what it was all about.

The protagonist of the book, Shadow, is released from prison three days early when his wife Laura and best friend die in a car accident, and he learns had been having an affair with each other. He had gotten through his time in prison largely by looking forward to reuniting with her, and his job prospects after his release had depended on his best friend’s business.

Bereaved and bereft of all of his hopes for the future, with no good prospects for worth and nothing to look forward to, he is offered employment by a strange man who calls himself Mr. Wednesday. Mr. Wednesday is a con man, and takes on Shadow as a bodyguard. Shadow is skeptical at first, but in the face of his options finding work as a recent ex-con, he takes the job.

Soon he is drawn into a strange war between ancient and new mythologies. The gods of the old world, a version of them transported here by the belief of immigrants who traveled here to the United States, are weak and dying from the waning beliefs of the people who brought them here. Meanwhile, new gods are rising up, not of the traditional sort, gods of technology and change. A cold war has been building for quite some time, and it’s about to come to a head.

I had trouble getting into this book. Much of the book is spent with Shadow spending time in random hotels or apartments by himself, waiting for Mr. Wednesday to come back again. And while much of the purpose of the seemingly unimportant events of these “waiting around” times becomes clear later, it didn’t make it quicker or more interesting to read at the time. In addition, it’s almost two hundred pages into the book before the mythology plot comes to the forefront–until that point it’s just Shadow hanging about with odd people with quesitonable motivations. The mythology plot is what drew me to the book, so it was frustrating to wait so long to really get into it.

I found Shadow hard to relate to in particular, which made it especially difficult to keep going with the book. I empathized with the depths of his despair when he was released early because of tragedy but many of the decisions he makes in the book make no sense whatsoever to me. Taking the job with Mr. Wednesday, I get in itself, because he was very short on options at the time for being able to make a living in his post-conviction life. But throughout much of the rest of it, he would make a decision that would just leave me scratching my head, and this is for major decisions that the entire plot is built on, so I couldn’t just ignore the oddity, the entire book depended on them.

There were some elements near the very end that helped justify some of the long periods of not much happening, which helped some in retrospect.

This book was not for me. I’d like to talk with some of the people who recommended it so highly and see what it was they got out of the book, because I am curious to hear another perspective. I might consider trying out the TV show at some point because I feel like the premise is very promising, maybe I’ll enjoy a different adaptation of the story.

TV REVIEW: Chuck Season 5

written by David Steffen

Chuck was an action spy action/drama/comedy show, starring Chuck Bartowski (Zachary Levi), who started as a down-on-his-luck geek working at the BuyMore fixing computers, when he ended up with a supercomputer with government secrets downloaded into his brain, as he has been used as an intelligence asset. And later in the series he got an upgrade to the software that also gave him various physical skills like martial arts. Season 5 was only 13 episodes and aired from October 2011 through January 2012.

The end of Season 4 and the beginning of Season 5 return to the shows roots, but with a twist, as Chuck, Sarah (Yvonne Strahovski), and Casey (Adam Baldwin) use money they’ve earned to buy the Buy More and continue to use it as a base for their freelance spy organization Carmichael Industries. But, at the end of the last season, a set of programmable sunglasses that was meant to upload a new copy of the Interact computer into Chuck’s brain was instead worn by Morgan (Joshua Gomez), so Morgan now has the knowledge of a government supercomputer and extra physical capabilities of the Intersect, so he is the new focal point of their organization and Chuck is now acting as his handler (like Sarah used to do for him in the early seasons).

This final season of the show was a roller-coaster ride, where they tried new things that they hadn’t done in any of the previous seasons (Morgan as the Intersect being just the first!) and I got the impression while watching that the writers were told to build in multiple big finales throughout these episodes in case they got cancelled earlier than that (and maybe there were more finales written for later that never aired). As a result, on top of the individual episode arcs, and the overall season arc, there were also couple-of-episodes arcs throughout the season, and things that seemed like they had the shape of an overall season arc would very suddenly end.

I was sad to see the show end, and there are things about the final season that I wish had been done differently, but it was good to finally see how they wrapped up the show’s portrayal of the Chuck and Sarah story.

If you’ve watched previous stories, you really should watch it, to see how it all turns out.

DP FICTION #53B: “Lies of the Desert Fathers” by Stewart Moore

The Abbot’s eyes stared up at the ceiling. The reflections of blue-robed angels flew across his gray irises. Not much blood had spattered on his face. His chest was another story. The stains had finally stopped spreading from the rents in his brown wool robe. I noticed a smear near the hem of my long skirt where I stood too close.

Revulsion erupted in my throat and I clamped my hands over my mouth. I could feel the dampness of the blood on my leg. I fought the urge to tear the bottom of the skirt off.  I needed to stay calm. If I panicked, all was lost.

On the Abbot’s shaven scalp, the lights of his implanted sanctifications still blinked, attempting to change the thought patterns of a dead brain. One finger slowly twitched. The motor cortex must be getting extra juice. I focused on that. A simple, physical issue in the neurological wiring. I could fix that. I slowed my thinking around that problem.

For some reason, the Abbot’s other hand held a saw. That problem I couldn’t solve right now.

Light from the overturned lamp shone on the wall behind the Abbot’s desk. There Saint Dymphna’s painted neck stretched out to meet her father’s sword in frozen, ecstatic martyrdom.  I locked eyes with her, my hot breath seething through my fingers. She could be calm.  I could be calm.

A shadow moved across Dymphna’s face. I almost turned and fled, but it was only a tarantula crawling inside the fallen lampshade. It hurried out across the wooden floor, so new the room still smelled of varnish in the dull evening heat.

The spider investigated the bloody chisel. Finally, it decided against crawling over the blade. It ran toward the monk in the shadows by the door. He stood so still, all I could see of him was his multicolored winking sanctifications, forming a halo around his head.

I smiled shakily, my gorge still in my throat. “Come here, please, Beta.”

Uriel Beta stepped forward shyly. He was a young man with a scar down his right cheek. His scalp and face were clean-shaven. What a change he made from when I first met him in prison, with lank dark hair and vomit-encrusted stubble.

Now, his hands were sticky with drying blood. I had found him desperately performing CPR on the Abbot.

“Who are you?” I asked.

Beta’s eyes went blank for a second as a blue light between his eyes flickered quickly. That implant stimulated his anterior cingulate cortex. His pupils contracted again. “…I’m Uriel Beta, a brother in the Order of Saint Dymphna.”

“Who am I?”

Again the momentary blankness. I couldn’t reduce the processing time for his sanctifications any further. That was why he had to be here, in the Order’s tightly sealed compound. He wouldn’t last a minute back on the streets, where his old friends, his victims and the police would all be waiting for him.

“…You’re Doctor Abigail Wainwright.”

“Good. Now lie to me, Beta.”

“…I can’t.”

“Try.”

Beta’s mouth worked, forming the beginnings of words, only for his sanctifications to start blinking more rapidly. Intracranial magnetic stimulation pulsed through his anterior cingulate cortex. Sociopaths have low activity in that region. Finally he let out a shuddering breath.

“…I can’t, Doctor Abigail. …The words won’t stay in my head. …It’s like they’re written in sand, and the wind… it blows the sand away, and what’s left is written in stone, and it’s the truth.”

“Excellent. Now: did you do this?”

Beta stared down at the Abbot, and at his scarlet hands. He knelt down, heedless of the blood on his robe. He looked up at me, tears in his eyes. A yellow light on his forehead faded on and off, stimulating his orbitofrontal cortex, giving him sympathy for the dead man he couldn’t feel on his own.

“…No,” he said at last. “You do believe me, don’t you?”

“Of course I do. But we have to find out who did this. I’m going to have to call the police pretty soon, and if we can’t give them the murderer, they’ll have to investigate. That means asking questions, and you know how the police already feel about this place. They might even try to force you to leave.”

Beta’s lights flickered. “…Yes. I understand. …We’re all very grateful to you, Doctor Abigail.”

I remembered how Beta had been when I met him: a monster seeking only his own immediate gratification. I set my jaw.

I looked over the monitors in the corner of the Abbot’s office. The lone guard was still in the booth at the entrance to the compound, oblivious. There were no guards inside the Order. We didn’t need any: no one wanted to get out. Besides, guards would have brought their own agendas, their own ideas of regulation and punishment, inside this place, and that would ruin the delicate work I performed here.

The rest of the monitors showed empty rooms and halls, but I knew where everyone was. It was nine o’clock: time for compline, the last service of the day. I held out my hand. “Come with me, Beta.” He took my hand and stood. I didn’t mind the blood. What kind of neurosurgeon would I be if I did? I took him over to the sink where the Abbot got water for blessing, and washed our hands.

Beta scrubbed at his fingernails as his tears ran down the drain. “…He was a great man. …You and he together made me whole. …You were like my mother and father.”

I squeezed Beta’s shoulder. “I know.”

We left the Abbot’s office, and I locked the door behind us. In the hallway, the ceiling lights reflected in the dark lacquered floors, as if we were hopping on stepping-stones in a frozen river. The adobe walls slowly released the day’s heat. The air was close, and sweat beaded on my forehead.

From up ahead came the chanting of the gathered monks. I recognized the canticle at once: the “Dies Irae,” “The Day of Wrath.” I mostly knew it from funeral services. An ill-omened thing to have come up in the lectionary for today. I saw Beta’s pupils dilate, and I knew it wasn’t just the dim light. I’d given all the brothers an implant in their anterior insula cortex. It gave them an experience of being one with each other when they worshipped together: a reward for their commitment to communal life. Now the music was taking hold of Beta. I gripped his arm.

“Uriel Beta, I need you to stay with me now. You’re the only one here who can’t lie to me.”

Beta looked at me with a slowly fading smile. He shook his head hard. “…I’ll try.” We continued down the hall. The chanting grew louder. Beta, struggling with the music, fighting its insistent communion with his brothers, started a whispered conversation to try to stay present with me.

“…Why didn’t you make it so we all can’t lie to you?”

I laughed quietly. “I’m good, but I’m not that good. All psychopaths need stimulation of the orbitofrontal and anterior cingulate cortices. That just reverses the particular manifestation of their disability. There are many ways to be a psychopath. You were a compulsive liar; now you compulsively tell the truth.”

“…But do I deserve any credit for that, theologically speaking?”

“That’s not for us to decide. You’re not hurting anyone anymore, and that’s the important thing.”

I remembered the photos of his victims, and shuddered. I was acutely aware of being alone with him, but I knew I was safe. Turning off the brothers’ sex drives had been the easiest operation. A simple matter of cutting off that pathway between the amygdala and the hypothalamus. I had to, or we’d never get anything done.

Beta and I emerged into the back of the candlelit chapel. Darkness filled the circular stained-glass window, giving just hints of deep reds and blues. On the woven altar covering, flowers with lush green leaves bloomed in the desert.

Without the Abbot, the brothers still knew the rites. The slow chant of the song went on and on. The harmonies were rough: I could work no magic with musical talent. But the joy they felt as they sang, or droned, or howled, hummed through the floor. Beta trembled. I put my hand on his shoulder. He smiled beatifically.

Counting Beta and omitting the Abbot, there should have been twenty-two monks in the chapel. It only took a moment to know that one was missing. All I could see was the back of their shaved heads, each blinking with its own constellation. That was enough: I knew each of their implants better than I knew their faces. I had spent hours placing each one. There were Uriel Alpha and Gamma; there were the Raphaels, all six Gabriels, the Michaels…

My breath died inside me. Cold rose up my back despite the heat. I squeezed Beta’s shoulder hard, and he looked at me hazily. “Sariel,” I whispered. “It’s Sariel.”

Beta’s eyes widened. I pulled him back into the shadows. “He must be somewhere where he can’t hear the service, and can hide from the cameras,” I said. “Where?”

Beta thought a moment. “…The library. The special collection. There’s one corner the camera can’t see.  We all know about it.”

“Let’s go.” We retreated from the chapel, back into the dark hallways.

Sariel. Our celebrity: Samuel Hutchens, the one serial killer I’d attempted to sanctify so far. Once I controlled his temporal lobe epilepsy, the rest had seemed fairly straightforward. I’d named him for the angel who taught humans about the moon. It matched the cyclical course of his murders.

Beta slowly opened the big oak door that led to the library. It creaked the tiniest bit. I prayed that only we heard it. Inside, green glass lampshades cast a watery light with pools of white on the ceiling. Books encased the walls. The shadows of shelves collected darkness. They gave off the odor of heat and paper.

I took off my shoes. We tiptoed along the shelves to the end of the row where the books about the Old Testament joined those of the New. The door to the special collection stood closed. On the floor lay a copy of the Lives of the Desert Fathers. Very slowly, I slid it out of our way with my foot.

Beta took hold of the door handle and looked back at me. I nodded. He gritted his teeth and threw it open.

Sariel stood in the corner, his nose in a book. He was a short, stocky, middle-aged man. His head was encrusted with sanctifications, like a phosphorescent reef. He looked up at us. His eyes gleamed in the dim light.

“Doctor,” he said softly. “You’re here late.” His accent was aristocratic Southern: Savannah, I knew, from his records. He sat down at the reading table.

“Why aren’t you at compline, Sariel?” I asked.

“I’m finding greater enlightenment here.” He closed the volume and turned it so I could see the cover. Neurocybernetic Behavior Modification. My first book.

“What’s that doing here?” I asked.

“The Abbot thought it was important that we know what we are.” Sariel ran his finger along the crevices of the brain on my book’s cover.

I sat down carefully across from him. “And what are you?”

“Spiritual beings, freed from the thorns of the flesh. Human as human was meant to be, human as in the Garden of Eden, free to praise God eternally until senescence. At which point we will resume the practice in heaven.”

I smiled. “That’s what you’re meant to be. You’re supposed to be better than the rest of us.”

“That’s what the Abbot thought, at least.” He looked at me from under heavy lids.

“Sariel… Have you seen the Abbot today?”

“No,” he whispered, his finger still moving over the convoluted lines. “Not personally, I mean. I saw him at worship this afternoon. And at noon. And this morning.”

“Then why aren’t you there now?”

“Because I’m tired!” he shouted. He picked up the book and slammed it back down. “I’m tired of feeling one with the universe whenever we sing a minor fifth. We’re slaves to your damned brain-machines, and I have had enough.” He reached down into his lap and brought up a tool. My whole body tensed. It was a vise grip. He set it gently on the table. “Eating and f-f-f… mating.” He spat out the word with the force of the interdicted vulgarity. “That’s what it is to be human. So how human do you think I feel, Doctor?”

“Where did you get that?” I asked, stalling for time.

“The workshop. You wanted us to be productive, after all. Idle hands, and so on. You were so sure of your work, that we wouldn’t use the tools to hurt each other. And you were right, of course. I couldn’t hurt another person now, even if I could want to.”

“Then what are you going to do with it?” My voice felt strangled in my throat.

Sariel’s fingers walked over his sanctifications like the legs of a pale spider. “I believe I know now what each one of these things does. This one, for instance—” He tapped a tiny box with a blue light on the left side of his head. “—This one regulates the communication between my amygdala and hypothalamus, so I can’t feel sexual excitation. This has been a particularly painful loss for me.”

He picked up the vise grip and closed it on that box. I stood up. “Jesus, don’t do that, Hutchens!”

He stood too. “Don’t come closer, either of you. I know what will happen. It’s like a fishhook: it does more damage coming out than going in. But it doesn’t matter, since I’m already dead to everything important in life. I’ll give you this, Doctor: you made the death penalty look good.”

He ripped the sanctification out of his head. Most of the implant tore off inside his skull, but the wire came out crusted with pinkish-gray neocortical flesh. Blood pulsed down his scalp. His right arm instantly flopped down at his side. He had torn straight through his motor cortex. He looked down at the useless limb.

Sariel grinned. “If your hand offend thee, cut it off.” His voice was thick.

“Beta, stop him!” I shouted. But when I looked back at him, Beta was shaking. His eyes rolled back into his head. He collapsed against the table and flopped onto the floor. His sanctifications scraped against the hardwood. I turned him on his side. His breathing was ragged but clear.

“And if your eye offend thee, pluck it out,” Sariel said. He gripped another sanctification and ripped it out, destroying Broca’s area, the center of grammar. “Interesting. Is. Feeling. You. Good. To me. Look. Feel… normal, almost.” He giggled, and ripped out another and another. Twitches writhed under his skin, contorting his face. His good hand trembled, so he had trouble getting at a sanctification at the back of his head. When he pulled it out, his right eye blinked furiously.

He was now blind on that side. I slipped around the table that way.

“Where… Go?” Sariel choked. He searched to his left, but like many people with damage to their left occipital lobe, he ignored his right completely. He brought his shaking hand to the center of his forehead, trying to get a grip on the winking red light there.

I grabbed the vise. It came easily from his loose fingers. I threw it away. He howled. Blood streamed down his face. His arms flailed out blindly. I grabbed my book off the table, a heavy tome full of illustrations. I swung it at the back of Sariel’s skull. I had to hit him three times, ruining more sanctifications as well as the book’s cover, before he fell down and lay shivering.

Beta moaned and tried to sit up. I knelt down and supported him. He looked around blearily under the table and saw Sariel’s bleeding head. Beta smiled weakly, then threw up. I moved to block his view of Sariel, and slowly he recovered. “…Not much good, was I?”

“It’s not your fault,” I said. “I turned up the activity in your mirror neurons to give you more empathy. Empathizing with that was just too much.”

“…I think I’m okay now.” I helped him stand up.

“Can you stay here and watch him?” I asked. “Make sure he doesn’t hurt himself any more?”

“…Yes. Are you going to call the police?”

“No.” I patted Beta’s arm. “It’ll be all right. I want to see if I can can save Sariel.” I sighed. There probably wasn’t much left of Sariel to save. I had worked so hard on him. “I’ll be right back.”

I left the library, retrieving my shoes as I did so, and headed for the Abbot’s office. I had to make sure it was undisturbed for the police. Soft chanting still drifted down the halls. The unity of the sound made it all worthwhile.

I passed by a small shrine for Saint Dymphna in the hallway. A single votive candle flickered under her portrait: a young, pretty, red-haired girl. The patron saint of the mentally ill. I wondered who had lit the candle. I thought of the men in the chapel, brains malformed at birth, who had never had a chance to choose the good at all. I freed them from that. I made it possible for God to save them. I opened the doors of Heaven.

Saint Dymphna’s ghost of a smile was not really reassuring. Neither was the crimson line across her throat.

I stalked down the hall. The brain is a physical system, I told myself, running over the old arguments in preparation for dealing with the police. A human brain is run by chemicals and electricity. You can measure it, alter it, even hold it in your hand. For God to change the flow of electricity in these men’s brains would have required a miracle, a bona-fide miracle, no less than splitting the Red Sea. And God doesn’t work that way anymore. Just read the news.

I reached the Abbot’s door and unlocked it. All I knew was, I saw sickness. I’m a doctor. So I healed it. What else was I supposed to do?

I walked around the desk. Two pools of sticky blood marked where the Abbot’s body and the knife had been.

I looked up. Uriel Beta stood in the doorway. Behind him, the other monks filled the hall. They sang quietly. I had mistaken volume for distance.

Beta’s left hand held something the size of a large rock. When he stepped forward I could see what it was.

“Uriel Beta, what are you doing with that drill?”

Beta looked down at his empty right hand. “…I’m not holding any drill, Doctor.”

“You can’t lie to me, Beta. I know you can’t.”

“…I’m not lying, Doctor. You did your work very well. See?” He waved his right hand languidly at me. “Nothing.”

“What about your other hand?”

“This?” He looked down at his left hand. It stayed very still. The knuckles were white, except the one on the trigger. “…This isn’t my hand. This is God’s hand. I don’t have any control over it.”

“Jesus. Beta, you have alien-hand syndrome. I should have known it was a possibility, it’s associated with disorders of the anterior cingulate. I stimulated that region to help your empathy, but I must have overloaded something somehow. I can fix it, Beta, I swear I can, but you have to give me the drill.”

The tarantula scurried in front of him. He knelt down.

“God doesn’t want you to take this,” he said softly. He triggered the drill and stabbed it through the spider’s body and into the floor. He never took his eyes off me as he did it. “But don’t worry. He doesn’t want to kill you either. Not like the Abbot. The Abbot wanted to saw off God’s arm.” He pulled the drill out of the floor and stood. “God only wants you to know the happiness we feel.” I realized he wasn’t pausing before he spoke. He believed what he said absolutely.

I saw blinking lights in another monk’s hand. It took me a moment to realize they were Sariel’s bloody sanctifications.

Beta’s left hand tested the drill. It whirred loudly. He stepped forward. There was nowhere for me to go. For the first time I really saw the window bars from this side.

“He’s going to sanctify you, Doctor,” Uriel Beta said as the other monks surrounded me. They grabbed me and pulled me to the floor, singing the whole time.

“You’re going to see what we see. What you gave us.” Beta knelt down over me. “Thank you, Doctor. We all thank you so much.”

I heard a sound. I couldn’t tell whether it was me screaming, or the drill. I looked up at the shaved heads all around. A cloud of blinking lights surrounded me, pulsing in complex rhythms. I knew each blink and flicker.

They were all working perfectly.


© 2019 by Stewart Moore

 

Author’s Note: “Lies of the Desert Fathers” was born out of research in the hard doctrine of original sin, that no human can achieve godliness unaided.  But who knows what helps towards saintliness might be available after 50 more years of technology?

Stewart Moore began his peripatetic career by graduating college with a degree in theater, following which he directed a production of his play Henry and Beckyin New York City.  Later, he earned a Ph.D. in Hebrew Bible at Yale.  His researches there led to the publication of his first book, Jewish Ethnic Identity and Relations in Hellenistic Egypt (Brill, 2014).  Turning from nonfiction to short fiction, he has been published in anthologies edited by Ellen Datlow (The Beastly Bride, 2010) and Paula Guran (Halloween, 2011).  He has also been published in the magazine Mysterion (2018).  He lives in New Jersey with his wife, daughter and an odd number of cats.

 

 

 

 


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