DP FICTION #51A: “What the Sea Reaps, We Must Provide” by Eleanor R. Wood

The ball bounces off the tide-packed sand and Bailey leaps to catch it with lithe grace and accuracy. He returns to deposit it at my feet for another go. It’s nearly dusk; the beach is ours on this January evening. It stretches ahead, the rising tide low enough to give us ample time to reach the sea wall.

Bailey’s devotion to his ball is second only to his pack. He is never careless with it, relinquishing it only at my command or to give Bernie the occasional chase. Bernie brings up the rear, my shaggy bear, staying close but lacking Bailey’s fierce duty to his ball.

The town belongs to us now, half a year from holidaymakers, the beach winter-rough and devoid of summer’s candy-brightness. It will return soon enough, buckets and spades hanging from shop awnings, a time for ice cream and fish and chips eaten from the paper as gulls watch for their opportunity. A time when locals lend our beach to the tourists and day-trippers, avoiding the bustle and crowds, longing for autumn’s return. It is a town of two seasons, of excitement and peace, of light and dark. 

The dark is buried deep.

We don’t discuss it. That yearly sacrifice to keep the summer safe, to protect our town’s lifeblood. But winter’s rawness reveals the primal undertow, much as we pretend otherwise.

It awes me.

It terrifies me. The town’s need. The sea’s power.

We reach the end of the beach and head up the ramped walkway to the sea wall. The tide is too high to return along the beach, but the wall’s safe height gives us passage. A moment of doubt nags me as we ascend. Darkness is falling, a light rain with it. The sea wall’s sheer drop one side and railway line on the other has always unnerved me. The waist-high wall to separate pedestrian from train has never seemed enough. A woman was hit and killed one year trying to retrieve her dog who’d gone over. I clip leads onto Bailey and Bernie. That year’s sacrifice was a harsh one.

Gazing toward the distant harbour mouth, I’m reminded of the ill-prepared yachtsman who bargained his livelihood on a madcap voyage but ultimately gave himself to the sea to save his family’s shame and destitution. He never sailed home to the town whose balance he reset.

Not every balance tips so heavily, though. The far end of the sea wall now has a gate, erected a few years ago when some fool drove their car along the wall, crashing over the edge onto the beach. They sacrificed only pride and a vehicle, although the council takes no further chances.

We walk, the rain increasing, the sea rising, the occasional train thundering between us and the cliffs that loom above all. Halfway to the promenade, I glance left and freeze. The tide is far higher than it should be, all trace of beach gone, water lapping the wall’s base. I increase my pace. So does the sea. A sudden wave crashes over the wall ahead of us, stopping me dead. Bernie tries to drag me back the other way.

But this is the only way.

The tide shouldn’t be this high. The lights of the promenade seem miles away through the wet gloom. Another train rushes past and I flinch, caught between dangers.

Another wave booms up feet away, soaking us in spray. And I know. Sacrifice is due, and I am subject to its demand.

I clutch the leads tightly. No. Not my boys. Never.

We’re almost doused by the next wave, and I know it’ll take us all if I don’t give freely. I have nothing else to give, nothing else here that matters to me.

“NO!” I shout into the rising wind and know I’m out of time.

Bailey looks at me, unspoken communication between us as ever. Bernie lives in his own world, but Bailey knows. He has always understood my moods. He has always known what’s required of him. His gaze meets mine and my throat closes in fear.

“Bailey, no.” The words are a strangled noise he doesn’t comprehend. He steps towards the wall’s edge even as I tug his lead back.

He leans over the edge. The sea roils. I scream.

He opens his mouth and lets go of his ball.

The rain patters on my hood as the waves draw back. Bailey stares into the calming surf for a long moment. The lead stretches taut between us. A small whine of longing leaves his throat before he looks at me, his sacrifice made. Perhaps only I will ever understand what it cost him. Relief drives me to my knees on the wet stone and I open my arms to him. He leans into me.

“Good boy. Such a good boy.”

The town will prosper for another year, but as I start back for home, I know I’ll never walk this wall again.


© 2019 by Eleanor R. Wood

Author’s Note: Seaside towns are places of extremes: bustling with fun and holidaymakers in the summer, quiet and hibernating in the winter. The location of this story is based on my home town, inspired after a winter walk at dusk. There are contrasting energies to a town that is so defined by the seasons, and most summer visitors never see the stark winter aspect of such a place. And a town like this does not belong solely to its humans; its large population of dogs are as much a part of the community and have their own contributions to make. Too many stories use dogs purely as foils for human emotion, but I wanted to show a dog with his own agency, whose personal sacrifice means as much to the town as that of a human.

Eleanor R. Wood’s stories have appeared in Pseudopod, Flash Fiction OnlineDeep MagicDaily Science Fiction, Galaxy’s Edge, and various anthologies, among other places. She is an associate editor at PodCastle, where she gets to feed dragons and read a lot. She writes and eats liquorice from the south coast of England, where she lives with her husband, two marvellous dogs, and enough tropical fish tanks to charge an entry fee.
She blogs at http://creativepanoply.wordpress.com.


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BOOK REVIEW: Watership Down by Richard Adams

written by David Steffen

Watership Down is a survival adventure book written by Richard Adams published in 1972 that might arguably be classified as fantasy as well, which was adapted into a well-known children’s movie in 1978.  It follows a group of young bachelor rabbits who run away from their warren when one of them has a premonition of coming disaster.  The book follows them as they try to find a suitable location for a new warren and try to settle back down.

Multiple rabbits are point of view characters throughout the book, but the most important rabbit to the story is Fiver, the one who has the premonition of disaster (an upcoming construction site where the warren is located), which might be psychic or might just be intuition based on the sudden incursion of signs announcing the construction project.  Hazel is the one who first believed Fiver’s warning and helped convinced the others to make their escape.  Most of the group are pretty scrawny, secondary members of the warren, except for Bigwig, who is a member of the Owsla, the warren’s internal enforcers.  And then there’s Blueberry who seems to not think like a rabbit at all, coming up with new strategies that no other rabbit would even consider.

As they travel across the English countryside they come across other dangers, and meet rabbits from other warrens, and try to avoid humans as much as possible.  Before their flight, they have never left the area immediately surrounding their warren, so they come across many things that seem fantastical from their points of view.  All they really want is a stable and happy place to live, trying to find food and eventually mates (can’t establish much of a warren with only male rabbits!).

The book is marginally speculative, if you like to have something of the fantastical in the stories.  Fiver’s premonitions and Blueberry’s unrabbitlike thinking are the sort of things that might be considered speculative.  And the ease with with different species of animals communicate with each other and rabbits strategize their actions together.  Besides that the rabbits have a rich tradition of storytelling wherein they tell trickster myths about El-ahrairah, the greatest of rabbits, Prince of a Thousand Enemies.  The story as a whole is given a sense of realism despite this speculation, because the author apparently did a lot of research into rabbit behavior and rabbit social structures and the like in preparation to write this story, that it all feels very real.

I’ve heard the book/movie referenced often enough that I wanted to give it a try. I had so few preconceptions about the story that I assumed that it was a nautical tale from the title.  The myths were my favorite part of the book, to the point that I was always disappointed when one of the myths ended–the real-world stuff was interesting enough, but paled next to the myths for me. Overall I’d recommend it, especially if you like to get references to classic literature, since this one does seem to come up pretty regularly.  It’s a compelling tale of survival.

 

MOVIE REVIEW: Monsters University

written by David Steffen

Monsters University is a computer-animated children’s movie comedy produced by Pixar, released in June 2013.  It is a prequel to 2001’s super-popular Monsters Inc, which starred monsters James “Sully” Sullivan and Mike Wazowski working in the scare factory scaring human children to produce power for the monster city and accidentally let a human child into the monster world.

As you might guess from the title, Monsters University takes place in Mike (Billy Crystal) and Sully’s (John Goodman) college days, as they’re just starting.  At the beginning of the movie they’re just starting school, both enrolled in the scarer program and they haven’t even met yet.  But they don’t quickly become friends like you might expect if you’ve seen the other movie.  Studious, hardworking model student Mike is constantly frustrated by lazy Sully who expects to cruise through college on his family name and reputation and his natural intimidating size.  But Monsters University is no easy ride, and least of all of the scare program, which Dean Abigail Hardscrabble (Helen Mirren) watches over harshly.

They both fail their final exams, Sully because he’s lazy and Mike because he’s not scary, and as a last ditch effort they form a team to join the university’s Scare Games, making a wager with Hardscrabble that they can re-enter the program if their team wins.  These future-friends and now-enemies must join forces if they want to have a chance at their dream future.

Pixar is one of my favorite moviemakers, and Monsters Inc is one of their classic films that I love through and through.  It is great to see Mike and Sully onscreen again, albeit in a very different era of their lives when they weren’t buddies.  If I had seen this movie first, I think I might’ve loved it for what it is.  But, given that I am well familiar with the first movie, I found that the looming memory of what will be for Mike and Sully just… made me sad.

In this movie we see Mike as young and enthusiastic and idealistic and driven to achieve to fulfill his lifelong dream of becoming a scarer.  He is clearly the student who is the most academically well-versed in the profession of scaring the university has, and the university claims to be an academic institution.  It’s not a boot camp or physical training, it’s a university, so academics should rule.  The faculty repeats again and again that scaring isn’t just about being born with a scary appearance, it’s about applying yourself.  No one applies themselves more than Mike, and in the end, we already know… he’s going to fail, because although he works at Monsters Inc, he is not a scarer.  He is an assistant to a scarer.  His lifelong dream did not work out, and the Mike we see in Monsters Inc, while still energetic, has lost much of his drive for achievement his younger self had–he is content to be second fiddle to Sully’s natural talent and appearance, and he doesn’t even seem to realize that he doesn’t even get the secondary accolades he deserves–being covered up by a logo on the commercial, by a barcode on a magazine cover, and he doesn’t even realize.  The university system for monsters is a sham of pomp and circumstance, where monsters are told that they have to strive to achieve, but through every example they are shown that this is not true, that monsters who are born scary will be rewarded and monsters who are not born scary will not be.  No one in the movie seems to understand, even by the end, what a hollow facade their supposed education is.

Maybe, considering the major twists of the first movie, where it turns out the scaring profession in itself is based largely on lies, that children are not actually deadly to discourage empathy for them in a power system that’s based on scaring them.  So, maybe it’s appropriate that the education for an occupation based on lies be based on a sham education as well.  But I felt like in Monsters Inc, most of the monsters except for a few in leadership roles were oblivious to the lies, while I felt that the University’s lies were pretty plain.

In this movie we see Sully as a lazy student, expecting to ride through life on the fame of his family and his natural scariness/charm.  By the end of the movie he supposedly learns his lesson but, as much as I love Sully in the original Monsters Inc, it always felt to me like his scariness wasn’t anything he worked hard for, he was just born looking that way, he had the natural presence, and that’s how he kept being a top scarer, resting on his laurels.  I just considered that part of his character, and it didn’t bother me in Monsters Inc, it’s much like other stories where charming character succeeds at sales or any number of other fields that are based on personability.  But since much of the narrative of Monsters University was based on the idea of him redeeming himself from being a lazy student resting on his laurels, knowing where Sully ends up undermined his whole arc for me.

So, while I loved seeing the characters again, the movie as a whole just made me sad from knowing what the future holds for Mike and Sully.  If you don’t think knowing where this story goes would bother you, I think it was otherwise a fun movie, but I found it hard to get out from under that.

There was also one major plot point that didn’t make sense given the context of the first movie, this is a SPOILER.  At one point in the movie, Sully and Mike get trapped in the human world and end up scaring a group of adults to power a door from the human world side.  This has never been suggested to be possible.  Monsters at Monsters Inc are supposed to always shut the closet door so their humans don’t sneak through–if the door just opens whenever a human gets scared on the human side, then kids would be slipping into monster world all the time.  A kid would get scared in the dark and their parents would check the closet and find a doorway to another world there.  And given that this is a prequel, this major revelation should’ve already been common knowledge by the time of Monsters Inc.

MOVIE REVIEW: Descendants

written by David Steffen

Descendants is a 2015 Disney Channel original live-action musical movie based in the United States of Auradon where each kingdom is based on an iconic Disney movie, but 20 years later.  Twenty years before marked the end of ALL of the Disney movie stories, when the now-united kingdoms all apparently vanquished their biggest villains simultaneously, and locked them away on a magicless prison island to leave Auradon safe.

Prince Ben’s (Mitchell Hope) coronation is near.  He is the son of Belle and Beast, the rulers of the Aurodon, and Ben has decided that his first official proclomation will be that he will start giving the second generation of the island a first chance at a decent life–the villains have had children on the island and those children are likewise confined.  As part of a pilot program, he chooses Mal (Dove Cameron, of Disney Channel’s Liv and Maddie)–the daughter of Maleficent, Evie (Sofia Carson)–the daughter of Evil Queen of Snow White, Carlo (Cameron Boyce, of Disney Channel’s Jesse)–son of Cruella DeVille, and Jay (Booboo Stewart)–son of Jafar.  The reluctant teenagers are invited to become students at Auradon and try to rehabilitate there, and they’re pressured by their parents (especially Maleficent) to accept the invitation in order to find a way while they’re in Auradon to unlock the barrier securing the prison island.  But soon they find that there are things that appeal to each of them about living in Auradon.

This movie is reasonably fun, and has plenty of eye candy for teenagers, whether you like boys or girls.  The songs are decidedly pop, but some of them are quite catchy, especially “Did I Mention”.  The main quartet of actors are very likable–we initially watched it because we like Dove Cameron on Liv and Maddie–while being just rebellious enough to chafe at the standards of Auradon which is sort of a utopian fairy tale world especially with all the villains locked away (and apparently no new villains presenting themselves in that vacuum).  I particularly like Evie and her playful smartass attitude.

It’s… not a premise that holds up under close examination, or… even casual examination.  It doesn’t make any sense whatsoever for all of those Disney movies to be coincidental in time while also being geographically located close enough that uniting them makes any kind of sense.  Jafar being present implies one geographical area and time period, while Mulan implies a completely different one, while Cruella DeVille implies much more modern and a different location again.  Maybe you could explain this all away with some kind of unprecedented collision of parallel worlds, but otherwise the premise makes no sense whatsoever.  And the fact that all of these heroes and all of these villains all have kids at the same age, despite the villains and heroes themselves very often not having been the same age–i.e. Maleficent is a fairy, and I always got the impression she was a pretty old one, so why does she have exactly one daughter who happens to be the same age as everyone else’s kids?

Along the same lines, the backstory is pretty muddled.  It makes offhand references to the origin movies of the characters, such as mentioning poison apples or Maleficent not having been invited to Aurora’s christening.  But there are also a lot of details that don’t fit in with the original continuity–particularly the survival of villains who died in the original films.  So it’s not really clear to me how I’m supposed to accept the original movies as their backstory when there is clear evidence that that’s not the case.  I’m sure I’m overthinking it, but that’s what I do.

Bit of a spoiler: This one also depended pretty heavily on one of the main character’s using a love potion, which is an element that’s creepy as hell–maybe it’s understandable since she has been pushed her whole life to be evil, but it did bother me how little a consequence for slipping the soon-to-be-king a magical drug that robbed him of choice had. (note that the song I mentioned as being particularly catchy was an immediate reaction in the plot of the movie to the love potion)

But, anyway, if you like catchy pop musicals that are heavy with Disney camp, but you don’t care too much about backstory and continuity making sense, then you might like this movie!

There is also a sequel released in 2017, and another in production after that.

MOVIE REVIEW: Big Hero 6

written by David Steffen

Big Hero 6 is an animated action comedy science fiction movie released by Walt Disney Animation Studios in 2014, which is loosely based on the Marvel superhero team of the same name.

Hiro Hamada is a 14-year old high school graduate  living in San Fransokyo (a combination of San Francisco and Tokyo apparently?), who spends his free time building robots to fight on the illegal underground bot fighting circuits.  His big brother Tadashi shows him to the advanced research lab where Tadashi has been spending his time inventing a balloon robot with nursing capabilities, and Hiro quickly makes friends with the other young researchers as well as the lab’s director Robert Callaghan who invites Hiro to apply to join the lab by entering something in an inventing competition.

Soon after, a disaster at the lab takes the life of Callaghan and Tadashi, and Hiro is left to pick up the pieces of his life.  But Baymax was in Tadashi’s bedroom at home at the time of the accident, and activates to help Hiro cope with the loss of his brother.  Hiro recruits Baymax’s help, and the help of his friends, to get to the bottom of the accident at the lab.

Baymax is lovable and hilarious from the first minute he’s onscreen, in part because of his unusual architecture as an inflated balloon built around a flexible skeleton, built to be nonthreatening to help with his healthcare functionality.  Even as he gets pulled further and further away from his core purpose for the sake of the story, Baymax’s focus is always on helping Hiro heal from the loss of his brother.  This is both funny and sad.  Funny, because Baymax is always so well-meaning, he is always looking out for others at all times, that he interrupts action scenes to verify that what he is doing is helping Hiro feel better.  Sad, because he is so trusting and Hiro honestly takes advantage of someone he calls a friend, by pretending that a quest for revenge is equivalent to grief counseling.

Spoilers in this paragraph: I normally don’t discuss big plot points in reviews, but in this case I wanted to talk about a particular point that did bother me, although I like the movie as a whole.  This ongoing choice to take advantage of Baymax comes to a head during one of the major climaxes of the show when Hiro asks Baymax to kill in the name of his quest for revenge, and Baymax can’t harm a human being because of his programming.  Instead of trying to understand this, Hiro removes his healthcare programming chip, which is like lobotomizing a friend because your friend doesn’t agree with you.  I feel like that was more than just a mistake, that was a mind-rape of a friend who trusted him, and while the movie made it clear that was a bad choice, I felt that it glossed over the consequences.

But overall, loved the movie, lots of fun action, lots of funny stuff.  Great for kids too.  Since we watched the movie, my 4-year-old asks me on a daily basis “Do you remember the Baymax movie?”

 

DP FICTION #50B: “One Part Per Billion” by Samantha Mills

There were already two Irene Boswells onboard and a third in the making.

Radiation poured out of the Omaha Device in an endless stream of buttery yellow light, and Irene (the Irene in the containment room) knew they were doomed. But she slapped patch after patch over the ruinous crack in the device’s shell because she hadn’t come twenty billion miles to sit and wait for death.

Huang’s voice came through over the intercom, tinny with horror. “Your hair,” he said.

It was on fire, or close enough. The strange light lifted it away from her face in a rippling wave. The ends were burning down like the fuses of a hundred thousand bombs. Her arms were smooth and hairless, her face the same.

“Just tell me what to do next,” she said.

There were no more patches in the kit. A six inch gap remained in the smooth white shell but it may as well have been a mile long. The Omaha Device just sat there, as unyielding and enigmatic as a ceramic tortoise, and still that noxious light poured forth. Irene squinted but she couldn’t see past the light, she couldn’t see what was inside. Dammit, if she was going to die today she wanted to know what she was dying for.

But Huang was telling her to get to the controls, just rip off the back panel and do what I say, and Irene wasn’t about to argue because he was the computer specialist, wasn’t he? He stood on the outside of the containment room with his palms pressed flat to the glass. Begging.

She tore herself from the toxic mystery and dropped to her knees beside the control panel. She was sweating and starting to shake, and it took three tries to wrestle the slick casing open. What she found inside looked more like an engine than a computer, full of pipes and valves and a cooling unit that had seen better days.

At Huang’s urging, she tore open the manual that was chained to the device. She had nothing but a wrench and a screwdriver sealed in the room with her, and as she skimmed the first elaborate diagram she didn’t think they’d do the job.

It was selfish to wish she had stayed in navigation. If she had, there would be somebody else trapped here instead.

She hadn’t abandoned her post though, not really, because the other Irene was still at the wheel (well, the console), and just thinking about that other Irene made her hands shake worse.

It wasn’t right, it wasn’t natural, it was a mistake.

At the other end of the ship, in navigation, Irene looked over the ship’s readings, and they didn’t make a bit of sense. The ship was accelerating, but it wasn’t changing position. Bandile was in the room with her, a stun gun aimed loosely in her direction, but he didn’t have the nerve to take her down. Her mind began to wander. Her thoughts flitted back and forth to the containment room, where a computer like an engine was coming apart under her hands. She jerked free of it. It wasn’t her fault. It wasn’t her responsibility.

Because honestly? Irene had really wanted to be a dancer, if only she hadn’t sprained her knee so badly in tenth grade—and it was entirely possible her parents had lied when they said the injury was fatal to her aspirations. They’d always wanted their kids to pursue a STEM career.

Funnily enough, the knee hadn’t bothered her one bit during mission training.

This Irene had always resented being funneled into the sciences. It was the other Irene who had embraced her studies wholeheartedly. It was the other Irene’s fault they were both here.

*

First, there was a spaceship. A rather large and complex spaceship (because how else are you going to travel that far?) built precisely for eight crewmembers.

Three were Americans, because the message was received in Nebraska of all places, and the remaining five were representatives from around the world, because the message specified ambassadors of genetic and cultural diversity—and also because let’s face it, this sort of mission was mind-bogglingly expensive, and anyone with a checkbook was invited to try out.

The other delegates included: a Russian man, a Chinese man, an Italian man, a South African man, and a man from South America (let’s say…Brazil).

There was also a girl (because there is always one girl). She was one of the Americans. She was technically the navigator, because everyone had to fill a role, but for the purpose of the mission she was also the anatomical female. One uterus, two ovaries, check.

So, first, there was a spaceship. Well, first there were plans for a spaceship, and they fell from the sky in northern Nebraska, attached to a device that resembled a ceramic tortoise. There was quite the welcome party there, full of scientific and military personnel, because an interplanetary correspondence had been going on for decades, and this was their first tangible gift from space. They knew what it was supposed to be, but it could have been an elaborate Trojan horse instead.

It wasn’t.

The ship was another ten years in the making, which wasn’t bad all things considered. It gave the entire world time to agonize over the selection of a crew. After all, the ship was only designed to carry eight. Who was qualified to represent Earth in the first face-to-face meeting with their distant friends?

*

The alien light flowed through Irene and tugged strands from her hair, her memories, her thoughts, her DNA. The Omaha Device was still desperately trying to process and package, to collate and collect. It bled radiation and took in great gasping gulps of Irene Boswell.

Her fingers reddened and blistered from the heat of the wires, but she didn’t have any pliers and Huang was insisting that control had to be transferred out of the room now, right now, no time to let the equipment cool even if they could risk going to standby.

“You have to hurry,” said Huang.

And Irene screamed, “Tell him to stop looking at me!”

On the other side of the glass, a man lay trussed on the ground, his head and shoulders twisted in her direction. His eyes bulged in their sockets. A shadow covered half his face, contracting and contorting with the soundless yammering of his jaw. His name was Michael—or Miguel, or Mikhail, depending on which country he was from. That wasn’t important.

Mi/gu/ail lost it, plain and simple. He couldn’t handle the dreams being tugged like loose threads from his brain every night. He couldn’t handle the theory tentatively formulated by their own computer—the computer they kludged into the alien system out of nervousness, suspicion, unwillingness to rely entirely on alien design. The mission probably would have gone a lot better if they hadn’t tried to guess what it was doing.

They found him attacking the Omaha Device with a wrench. Huang and Parker dragged him from the room, but Irene was still inside when the casing cracked. She should have been in navigation, but she’d answered the distress call, and now she was trapped.

Irene felt herself splitting again. She shut her eyes, her mouth, her fists. She held her breath and clamped her thighs. But the pull was relentless. It scanned the heart of her and jotted her down in ones and zeroes or whatever the aliens used. It should have only filed the information away for future reference, but that idiot had broken the storage unit. Now there was a big fat crack in the tortoise leaking bits of crewmember, and Irene was splitting again.

For a moment there were four hands fisted in the wires, and then there were two.

Down in the sleep deck of the ship, another girl appeared. A full-figured shadow girl named Irene Boswell. This Irene resented each and every one of the crew. For two months she had put up with their pet peeves and their bad jokes and their bravado masking fear. They were friends and colleagues, but if she never saw a single one of their faces again she’d be gladder for it. She was sick of this crew and sick of this mission and sick of this ship.

Irene ran to the nearest communication panel and ripped it from the wall. She liked the way the wires snapped in her grip. She set off to tear something else apart.

*

Before they became a crew, they spent years trying to destroy one another.

Eight thousand candidates whittled down to eight hundred whittled down to eight dozen whittled down to eight. A ludicrously small crew, but the message said eight would go, and eight would be sampled, and it would all be perfectly safe.

In theory they were all jockeying equally for a slot, but everyone knew how the selection would shake out. The Chinese candidates were competing with the Chinese candidates (and several other Asian nations, but it was always going to be China). The Europeans were competing with the other Europeans. Africa and South America were probably lucky they snagged one spot apiece. If there had been a more genuine commitment to representing the world then the Middle East should have been there, but the Americans got greedy in the end and held three spots for themselves. Nebraska, remember?

And within and across these continental divides, all of the women eyed one another sidelong, because in addition to their national colleagues they were also competing with each another. A thousand voices insisted, “I am unlike the rest of these women. I am the best of us.” And maybe some of them felt a nagging guilt, because it seemed a shame to earn her place among the men by trashing the qualifications of the other women, but let’s be real. There were only going to be eight spots, and in all likelihood only one would go to a woman, and goddamn if any of them came this far to see it go to someone else.

When Irene Boswell was named navigator at the final roll call, she wanted to cry with joy, but she kept it contained because she had spent a great deal of time proving her emotional unflappability to the psych evaluator. Several of the men smiled and let the tears roll happily down their cheeks, but that was all right.

That was different.

The psych team was meant to reject the worst and prepare the best, but stress did amazing things to the brain, and long-term voyages had a way of amplifying hidden qualities. Somehow, no matter what you did, you always ended up with a hothead, a depressive, a workaholic, and that one guy who totally buckled under the pressure.

*

The ventilation system couldn’t keep up. The walls of the containment room flickered and groaned. Red lights strobed and klaxons wailed. The ship was breaking, breaking, breaking.

More of them stood outside the glass now: Huang and Parker and Freddie. Even Bandile had come up from navigation. They had nowhere else to go. Either Irene neutralized the device, or the walls shattered and they all broke apart beneath the accelerated effects of the Omaha Device.

Irene slammed her bloody fists against the glass. She said, “You have to get me another patch kit.”

At least, that’s what she thought she said. Her lips were numb and her words came out garbled, but she was still lucid, dammit, she knew what needed to be done. Huang stood by the outer door, shaking his head.

“The inner door’s breached,” he said. “We can’t use the airlock.”

In the navigation room, Irene danced beneath the strobe lights. She rose slowly on her toes and then down again, in lithe stretches and remembered turns. There was not one twinge of pain in her knee, Mother. Her eyes drifted shut. She extended her arms and twirled. The klaxons faded to background noise and she danced for the young woman she’d once been.

In the sleep deck, another Irene ripped photos off the walls of her crewmates’ bunks. She was a furious shadow girl screaming louder than the ship itself. Parker’s reading tablet: smashed. Freddie’s ukulele: oh, definitely smashed. The floor filled with debris, pictures and letters and electronics in a thousand pieces, and each piece was a tiny kernel of her pent-up fury, the inevitable explosion of the perfectionist pursuing an impossible goal.

In the kitchen, yet another Irene flickered ghostly and half-formed on the floor. She pulled her knees to her chest and cried and cried and cried. Her armor had cracked, as surely as that of a tortoise dropped from the sky by a hungry eagle. The cabinets rattled madly overhead, and she wished something would just fall on her skull and be done with it.

There were four Irenes, then five, then six. Each one a little different. Each one the same woman. In the containment room, Irene Boswell watched the color leach from her hands and she knew there wasn’t much time left before she’d be too thinned out to wield the wrench.

Her mouth trembled, then firmed. She said to Huang, “I’m so sorry.”

*

It was a deal that couldn’t be refused.

But.

Nobody could read the terms and not feel a bit of self-doubt.

The little gray men (their color was unknown, their gender unlikely to be binary, but play along)—the little gray men were engaged in research. They wanted a sample. They would send along the collection device and the means to deliver it back. In exchange, humanity would keep the design for a ship capable of intergalactic travel. Eight lives (and they wouldn’t even be harmed, it isn’t harmful, it’s only a sample), and in exchange you get the universe.

It was ludicrous, of course. How could Huang stand in for Asia? How could Bandile speak for all of Africa? How could eight represent eight billion? It wasn’t just the potential sacrifice that made people uncomfortable (would they even come back?), it was the limited data set. The entire human species was about to be filed away in some universal library, and they only got eight volumes to tell their story.

Because that was what the little gray men wanted, right? Not endless sociological footnotes, not a thousand characters yammering for attention so you couldn’t even remember their names. They wanted a simple narrative. The story of humanity, condensed. But they weren’t going to get that with a crew of eight or a crew of eight hundred.

The only way to understand the people of Earth was not by wedging more people into this mission. It was to launch a hundred million missions with a hundred million different crews.

*

“Boswell! Irene!” Huang screamed through the intercom as though he could stop her if he only said it loud enough. In addition to the hothead, the depressive, the workaholic, and the coward, there was always a romantic.

Irene had resisted him for a year, ever the consummate professional (and deep down she suspected the aliens were keen to observe a mating ritual; hell no). Now she stepped close to the glass, with her burning hair and smooth arms and bloody hands, and she pressed a kiss to the glass. She said goodbye with her eyes. Then she picked up the wrench.

It was impossible to distinguish between the trembling in her body and the shaking of the ship. She couldn’t patch the device. She couldn’t turn it off. She couldn’t reroute the controls. All she could do was close the overflow valve before it reached the rest of the crew.

Even now, the smooth white shell was cool to the touch. Irene fell to her knees beside it, groping along a crack she could barely see, ripping off the patches that hadn’t dried solid yet. She almost stopped there, caught in the thick persuasion of alien radiation. It was only trying to fulfill its purpose, after all. For two months it had sent subtle waves throughout the ship, recording their interactions, their thoughts, their dreams. Somewhere inside this husk were samples of their DNA, the better for syncing data. The better for recreating subjects for future study.

Inside this lump of alien technology lived all of Irene’s hopes and fears. Her confidence and her hesitation. That weird dream where she was an opera singer climbing up the walls of the opera house, bellowing love and grief directly into the faces of the people in the balcony seats, and she woke up strangely aroused and almost went knocking at Huang’s bunk.

Maybe the data was still salvageable. Maybe, when this was all over, Irene Boswell would continue to exist somewhere in the universe, although in what form and under what conditions she refused to contemplate.

Huang was yelling and trying to breach the outer door. Irene couldn’t hear him anymore but she knew what he was saying. She turned her back, to make it easier. Parker and Freddie were there to restrain him. They knew what needed to be done.

A thin pipe snaked out beneath the Omaha Device. A scant foot of it was accessible before it burrowed into the wall. Irene wedged herself into position, half-concealed behind the device, and struck the pipe with the wrench. She struck again, and again, and again. She was sweating and crying and her hands kept flickering and threatening to drop the wrench, but the pipe dented once, dented twice, pinched halfway shut. A high-pitched whistling sound escaped through the crack. Everything was yellow light.

The pressure built until the device vibrated madly at her side. Hot air shrieked through, panicked, desperate, scrabbling for release like a fisherman fallen beneath the ice.

She felt it envelop her, when the device finally gave out. Vaguely, she knew that it had exploded. She knew that a large chunk of the shell had pinned her to the wall. But she only felt the hot cushion of power wrap around her body, in its dying throes still trying to collect and quantify. It poured down her throat and in her ears. It raced through her blood, scanning, testing, plucking out sample after sample. It wrapped around her heart and her brain and her knee, and it squeezed.

Irene Boswell shattered into a million pieces.

One by one, Irene Boswell disappeared from the ship. They were entangled, after all. She was all of them simultaneously: the good student and the dancer and the angry girl and the grief. And she was more than that. She was the half-formed wraiths who didn’t quite split off in the containment room: the lonely woman, the daughter, the good friend and the bad lover. But even in all her complexity she was not nearly all the women left behind on Earth, any more than their captain was all of the American Midwest or their communications specialist was all of South America.

She was only Irene, and she was gone.

*

The ship limped along, sans navigator. The crew left the Omaha Device in pieces. The ventilation system cleared the lingering radiation, making it safe to enter the containment room, but nobody did.

A week later they saw it, flickering in and out of radar on their ailing machines: the other ship. And then they really saw it through the transparent hull of the navigation room: a strange and beautiful emissary, far larger and more advanced than the little exploration vessel whose plans they had traded for human samples.

The remaining crewmembers put on crisp uniforms. They combed their hair and cut their nails. They assembled in the docking room antechamber with all the solemnity of funeral attendees. None of them had slept in days, and the captain couldn’t stop the nervous tic in his cheek. The coward—whose name was almost definitely Michael—had deep circles under his eyes and red marks where his wrists had been tied until recently.

Whatever data the Omaha Device gathered was gone, disintegrated and vented off the ship. No computer simulacrums. No travel narrative. No biological samples except what they carried in their own bodies. Despite their best efforts to fulfill the terms of the deal they were seven now, not eight, and their anatomy woefully misrepresentative.

They really should have brought another girl.


© 2019 by Samantha Mills

Samantha Mills lives in Southern California with her husband and babies and cats, in a house that might be haunted by a demented handyman and his loyal army of spiders. Her short fiction has appeared in Beneath Ceaseless Skies, Strange Horizons, and LampLight Magazine. She blogs about life, reading, writing, and pop culture at www.samtasticbooks.com, or come by and chat on Twitter @samtasticbooks.


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BOOK REVIEW: The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson

written by David Steffen

The Strange Case of Dr. Jekyll and Mr. Hyde is a classic science fiction/fantasy novel written by Scottish author Robert Louis Stevenson (also well known for writing Treasure Island), first published in 1886.  I’m assuming most people are familiar with at least the basic premise of the story, which is not actually evident until about 2/3 of the way through the novel, but I’m not going to avoid spoiling a 130-year old book whose premise has been spoofed so many times in pop culture.

The point of view character of the book is Gabriel Utterson, a lawyer who investigates strange events surrounding his friend the good Dr. Henry Jekyll and the mysterious and malevolent Edward Hyde.  One strange occurrence happens after another–strange behavior on the part of Dr. Jekyll and the unnatural and immediate revulsion every single person feels in the present of Mr. Hyde.  Utterson and others, such as mutual friend Dr. Lanyon investigate these strange happenings to understand the plight of Mr. Jekyll.

As probably everyone already knows, it turns out that Mr. Hyde is actually an alter-ego for Dr. Jekyll.  Jekyll has a wild side to his personality that he has indulged only in secret–he has found a potion which brings that portion of himself to the surface.  Jekyll himself is a mix of good and evil as all of us are, but Mr. Hyde is pure evil–selfish and malevolent and spiteful.  The story is an exploration of the dual side of human nature and the consequences of giving in to temptation and your darker side.

I really enjoyed the story, once it finally got the real explanation for Jekyll’s strange behavior and we actually find out all the details of his struggle.  There’s a lot of interesting things about the situation, the dual nature and dual motivations.  That part of the book I found consistently riveting and interesting.

Unfortunately, we don’t actually get to find any out any of the details until about 2/3 of the way through the book. Perhaps this was only really really frustrating because I already knew what the secret is and the entire reason I was reading the book in the first place was to find all the details, but I found that first 2/3 of the book insufferably slow.  I don’t think it’s simply a difference in the era’s writing style–I tend to love science fiction/fantasy stories from that era–I didn’t have the same complaint about Frankenstein, Dracula, or War of the Worlds, so in my opinion it was this book specifically that I had problems with the pacing.

If you’re like me, and you read the book primarily to find out the details of the original Jekyll/Hyde relationship after seeing a lifetime of derivative works… just keep that in mind.

GAME REVIEW: McPixel

written by David Steffen

McPixel is a point and click puzzle humor game released by Sos in 2012.  The game is made up of dozen 20-second mini-levels where the main character McPixel has 20 seconds to save the day, usually by defusing a bomb.  Clear inspiration for the game is the 1980s show MacGyver (which was recently rebooted), known for putting its eponymous hero in tight spots where he had to improvise a solution to a deadly problem in minutes.  And to some extent maybe even MacGruber, the Saturday Night Live spoof of MacGyver in recent years–MacGruber came to mind more readily since MacGruber regularly fails to stop the explosions.

The controls of the game are very simple–a 20-second timer is counting down, but you have plenty of time to try something, anything, which you do by clicking on objects in the scene.  In many cases the bomb is not even visible so you don’t always even have a clear objective, but your path is the same–try clicking on everything.

When he’s in a tight spot (and he always is), McPixel’s first resort are kicking, peeing on things, or eating something.  Many of the actions he does don’t really make sense for saving the day… but often these things are the ones that actually do save the day, so I guess McPixel just has an uncanny instinct for such things?  The game tries for humor by this subversion of expectations, though the punchlines start to feel repetitive pretty fast–repetitive lowbrow humor here (though I still received it better than most Adam Sandler movies).

Visuals
King’s Quest I era graphics.  I like SNES-level pixelart, and occasionally have enjoyed very blocky low-res recent releases like Super Amazing Wagon Adventure, but this is going a bit far for my taste.  I suppose it does get away with some of the more lewd actions, since it’s kindof hard to be sure exactly what McPixel is doing in some cases.

Audio
Thankfully, the audio is not from the same era as the graphics (the music on King’s Quest I era games are ear-splittingly shrill).  But you’re not really missing anything by playing it muted.

Challenge
The only “challenge” in the game comes from thoroughness–try everything you can think of in every combination to find the solution, and again to find all the gags to unlock extra levels.  Some of the extra “challenging” levels might block you for a while, but only because the “active” items on the screen are hidden–which just ended up being a tedious challenge rather than a fun one.

Story
No real story.

Session Time
Very quick, which makes it easy to pick up and put down.  Which, honestly, is most of the reason why I played it, because it’s hard to find games that are so easy to play for less than 5 minutes at a time.

Playability
Just click on everything methodically.

Replayability
A little bit, to find all the gags and unlock extra levels.

Originality
On the one hand, it’s the first game I’ve played based on an endless string of MacGyver/MacGruber mini-levels to defuse bombs.  On the other hand, it… got very repetitive very fast, so the originality wore out real fast.  There’s only so many people you can kick and only so many fires you can piss on before it starts to feel a little worn out.

Playtime
I didn’t quite finish all of the levels, because I got tired of clicking randomly one of the “harder” levels, where the active items on the screen are hidden so it’s a lot of randomly clicking and then seeing the same actions again and again and again.

Overall
If you have a very juvenile sense of humor that does not wear out from repetition, if you like games that requires methodic playing rather than action or puzzle or whatever, if you like games with very outdated graphics with a funny premise.

If you dig Metroid style platformer-shooters you should enjoy this game (and if you don’t know what a Metroid style platformer-shooter, it’s not a bad choice to be the first of its type you’ve played). Although I played through most of the levels, it was mostly because it’s a quick game to play for just a few minutes, and because it was easy enough that it still drew my completionist side.  But it’s a hard game to recommend. $5 on Steam.

 

MOVIE REVIEW: Kim Possible

written by David Steffen

Kim Possible is a 2019 live action Disney Channel original movie about a pair of high school crimefighters Kim Possible (Sadie Stanley) and Ron Stoppable (Sean Giambrone), based on the 2002-2007 cartoon series of the same name.

By day the two of them are just regular high school kids dealing with regular high school problems. By night they save the day from supervillains with Kim’s excellent physical skills and Ron’s… Ronliness.

Dr. Drakken (Todd Stashwick) and Shego (Taylor Ortega) are hatching their new villainous plans as Kim and Ron start high school. Kim, despite being super-skilled and basically a superhero, is very nervous about high school and it doesn’t help that everything seems to go wrong in the first week, trouble getting to class on time and her sophomore enemy going out of her way to make trouble for her.

But things take a turn for the better when she makes friends with Athena (Ciara Riley Wilson) who seems destined to be Kim’s best friends, with many of the same interests and who has idolized Kim for a long time.

This movie was a fun callback to the cartoon series, and I particularly liked Todd Stashwick as Dr. Drakken who did a great imitation of the cartoon villain’s voice while making it his own. The plot was okay for a cartoon-based kid show, but will fall apart under the slightest examination. For instance, Kim Possible is well-known and visible on news stories using her real name as a crimefighter, but she is also supposed to be just a regular girl at high school, despite everyone knowing about her crimefighting. And the security issues with having a supervillain-fighting crimefighter going to a regular high school without apparently any extra security precautions. That lack of security apparent in that she carries a grappling hook on the school bus (and can afford a lab full of equipment like a collection of grappling hooks but still takes the school bus).

I wouldn’t say the movie’s outstanding, but it is fun, especially if you’re familiar with the cartoon series it is based on.

DP FICTION #50A: “Why Aren’t Millennials Continuing Traditional Worship of the Elder Dark?” by Matt Dovey

In a generational shift that some claim threatens the fabric of existence and the sanity of all humanity, surveys show that worship of the Elder Dark is at a record low for one particular group—millennials.

Bob Rawlins is worried. “When I was growing up in the 1950s, I made my obeisance before the Manifold Insanity every night, uttering the invocations to satiate the Watchers Just Beyond and keep them at bay for one day longer. But young people now aren’t prepared to make the necessary sacrifices.”

I remind him that human sacrifice was deemed unnecessary and illegal in 1985, and animal sacrifice in 2009.

“Well I don’t mean literally,” he says, though there’s a note of longing to his tone.

Bob is showing me round his inner sanctum, a converted basement given over to the worship and appeasement of the Unknowable Gods. He’s the Grand Dark Supplicant of his local chapter, and is continuing a long family tradition: men of his bloodline have been bound to the service of the Elder Dark since the days of the Pilgrims.

“Our ranks are already thin,” he says, resting a hand intimately on an idol of the Ten Thousand Staring Eyes. “I worry the world I’ll leave behind will be overrun by the gibbering horrors of the between spaces, ushering in a never-ending age of nightmares and insurmountable monstrosities. It breaks my heart to think of the Eight Palms golf course getting swallowed by a roiling pit of blackness. Hole five’s a real beauty.”

In town, I talk with a group of twenty-somethings working in the local coffee shop. Aren’t they anxious about the impending immolation of mankind and the eternal night of the Elder Dark?

“Well, I guess,” says Luiz, shaking chocolate onto my cappuccino in a cephalopodan design. “But it’s hard to get worked up about such a distant prospect when I’m mostly worried about making rent next month.”

“Yeah, yeah,” agrees Deema, another barista. “And even if I had the brainspace to worry, I haven’t got the roomspace in my apartment for a shrine. I make my obeisance when I visit my parents at the weekend, but my apartment’s so cramped the shower’s in the kitchen. Where am I meant to find the space for the Eighteen Forms of Frozen Madness?”

“Not that I have any time for the complete incantations anyway,” says Luiz. “As soon as I finish here I start a shift at the Midnight Dark Bar on 8th. Do you know how much mess is made by people burying the futility of their infinitesimal existence in drugs and debauchery? By the time I get home from cleaning that up I’ve only got five hours before I’m back here. It’s hard to muster the energy for self-flagellation on four hours’ sleep a night.”

These responses may sound cynical and resigned, but talking to Luiz and Deema, there’s a sense of frustration: they want to be doing more. But some millennials have other reasons for abandoning the worship of the Elder Dark.

“These old dudes—and they’re always old dudes, you notice that?—they’re all caught up in this spiel, like, ‘If you don’t perform the rituals of devotion then the world will fall to lunacy’, and I’m like, dude, look around already!”

Ace shakes their long dreads dismissively and sips a green tea, looking over the gray ocean from their dilapidated RV. Their parents were members of the ultra-orthodox Church of the Nineteenth Insanity; Ace left home at seventeen, sent on their mission to witness the madness of the wider world. It was meant to reinforce the importance of keeping to the convoluted strictures of the Nineteenth Insanity, necessary to resist the influence of the Watchers Just Beyond.

But instead, says Ace, they saw only human madness.

“Like, all the suffering and hurt and injustice, that’s not coming from beyond the Pierced Veil, ya know? It’s caused by politicians and corporations on this side! People are blind to the roots of their problems, blaming it all on these creatures they’ve never even seen, right?”

“It’s sad to hear,” says Kathy Halton, Honorary Senator for the Sunken State of Hggibbia. “I represent the Many Drowned Dead, so I know better than most what the cost of failure is.”

Senator Halton looks up at the huge oil-on-canvas that hangs behind her mahogany desk, The Sinking of Dead Men’s Deeds, that infamous night when eighty thousand souls were lost to the sea. The eye is drawn irresistibly to the dark slash that hangs in the sky, the Pierced Veil itself, and the indescribable creatures of the Entropic Menagerie that spill forth—and it is surely an unparalleled artistic feat to paint a creature that cannot be described—and there is a strange sensation of being drawn into the painting, as if the soul itself is being pulled out through the eyes and reeled into that perversely dark hole on the canvas. Only Halton’s smooth voice breaks the spell; she seems used to the painting, immune to its attraction.

“Some people are so desperate for a mundane explanation they’ll ignore the evidence of their souls,” she says. “The irony is many of this country’s problems can be traced back to a disturbing lack of faith in the younger generation.”

But isn’t there an increasing consensus on grassroots social media that neoliberal government policies of the last thirty years are to blame for irrevocably leading us to this point of critical failure, where the very substance of the multiverse is threatened with annihilation by wage stagnation and an untenable housing market leading to unrealistic work expectations?

“If only it were that simple,” she responds. “We’re doing everything we can to encourage participation despite the economic downturn, including state-funded glossolalia lessons and mandatory flagellation breaks for government employees. But we can’t force a free soul to act.”

Two days later we’re standing on the windy beach at Chatham, Massachusetts for the annual Sunken Memorial, facing the steel-blue Atlantic where Hggibbia once stood. Senator Halton leads a group of representatives through the Silent Evocations of the Eighteen Forms, their dark trench coats snapping in the wind like ravens fighting over scraps. Two assistants have to help the elderly Health Secretary Johnson through the movements, sometimes physically lifting him to position his limbs correctly.

Fifty yards away, behind a mesh fence and a police line, there’s a protest taking place. I’m not surprised to see Ace at the front, leading a chant of WE’RE NOT INSANE, WE’RE JUST MAD, WE BLAME YOU FOR A  WORLD GONE BAD.”It’s all a distraction!” they tell me to a chorus of agreement from their fellow protestors. “They’re using the myth of the Elder Dark to stop you noticing their corruption!”

“Yeah,” interjects another protestor, her pink hair straggling over a loose-fit chunky sweater. “Like, did you know they used this stuff to justify some super racist ideas? Most people can’t spot the subtext now, but if you read the old stuff they basically claimed Jews were in league with the Watchers Just Beyond, right? It’s unbelievable!”

Ace picks up the argument, a real bitterness in their voice. “They like, try and handwave that racism away now, ya know, claim you have to understand it in the historical context, but it just proves how they fit it to their agenda at the time. It’s all bullshit. You can’t trust them.”

I go back to see Bob Rawlins. He’s invited me up for the traditional orgy that marks the Approach of Winterdark, more commonly called the fall equinox. He prepares for the night by stripping naked, beating his tattooed skin raw with a branch of Hggibbian driftwood, and pulling a tight red hood on that covers his eyes.

He offers me the branch and a spare hood, but I respectfully decline.

There’s fifty or more participants gathered at the edge of town for the ritual, all naked bar that same red hood. It’s meant to evoke a feeling of insignificance, reminding supplicants they are only anonymous flesh to the Watchers Just Beyond, but the effect is undercut somewhat by small town America: everyone is easily identifiable from their voice and body shape, and Bob chats casually about DIY projects and school district elections as the sun sets.

Once dusk grows dark and a chill settles in, Bob climbs onto a flame-lit stage set up for the event, reminds everyone to stick around for the barbecue afterwards, then begins the Rituals of Unending Vigilance. I find myself talking to a late arrival: Eric Rawlins—Bob’s son.

“I’m only back for the weekend,” he explains, shuffling uncomfortably. “It means a lot to Dad that I get involved.” He’s eschewed the naked dedication of his father and kept his jeans on, a single Screaming Gshvaddath tattooed in Shifting Ink just below his red hood, dancing wildly in contrast to Eric’s diffidence. 

Presumably his father is grooming him to continue the family tradition?

“Yeah, he’s really enthusiastic about the whole thing. Dad’s worried that if I’m not ready to continue his work the next time his back gives out then the Elder Dark will flood the world and shackle humanity to an eternal yoke of madness while he waits on his pain relief prescription. He honestly believes he’s the only one holding it back right now.”

Does Eric think participation is down because people are coming to terms with the history of it and stepping away? I repeat some of the theories I heard at the rally.

“Yeah, I’ve heard those ideas too. I agree with them, to be honest, with the people saying the Worship has racist underpinnings, but don’t tell Dad. He thinks the texts are sacrosanct, and it’s like, if you criticise them, you’re criticising him. But there’s a growing online movement to embrace the original truth of the Unknowable Scriptures, peeling back the layers of human influence and prejudice. We’re all just meat to the Watchers after all, regardless of our skin or beliefs, beneath the notice of an unfathomable Universe made of madness and unending time. I can show you some really interesting Subreddits after this.”

On stage, Bob is in an awkward crab position, thrusting his flaccid penis towards the night sky and howling in ecstasy. Blood drips from his back where a bed of nails beneath him pierces his flesh over and over; volunteers in hi-viz jackets wait at the edge of the stage with antiseptic cream, stood before signs reminding participants to PRACTICE SAFE SUPPLICATION.

Eric looks anywhere but the stage as the crowd shrieks back, lacerating their own flesh with a variety of pointed implements. There are spiked paddles in ornately carved mahogany, hand-sharpened sticks of blasted elm, and one Hello Kitty cat o’ nine tails.

“Dad worries too much, to be honest,” says Eric. “I’ve met a lot of people at college, and at the end of the day people are decent. They do what they can when they can, even if it’s just carving Escherian shapes into their avocados at breakfast. We’re not gonna let the world run to shit with shambling horrors at the bus stop and tentacles blocking up the plumbing. We’ve gotta live here too, after all.”

Eric finally responds to his father’s exhortations with a self-conscious howl, and pricks his thumb with a pocket knife. Bob looks out from the stage, and spots his son; he lifts a hand in greeting, then, unbalanced, slips and lands heavily on the bed of nails. His scream of pain is answered faithfully by the crowd, but Eric runs forward and clambers on stage. He eases his father off the nails and they limp to the side, where a volunteer frantically unpacks a first aid kit.

A brief yet intense exchange follows. The body language is clear: Bob wants Eric to finish leading the worship. The crowd is wavering, their flagellation tools drooping like their middle-aged bodies. I see the moment Eric takes the burden on: his back straightens, his jaw clenches, his shoulders square. He’s doing a good impression of being ready for this, and I find myself hoping it convinces Bob.

Eric strips off and positions himself over the nails. He picks up the chant perfectly from where his father left off, closing out the ceremony with vigour, athleticism and rather more—shall we say—rigidity than his father could manage. 

Off to the side, Bob stands with his legs wide as his bleeding scrotum is gingerly nursed by the volunteer paramedic. He’s removed his red hood, and he watches Eric lambaste the crowd with a final chant of “Yhiu! Kaftagh falln!” and receive the answer of “Engibbigth valectia!”

His face shines with paternal pride.


© 2019 by Matt Dovey

Author’s Note: If you can’t spot the inspiration for this story, I envy you. I can’t go a week without seeing some new article blaming millennials for some natural shift in an evolving world (my favourite from my research: millennials are killing bar soap. WHO EVEN CARES). That said, it was actually reading another parody article that triggered the idea: Why Aren’t Baby Boomers Eating Pho? Given that Lovecraft pastiche is never far from my mind anyway, it only took another hour for the first draft of this to flood out of my fingertips in some indescribable frenzy, typing like a man possessed, suddenly granted ideas beyond my mortal comprehension. My mind has never been the same since, scarred by the knowledge of what lies beyond my temporal horizon: younger generations, acting differently from me. Truly, a cosmic horror to chill the soul.

Matt Dovey is very tall, very English, and most likely drinking a cup of tea right now. He has a scar on his arm from a ritual performed unto the Watchers Just Beyond, imploring them for the boon of great knowledge, but all he got were the lyrics to Dashboard Confessional’s watershed album The Places You Have Come To Fear The Most. He now lives in a quiet market town in rural England with his wife & three children, and despite being a writer he still hasn’t found the right words to fully express the delight he finds in this wonderful arrangement.

His surname rhymes with “Dopey” but any other similarities to the dwarf are purely coincidental. He’s an associate editor at PodCastle, a member of Codex and Villa Diodati, and has fiction out and forthcoming all over the place, including all four Escape Artists podcasts, Flash Fiction Online and Daily SF. You can keep up with it all at mattdovey.com, or follow along on Twitter and Facebook both as @mattdoveywriter.


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