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Fictionwise, Inc.
www.Fictionwise.com
Copyright ©2005 by Christopher Barzak
First published in Realms of Fantasy, April 2005
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1. Swallowing Bubbles
The four of them had been traveling for what seemed like forever, the two in the front seat rattling maps like they did newspapers on Sunday mornings. They rode in the wagon, her favorite car, the one with the wood paneling on its doors. The wagon wound through the twisty backroads of the mountains, leaving behind it clouds of dust through which sunlight passed, making the air shimmer like liquid gold. The girl wanted the wagon to stop so she could jump out and run through the golden light behind her. She climbed halfway over the back seat and pushed her face against the rear window, trying to get a better look.
The little old man beside her shouted, “No! No! No! Sit down, you're slobbering all over the glass. Sit down this instant!” He grabbed her around her waist and pulled her back into a sitting position. He pulled a strap across her chest, locking it with a decisive click. The little old man narrowed his eyes; he waved a finger in the girl's face. He said things at her. But as his words left his lips, they became bubbles. Large silver bubbles that shimmied and wobbled in the air. The bubbles filled the car in mere moments. So many words all at once! The girl laughed delightedly. She popped some of the bubbles between her fingers. Others she plucked from the air and swallowed like grapes. She let them sit sweetly on her tongue for a while, before taking them all the way in for good. When the bubbles reached her stomach, they burst into music. The sound of them echoed through her body, reverberating. She rang like a bell. One day, when she swallowed enough bubbles, she might understand what the little old man beside her was saying. All of the time, not just now and then. Maybe she'd even be able to say things back to him. She wondered if her own words would taste as sweet. Like honey, maybe. Or like flowers.
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2. Being Selfish
Eliot is watching his mother hang bed sheets from a cord of clothesline she's tied off at two walls facing opposite of each other in their cabin. “To give us all a sense of personal space,” she explains. Eliot tells his mother that this cabin is so small, hanging up bed sheets to section off rooms is a futile activity. “Where did you learn that word,” his mother asks. “Futile. Who taught you that?"
"At school,” Eliot says, paging through an X-Men comic book, not bothering to look up.
His mother makes a face that looks impressed. “Maybe public school isn't so bad after all,” she says. “Your father was right, as usual."
Eliot doesn't know if his father is right, or even if his father is usually right, as his mother seems to imagine. After all, here they are in the Allegheny Mountains, in Pennsylvania, for God's sake, hundreds of miles away from home. Away from Boston. And for what? For a figment of his father's imagination. For a so-called undiscovered moth his father claims to have seen when he was Eliot's age, fourteen, camping right here in this very cabin. Eliot doesn't believe his father could remember anything that far back, and even if he could, his memory of the event could be completely fictional at this point, an indulgence in nostalgia for a time when his life still seemed open in all directions, flat as a map, unexplored and waiting for him.
Eliot's father is an entomologist. His specialty is lepidoptera, moths and butterflies and what Eliot thinks of as creepy-crawlies, things that spin cocoons around themselves when they're unhappy with their present circumstances and wait inside their shells until either they've changed or the world has, before coming out. Eliot's father is forty-three years old, a once-celebrated researcher on the mating habits of moths found in the Appalachian Mountains. He is also a liar. He lied to his grant committee at the college, telling them in his proposal that he required the funds for this expedition to research the habits of a certain species of moth with which they were all familiar. He didn't mention his undiscovered moth, the one that glowed orange and pink, as he once told Eliot during a reverie, with his eyes looking at something unimaginably distant while he spoke of it. Maybe, Eliot thinks, an absurd adventure like this one is a scientist's version of a mid-life crisis. Instead of chasing after other women, Eliot's father is chasing after a moth that, let's face it, he probably imagined.
"There now, isn't that better?” Eliot's mother stands in the center of the cabin, which she has finished sectioning into four rooms. The cabin is a perfect square with clothesline bisecting the center in both directions, like a plus sign. Eliot owns one corner, and Dawn, his sister, has the one next to his: That makes up one half of the cabin. The other half has been divided into the kitchen and his parents’ space. The sheet separating Eliot's corner from his sister's is patterned with blue flowers and tiny teacups. These sheets are Dawn's favorites, and secretly, Eliot's too.
Eliot's mother glances around, smiling vaguely, wiping sweat off of her brow. She's obviously happy with her achievement. After all, she's an academic, a philosopher, unaccustomed to cleaning house and rigging up clotheslines and bed linen. The maid back in Boston—back home, Eliot thinks—Marcy, she helps around the house with domestic things like that. Usually Eliot's mother uses her mind to speculate on how the mind works; not just her own mind—but the mind—the idea of what a mind is. Now she finds herself using her mental prowess to tidy up a ramshackle cabin. Who would have guessed she'd be so capable? So practical? Not Eliot. Certainly not herself.
The door to the cabin swings open, flooding the room with bright sunlight that makes Eliot squint. He shields his eyes with one hand, like an officer saluting, to witness the shadowy figure of his father's body filling the doorframe, and his sister Dawn trailing behind.
Dawn is more excited than usual, which has made this trip something less than a vacation. For Eliot's father, Dr. Carroll, it was never a vacation; that was a well-known fact. For Dr. Carroll, this was an expedition, possibly his last chance to inscribe his name in History. But the rest of the family was supposed to “take things easy and enjoy themselves.” When Dr. Carroll said that, Eliot had snorted. Dr. Carroll had placed his hands on his hips and glowered. “Why the attitude, Eliot?” he'd asked.
"Take it easy?” Eliot repeated in a squeaky-scratchy voice that never failed to surface when he most needed to appear justified and righteous. “How can you expect us to do that with Dawn around?"
Dr. Carroll had stalked away, not answering, which didn't surprise Eliot at all. For most of his life, this is what Eliot has seen whenever he questions his father: his father's back, walking away, leaving a room full of silence.
Dawn pushes past Dr. Carroll and runs over to Eliot's cot. She jumps on the mattress, which squeals on old coils, and throws her arms across the moth-eaten pink quilt. The quilt smells of mold and mildew and something a little like mothballs, as if it had been stored in a cedar chest for a long time. Dawn turns to Eliot, her wide blue eyes set in a face as white and smooth as porcelain, and smiles at him, her blonde hair fanning out on the pillow. Eliot considers her over the top of his comic book, pretending not to have noticed her.
Dawn is autistic. She's seventeen years old, three years older than Eliot. But when she's around, Eliot feels as if he's already an old man, forced into an early maturity, responsible for things no fourteen year old boy should have to think about. He blames this all on his parent
s, who often encourage him when he pays attention to Dawn, who often scold him when he wants something for himself. “Being selfish,” is what his mother calls that, leaving Eliot dashed to pieces on the rocks of guilt. He feels guilty even now, trying to read the last page of his comic book instead of paying attention to Dawn.
"I'm leaving,” Dr. Carroll announces. He's wearing khaki pants with pockets all over them, and a wide-brimmed hat with mosquito netting pulled down over his face. A backpack and sleeping bag are slung on his back. He lifts the mosquito netting and kisses Eliot's mother on her cheek and calls her Dr. Carroll affectionately, then looks at Eliot and says, “You take care of Dawn while I'm away, Eliot. Stay out of trouble."
He walks outside, and all of them—Eliot, Dawn and their mother—move to the doorway. As if magnetized by Dr. Carroll's absence, they try to fill the space he's left. They watch him become smaller and smaller, a shadow, until he reaches the trail that will take him farther into the graying mountains, where his moth awaits.
"Good luck,” Eliot's mother whispers, waving goodbye to his back, his nets and pockets. She closes her eyes and says, “Please,” to something she cannot name, even though she no longer believes in higher powers, ghosts or gods of any sort.
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3. First Words
It was strange for the girl in this place; she hadn't been prepared for it. Suddenly the wagon had come to a stop and they all spilled out. The mother and the father, they seemed so excited. They smiled so hard, their faces split in half. The little old man kept scowling; he was so funny. She patted him on his shoulder and he opened his mouth to make room for one huge silver bubble to escape. She grabbed hold of its silky surface and almost left the ground as it floated upwards, towards the clouds. But it popped, and she rocked back on her heels, laughing. When the bubble popped, it shouted, “Get off!"
The father left soon after. The girl was a little frightened at first. Like maybe the father would never come back? Did the father still love her? These thoughts frightened her more than anything else. But then she watched the little old man chop wood for the fire, his skinny arms struggling each time he lifted the axe above his head, which made her laugh, sweeping the fear out of her like the mother sweeping dirt off the front porch. Swish! Goodbye, fear! Good riddance! She forgot the father because the little old man made her laugh so much.
There were so many trees here, the girl thought she'd break her neck from tilting her head back to see their swaying tops. Also, strange sounds burrowed into her skin, and she shivered a lot. Birds singing, crickets creeking. This little thing no bigger than the nail of her pinky—it had transparent wings and hovered by her ear, buzzing a nasty song. She swatted at it, but it kept returning. It followed her wherever she went. Finally the mother saw it and squashed it in a Kleenex. But as it died, it told the girl, “You've made a horrible mistake. I am not the enemy.” Then it coughed, sputtered, and was dead.
The girl thought of the wagon. It was still one of her favorite things in the world. But now she was thinking she wasn't so sure. Maybe there were other things just as special as riding in the wagon with the mother, the father and the little old man. She wished the mother wouldn't have killed the winged creature so quick. She wanted it to tell her more things, but now it was dead and its last words still rang in her ears. When the winged creature spoke, no bubbles came out of its mouth. Words, pure and clear, like cold water, filled her up. The winged creature had more words for her, she just knew it. She knew this without knowing why, and she didn't care. She only cared that the bubbles didn't come between her and the words when the creature spoke to her. One drink of that and she wanted more.
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4. The Scream
Before Eliot's father left, he placed him in charge of Dawn, and his mother seems more than willing to follow her husband's orders to the letter, leaving Eliot to look after Dawn while she sits on the front porch of the cabin, or in the kitchen, and writes. Eliot finds his mother's loyalty to his father's declarations an annoying trait, as if she had no say-so about anything when it comes to her children; she simply goes along with whatever his father says. He's watched Dawn every day since his father left, which has been for an entire week. He's taken her on the trails that are clearly marked; they've stared into the shallow depths of a creek where the water was as dark as tea, where red and blue crayfish skittered for cover under rocks. He's introduced Dawn to grasshoppers, which she loved immediately and, to Eliot's amazement, coaxed into a perfect line, making them leap in time together, like figure skaters. He was proud of Dawn for that, and could tell she was too; she looked up at him after the synchronized leap went off without a hitch and clapped her hands for a full minute.
Each day they pick wildflowers together, which, when they return in the late afternoons, hang tattered and limp in Dawn's grip. Still, their mother takes them from Dawn gratefully when they're offered. “Oh, they're beautiful,” she says, and puts the ragged daisies and buttercups in empty Coke bottles, filling the cabin with their bittersweet scent.
Eliot never gives his mother flowers. He leaves that pleasure for Dawn. And anyway, he knows something Dawn doesn't: his mother doesn't even like flowers, and Dr. Carroll doesn't even give them to her for Valentine's day or for their wedding anniversary. Eliot has to admit that his mother's graciousness in the face of receiving a gift she doesn't like is a mark of her tact and love for Dawn. He couldn't ever be so nice. He watches his mother and Dawn find “just the right place” for the flowers and thinks, I am a bad person. He thinks this because he's imagined himself far away, not from his present location in the mountains, but far away from his family itself. He's imagined himself in a place of his own, with furniture and a TV set and his own books. In none of these fantasies does his mother or father appear, except for the occasional phone call. He never misses them and he wonders if this means he's a wrong person somehow. Shouldn't children love their parents enough to call every once in a while? Apparently in these fantasies, parents aren't that important.
Dawn isn't a part of these fantasies either. Eliot doesn't even imagine phone calls from her because, really, what would be the use? At most, Dawn might latch onto a phrase and ask him it over and over. She might say, like she once did at his twelfth birthday party, “How old is your cat?” sending all of his friends into fits of laughter.
Eliot doesn't have a cat.
Eliot's mother has begun a new essay, and during the day, she spends her time reading essays and books written by other philosophers and scientists who she thinks has something to say on the subject she's considering. “This one,” she tells Eliot one morning, “will be a feminist revision of Walden. I think it has great potential."
She's packed her Thoreau, Eliot realizes, irritation suddenly tingling at the base of his neck. He's beginning to suspect that, this summer, he has become the victim of a conspiracy got up by his parents, a conspiracy that will leave him the sole caretaker of Dawn. Within the frame of a few seconds he's turned red and his skin has started to itch. He's close to yelling at his mother. He wants to accuse her of this conspiracy, to call her out, so to speak. To scold her for being selfish. I could do that, he thinks. Scold his parents. He's done it before and he'll do it again. He finds nothing wrong with that; sometimes they deserve to be reprimanded. Why does everyone think that because someone gives birth to you and is older, they inherently deserve your respect? Eliot decided a long time ago that he wouldn't respect his parents unless they respected him. Sometimes this becomes a problem.
Before he unleashes his penned-up tensions, though, his mother stops scribbling and lifts her face from her notebook. She smiles at Eliot and says, “Why don't you go into that village we passed on the way in and make some friends? You've been doing so well with your sister. You deserve a break."
She gives Eliot ten dollars from her purse, which he crumples into a wad in his front pocket. She's releasing him for the day, and though he's still fuming over the conspiracy, he runs at this window of chance.
He grabs his bike and trots with it at his side for a minute, before leaping onto its sun-warmed seat. Then he peddles away, down the mountain.
When he thinks he's far enough away, Eliot screams at the top of his lungs, an indecipherable noise that echoes and echoes in this silent, wooded place. The scream hangs over the mountainside like a cloud of black smoke, a stain on the clear sky, following Eliot for the rest of the day. Like some homeless mutt he's been nice to without thinking about the consequences, the scream will follow him forever now, seeking more affection, wanting to be a permanent part of his life.
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5. The Butterfly's Question
The girl found the butterflies by accident. They were swarming in a small green field splashed yellow and white and orange from their wings. She ran out to meet them, stretched out her fingertips to touch them, and they flitted onto her arms, dusted her face with pollen, kissed her forehead and said, “Child, where have you been?"
The butterfly that spoke to her was large, and its wings were a burnt orange color, spider-webbed with black veins. It floated unsteadily in front of her face, cocking its head back and forth as if examining her. No silver bubbles came out of its mouth when it spoke, just like the first winged creature, just like the grasshoppers who performed their leaps, their little tricks just for her pleasure.
"Well?” The butterfly circled her head once.
"I don't know,” Dawn said. “It's hard to explain. But there are these people. They take care of me really nice."
"I would expect nothing less,” said the butterfly, coming to rest on the back of her wrist. It stayed there for a while, its wings moving back and forth slowly, fanning itself. Finally, it crawled up the length of the girl's arm and came to rest on her shoulder. It whispered in her ear, “Why now? Why have they brought you too us now, so late in your life?"
The girl didn't know how to answer the butterfly. She simply looked down at her bare feet in the high grass and shrugged. “I don't know,” she told the butterfly, and nearly started crying. But the butterfly brushed her cheek with its wings and said, “No, no. Don't cry, my love. Everything in its own time. Everything in its own time. Now isn't that right?"
The Language of Moths Page 1
