“So’s seeing the future.” Doug cracks his somosa in half with a fork, and offers the chunky side to Judy.
“You can’t remember anything past when your brain ceases to exist. Because there are no physical memories to access. Your brain is a storage medium.”
“But who knows what we’re accessing? It could be something outside our own brains.”
Judy tries to clear her head and think of something nice twenty years from now, but she can’t. She looks at Doug’s chunky sideburns, which he didn’t have when they’d started dating. Whenever she’s imagined those sideburns, she always associated them with the horror of these days. It’s sweltering inside the restaurant. “Why are you scared of me?” she says.
“I’m not,” Doug says. “I only want you to be happy. When I see you ten years from now, I—”
Judy covers her ears and jumps out of her seat, to turn the Bollywood music all the way up. Standing, she can see the screen, where a triangle of dancing women shake their fingers in unison at an unshaven man. The man smiles.
Eventually, someone comes and turns the music back down. “I think part of you is scared that I really am more powerful than you are,” Judy says. “And you’ve done everything you can to take away my power.”
“I don’t think you’re any more or less powerful than me. Our powers are just different,” Doug says. “But I think you’re a selfish person. I think you’re used to the idea that you can cheat on everything, and it’s made your soul a little bit rotten. I think you’re going to hate me for the next few weeks until you figure out how to cast me out. I think I love you more than my own arms and legs and I would shorten my already short life by a decade to have you stick around one more year. I think you’re brave as hell for keeping your head up on our journey together into the mouth of hell. I think you’re the most beautiful human being I’ve ever met, and you have a good heart despite how much you’re going to tear me to shreds.”
“I don’t want to see you any more,” Judy says. Her hair is all in her face, wet and ragged from the restaurant’s blast-furnace heat.
A few days later, Judy and Doug are playing foozball at a swanky bar in what used to be the Combat Zone. Judy makes a mean remark about something sexually humiliating that will happen to Doug five years from now, which he told her about in a moment of weakness. A couple days later, she needles him about an incident at work that almost got him fired a while back. She’s never been a sadist before now—although it’s also masochism, because when she torments him, she already knows how terrible she’ll feel in a few minutes.
Another time, Doug and Judy are drunk on the second floor of a Thayer Street frat bar, and Doug keeps getting Judy one more weird cocktail, even though she’s had more than enough. The retro pinball machine gossips at them. Judy staggers to the bathroom, leaving her purse with Doug—and when she gets back, the purse is gone. They both knew Doug was going to lose Judy’s purse, which only makes her madder. She bitches him out in front of a table of beer-pong champions. And then it’s too late to get back to Judy’s place, so they have to share Doug’s cramped, sagging hospital cot. Judy throws up on Doug’s favorite outfit: anise and stomach acid, it’ll never come out.
Judy loses track of which unbearable things have already happened, and which lay ahead. Has Doug insulted her parents yet, on their second meeting? Yes, that was yesterday. Has he made Marva cry? No, that’s tomorrow. Has she screamed at him that he’s a weak mean bastard yet? It’s all one moment to her. Judy has finally achieved timelessness.
Doug has already arranged—a year ago—to take two weeks off work, because he knows he won’t be able to answer people’s dumb tech problems and lose a piece of himself at the same time. He could do his job in his sleep, even if he didn’t know what all the callers were going to say before they said it, but his ability to sleepwalk through unpleasantness will shortly be maxed out. He tells his coworker Geoffrey, the closest he has to a friend, that he’ll be doing some Spring cleaning, even though it’s October.
A few days before the breakup, Judy stands in the middle of Central Square, and a homeless guy comes up to her and asks for money. She stares at his face, which is unevenly sunburned in the shape of a wheel. She concentrates on this man, who stands there, his hand out. For a moment, she just forgets to worry about Doug for once—and just like that, she’s seeing futures again.
The threads are there: if she buys this homeless man some scones from 1369, they’ll talk, and become friends, and maybe she’ll run into him once every few weeks and buy him dinner, for the next several years. And in five years, she’ll help the man, Franklin, find a place to live, and she’ll chip in for the deposit. But a couple years later, it’ll all have fallen apart, and he’ll be back here. And she flashes on something Franklin tells her eight years from now, if this whole chain of events comes to pass, about a lost opportunity. And then she knows what to do.
“Franklin,” she says to wheel-faced guy, who blinks at the sound of his name. “Listen. Angie’s pregnant, with your kid. She’s at the yellow house with the broken wheelbarrow, in Sturbridge. If you go to her right now, I think she’ll take you back. Here’s a hundred bucks.” She reaches in her new purse, for the entire wad of cash she took out of the bank to hold her until she gets her new ATM card. “Go find Angie.” Franklin just looks at her, takes the cash, and disappears.
Judy never knows if Franklin took her advice. But she does know for sure she’ll never see him again.
And then she wanders into the bakery where she would have bought Franklin scones, and she sees this guy working there. And she concentrates on him, too, even though it gives her a headache, and she “remembers” a future in which they become friendly and he tells her about the time he wrecked his best friend’s car, which hasn’t happened yet. She buys a scone and tells the guy, Scott, that he shouldn’t borrow Reggie’s T-Bird for that regatta thing, or he’ll regret it forever. She doesn’t even care that Scott is staring as she walks out.
“I’m going to be a vigilante soothsayer,” she tells Marva. She’s never used her power so recklessly before, but the more she does it, the easier it gets. She goes ahead and mails that Jollibee statue to Sukey.
The day of the big breakup, Marva’s like, “Why can’t you just dump him via text message? That’s what all the kids are doing, it’s the new sexting.” Judy’s best answer is, “Because then my bike would still be in one piece.” Which isn’t a very good argument. Judy dresses warm, because she knows she’ll be frozen later.
Doug takes deep breaths, tries to feel acceptance, but he’s all wrung out inside. He wants this to be over, but he dreads it being over. If there was any other way … Doug takes the train from Providence a couple hours early, so he can get lost for a while. But he doesn’t get lost enough, and he’s still early for their meeting. They’re supposed to get dinner at the fancy place, but Doug forgot to make the reservation, so they wind up at John Harvard’s Brew Pub, in the mall, and they each put away three pints of the microbrews that made John Harvard famous. They make small talk.
Afterwards, they’re wandering aimlessly, towards Mass Ave., and getting closer to the place where it happens. Judy blurts out, “It didn’t have to be this way. None of it. You made everything fall into place, but it didn’t have to.”
“I know you don’t believe that any more,” Doug says. “There’s a lot of stuff you have the right to blame me for, but you can’t believe I chose any of this. We’re both cursed to see stuff that nobody should be allowed to see, but we’re still responsible for our own mistakes. I still don’t regret anything. Even if I didn’t know today was the last day for you and me, I would want it to be.”
They are both going to say some vicious things to each other in the next hour or so. They’ve already heard it all, in their heads.
On Mass Ave., Judy sees the ice cream place opposite the locked side gates of Harvard, and she stops her bike. During their final blow-out fight, she’s not eating ice cream, any of the hundred times she’s seen i
t. “Watch my bike,” she tells Doug. She goes in and gets a triple scoop for herself and one for Doug, random flavors—Cambridge is one of the few places you can ask for random flavors and people will just nod—and then she and Doug resume their exit interview.
“It’s that you have this myth that you’re totally innocent and harmless, even though you also believe you control everything in the universe,” Doug is saying.
Judy doesn’t taste her ice cream, but she is aware of its texture, the voluptuousness of it, and the way it chills the roof of her mouth. There are lumps of something chewy in one of her random flavors. Her cone smells like candy, with a hint of wet dog.
They wind up down by the banks of the river, near the bridge surrounded by a million geese and their innumerable droppings, and Judy is crying and shouting that Doug is a passive aggressive asshole.
Doug’s weeping into the remains of his cone, and then he goes nuclear. He starts babbling about when he sees Judy ten years hence, and the future he describes is one of the ones that Judy’s always considered somewhat unlikely.
Judy tries to flee, but Doug has her wrist and he’s babbling at her, describing a scene where a broken-down Doug meets Judy with her two kids—Raina and Jeremy, one of dozens of combinations of kids Judy might have—and Raina, the toddler, has a black eye and a giant stuffed tiger. The future Judy looks tired, makes an effort to be nice to the future Doug, who’s a wreck, gripping her cashmere lapel.
Both the future Judy and the present Judy are trying to get away from Doug as fast as possible. Neither Doug will let go.
“And then 15 years from now, you only have one child,” Doug says.
“Let me go!” Judy screams.
But when Judy finally breaks free of Doug’s hand, and turns to flee, she’s hit with a blinding headrush, like a one-minute migraine. Three scoops of ice cream on top of three beers, or maybe just stress, but it paralyzes her, even as she’s trying to run. Doug tries to throw himself in her path, but he overbalances and falls down the river bank, landing almost in the water.
“Gah!” Doug wails. “Help me up. I’m hurt.” He lifts one arm, and Judy puts down her bike, helps him climb back up. Doug’s a mess, covered with mud, and he’s clutching one arm, heaving with pain.
“Are you okay?” Judy can’t help asking.
“Breaking my arm hurt a lot more …” Doug winces. “… than I thought it would.”
“Your arm.” Judy can’t believe what she’s seeing. “You broke … your arm.”
“You can see for yourself. At least this means it’s over.”
“But you were supposed to break your leg.”
Doug almost tosses both hands in the air, until he remembers he can’t. “This is exactly why I can’t deal with you any more. We both agreed, on our very first date, I break my arm. You’re just remembering it wrong, or being difficult on purpose.”
Doug wants to go to the hospital by himself, but Judy insists on going with. He curses at the pain, stumbling over every knot and root.
“You broke your arm.” Judy’s half-sobbing, half-laughing, it’s almost too much to take in. “You broke your arm, and maybe that means that all of this … that maybe we could try again. Not right away, I’m feeling pretty raw right now, but in a while. I’d be willing to try.”
But she already knows what Doug’s going to say: “You don’t get to hurt me any more.”
She doesn’t leave Doug until he’s safely staring at the hospital linoleum, waiting to go into X-ray. Then she pedals home, feeling the cold air smash into her face. She’s forgotten her helmet, but it’ll be okay. When she gets home, she’s going to grab Marva and they’re going straight to Logan, where a bored check-in counter person will give them dirt-cheap tickets on the last flight to Miami. They’ll have the wildest three days of their lives, with no lasting ill effects. It’ll be epic, she’s already living every instant of it in her head. She’s crying buckets but it’s okay, her bike’s headwind wipes the slate clean.
“And Weep Like Alexander”
NEIL GAIMAN
Neil Gaiman (neilgaiman.com) lives with his wife, Amanda Palmer, in Boston, Massachusetts, and maintains an office near Minneapolis, Minnesota. He is a celebrity. He became prominent in the late 1980s as a writer of intellectually and aesthetically satisfying comics, particularly Sandman, at the same time he was improving his craft as a writer of fiction and emerging as a popular writer of stories. His first novel (after the popular collaboration with Terry Prachett, Good Omens, 1990) was Neverwhere (1996), followed by Stardust (1999). His third novel, American Gods (2001), won both the Hugo and Nebula Awards, and signaled a new level of achievement in his literary career. His young adult novels, Coraline (2002) and The Graveyard Book (2008), are particularly notable. Some of his short fiction is collected in Smoke and Mirrors (1998), M Is for Magic (2004), and Fragile Things (2006). He is currently writing a novel that may be a sequel to American Gods.
“And Weep Like Alexander” was published in an original collection of SF tall tales told in a bar, Fables from the Fountain, edited by Ian Whates. It is in the British SF tradition of Arthur C. Clarke’s humorous Tales from the White Hart. It features Obediah Polkinghorn, uninventor, and answers such questions as why we have no flying cars today. We think it is a delightful answer.
The little man hurried into the Fountain and ordered a very large whisky. “Because,” he announced to the pub in general, “I deserve it.”
He looked exhausted, sweaty and rumpled, as if he had not slept in several days. He wore a tie, but it was so loose as to be almost undone. He had greying hair that might once have been ginger.
“I’m sure you do,” said Brian Dalton.
“I do!” said the man. He took a sip of the whisky as if to find out if he liked it, then, satisfied, gulped down half the glass. He stood completely still, for a moment, like a statue. “Listen,” he said. “Can you hear it?”
“What?” I said.
“A sort of background whispering white noise that actually becomes whatever song you wish to hear when you sort of half-concentrate upon it?”
I listened. “No,” I said.
“Exactly,” said the man, extraordinarily pleased with himself. “Isn’t it wonderful? Only yesterday, everybody in the Fountain was complaining about the Wispamuzak. Professor Mackintosh here was grumbling about having Queen’s “Bohemian Rhapsody” stuck in his head and how it was now following him across London. Today, it’s gone, as if it had never been. None of you can even remember that it existed. And that is all due to me.”
“I what?” said Professor Mackintosh. “Something about the Queen?” And then, “Do I know you?”
“We’ve met,” said the little man. “But people forget me, alas. It is because of my job.” He took out his wallet, produced a card, passed it to me.
OBEDIAH POLKINGHORN
it read, and beneath that in small letters,
UNINVENTOR.
“If you don’t mind my asking,” I said. “What’s an uninventor?”
“It’s somebody who uninvents things,” he said. He raised his glass, which was quite empty. “Ah. Excuse me, Sally, I need another very large whisky.”
The rest of the crowd there that evening seemed to have decided that the man was both mad and uninteresting. They had returned to their conversations. I, on the other hand, was caught. “So,” I said, resigning myself to my conversational fate. “Have you been an uninventor long?”
“Since I was fairly young,” he said. “I started uninventing when I was eighteen. Have you never wondered why we do not have jet-packs?”
I had, actually.
“Saw a bit on Tomorrow’s World about them, when I was a lad,” said Michael, the landlord. “Man went up in one. Then he came down. Raymond Burr seemed to think we’d all have them soon enough.”
“Ah, but we don’t,” said Obediah Polkinghorn, “because I uninvented them about twenty years ago. I had to. They were driving everybody mad. I mean, they seemed so attr
active, and so cheap, but you just had to have a few thousand bored teenagers strapping them on, zooming all over the place, hovering outside bedroom windows, crashing into the flying cars …”
“Hold on,” said Sally. “There aren’t any flying cars.”
“True,” said the little man, “but there were. You wouldn’t believe the traffic jams they’d cause. You’d look up and it was just the bottoms of bloody flying cars from horizon to horizon. Some days I couldn’t see the skies at all. People throwing rubbish out of their car windows … They were easy to run—ran off gravitosolar power, obviously—but I didn’t realise that they needed to go until I heard a lady talking about them on Radio Four, all ‘Why Oh Why Didn’t We Stick With Non-Flying Cars?’ She had a point. Something needed to be done. I uninvented them. I made a list of inventions the world would be better off without and, one by one, I uninvented them all.”
By now he had started to gather a small audience. I was pleased I’d grabbed a good seat.
“It was a lot of work, too,” he continued. “You see, it’s almost impossible not to invent the Flying Car, as soon as you’ve invented the Lumenbubble. So eventually I had to uninvent that too. And I miss the individual Lumenbubble: a massless portable light-source that floated half a metre above your head and went on when you wanted it to. Such a wonderful invention. Still, no use crying over unspilt milk, and you can’t mend an omelette without unbreaking a few eggs.”
“You also can’t expect us actually to believe any of this,” said someone, and I think it was Jocelyn.
“Right,” said Brian. “I mean, next thing you’ll be telling us that you uninvented the space ship.”
“But I did,” said Obediah Polkinghorn. He seemed extremely pleased with himself. “Twice. I had to. You see, the moment we whizz off into space and head out to the planets and beyond, we bump into things that spur so many other inventions. The Polaroid Instant Transporter. That was the worst. And the Mockett Telepathic Translator. That was the worst as well. But as long as it’s nothing worse than a rocket to the moon, I can keep everything under control.”
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