In the gloaming there was a caribou. It looked at him, he looked at it. Too far away for him to shoot, too fast for him to chase. Those things could skim over the top of the muskeg as if on skis.
The next day was bright and almost hot; things in the distance were wobbly at the edges, like a mirage. Was he hungry any more? Hard to tell. He could sense words rising from him, burning away in the sun. Soon he’d be wordless, and then would he still be able to think? No and yes, yes and no. He’d be up against it, up against everything that filled the space he was moving through, with no glass pane of language coming between him and not-him. Not-him was seeping into him through his defences, through his edges, eating away at form, sending its rootlets into his head like reverse hairs. Soon he’d be overgrown, one with the moss. He needed to keep moving, preserve his outlines, define himself by his own shockwaves, the wake he left in the air. To keep alert, to stay attuned to the, to the what? To whatever might come at him and stop him dead.
At the next washed-out bridge a bear congealed from the low shrubs flanking the river. It was not there and then it was there, and it reared up, startled, offering itself. Was there growling, a roar, a stench? No doubt, but Zeb can’t remember. He must have sprayed its eyes with the bear spray and shot it point-blank, but there’s no photo record.
Next thing he knew he was butchering it, hacking away at it with his inadequate knife. Blood up to the wrists, then bonanza: the meat, the fur. The two ravens stood at a distance, making R noises, waiting their turn: gobbets for him, followed by pickings for them.
“Not too much,” he told himself, chewing, recalling the dangers of stuffing yourself on an empty stomach, especially on something so rich and supersaturated. “Little at a time.” His voice came to him muffled, as if he was telephoning himself from underground. What did this taste like? Who cared? Having eaten the heart, could he now speak the language of bears?
Picture him the next day or the next or sometime, halfway there, wherever there is, though he retains the belief that it is in fact somewhere. He’s got new footgear – wraps of hide, fur side in, tied with crisscross strips like a fashion item in a cave-man comic. He’s got a fur cape, he’s got a fur hat, and all of it doubles as sleeping gear, heavy and stinky. He’s porting a meat cargo and a big wad of fat. If he had the time he’d render the fat into grease and smear it on himself, but as it is he injects it into his mouth like bite-sized fuel. And it is fuel, he’s burning it; he can feel the heat of it travelling through his veins.
“Goodbye to care,” he sings. The ravens are sticking with him, shadowing him. Now there are four of them: he’s the Pied Piper of ravens. “There’s a bluebird on my windowsill,” he sings to them. His mother went in for cheerful, upbeat retro crap. That, and perky hymns.
And now, coming towards him along the relatively smooth stretch of road ahead, far in the distance, there’s a cyclist. Some rugged mountain bike adventurer out of his mind on endorphins. They pass through Whitehorse from time to time, augment their kits at the outfitter stores, head for the hills to test their endurance mettle on the Old Canol Trail. They pedal as far as the bunkie – that’s their usual trajectory. Then they pedal back, thinner, stringier, madder. Some bring tales of alien abductions, some of talking foxes, some of human voices on the tundra at night. Or semi-human voices. Trying to lure them.
No, two cyclists. One quite a bit ahead. Lovers’ tiff, he speculates. The normal thing would be to stick together.
Useful things, mountain bikes. Also pannier packs and whatever might be in them.
Zeb hides in the creekside shrubbery, waits for the first one to go past. A woman, blond, sporting the thighs of a stainless-steel nutcracker goddess in her shiny skintight cyclewear. Under her streamlined helmet she’s squinting into the wind, frowning fit to kill with her skimpy eyebrows over her trendy little wind/sun goggles. Away she goes, bumpity-bump, ass taut as an implanted tit, and now here comes the guy, keeping his distance, morose, mouth down at the corners. He’s pissed her off, he’s feeling the whip. He’s burdened with a misery Zeb can alleviate.
“Arrgh,” Zeb yells, or words to that effect.
“Arrgh?” says Toby, laughing.
“You know what I mean,” says Zeb.
Short form: he leaps out of the bushes and onto the guy, making a growly noise, in his bear-fur coverings. There’s a strangled yelp from the target, then a metallic toppling. No need to bash the poor sucker, he’s out cold anyway. Just take the cycle with its twin saddle packs and make off.
When he looks behind, the girl has stopped. He can picture her recently clamped mouth an open O, the O of woe. Now she’ll be sorry she tongue-lashed the sad bugger. She’ll thunder-thigh back, kneel and minister, rock and cradle, dab at scrapes, shed tears. The lad will come to and gaze into her ungoggled eyes, the simp, and all will be forgiven, whatever it was. Then they will use her cellphone to call for aid.
What will they say? He can imagine.
When he’s out of sight, down a hill, and around a corner, he goes through the saddlebags. What a trove: a poker hand of Joltbars, some sort of quasi-cheese product, an extra windcheater, a mini-stove with fuel cylinder, a pair of dry socks, spare boots with thick soles – too small, but he’ll cut out the toes. A cellphone. Best of all, an identity: he can use some of that. He mashes the cellphone and hides it under a rock, then makes his way sideways over the tundra, squish squish, bike and all.
Luckily there’s a palsa that’s been ripped open, no doubt by an enraged grolar in search of evasive ground squirrels. Zeb digs himself and the bike into the moist black earth, leaving a vantage point between clods. After a long damp wait, here comes the ’thopter. It hovers over where the two young cyclists must be hugging and shivering and thanking their lucky stars, and down goes the ladder, and, after a time, up go the lovers, and then they’re carried away in the slow, low ’thopter, flippity-flop, blimpity-blimp. What a story they will have to tell.
And they tell it. Once in Whitehorse, having shed his bearskin wrappings some time back and sunk them in a pond, having changed into the fresh gear provided by Fortune, having grabbed a hitchhike, having freshened up considerably and altered his hairstyle, having hacked certain features of the cyclist’s identity and run some cash through a backdoor known to him by memory, and having swiftly topped up his own cash flow thereby, he reads all about it.
Sasquatches are real after all, and they’ve migrated to the Mackenzie Mountain Barrens. No, it couldn’t have been a bear because bears can’t ride mountain bikes. Anyway, this thing was seven feet tall with eyes almost like a man’s, and it smelled terrible, and it showed signs of almost-human intelligence. There’s even a picture, taken on the girl’s cellphone: a brown blob, with a red circle around it to signal which of the many brown blobs in the picture is the significant one.
Within a week, Bigfoot-believers from around the world have formed a posse and mounted an expedition to the site of the discovery, and are combing the area for footprints and tufts of hair and piles of dung. Soon, says their leader, they will have a batch of definitive DNA, and then the scoffers will be shown up for the corrupt, fossilized, obsolete truth-deniers that they are.
Very soon.
The Story of Zeb and Thank You and Good Night
Thank you for bringing me this fish.
Thank you means … Thank you means you did something good for me. Or something you thought was good. And that good thing was giving me a fish. So that made me happy, but the part that really made me happy was that you wanted me to be happy. That’s what Thank you means.
No, you don’t need to give me another fish. I am happy enough for now.
Don’t you want to hear about Zeb?
Then you must listen.
After Zeb came back from the high and tall mountains with snow on top, and after he had taken off the skin of the bear and put it on himself, he said Thank You to the bear. To the spirit of the bear.
Because the bear didn’t eat him, but allowed him to eat it
instead, and also because it gave him its fur skin to put on.
A spirit is the part of you that doesn’t die when your body dies.
Dies is … it’s what the fish do when they are caught and then cooked.
No, it is not only fish that die. People do it as well.
Yes. Everyone.
Yes, you as well. Sometime. Not yet. Not for a long time.
I don’t know why. Crake made it that way.
Because …
Because if nothing ever died, but everything had more and more babies, the world would get too full and there wouldn’t be any room.
No, you will not be cooked on a fire when you die.
Because you are not a fish.
No, the bear was not a fish either. And it died in a bear way. Not in a fish way. So it was not cooked on a fire.
Yes, maybe Zeb said Thank You to Oryx too. As well as to the bear.
Because Oryx let Zeb eat one of her Children. Oryx knows that some of her Children eat other ones; that is the way they are made. The ones with sharp teeth. So she knew that Zeb could eat one of her Children too, because he was very hungry.
I don’t know whether Zeb said Thank You to Crake. Maybe you could ask Zeb that, the next time you see him. Anyway, Crake is not in charge of bears. Oryx is in charge of bears.
Zeb put on the bear’s fur to keep warm.
Because he was very cold. Because it was colder there. Because of the mountains all around, with snow on the top.
Snow is water that is frozen into little pieces called snowflakes. Frozen is when water becomes hard like rock.
No, snowflakes have nothing to do with Snowman-the-Jimmy. I don’t know why part of his name is almost the same as a snowflake.
I am doing this thing with my hands on my forehead because I have a headache. A headache is when there is a pain in your head.
Thank you. I am sure purring would help. But it would also help if you would stop asking so many questions.
Yes, I think Amanda must have a headache too. Or some sort of ache. Perhaps you could do some purring for her.
I think that’s enough of the story of Zeb for tonight. Look, the moon is rising. It’s your bedtime.
I know you don’t have beds. But I have a bed. So it is my bedtime now. Good night.
Good night means that I hope you will sleep well, and wake up safely in the morning, and that nothing bad will happen to you.
Well, such as … I can’t think what sort of bad things might happen to you.
Good night.
Scars
Scars
She’s tried to be discreet, sneaking off alone every night after she’s told the Crakers their story, then joining Zeb once out of eyesight. But she’s not fooling anyone, or anyone among the humans.
Naturally, they see it as funny. Or the younger ones do – Swift Fox, Lotis Blue, Croze and Shackie, Zunzuncito. Even Ren, probably. Even Amanda. Romance among the chronologically challenged is giggle fodder. For the youthful, lovelorn and wrinkly don’t blend, or not without farce. There’s a moment past which the luscious and melting becomes the crusty and wizened, the fertile sea becomes the barren sand, and they must feel she’s passed that moment. Brewing herbs, gathering mushrooms, applying maggots, tending bees, removing warts – beldam’s roles. Those are her proper vocations.
As for Zeb, he’s probably less comic to them than puzzling. From their socio-bio vantage point, he should be doing what alpha males do best: jumping the swooning nubiles that are his by right, knocking them up, passing his genes along via females who can actually parturiate, unlike her. So why is he wasting his precious sperm packet? they must wonder. Instead of, for instance, investing it wisely in the ovarian offerings of Swift Fox. Which is almost certainly that girl’s take on things, judging from the body language: the eyelash play, the tit thrusts, the hair-tuft flinging, the armpit display. She might as well be flashing a blue bottom, like the Crakers. Baboons in spate.
Stop that, Toby, she tells herself. This is how it starts, among the closed circles of the marooned, the shipwrecked, the besieged: jealousy, dissention, a breach in the groupthink walls. Then the entry of the foe, the murderer, the shadow slipping in through the door we forgot to lock because we were distracted by our darker selves: nursing our minor hatreds, indulging our petty resentments, yelling at one another, tossing the crockery.
Beleaguered groups are prone to such festering: such backbiting, such infighting. At the Gardeners, they’d held Deep Mindfulness sessions about this very subject.
Ever since they’ve been lovers, Toby has been dreaming that Zeb is gone. In real life he is in fact gone while she dreams, as there isn’t enough room for both of them on Toby’s single-bed-sized slab in her broom closet of a room. So in the middle of each night Zeb sneaks off like someone in an ancient English country-house farce, groping in the darkness back to his own cramped cubicle.
But in the dreams he really is gone – gone far away, nobody knows where – and Toby is standing outside the cobb-house fence, looking down the road, now overgrown with kudzu vines and choked with parts of broken houses and smashed-up vehicles. There’s a soft bleating sound, or is it weeping? “He won’t be back,” says a watercolour voice. “He won’t ever be back.”
It’s a woman’s voice: is it Ren, is it Amanda, is it Toby herself? The scenario is sweetly sentimental, like a pastel greeting card – awake, she’d be annoyed by it, but in dreams there is no irony. She cries so much that her clothes are damp with tears, luminous tears that flicker like blue-green gasfire in what is now becoming the darkness, or is she in a cave? But then a large cat-like animal comes to console her. It rubs up against her, purring like the wind.
She wakes to find a small Craker boy in the room with her. He’s lifted the edge of the damp sheet that entwists her and is gently stroking her leg. He smells of oranges, and of something else. Citrus air freshener. They all smell like this, but the young ones more.
“What are you doing?” she asks as calmly as she can. My toenails are so dirty, she thinks. Dirty and jagged. Nail scissors: put them on the gleaning list. Her skin is coarse beside the pristine skin on the hand of this child. Is he glowing from within, or is his skin so fine-grained it reflects the light?
“Oh Toby, you have legs underneath,” says the boy. “Like us.”
“Yes,” she says. “I do.”
“Do you have breasts, Oh Toby?”
“Yes, I have those as well,” she says, smiling.
“Are there two? Two breasts?”
“Yes,” she says, resisting the urge to add, “so far.” Is he expecting one breast, or three, or maybe four or six, like a dog? Has he ever seen a dog up close?
“Will a baby come out from between your legs, Oh Toby? After you turn blue?”
What is he asking? Whether non-Craker people like her can have babies, or whether she herself might have one? “If I were younger, then a baby might come out,” she says. “But not now.” Though her age isn’t the deciding factor. If her whole life had been different. If she hadn’t needed the money. If she’d lived in another universe.
“Oh Toby,” says the Craker boy, “what sickness do you have? Are you hurt?” He puts up his beautiful arms to hug her. Are those tears in his strange green eyes?
“It’s all right,” she says. “I’m not hurt any more.” She’d sold some of her eggs to pay the rent, back in her pleebland days, before the God’s Gardeners had taken her in. There’d been infection: all her future children, precluded. Surely she’d buried that particular sadness many years ago. If not, she ought to bury it. In view of the total situation – the situation of what used to be thought of as the human race – such emotions ought to be dismissed as meaningless.
She’s about to add, “I have scars, inside me,” but she stops herself. What is a scar, Oh Toby? That would be the next question. Then she’d have to explain what a scar is. A scar is like writing on your body. It tells about something that once happened to you, such as a cut on your skin wh
ere blood came out. What is writing, Oh Toby? Writing is when you make marks on a piece of paper – on a stone – on a flat surface, like the sand on the beach, and each of the marks means a sound, and the sounds joined together mean a word, and the words joined together mean … How do you make this writing, Oh Toby? You make it with a keyboard, or no – once you made it with a pen or a pencil, a pencil is a … Or you make it with a stick. Oh Toby, I do not understand. You make a mark with a stick on your skin, you cut your skin open and then it is a scar, and that scar turns into a voice? It speaks, it tells us things? Oh Toby, can we hear what the scar says? Show us how to make these scars that talk!
No, she should stay away from the whole scar business. Otherwise she might inspire the Crakers to start carving themselves up to see if they can let out the voices.
“What’s your name?” she says to the little boy.
“My name is Blackbeard,” says the child gravely. Blackbeard, the notorious murdering pirate? This sweet child? A child who will never have a beard when he grows up because Crake did away with body hair in his new species. A lot of the Crakers have odd names. According to Zeb, Crake named them – Crake, with his warped sense of humour. Though why shouldn’t their names be odd, to go with their general oddity?
“I am very happy to meet you, Oh Blackbeard,” she says.
“Do you eat your droppings, Oh Toby?” says Blackbeard. “As we do? To digest our leaves better?”
What droppings? Edible poo? No one warned her about this! “It is time to go and see your mother, Oh Blackbeard,” says Toby. “She must be worried about you.”
“No, Oh Toby. She knows I am with you. She says you are good and kind.” He smiles, showing perfect little teeth: enchantment. They are all so attractive – like airbrushed cosmetic ads. “You are good like Crake. You are kind like Oryx. Do you have wings, Oh Toby?” He cranes his neck, trying to see behind her. Maybe the earlier hug was only a stealthy way of feeling her back for the feathered stubs that might be sprouting there.
The MaddAddam Trilogy Page 77
