by Stephen King
Transgressions
Stephen King
John Farris
TRANSGRESSIONS
Edited by Ed McBain
THE THINGS THEY
LEFT BEHIND
Stephen King
THE RANSOME WOMEN
John Farris
A TOM DOHERTY ASSOCIATES
BOOK NEW YORK
Contents
INTRODUCTION
by Ed McBain
vii
THE THINGS THEY LEFT BEHIND
by Stephen King
1
THE RANSOME WOMEN
by John Farris
61
Introduction
When I was writing novellas for the pulp magazines back in the 1950s, we still called them "novelettes,"
and all I knew about the form was that it was long and it paid half a cent a word. This meant that if I wrote 10,000 words, the average length of a novelette back then, I would sooner or later get a check for five hundred dollars. This was not bad pay for a struggling young writer.
A novella today can run anywhere from 10,000 to 40,000 words. Longer than a short story (5,000 words) but much shorter than a novel (at least 60,000 words), it combines the immediacy of the former with the depth of the latter, and it ain't easy to write. In fact, given the difficulty of the form, and the scarcity of markets for novellas, it is surprising that any writers today are writing them at all.
But here was the brilliant idea.
Round up the best writers of mystery, crime, and suspense novels, and ask them to write a brand-new novella for a collection of similarly superb novellas to be published anywhere in the world for the very first time. Does that sound keen, or what? In a perfect world, yes, it is a wonderful idea, and here is your novella, sir, thank you very much for asking me to contribute.
But many of the bestselling novelists I approached had never written a novella in their lives. (Some of them had never even written a short story!) Up went the hands in mock horror. "What! A novella? I wouldn't even know how to begin one." Others thought that writing a novella ( "How long did you say it had to be?") would constitute a wonderful challenge, but bestselling novelists are busy people with publishing contracts to fulfill and deadlines to meet, and however intriguing the invitation may have seemed at first, stark reality reared its ugly head, and so . . .
"Gee, thanks for thinking of me, but I'm already three months behind deadline," or...
"My publisher would kill me if I even dreamed of writing something for another house," or . . .
"Try me again a year from now," or . . .
"Have you asked X? Or Y? Or Z?"
What it got down to in the end was a matter of timing and luck. In some cases, a writer I desperately wanted was happily between novels and just happened to have some free time on his/her hands. In other cases, a writer had an idea that was too short for a novel but too long for a short story, so yes, what a wonderful opportunity! In yet other cases, a writer wanted to introduce a new character he or she had been thinking about for some time. In each and every case, the formidable task of writing fiction that fell somewhere between 10,000 and 40,000 words seemed an exciting challenge, and the response was enthusiastic.
Except for length and a loose adherence to crime, mystery, or suspense, I placed no restrictions upon the writers who agreed to contribute. The results are as astonishing as they are brilliant. The novellas that follow are as varied as the writers who concocted them, but they all exhibit the same devoted passion and the same extraordinary writing. More than that, there is an underlying sense here that the writer is attempting something new and unexpected, and willing to share his or her own surprises with us. Just as their names are in alphabetical order on the book cover, so do their stories follow in reverse alphabetical order: I have no favorites among them. I love them all equally. Enjoy!
ED MCBAIN Weston, Connecticut August 2004
TRANSGRESSIONS
STEPHEN KING
There are certain things that are almost always mentioned when the name Stephen King comes up. How many books he's sold. What he's doing in and for literature today. One thing almost never mentioned— and not generally perceived—is that he single-handedly made popular fiction grow up. While there were many good bestselling writers before him, King, more than anybody since John D. MacDonald, brought reality to genre novels with his minutely detailed examinations of life and the people of mythical towns in New England that seem to exist due to his amazing talent for making them real in every detail. Of course, combined with the elements of supernatural terror, novels such as It, The Stand, Insomnia, and Bag of Bones have propelled him to the top of the bestseller lists time after time. He's often remarked that Salem's Lot was "Peyton Place Meets Dracula." And so it was. The rich characterization, the careful and caring social eye, the interplay of story line and character development announced that writers could take worn themes such as vampirism or ghosts and make them fresh again. Before King, many popular writers found their efforts to make their books serious blue-penciled by their editors. Stuff like that gets in the way of the story, they were told. Well, it's stuff like that that has made King so popular, and helped free the popular name from the shackles of simple genre writing. He is a master of masters. His most recent novel is Cell.
THE THINGS THEY LEFT BEHIND
Stephen King
The things I want to tell you about—the ones they left behind—showed up in my apartment in August of 2002. I'm sure of that, because I found most of them not long after I helped Paula Robeson with her air conditioner. Memory always needs a marker, and that's mine. She was a children's book illustrator, good-looking (hell, fine-looking), husband in import-export. A man has a way of remembering occasions when he's actually able to help a good-looking lady in distress (even one who keeps assuring you she's
"very married"); such occasions are all too few. These days the would-be knight errant usually just makes matters worse.
She was in the lobby, looking frustrated, when I came down for an afternoon walk. I said Hi, howya doin', the way you do to other folks who share your building, and she asked me in an exasperated tone that stopped just short of querulousness why the super had to be on vacation now. I pointed out that even cowgirls get the blues and even supers go on vacation; that August, furthermore, was an extremely logical month to take time off. August in New York (and in Paris, mon ami) finds psychoanalysts, trendy artists, and building superintendents mighty thin on the ground.
She didn't smile. I'm not sure she even got the Tom Robbins reference (obliqueness is the curse of the reading class). She said it might be true about August being a good month to take off and go to the Cape or Fire Island, but her damned apartment was just about burning up and the damned air conditioner wouldn't so much as burp. I asked her if she'd like me to take a look, and I remember the glance she gave me—those cool, assessing gray eyes. I remember thinking that eyes like that probably saw quite a lot. And I remember smiling at what she asked me: Are you safe? It reminded me of that movie, not Lolita (thinking about Lolita, sometimes at two in the morning, came later) but the one where Laurence Olivier does the im-promptu dental work on Dustin Hoffman, asking him over and over again, Is it safe?
I'm safe, I said. Haven't attacked a woman in over a year. I used to attack two or three a week, but the meetings are helping.
A giddy thing to say, but I was in a fairly giddy mood. A summer mood. She gave me another look, and then she smiled. Put out her hand. Paula Robeson, she said. It was the left hand she put out—not normal, but the one with the plain gold band on it. I think that was probably on purpose, don't you? But it was later that she told me about her husband being in import-export. On the day when it was my turn
to ask her for help.
In the elevator, I told her not to expect too much. Now, if she'd wanted a man to find out the underlying causes of the New York City Draft Riots, or to supply a few amusing anecdotes about the creation of the smallpox vaccine, or even to dig up quotes on the sociological ramifications of the TV remote control (the most important invention of the last fifty years, in my 'umble opinion), I was the guy.
Research is your game, Mr. Staley?she asked as we went up in the slow and clattery elevator.
I admitted that it was, although I didn't add that I was still quite new to it. Nor did I ask her to call me Scott—that would have spooked her all over again. And I certainly didn't tell her that I was trying to forget all I'd once known about rural insurance. That I was, in fact, trying to forget quite a lot of things, including about two dozen faces.
You see, I may be trying to forget, but I still remember quite a lot. I think we all do when we put our minds to it (and sometimes, rather more nastily, when we don't). I even remember something one of those South American novelists said—you know, the ones they call the Magical Realists? Not the guy's name, that's not important, but this quote: As infants, our first victory comes in grasping some bit of the world, usually our mothers' fingers. Later we discover that the world, and the things of the world, are grasping us, and have been all along. Borges? Yes, it might have been Borges. Or it might have been Marquez. That I don't remember. I just know I got her air conditioner running, and when cool air started blowing out of the con-vector, it lit up her whole face. I also know it's true, that thing about how perception switches around and we come to realize that the things we thought we were holding are actually holding us. Keeping us prisoner, perhaps—Thoreau certainly thought so—but also holding us in place. That's the trade-off. And no matter what Thoreau might have thought, I believe the trade is mostly a fair one. Or I did then; now, I'm not so sure.
And I know these things happened in late August of 2002, not quite a year after a piece of the sky fell down and everything changed for all of us.
On an afternoon about a week after Sir Scott Staley donned his Good Samaritan armor and successfully battled the fearsome air conditioner, I took my afternoon walk to the Staples on 83rd Street to get a box of Zip disks and a ream of paper. I owed a fellow forty pages of background on the development of the Po-laroid camera (which is more interesting a story than you might think). When I got back to my apartment, there was a pair of sunglasses with red frames and very distinctive lenses on the little table in the foyer where I keep bills that need to be paid, claim checks, overdue-book notices, and things of that nature. I recognized the glasses at once, and all the strength went out of me. I didn't fall, but I dropped my packages on the floor and leaned against the side of the door, trying to catch my breath and staring at those sunglasses.
If there had been nothing to lean against, I believe I would have swooned like a miss in a Victorian novel—one of those where the lustful vampire appears at the stroke of midnight.
Two related but distinct emotional waves struck me. The first was that sense of horrified shame you feel when you know you're about to be caught in some act you will never be able to explain. The memory that comes to mind in this regard is of a thing that happened to me—or almost happened—when I was sixteen.
My mother and sister had gone shopping in Portland and I supposedly had the house to myself until evening. I was reclining naked on my bed with a pair of my sister's underpants wrapped around my cock.
The bed was scattered with pictures I'd clipped from magazines I'd found in the back of the garage—the previous owner's stash of Penthouse and Gallery magazines, very likely. I heard a car come crunching into the driveway. No mistaking the sound of that motor; it was my mother and sister. Peg had come down with some sort of flu bug and started vomiting out the window. They'd gotten as far as Poland Springs and turned around.
I looked at the pictures scattered all over the bed, my clothes scattered all over the floor, and the foam of pink rayon in my left hand. I remember how the strength flowed out of my body, and the terrible sense of lassitude that came in its place. My mother was yelling for me—"Scott, Scott, come down and help me with your sister, she's sick"— and I remember thinking, "What's the use? I'm caught. I might as well accept it, I'm caught and this is the first thing they'll think of when they think about me for the rest of my life: Scott, the jerk-off artist."
But more often than not a kind of survival overdrive kicks in at such moments. That's what happened to me. I might go down, I decided, but I wouldn't do so without at least an effort to save my dignity. I threw the pictures and the panties under the bed. Then I jumped into my clothes, moving with numb but sure-fingered speed, all the time thinking of this crazy old game show I used to watch, Beat the Clock.
I can remember how my mother touched my flushed cheek when I got downstairs, and the thoughtful concern in her eyes. "Maybe you're getting sick, too," she said.
"Maybe I am," I said, and gladly enough. It was half an hour before I discovered I'd forgotten to zip my fly. Luckily, neither Peg nor my mother noticed, although on any other occasion one or both of them would have asked me if I had a license to sell hot dogs (this was what passed for wit in the house where I grew up). That day one of them was too sick and the other was too worried to be witty. So I got a total pass.
Lucky me.
What followed the first emotional wave that August day in my apartment was much simpler: I thought I was going out of my mind. Because those glasses couldn't be there. Absolutely could not. No way.
Then I raised my eyes and saw something else that had most certainly not been in my apartment when I left for Staples half an hour before (locking the door behind me, as I always did). Leaning in the corner between the kitchenette and the living room was a baseball bat. Hillerich & Bradsby, according to the label. And while I couldn't see the other side, I knew what was printed there well enough: CLAIMS
ADJUSTOR, the words burned into the ash with the tip of a soldering iron and then colored deep blue.
Another sensation rushed through me: a third wave. This was a species of surreal dismay. I don't believe in ghosts, but I'm sure that at that moment I looked as though I had just seen one.
I felt that way, too. Yes indeed. Because those sunglasses had to be gone—long-time gone, as the Dixie Chicks say. Ditto Cleve Farrell's Claims Adjustor. ("Besboll been bery-bery good to mee," Cleve would sometimes say, waving the bat over his head as he sat at his desk. "In-SHOO-rance been bery-bery bad.") I did the only thing I could think of, which was to grab up Sonja D'Amico's shades and trot back down to the elevator with them, holding them out in front of me the way you might hold out something nasty you found on your apartment floor after a week away on vacation—a piece of decaying food, or the body of a poisoned mouse. I found myself remembering a conversation I'd had about Sonja with a fellow named Warren Anderson. She must have looked like she thought she was going to pop back up and ask somebody for a Coca-Cola, I had thought when he told me what he'd seen. Over drinks in the Blarney Stone Pub on Third Avenue, this had been, about six weeks after the sky fell down. After we'd toasted each other on not being dead. Things like that have a way of sticking, whether you want them to or not. Like a musical phrase or the nonsense chorus to a pop song that you just can't get out of your head. You wake up at three in the morning, needing to take a leak, and as you stand there in front of the bowl, your cock in your hand and your mind about ten percent awake, it comes back to you: Like she thought she was going to pop back up. Pop back up and ask for a Coke. At some point during that conversation Warren had asked me if I remembered her funny sunglasses, and I said I did. Sure I did.
Four floors down, Pedro the doorman was standing in the shade of the awning and talking with Rafe the FedEx man. Pedro was a serious hardboy when it came to letting deliverymen stand in front of the building— he had a seven-minute rule, a pocket watch with which to enforce it, and all the beat cops were his buddies—but he got
on with Rafe, and sometimes the two of them would stand there for twenty minutes or more with their heads together, doing the old New York Yak. Politics? Besboll? The Gospel According to Henry David Thoreau? I didn't know and never cared less than on that day. They'd been there when I went up with my office supplies, and were still there when a far less carefree Scott Staley came back down.
A Scott Staley who had discovered a small but noticeable hole in the column of reality. Just the two of them being there was enough for me. I walked up and held my right hand, the one with the sunglasses in it, out to Pedro.
"What would you call these?" I asked, not bothering to excuse myself or anything, just butting in headfirst.
He gave me a considering stare that said, "I am surprised at your rudeness, Mr. Staley, truly I am," then looked down at my hand. For a long moment he said nothing, and a horrible idea took possession of me: he saw nothing because there was nothing to see. Only my hand outstretched, as if this were Turnabout Tuesday and I expected him to tip me. My hand was empty. Sure it was, had to be, because Sonja D'Amico's sunglasses no longer existed. Sonja's joke shades were a long time gone.
"I call them sunglasses, Mr. Staley," Pedro said at last. "What else would I call them? Or is this some sort of trick question?"
Rafe the FedEx man, clearly more interested, took them from me. The relief of seeing him holding the sunglasses and looking at them, almost studying them, was like having someone scratch that exact place between your shoulder blades that itches. He stepped out from beneath the awning and held them up to the day, making a sun-star flash off each of the heart-shaped lenses.
"They're like the ones the little girl wore in that porno movie with Jeremy Irons," he said at last.
I had to grin in spite of my distress. In New York, even the deliverymen are film critics. It's one of the things to love about the place.
