The New Weird

by Ann VanderMeer; Jeff VanderMeer

  So it was of Dr. Zirk that I was thinking as I fell asleep in that expansive bedroom in Mrs. Glimm's lodging house. And I was thinking of him not only because he used the phrase "architectural moan" to describe the appearance of my childhood home, which so closely resembled those high-roofed structures along that street of gray houses in the northern border town, but also, and even primarily, because the words of the brief metaphysical lecture I had read some hours earlier reminded me so much of the words, those fragments and mutterings, that the doctor spoke as he sat upon my bed and attended to the life-draining infirmities from which everyone expected I would die at a very young age. Lying under the musty blankets of my bed in that strange lodging house, with a little moonlight shining through the window to illuminate the dreamlike vastness of the room around me, I once again felt the weight of someone sitting upon my bed and bending over my apparently sleeping body, ministering to it with unseen gestures and a soft voice. It was then, while pretending to be asleep as I used to do in my childhood, that I heard the words of a second "metaphysical lecture." They were whispered in a slow and resonant monotone.

  "We should give thanks," the voice said to me, "that a poverty of knowledge has so narrowed our vision of things as to allow the possibility of feeling something about them. How could we find a pretext to react to anything if we understood...everything? None but an absent mind was ever victimized by the adventure of intense emotional feeling. And without the suspense that is generated by our benighted state ― our status as beings possessed by our own bodies and the madness that goes along with them ― who could take enough interest in the universal spectacle to bring forth even the feeblest yawn, let alone exhibit the more dramatic manifestations which lend such unwonted color to a world that is essentially composed of shades of gray upon a background of blackness. Hope and horror, to repeat merely two of the innumerable conditions dependent on a faulty insight, would be much the worse for an ultimate revelation that would expose their lack of necessity. At the other extreme, both our most dire and most exalted emotions are well served every time we take some ray of knowledge, isolate it from the spectrum of illumination, and then forget it completely. All our ecstasies, whether sacred or from the slime, depend on our refusal to be schooled in even the most superficial truths and our maddening will to follow the path of forgetfulness. Amnesia may well be the highest sacrament in the great gray ritual of existence. To know, to understand in the fullest sense, is to plunge into an enlightenment of inanity, a wintry landscape of memory whose substance is all shadows and a profound awareness of the infinite spaces surrounding us on all sides. Within this space we remain suspended only with the aid of strings that quiver with our hopes and our horrors, and which keep us dangling over the gray void. How is it that we can defend such puppetry, condemning any efforts to strip us of these strings? The reason, one must suppose, is that nothing is more enticing, nothing more vitally idiotic, than our desire to have a name ― even if it is the name of a stupid little puppet ― and to hold on to this name throughout the long ordeal of our lives as if we could hold on to it forever. If only we could keep those precious strings from growing frayed and tangled, if only we could keep from falling into an empty sky, we might continue to pass ourselves off under our assumed names and perpetuate our puppet's dance throughout all eternity."

  The voice whispered more words than this, more than I can recall, as if it would deliver its lecture without end. But at some point I drifted off to sleep as I had never slept before, calm and gray and dreamless.

  The next morning I was awakened by some noise down in the street outside my window. It was the same delirious cacophony I had heard the day before when I first arrived in the northern border town and witnessed the passing of that unique parade. But when I got up from my bed and went to the window, I saw no sign of the uproarious procession. Then I noticed the house directly opposite the one in which I had spent the night. One of the highest windows of that house across the street was fully open, and slightly below the ledge of the window, lying against the gray facade of the house, was the body of a man hanging by his neck from a thick white rope. The cord was stretched taut and led back through the window and into the house. For some reason this sight did not seem in any way unexpected or out of place, even as the noisy thrumming of the unseen parade grew increasingly louder and even when I recognized the figure of the hanged man, who was extremely slight of build, almost like a child in physical stature. Although many years older than when I had last seen him, his hair and beard now radiantly white, clearly the body was that of my old physician, Dr. Zirk.

  Now I could see the parade approaching. From the far end of the gray, tunnel-like street, the clown creature strolled in its loose white garments, his egg-shaped head scanning the high houses on either side. As the creature passed beneath my window it looked up at me for a moment with that same expression of bland malevolence, and then passed on. Following this figure was the formation of ragged men harnessed by ropes to a cagelike vehicle that rolled along on wooden wheels. Countless objects, many more than I saw the previous day, clattered against the bars of the cage. The grotesque inventory now included bottles of pills that rattled with the contents inside them, shining scalpels and instruments for cutting through bones, needles and syringes strung together and hung like ornaments on a Christmas tree, and a stethoscope that had been looped about the decapitated dog's head.

  The wooden stakes of the caged platform wobbled to the point of breaking with the additional weight of this cast-off clutter. Because there was no roof covering this cage, I could see down into it from my window. But there was nothing inside, at least for the moment. As the vehicle passed directly below, I looked across the street at the hanged man and the thick rope from which he dangled like a puppet. From the shadows inside the open window of the house, a hand appeared that was holding a polished steel straight razor. The fingers of that hand were thick and wore many gaudy rings. After the razor had worked at the cord for a few moments, the body of Dr. Zirk fell from the heights of the gray house and landed in the open vehicle just as it passed by. The procession which was so lethargic in its every aspect now seemed to disappear quickly from view, its muffled riot of sounds fading into the distance.

  To make an end of it, I thought to myself ― to make an end of it in whatever style you wish.

  I looked at the house across the street. The window that was once open was now closed, and the curtains behind it were drawn. The tunnel-like street of gray houses was absolutely quiet and absolutely still. Then, as if in answer to my own deepest wish, a sparse showering of snowflakes began to descend from the gray morning sky, each one of them a soft whispering voice. For the longest time I continued to stare out from my window, gazing upon the street and the town that I knew was my home.

  EVIDENCE

  Jack

  CHINA MIÉVILLE

  NOW THAT THINGS have gone the way they have, everyone's got a story. Everyone'll tell you how they or their friend, which you can see in the way they say it they want you to think means them, knew Jack. Maybe even how they helped him, how they were part of his schemes. Mostly though of course they know that's too much and it'll just be how they or their friend was there one time and saw him running over the roofs, money flying from his swag-bags, militia trying and failing to track him down below. That sort of thing. My mate saw Jack Half-a-Prayer once, they'll say, just for a moment. As if they're being modest.

  It's supposed to be respect. They reckon they're showing their respect, with everything that's happened. They ain't, of course. They're like dogs on his corpse and they disgust me.

  I tell you that so you know where I'm coming from. Because I know how what I'm about to say might sound. I want you to know where I'm coming from when I tell you that I did know Jack. I did.

  I worked with him.

  I was lowly, don't get me wrong, but I was part of the whole thing. And please don't think I'm talking myself up, but I swear to you I ain't being arrogant. I'm nothing
important, but the work I did, in a little way, was crucial to him. That's all I'm saying. So. So you can understand that I was pretty interested when I heard we'd got our hands on the man who sold Jack out. That would be one way of putting it. That would be mild. I made it my business to meet him, let's put it that way.

  I remember the first time I heard what Jack was up to, after he escaped. He was daring enough that he got noticed. Did you hear about that Remade done that robbery? someone said to me in a pub. I was careful, couldn't show any reaction.

  I'd felt something when I met Jack, you know? I respected him. He wasn't boastful, but he had a fire in him. Even so, I couldn't be sure he'd come to anything.

  That first job, he got away with hundreds of nobles and gave it away on the streets. He scored himself the love of the Dog Fenn poor that way. That was what had people all excited, told them he was something else than your average gangster. He weren't the first to do that, but he was one of few.

  What got me wasn't so much what he did with the money as where he stole it from. It was a government office. Where they store taxes.

  Everyone knows what the security on those places is like. And I knew that there was no way he'd have done something like that without it being a screw you. He was making a point, and my good bloody gods but I admired that.

  It was then, in that pub, when I realised what he'd done, how he must have made that night-raid work, how he must have climbed and crept and fought his way in, with his new body, how he must have been able to vanish, weighed down with specie, that I realised he was something. That was when I knew that Jack Half-a-Prayer was no ordinary Remade, and no ordinary renegade.

  Not many people see the Remade like I do, or like Jack did.

  You know it's true. To most of you they're to be ignored or used. If you really notice them you wish you hadn't. It wasn't like that for Jack, and not just because he was Remade. I bet ― I know ― that Jack used to notice them, see them clear, before anything was done to him. And that's the same for me.

  People walk along and see nothing but trash, Remade trash with bodies all wrong, shat out by the punishment factories. Well, I don't want to be too sentimental about it but I've no doubts at all that Jack'd have seen this woman ― whose hands yes were gone and been replaced with little birds' wings ― and he'd have seen an old man, not the sexless thing he'd been made into, and a young lad with eyes gone and in their place an array of dark glass and pipework and lights and the boy stumbling trying to see in ways he weren't born to but still a boy. Jack'd see people changed with engines in steam, and oily gears, and the parts of animals, and their innards or their skin altered with hexes, and all those things, but he'd have seen them under the punishment.

  People get broken when they get Remade. I've seen it so many times. Suddenly, take a wrong turn by the law and it ain't just the physical punishment, it ain't just the new limbs or metal or the change in the body, it's that they wake up and they're Remade, the same as they spat on or ignored for years. They know they're nothing.

  Jack, when it was done to him, never thought he was nothing. He'd never thought any of them were.

  There was this one time. A foundry in Smog Bend, and there was a man there, some middling supervisor ― this was years after Jack got free, and I only heard all this ― who was causing trouble. Informing on guilders trying to recruit. There was gangs following organisers home, and scaring them so they'd not come back, or maybe retiring them permanently.

  I'm not clear on the details. But the point is what Jack done.

  One day the workers troop in and they take their places by the gears, but there's no klaxon. And they're waiting, but nothing happens. Now they're getting wary, they're getting very antsy. They know it's that overseer who's due in that day, so they're nervous, they ain't talking much, but they go looking. And there at the foot of the steps up to the office, there's an arrow put together out of tools. On the floor, pointing up.

  So they creep up. And on the landing there's another. And there's a whole gang of men now, and they're following these arrows, soldered to the banisters, up on the walkway, trooping round the factory, until pretty much the whole workforce is up there, and they come to the end of the gangway, and there dangling is that supervisor.

  He's unconscious. His mouth's all scabbed. It's sewn up, with wire.

  People know right then and there what's happened, but when the man wakes up and gets unstitched he starts raving, describing the man who done this to him, and then it's certain.

  That man was lucky he didn't get killed, is my thinking. There was no more trouble there for a while, I hear. That changed things. I think they called that one Jack's Whispering Stitch. It's things like that make you see why people respected Jack Half-a-Prayer. Loved him.

  This is the greatest city in the world. You hear that all the time, because it's true. But it's sort of an untrue truth, for a lot of us.

  I don't know where you live. If it's Dog Fenn, then knowing that Parliament's a building like nothing else, or that we've riches in the coffers that would make the rest of the world jealous, or that the scholars of New Crobuzon could outthink the bloody gods ― knowing all of that doesn't do so much. You still live in Dog Fenn, or Badside, or what have you.

  But when Jack ran, the city was the greatest for Badside too.

  You could see it ― I could see it ― in the way people walked, after Jack'd done something. I don't know how it was uptown in The Crow ― I expect the well-dressed there sneered, or made a show of not caring -but where the houses lean in to each other, where the bricks shed pointing, in the shadow of the glass cactus ghetto, people walked tall. Jack was everyone's: men and women, cactus-people, khepri and vod. The wyrmen made up songs about him. The same people that would spit in the face of a Remade beggar cheered this fReemade. In Salacus Fields they'd toast Jack by name.

  I wouldn't do that, of course ― not that I didn't want to, but you can imagine, in the business I'm in, I have to be careful. I'm involved, so of course I can't be seen to be. In my head, though, I'd raise a glass with them. To Jack, I'd think.

  In the short time I worked with Jack I never used his given name, nor he mine. It's in the nature of the work, obviously, that you don't use real names. But then, what could be more his name than Jack? Remaking is the ruin of most, but it was the making of him.

  It's hard to make sense of Remaking, of its logic. Sometimes the magisters pass down sentences that you can understand. One man kills another with a blade, take his killing arm and replace it, suture a motorknife in its place, tube him up with the boiler to run it. The lesson's obvious. Or those who are made heavy engines for industry, man-cranes and woman-cabs and boy-machines. It's easy to see why the city would want them.

  But I can't explain to you the woman given a ruff of peacock feathers, or the young lad with iron spiderlimbs out his back, or those with too many eyes or engines that make them burn from the inside out, or legs made of wooden toys or replaced with the arms of apes so they walk with mad monkey grace. The Remakings that make them stronger, or weaker, or more or less vulnerable, Remakings almost unnoticed, and those that make them impossible to understand.

  Sometimes you'll see a xenian Remade, but it's rare. It's hard to work with cactacae vegetable flesh, or the physiognomy of vodyanoi, I'm told, and there are other reasons for the other races, so for the most part magisters'll sentence them to other things. For the most part, it's humans who are Remade, for cruelty or expediency, or opaque logics.

  There ain't no one the city hates so much as the renegades, the fReemade. Turning your Remaking on the Remakers, that ain't how it's supposed to be.

  Sometimes, you know, I'll admit it's frustrating, to have to keep all my thoughts to myself. Especially during the day, while I'm in at work. Don't get me wrong, I like my colleagues, some of them, they're good lads, and for all I know some would even agree with the way I look at things, but you just can't risk it. You have to know when to keep secrets.

  So I stay well out o
f it. I don't talk politics, I just do what I'm told, stay well out of any discussions.

  When you see, when you see how people looked up after Jack had struck, though, my gods. How could anyone not be for that? People needed him, they needed that, that release. That hope.

  I couldn't believe it when I heard my crew'd got hold of the man who got Jack caught. I had to keep myself under control at work, not let anyone see I was excited. I was waiting to get my hands on the rat.

  For a lot of people, the most exciting, the best thing he ever done was an escape. Not his first escape ― that I can't help thinking would have been some tawdry affair. Impressive for all that but a desperate bloody crawl, his new Remaking still atwitch, all grimy, all stained by the grease of his shackles, and stonedust, lying in some haul of rubbish where the dogs couldn't smell him, till he was strong enough to run. That, I think, would have been as messy as any other birth. No, the escape I'm talking about was the one they call Jack's Steeplechase.