by Various
They take a ferry out to sea, toward Block Island. The air is too cold and they feel seasick and the sun blinds them, and it's one of the greatest days of their lives. They huddle together on deck and when they can see past the glare and the sea spray and they're not almost hurling, they see the glimmer of the ocean, streaks of white and blue and yellow in different places, as the light and wind affect it. The ocean feels utterly forgiving, like you can dump almost anything into the ocean's body and it will still love us, and Judy and Doug cling to each other like children in a storm cellar and watch the waves. Then they go to Newport and eat amazing lobster. For a few days before and a few days after this trip, they are all aglow and neither of them can do any wrong.
A week or so after the boat thing, they hold hands in bed, nestling like they could almost start having sex at any moment. Judy looks in Doug's naked eyes (his glasses are on the nightstand) and says, "Let's just jump off the train now, okay? Let's not do any of the rest of it, let's just be good to each other forever. Why not? We could."
"Why would you want that?" Doug drawls like he's half asleep. "You're the one who's going to get the life she wants. I'm the one who'll be left like wreckage." Judy rolls over and pretends to sleep.
The Conversation achieves mythical status long before it arrives. Certain aspects of The Conversation are hazy in advance, for both Doug and Judy, because of that thing where you can't understand something until you understand it.
The day of the Conversation, Judy wakes from a nightmare, shivering with the covers cast aside, and Doug's already out of bed. "It's today," he says, and then he leaves without saying anything else to Judy, or anything at all to Marva, who's still pissed at him. Judy keeps almost going back to bed, but somehow she winds up dressed, with a toaster pop in her hand, marching towards the door. Marva starts to say something, then shrugs.
Doug and Judy meet up for dinner at Punjabi Dhaba in Inman Square, scooping red-hot eggplant and bright chutney off of metal prison trays while Bollywood movies blare overhead and just outside of their line of vision.
The Conversation starts with them talking past each other. Judy says, "Lately I can't remember anything past the next month." Doug says, "I keep trying to see what happens after I die." Judy says, "Normally I can remember years in advance, even decades. But I'm blocked." She shudders. Doug says, "If I could just have an impression, an afterimage, of what happens when I'm gone. It would help a lot."
Judy finally hears what Doug's been saying. "Oh Jesus, not this. Nobody can see past death. It's impossible."
"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 friends 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 it. "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.
Copyright © 2011 by Charlie Jane Anders
Art copyright © 2011 by Sam Weber
By Charlie Jane Anders
Novel
Choir Boy (2005)
Anthology
She’s Such a Geek: Women Write about Science, Technology, and Other Nerdy Stuff (edited, with Annalee Newitz; 2006)
CHARLIE JANE ANDERS
Intestate
illustration by
LOU BEACH
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Contents
Title Page
Copyright Notice
Begin Reading
1. road trip
The minivan is already full of children when it pulls up to my front steps. I climb into the deepest pit facing out the back door, and plunk my rucksack in my lap. Before I even buckle up, my youngest niece Rosemary is grabbing at my jeans leg and trying to show me a doll, while her brother Sebastian is threatening to shoot me with a toy gun. The whole van smells like mildew and overripe fruit. Empty juice boxes scatter over my feet. This will be a long ride.
“Welcome aboard, Emmy. Next stop, Castle von Doom,” my youngest brother Eric says from the front seat. His brown hair is receding, and he’s grown a wispy soul patch. Next to him, his latest wife Octavia
is trying to find indy folk-rock on the iPod. They both wave at me, and then we’re off. Eric drives faster than you would think a man driving a van-load of his own children would go, even on the back roads full of hairpin turns and big trees.
Eric keeps joking about how we’re going to visit Doctor Doom, his newest nickname for our father. “He’s going to bake us doomcookies,” Eric says.
“Doomcookies!” Rosemary shouts.
“Made with doomberries,” Octavia says.
“Doomberries!” we all shout, even me. I only feel a little disloyal to my father.
The hills are full of disappearing acts, like sheep meadows and barns that pop out for just a few moments. There’s almost too much color to take in, between the trees that are going red and swathes of evergreens. Rosemary asks if she can count the sheep, or if that will make her doze off. I tell her to try, and see what happens. We are driving in the middle of the road, directly over the yellow lines, when a jeep comes around the tight bend and nearly rams into us. Eric swerves back into our lane, hyperventilating a little. Next to me, Rosemary has fallen asleep.
We get lost twice, and have to stop for pee breaks and ice cream and hot dogs, but we’re still the first to arrive at the failed gated community where my dad lives. We roll off the main road into a small feeder road, which leads to a broken gate, and then a cul-de-sac with five driveways. The last one goes to a big McMansion with two gables and a huge lawn in front, and acres of forest in back. The other four driveways lead to dirt lots or to empty, collapsing houses. As we roll up the rocky driveway on grumbling tires, my dad skips out the front door. His white beard and glasses catch the sunlight. Even though it feels like the day has gone on forever, it’s only noon.
