Nothing is certain. You can lose everything. Eventually, even at your luckiest, you will die and then you will lose it all. When you are a certain age or when you have lost certain things and people, Aimee's crippling grief will make a terrible poisoned dark sense.
16.
Aimee has read up a lot, so she knows how strange all this is.
There aren't any locks on the cages. The monkeys use them as bedrooms, places to store their special possessions and get away from the others when they want some privacy. Much of the time, however, they are loose in the bus or poking around in the worn grass around it.
Right now, three monkeys are sitting on the bed playing a game where they match colored cards. Others are playing with a Noah's ark, or rolling around on the floor, or poking at a piece of wood with a screwdriver, or climbing on Aimee and Geof and the battered sofa. Some of the monkeys are crowded around the computer watching kitten videos on a pirated wireless connection.
The black colobus is stacking children's wooden blocks on the kitchenette's table. He brought them back one night a couple of weeks ago, and since then he's been trying to make an arch. After two weeks and Aimee's showing him repeatedly how a keystone works, he still hasn't figured it out, but he's still patiently trying.
Geof's reading a novel out loud to the capuchin Pango, who watches the pages as if she's reading along. Sometimes she points to a word and looks up at him with her bright eyes, and he repeats it to her, smiling, and then spells it out.
Zeb is sleeping in his cage: he crept in there at dusk, fluffed up his toys and his blanket, and pulled the door closed behind him. He does this a lot lately.
17.
Aimee's going to lose Zeb, and then what? What happens to the other monkeys? Twenty-six monkeys is a lot of monkeys, but they all like each other. No one except maybe a zoo or a circus can keep that many monkeys, and she doesn't think anyone else will let them sleep wherever they like or watch kitten videos. And if Zeb's not there, where will they go, those nights when they can no longer drop through the bathtub and into their mystery? And she doesn't even know whether it is Zeb, whether he is the cause of this, or that's just her flailing for reasons again.
And Aimee? She'll lose her safe artificial world: the bus, the identical fairs, the meaningless boyfriend. The monkeys. And then what?
18.
Just a few months after she bought the act, when she didn't care much about whether she lived or died, she followed the monkeys up the ladder in the closing act. Zeb raced up the ladder, stepped into the bathtub and stood, lungs filling for his great call. And she ran up after him. She glimpsed the bathtub's interior, the monkeys tidily sardined in, scrambling to get out of her way as they realized what she was doing. She hopped into the hole they made for her, curled up tight.
This only took an instant. Zeb finished his breath, boomed it out. There was a flash of light, she heard the chains release, and felt the bathtub swing down, monkeys shifting around her.
She fell the ten feet alone. Her ankle twisted when she hit the stage but she managed to stay upright. The monkeys were gone again.
There was an awkward silence. It wasn't one of her more successful performances.
19.
Aimee and Geof walk through the midway at the Salina Fair. She's hungry and doesn't want to cook, so they're looking for somewhere that sells $4.50 hotdogs and $3.25 Cokes, and suddenly Geof turns to Aimee and says, "This is bullshit. Why don't we go into town? Have real food. Act like normal people."
So they do: pasta and wine at a place called Irina's Villa. "You're always asking why they go," Geof says, a bottle and a half in. His eyes are an indeterminate blue-gray, but in this light they look black and very warm. "See, I don't think we're ever going to find out what happens. But I don't think that's the real question, anyway. Maybe the question is, why do they come back?"
Aimee thinks of the foreign coins, the wood blocks, the wonderful things they bring home. "I don't know," she says. "Why do they come back?"
Later that night, back at the bus, Geof says, "Wherever they go, yeah, it's cool. But see, here's my theory." He gestures to the crowded bus with its clutter of toys and tools. The two tamarins have just come in, and they're sitting on the kitchenette counter, heads close as they examine some new small thing. "They like visiting wherever it is, sure. But this is their home. Everyone likes to come home sooner or later."
"If they have a home," Aimee says.
"Everyone has a home, even if they don't believe in it," Geof says.
20.
That night, when Geof's asleep curled up around one of the macaques, Aimee kneels by Zeb's cage. "Can you at least show me?" she asks. "Please? Before you go?"
Zeb is an indeterminate lump under his baby-blue blanket, but he gives a little sigh and climbs slowly out of his cage. He takes her hand with his own hot leathery paw, and they walk out the door into the night.
The back lot where all the trailers and buses are parked is quiet, only a few voices still audible from behind curtained windows. The sky is blue-black and scattered with stars. The moon shines straight down on them, shadowing Zeb's face. His eyes when he looks up seem bottomless.
The bathtub is backstage, already on its wheeled dais waiting for the next show. The space is nearly pitch dark, lit by some red EXIT signs and a single sodium-vapor away off to one side. Zeb walks her up to the tub, lets her run her hands along its cold curves and the lion's paws, and shows her the dimly lit interior.
And then he heaves himself onto the dais and over the tub lip. She stands beside him, looking down. He lifts himself upright and gives a boom. And then he drops flat and the bathtub is empty.
She saw it, him vanishing. He was there and then he was gone. But there was nothing to see, no gate, no flickering reality or soft pop as air snapped in to fill the vacated space. It still doesn't make sense, but it's the answer that Zeb has.
He's already back at the bus when she gets there, already buried under his blanket and wheezing in his sleep.
21.
Then one day:
Everyone is backstage. Aimee is finishing her makeup, and Geof is double-checking everything. The monkeys are sitting neatly in a circle in the dressing room, as if trying to keep their bright vests and skirts from creasing. Zeb sits in the middle, Pango beside him in her little green sequined outfit. They grunt a bit, then lean back. One after the other, the rest of the monkeys crawl forward and shake his hand, and then hers. She nods, like a small queen at a flower show.
That night, Zeb doesn't run up the ladder. He stays on his stool and it's Pango who is the last monkey up the ladder, who climbs into the bathtub and gives a screech. Aimee has been wrong to think Zeb had to be the reason for what is happening with the monkeys, but she was so sure of it that she missed all the cues. But Geof didn't miss a thing, so when Pango screeches, he hits the flash powder. The flash, the empty bathtub.
Zeb stands on his stool, bowing like an impresario called onstage for the curtain call. When the curtain drops for the last time, he reaches up to be lifted. Aimee cuddles him as they walk back to the bus, Geof's arm around them both.
Zeb falls asleep with them that night, between them in the bed. When she wakes up in the morning, he's back in his cage with his favorite toy. He doesn't wake up. The monkeys cluster at the bars peeking in.
Aimee cries all day. "It's okay," Geof says.
"It's not about Zeb," she sobs.
"I know," he says. "It's okay. Come home, Aimee."
But she's already there. She just hadn't noticed.
22.
Here's the trick to the bathtub trick. There is no trick. The monkeys pour across the stage and up the ladder and into the bathtub and they settle in and then they vanish. The world is full of strange things, things that make no sense, and maybe this is one of them. Maybe the monkeys choose not to share, that's cool, who can blame them.
Maybe this is the monkeys' mystery, how they found other monkeys that ask questions and try things, and figured out a way to a
ll be together to share it. Maybe Aimee and Geof are really just houseguests in the monkeys' world: they are there for a while and then they leave.
23.
Six weeks later, a man walks up to Aimee as she and Geof kiss after a show. He's short, pale, balding. He has the shell-shocked look of a man eaten hollow from the inside. She knows the look.
"I need to buy this," he says.
Aimee nods. "I know you do."
She sells it to him for a dollar.
Three months later, Aimee and Geof get their first houseguest in their apartment in Bellingham. They hear the refrigerator close and come out to the kitchen to find Pango pouring orange juice from a carton.
They send her home with a pinochle deck.
Marry The Sun
Rachel Swirsky
Rachel Swirsky holds a Masters degree in Fiction from the University of Iowa, and is a graduate of the Clarion West Writers Workshop. Her fiction and poetry has appeared in a number of magazines and anthologies, including Subterranean Magazine, Weird Tales, Interzone, Best American Fantasy, and Fantasy: The Best of the Year 2008. She edits PodCastle, the world's first audio fantasy magazine, which puts up readings of great fantasy stories every week at http://podcastle.org.
The wedding went well until the bride caught fire.
Bridget's pretty white dress went up in a whoosh, from train-length veil to taffeta skirt to rose-embroidered bodice and Juliet cap with ferronière of pearls. The fabric burned so hot and fast that it went up without igniting Bridget's skin, leaving her naked, singed, embarrassed, and crying.
Of these problems, nudity was easiest to cope with. Bridget pulled the silk drape off the altar and tied it around her chest like a toga.
"That is it," she said. She pried the engagement ring off her finger and threw it at the groom. The grape-sized diamond sparkled as it arced through the air.
Gathering up the drape's hem, Bridget ran back down the aisle. She flung open the double doors, letting in the moonlight, and fled into the night.
The groom sighed. He opened his palm and stared down at the glittering diamond, which reflected his fiery nimbus in shades of crimson, ginger, and gold. His best man patted him on the shoulder—cautiously. The bride's father gave a manly nod of sympathy, but kept his distance. Like his daughter, he was mortal.
"Too bad, Helios," said Apollo.
The groom shrugged. "I gave it my best shot. I can't keep my flame on low all the time. What did the woman want? Sometimes a man's just got to let himself shine."
Apollo clapped him on the back. "You said it, brother."
Bridget went down to the reception hall. She let the hotel clerk gawk at her knotted drape, and then told him they'd be cancelling.
"The hall or the honeymoon suite?"
"Both," said Bridget.
The clerk rapped a few keys on the keyboard. "I'm sorry, but we can't accept cancellations this late. I'll have the staff take down the decorations in the hall, but we'll have to charge you."
Bridget felt too drained to argue. "Fine."
She went down the corridor to the reception hall. She at least wanted to see the chocolate fondue fountain and the ice sculptures, even if they were going to waste. Caterers and hotel staff ran back and forth, clearing away cups of fresh summer fruit and floral arrangements of birds of paradise and yellow tulips.
Bridget approached the six-tiered cake with the tiny bride figurine standing next to a brass sun. She plucked the bride out of the butter cream frosting. "What was I thinking?" she asked the little painted face.
"Don't we all wish we knew the answer to that question?"
Bridget looked up. Her matchmaker, the goddess of childbirth Eilethyia, leaned against the wine bar, tidy in a burgundy pantsuit and three-inch heels.
"I heard what happened," said Eilethyia.
"He couldn't hold it in, even on our wedding day?"
"Isn't that what you wanted? Someone dazzling, someone out of the ordinary, someone who could light a dark room with his smile?"
"But being dazzling isn't just what he is, it's something he does to other people. He can't just shine, he has to consume."
Eilethyia sipped her 1998 Chablis. "Good thing you found out before your vows, at least. The pre-nup you signed's a bitch."
Helios and Apollo settled in at the hotel bar. Floor-length windows overlooked the river where streetlights cast golden ripples on dark water. The scene was twinned in the mirror behind the bar.
Apollo improvised a sonnet about the cocktail waitress and got a free drink. Not to be outdone, Helios earned a shower of applause by lighting a vixen's cigarette from across the room.
Helios still wore his tuxedo, untied ascot draped across his chest like a scarf. He spun on his barstool to face his drink. "I thought she was different," he said.
Apollo had stopped to change into dress shirt and slacks, chic and metrosexual. He waved Helios's point away, marquise cut topaz and agate rings sparkling on his fingers. "They're all the same. I could have told you that."
"How helpful and droll," said Helios.
"It's true. It's the beauty of mortal women. Sure, they're unique, like snowflakes are unique, but who catches a snowflake to marvel over geodesic ice crystals? That's missing the point of snowflakes."
"Which is?"
"All the power and loveliness of the snow birthing this intricate, astonishing thing that's gone in an instant." Apollo winked at the brunette by the piano. "And they melt on your tongue, too."
Helios lifted his index finger, inspiring a tuft of flame on the brunette's bosom. As she beat it out with her cocktail napkin, Helios shaped the smoke above to spell out the phrase Hot Stuff. The brunette giggled, averting her eyes coquettishly.
Helios turned back to his friend. "That's not why I go with mortal women."
"Pray tell."
"They have a better understanding of things like joy and grief because their lives are difficult. They appreciate what they get. They make you feel real."
"Be honest, you just like having all the power in the relationship."
"That's not true!"
"If you say so."
Helios went on, "I like being with mortal women because of how different we are. Fire and water is more interesting than fire and fire."
"Interesting if you're fire. Fatal if you're water."
"Fire and earth, then." Helios lit a flame in his palm. He shifted its composition so that it burned rose and then gold and then iris. "The problem is, most mortal women don't get that. They think being with a god is going to make them more than human. They want to be special. They want to be anointed. I thought Bridget was different than that. She was grounded. She knew she was just an ordinary girl. I thought she was happy with who both of us were. But it turns out she wanted me to be just as dishwater dull as she is."
"We should turn them all into laurel trees," said Apollo, draining his drink. He rose from his barstool and ran his fingers through the loose wheat-colored curls of his Caesar cut. "Come on. If we can't find any nymphs, let's at least get us a couple nymphomaniacs."
Bridget remembered the day she realized the world was populated with gods. Really, it was an old suspicion, stemming from playground hierarchies and high school lunchrooms. Some people just seemed more there than others. They gleamed, they glittered. While Bridget and her peers stumbled through adolescence with scrapes and bruises, they floated through life without so much as a detention slip.
Wasn't it something everyone sensed? People watched the godly among them raise waves with a pitchfork, inspire love with an arrow, win track meets in winged sandals. Later they were remembered in a jeweled blur, details fuzzy but gist intact: the dare devil surfer, the counselor who saved my marriage, the kid who could run like nothing you ever saw.
But Bridget didn't really figure it out until she was finishing the fifth year of her Ph.D., tabulating data on a thesis few people outside her field could really understand.
Bridget was one of the world's foremost exper
ts on the sun. Parts of the sun, at least. She studied sunspots, the patches of relative cold that blot the sun's surface like tears. She spent her hours in the laboratory, calculating the frequency of coronal loops, and checking them against the predicted occurrence of solar flares.
"The sun is a romantic metaphor," she was fond of telling friends over drinks, back when she had friends, and went out for drinks. "These little dark patches are caused by intense magnetic activity. It's all about attraction and repulsion. It can make the sun burn hot, or blow cold, or eject solar flares so vast they leave traces in Greenland."
Bridget had the kind of mind that thrived on solitude and data, or so she convinced herself in the absence of anything but solitude and data to thrive upon. By the fifth year of her Ph.D., the last of her undergraduate friends had gotten jobs and moved away, not that she had much in common with them any longer anyway. Her father lived in a rental house three states away with two bachelor friends, and while he claimed he wanted updates on Bridget's life, Bridget heard the flat grieved tone of his voice when he picked up the telephone. Bridget had her mother's dark, sunken eyes, and hair the hue of corn sheaves. She knew that, to her father, she was one more reminder of her mother's illness and death. It had been hard on him, being a widower. He dealt with grief by making himself a new life. Bridget was part of the old one. She mostly stayed away.
Daily, Bridget woke at dawn. She showered and brushed her teeth and rode her bike onto campus where she grabbed a cup of coffee from a vendor in the student union. She sat in her lab, watching the sun's arc through the office's high window that let in baking heat during midafternoon, until the sun sank and the room grew dark, and then she sat there some more. She rode her bicycle home around two in the morning, and went to bed in her clothes.
One afternoon, as Bridget sat in her lab on a day when heavy snow had piled on the campus's hills, sparkling under a bright but distant sun that lacked the power to melt it, Bridget looked down at her keyboard and realized she couldn't feel her fingers. They'd been typing for an hour without her conscious command. They felt more like part of the machine than part of her.
The Best Science Fiction and Fantasy of the Year-Volume Three Page 49
