Anthology of Speculative Fiction, Volume Two

by Short Story Anthology

  I believe it was the loss of Mrs. Brithnic that made me rebel. I became desultory and despondent. Then one day, soon after my thirteenth birthday, instead of obeying my mother, who had just told me to finish reading a textbook chapter while she showered, I went to her pocketbook, took five dollars and left the house. As I walked along beneath the sunlight and blue sky, the world around me seemed brimming with life. What I wanted more than anything else was to meet other young people my own age. I remembered an ice-cream shop in town where, when passing by in the car returning from whatever doctor's office we had been to, there always seemed to be kids hanging around. I headed directly for that spot while wondering if my mother would catch up to me before I made it. When I pictured her drying her hair, I broke into a run.

  Upon reaching the row of stores that contained The Empire of Ice Cream, I was out of breath as much from the sheer exhilaration of freedom as from the half-mile sprint. Peering through the glass of the front door was like looking through a portal into an exotic other world. Here were young people, my age, gathered in groups at tables, talking, laughing, eating ice cream—not by night, after dinner—but in the middle of broad daylight. I opened the door and plunged in. The magic of the place seemed to brush by me on its way out as I entered, for the conversation instantly died away. I stood in the momentary silence as all heads turned to stare at me.

  "Hello," I said, smiling, and raised my hand in greeting, but I was too late. They had already turned away, the conversation resumed, as if they had merely afforded a grudging glimpse to see the door open and close at the behest of the wind. I was paralyzed by my inability to make an impression, the realization that finding friends was going to take some real work.

  "What'll it be?" said a large man behind the counter.

  I broke from my trance and stepped up to order. Before me, beneath a bubble dome of glass, lay the Empire of Ice Cream. I'd never seen so much of the stuff in so many colors and incarnations—with nuts and fruit, cookie and candy bits, mystical swirls the sight of which sounded to me like a distant siren. There were deep vats of it set in neat rows totaling thirty flavors. My diet had never allowed for the consumption of confections or desserts of any type, and rare were the times I had so much as a thimbleful of vanilla ice cream after dinner. Certain doctors had told my parents that my eating these treats might seriously exacerbate my condition. With this in mind, I ordered a large bowl of coffee ice cream. My choice of coffee stemmed from the fact that that beverage was another item on the list of things I should never taste.

  After paying, I took my bowl and spoon and found a seat in the corner of the place from which I could survey all the other tables. I admit that I had some trepidations about digging right in, since I'd been warned against it for so long by so many adults. Instead, I scanned the shop, watching the other kids talking, trying to overhear snatches of conversation. I made eye contact with a boy my own age two tables away. I smiled and waved to him. He saw me and then leaned over and whispered something to the other fellows he was with. All four of them turned, looked at me, and then broke into laughter. It was a certainty they were making fun of me, but I basked in the victory of merely being noticed. With this, I took a large spoonful of ice cream and put it in my mouth.

  There is an attendant phenomenon of the synesthetic experience I've yet to mention. Of course I had no term for it at this point in my life, but when one is in the throes of the remarkable transference of senses, it is accompanied by a feeling of "epiphany," a "eureka" of contentment that researchers of the anomalous condition would later term noetic, borrowing from William James. That first taste of coffee ice cream elicited a deeper noetic response than I'd ever before felt, and along with it came the appearance of a girl. She coalesced out of thin air and stood before me, obscuring my sight of the group that was still laughing. Never before had I seen through tasting, hearing, touching, smelling, something other than simple abstract shapes and colors.

  She was turned somewhat to the side and hunched over, wearing a plaid skirt and a white blouse. Her hair was the same dark brown as my own, but long and gathered in the back with a green rubber band. There was a sudden shaking of her hand, and it became clear to me that she was putting out a match. Smoke swirled away from her. I could see now that she had been lighting a cigarette. I got the impression that she was wary of being caught in the act of smoking. When she turned her head sharply to look back over her shoulder, I dropped the spoon on the table. Her look instantly enchanted me.

  As the ice cream melted away down my throat, she began to vanish, and I quickly lifted the spoon to restoke my vision, but it never reached my lips. She suddenly went out like a light when I felt something land softly upon my left shoulder. I heard the incomprehensible murmur of recrimination, and knew it as my mother's touch. She had found me. A great wave of laughter accompanied my removal from The Empire of Ice Cream. Later I would remember the incident with embarrassment, but for the moment, even as I spoke words of apology to my mother, I could think only of what I'd seen.

  The ice-cream incident—followed hard by the discovery of the cigar box of pills I hid in my closet, all of the medication that I'd supposedly swallowed for the past six months—led my parents to believe that heaped upon my condition was now a tendency toward delinquency that would grow, if unchecked, in geometrical proportion with the passing of years. It was decided that I should see yet another specialist to deal with my behavior, a therapist my father had read about who would prompt me to talk my willfulness into submission. I was informed of this in a solemn meeting with my parents. What else was there to do but acquiesce? I knew that my mother and father wanted, in their pedestrian way, what they believed was best for me. Whenever the situation would infuriate me, I'd go to the piano and play, sometimes for three or four hours at a time.

  Dr. Stullin's office was in a ramshackle Victorian house on the other side of town. My father accompanied me on the first visit, and, when he pulled up in front of the sorry old structure, he checked the address at least twice to make sure we'd come to the right place. The doctor, a round little man with a white beard and glasses with small circular lenses, met us at the front door. Why he laughed when we shook hands at the introductions, I hadn't a clue, but he was altogether jolly, like a pint-size Santa Claus dressed in a wrinkled brown suit one size too small. He swept out his arm to usher me into his house, but when my father tried to enter, the doctor held up his hand and said, "You will return in one hour and five minutes."

  My father gave some weak protest and said that he thought he might be needed to help discuss my history to this point. Here the doctor's demeanor instantly changed. He became serious, official, almost commanding.

  "I'm being paid to treat the boy. You'll have to find your own therapist."

  My father was obviously at a loss. He looked as if he was about to object, but the doctor said, "One hour and five minutes." Following me inside, he quickly shut the door behind him.

  As he led me through a series of unkempt rooms lined with crammed bookshelves, and one in which piles of paper covered the tops of tables and desks, he said, laughing, "Parents: so essential, yet sometimes like something you've stepped in and cannot get off your shoe. What else is there but to love them?"

  We wound up in a room at the back of the house made from a skeleton of thin steel girders and paneled with glass panes. The sunlight poured in, and surrounding us, at the edges of the place, also hanging from some of the girders, were green plants. There was a small table on which sat a teapot and two cups and saucers. As I took the seat he motioned for me to sit in, I looked out through the glass and saw that the backyard was one large, magnificent garden, blooming with all manner of colorful flowers.

  After he poured me a cup of tea, the questioning began. I'd had it in my mind to be as recalcitrant as possible, but there was something in the manner in which he had put my father off that I admired about him. Also, he was unlike other therapists I'd been to, who would listen to my answers with complete reser
vation of emotion or response. When he asked why I was here, and I told him it was because I'd escaped in order to go to the ice-cream shop, he scowled and said, "Patently ridiculous." I was unsure if he meant me or my mother's response to what I'd done. I told him about playing the piano, and he smiled warmly and nodded. "That's a good thing," he said.

  After he asked me about my daily routine and my home life, he sat back and said, "So, what's the problem? Your father has told me that you hallucinate. Can you explain?"

  No matter how ingratiating he'd been, I had already decided that I would no longer divulge any of my perceptions to anyone. Then he did something unexpected.

  "Do you mind?" he asked as he took out a pack of cigarettes.

  Before I could shake my head no, he had one out of the pack and lit. Something about this, perhaps because I'd never seen a doctor smoke in front of a patient before, perhaps because it reminded me of the girl who had appeared before me in the ice-cream shop, weakened my resolve to say nothing. When he flicked his ashes into his half-empty teacup, I started talking. I told him about the taste of silk, the various corresponding colors for the notes of the piano, the nauseating stench of purple.

  I laid the whole thing out for him and then sat back in my chair, now somewhat regretting my weakness, for he was smiling, and the smoke was leaking out of the corners of his mouth. He exhaled, and in that cloud came the word that would validate me, define me and haunt me for the rest of my life—synesthesia.

  By the time I left Stullin's office that day, I was a new person. The doctor spoke to my father and explained the phenomenon to him. He cited historical cases and gave him the same general overview of the neurological workings of the condition. He also added that most synesthetes don't experience the condition in such a variety of senses as I did, although it was not unheard of. My father nodded every now and then but was obviously perplexed at the fact that my long-suffered condition had, in an instant, vanished.

  "There's nothing wrong with the boy," said Stullin, "except for the fact that he is, in a way, exceptional. Think of it as a gift, an original way of sensing the world. These perceptions are as real for him as are your own to you."

  Stullin's term for my condition was like a magic incantation from a fairy tale, for through its power I was released from the spell of my parents' control. In fact, their reaction to it was to almost completely relinquish interest in me, as if after all of their intensive care I'd been found out to be an imposter now unworthy of their attention. When it became clear that I would have the ability to go about my life as any normal child might, I relished the concept of freedom. The sad fact was, though, that I didn't know how to. I lacked all experience at being part of society. My uncertainty made me shy, and my first year in public school was a disaster. What I wanted was a friend my own age, and this goal continued to elude me until I was well out of high school and in college. My desperation to connect made me ultimately nervous, causing me to act and speak without reserve. This was the early 1960s, and if anything was important in high school social circles at the time, it was remaining cool. I was the furthest thing from cool you might imagine.

  For protection, I retreated into my music and spent hours working out compositions with my crayons and pens, trying to corral the sounds and resultant visual pyrotechnics, odors and tastes into cohesive scores. All along, I continued practicing and improving my abilities at the keyboard, but I had no desire to become a performer. Quite a few of my teachers through the years had it in their minds that they could shape me into a brilliant concert pianist. I would not allow it, and when they insisted, I'd drop them and move on. Nothing frightened me more than the thought of sitting in front of a crowd of onlookers. The weight of judgment lurking behind even one set of those imagined eyes was too much for me to bear. I'd stayed on with Stullin, visiting once a month, and no matter his persistent proclamations as to my relative normalcy, it was impossible for me, after years of my parents' insisting otherwise, to erase the fact that I was, in my own mind, a freak.

  My greatest pleasure away from the piano at this time was to take the train into the nearby city and attend concerts given by the local orchestra or small chamber groups that would perform in more intimate venues. Rock and roll was all the rage, but my training at the piano and the fact that calm solitude as opposed to raucous socializing was the expected milieu of the symphony drew me in the direction of classical music. It was a relief that most of those who attended the concerts I did were adults who paid no attention to my presence. From the performances I witnessed, from the stereo I goaded my parents into buying for me, and my own reading, I , with few of the normal distractions of the typical teenager, gathered an immense knowledge of my field.

  My hero was J. S. Bach. It was from his works that I came to understand mathematics … and, through a greater understanding of math, came to a greater understanding of Bach—the golden ratio, the rise of complexity through the reiteration of simple elements, the presence of the cosmic in the common. Whereas others simply heard his work, I could also feel it, taste it, smell it, visualize it, and in doing so was certain I was witnessing the process by which all of Nature had moved from a single cell to a virulent, diverse forest. Perhaps part of my admiration for the good cantor of Leipzig was his genius with counterpoint, a practice where two or more distinct melodic lines delicately join at certain points to form a singularly cohesive listening experience. I saw in this technique an analogy to my desire that some day my own unique personality might join with that of another's and form a friendship. Soon after hearing the fugue pieces that are part of The Well-Tempered Clavier, I decided I wanted to become a composer.

  Of course, during these years, both dreadful for my being a laughingstock in school and delightful for their musical revelations, I couldn't forget the image of the girl who momentarily appeared before me during my escape to The Empire of Ice Cream. The minute that Dr. Stullin pronounced me sane, I made plans to return and attempt to conjure her again. The irony of the situation was that just that single first taste of coffee ice cream had ended up making me ill, either because I'd been sheltered from rich desserts my whole life or because my system actually was inherently delicate. Once my freedom came, I found I didn't have the stomach for all of those gastronomic luxuries I had at one time so desired. Still, I was willing to chance the stomachache in order to rediscover her.

  On my second trip to The Empire, after taking a heaping spoonful of coffee ice cream and experiencing again that deep noetic response, she appeared as before, her image forming in the empty space between me and the front window of the shop. This time she seemed to be sitting at the end of a couch situated in a living room or parlor, reading a book. Only her immediate surroundings, within a foot or two of her body, were clear to me. As my eyes moved away from her central figure, the rest of the couch, and the table beside her, holding a lamp, became increasingly ghostlike; images from the parking lot outside the shop window showed through. At the edges of the phenomenon, there was nothing but the merest wrinkling of the atmosphere. She turned the page, and I was drawn back to her. I quickly fed myself another bit of ice cream and marveled at her beauty. Her hair was down, and I could see that it came well past her shoulders. Bright green eyes, a small, perfect nose, smooth skin, and full lips that silently moved with each word of the text she was scanning. She was wearing some kind of very sheer, powder blue pajama top, and I could see the presence of her breasts beneath it.

  I took two spoonfuls of ice cream in a row, and, because my desire had tightened my throat and I couldn't swallow, their cold burned my tongue. In the time it took for the mouthful of ice cream to melt and trickle down my throat, I simply watched her chest subtly heave with each breath, her lips move, and I was enchanted. The last thing I noticed before she disappeared was the odd title of the book she was reading—The Centrifugal Rickshaw Dancer. I'd have taken another spoonful, but a massive headache had blossomed behind my eyes, and I could feel my stomach beginning to revolt against the ice crea
m. I got up and quickly left the shop. Out in the open air, I walked for over an hour, trying to clear my head of the pain while at the same time trying to retain her image in my memory. I stopped three times along my meandering course, positive I was going to vomit, but I never did.

  My resistance to the physical side effects of the ice cream never improved, but I returned to the shop again and again, like a binge drinker to the bottle, hangover be damned, whenever I was feeling most alone. Granted, there was something of a voyeuristic thrill underlying the whole thing, especially when the ice cream would bring her to me in various states of undress—in the shower, in her bedroom. But you must believe me when I say that there was much more to it than that. I wanted to know everything about her. I studied her as assiduously as I did The Goldberg Variations or Schoenberg's serialism. She was, in many ways, an even more intriguing mystery, and the process of investigation was like constructing a jigsaw puzzle, reconfiguring a blasted mosaic.

  I learned that her name was Anna. I saw it written on one of her sketch pads. Yes, she was an artist, and I believe had great aspirations in this direction, as I did in music. I spent so many spoonfuls of coffee ice cream, initiated so many headaches, just watching her draw. She never lifted a paintbrush or pastel, but was tied to the simple tools of pencil and paper. I never witnessed her using a model or photograph as a guide. Instead, she would place the sketch pad flat on a table and hunker over it. The tip of her tongue would show itself from the right corner of her lips when she was in deepest concentration. Every so often, she'd take a drag on a cigarette that burned in an ashtray to her left. The results of her work, the few times I was lucky enough to catch a glimpse, were astonishing. Sometimes she was obviously drawing from life, the portraits of people whom she must've known. At other times she'd conjure strange creatures or mandalalike designs of exotic blossoms. The shading was incredible, giving weight and depth to her creations. All of this from the tip of a graphite pencil one might use to work a calculation or jot a memo. If I did not adore her, I might've envied her innate talent.