Poe's Children: The New Horror: An Anthology

by Peter Straub

  “He wrote Underworld Figures, didn’t he?” the agent’s wife asked.

  “Yes. Amazing track record for a first novel. Great reviews, lovely sales in hardcover and paperback, Literary Guild, everything. Even the movie was pretty good, although not as good as the book. Nowhere near.”

  “I loved that book,” the author’s wife said, lured back into the conversation against her better judgment. She had the surprised, pleased look of someone who has just recalled something which has been out of mind for too long. “Has he written anything since then? I read Underworld Figures back in college and that was…well, too long ago to think about.”

  “You haven’t aged a day since then,” the agent’s wife said warmly, although privately she thought the young writer’s wife was wearing a too-small halter and a too-tight pair of shorts.

  “No, he hasn’t written anything since then,” the editor said. “Except for this one short story I was telling you about. He killed himself. Went crazy and killed himself.”

  “Oh,” the young writer’s wife said limply. Back to that.

  “Was the short story published?” the young writer asked.

  “No, but not because the author went crazy and killed himself. It never got into print because the editor went crazy and almost killed himself.”

  The agent suddenly got up to freshen his own drink, which hardly need freshening. He knew that the editor had had a nervous breakdown in the summer of 1969, not long before Logan’s had drowned in a sea of red ink.

  “I was the editor,” the editor informed the rest of them. “In a sense we went crazy together, Reg Thorpe and I, even though I was in New York, he was out in Omaha, and we never even met. His book had been out about six months and he had moved out there ‘to get his head together,’ as the phrase was then. And I happen to know this side of the story because I see his wife occasionally when she’s in New York. She paints, and quite well. She’s a lucky girl. He almost took her with him.”

  The agent came back and sat down. “I’m starting to remember some of this now,” he said. “It wasn’t just his wife, was it? He shot a couple of other people, one of them a kid.”

  “That’s right,” the editor said. “It was the kid that finally set him off.”

  “The kid set him off?” the agent’s wife asked. “What do you mean?”

  But the editor’s face said he would not be drawn; he would talk, but not be questioned.

  “I know my side of the story because I lived it,” the magazine editor said. “I’m lucky, too. Damned lucky. It’s an interesting thing about those who try to kill themselves by pointing a gun at their heads and pulling the trigger. You’d think it would be the foolproof method, better than pills or slashing the wrists, but it isn’t. When you shoot yourself in the head, you just can’t tell what’s going to happen. The slug may ricochet off the skull and kill someone else. It may follow the skull’s curve all the way around and come out on the other side. It may lodge in the brain and blind you and leave you alive. One man may shoot himself in the forehead with a .38 and wake up in the hospital. Another may shoot himself in the forehead with a .22 and wake up in hell…if there is such a place. I tend to believe it’s here on earth, possibly in New Jersey.”

  The writer’s wife laughed rather shrilly.

  “The only foolproof suicide method is to step off a very high building, and that’s a way out that only the extraordinarily dedicated ever take. So damned messy, isn’t it?

  “But my point is simply this: When you shoot yourself with a flexible bullet, you really don’t know what the outcome is going to be. In my case, I went off a bridge and woke up on a trash-littered embankment with a trucker whapping me on the back and pumping my arms up and down like he had only twenty-four hours to get in shape and he had mistaken me for a rowing machine. For Reg, the bullet was lethal. He…But I’m telling you a story I have no idea if you want to hear.”

  He looked around at them questioningly in the gathering gloom. The agent and the agent’s wife glanced at each other uncertainly, and the writer’s wife was about to say she thought they’d had enough gloomy talk when her husband said, “I’d like to hear it. If you don’t mind telling it for personal reasons, I mean.”

  “I never have told it,” the editor said, “but not for personal reasons. Perhaps I never had the correct listeners.”

  “Then tell away,” the writer said.

  “Paul—” His wife put her hand on his shoulder. “Don’t you think—”

  “Not now, Meg.”

  The editor said:

  “The story came in over the transom, and at that time Logan’s no longer read unsolicited scripts. When they came in, a girl would just put them into return envelopes with a note that said ‘Due to increasing costs and the increasing inability of the editorial staff to cope with a steadily increasing number of submissions, Logan’s no longer reads unsolicited manuscripts. We wish you the best of luck in placing your work elsewhere.’ Isn’t that a lovely bunch of gobbledygook? It’s not easy to use the word ‘increasing’ three times in one sentence, but they did it.”

  “And if there was no return postage, the story went into the wastebasket,” the writer said. “Right?”

  “Oh, absolutely. No pity in the naked city.”

  An odd expression of unease flitted across the writer’s face. It was the expression of a man who is in a tiger pit where dozens of better men have been clawed to pieces. So far this man hasn’t seen a single tiger. But he has a feeling that they are there, and that their claws are still sharp.

  “Anyway,” the editor said, taking out his cigarette case, “this story came in, and the girl in the mailroom took it out, paper-clipped the form rejection to the first page, and was getting ready to put it in the return envelope when she glanced at the author’s name. Well, she had read Underworld Figures. That fall, everybody had read it, or was reading it, or was on the library waiting list, or checking the drugstore racks for the paperback.”

  The writer’s wife, who had seen the momentary unease on her husband’s face, took his hand. He smiled at her. The editor snapped a gold Ronson to his cigarette, and in the growing dark they could all see how haggard his face was—the loose, crocodile-skinned pouches under the eyes, the runneled cheeks, the old man’s jut of chin emerging out of that late-middle-aged face like the prow of a ship. That ship, the writer thought, is called old age. No one particularly wants to cruise on it, but the staterooms are full. The gangholds too, for that matter.

  The lighter winked out, and the editor puffed his cigarette meditatively.

  “The girl in the mailroom who read that story and passed it on instead of sending it back is now a full editor at G. P. Putnam’s Sons. Her name doesn’t matter; what matters is that on the great graph of life, this girl’s vector crossed Reg Thorpe’s in the mailroom of Logan’s magazine. Hers was going up and his was going down. She sent the story to her boss and her boss sent it to me. I read it and loved it. It was really too long, but I could see where he could pare five hundred words off it with no sweat. And that would be plenty.”

  “What was it about?” the writer asked.

  “You shouldn’t even have to ask,” the editor said. “It fits so beautifully into the total context.”

  “About going crazy?”

  “Yes, indeed. What’s the first thing they teach you in your first college creative-writing course? Write about what you know. Reg Thorpe knew about going crazy, because he was engaged in going there. The story probably appealed to me because I was also going there. Now you could say—if you were an editor—that the one thing the American reading public doesn’t need foisted on them is another story about Going Mad Stylishly in America, subtopic A, Nobody Talks to Each Other Anymore. A popular theme in twentieth-century literature. All the greats have taken a hack at it and all the hacks have taken an ax to it. But this story was funny. I mean, it was really hilarious.

  “I hadn’t read anything like it before and I haven’t since. The closest w
ould be some of F. Scott Fitzgerald’s stories…and Gatsby. The fellow in Thorpe’s story was going crazy, but he was doing it in a very funny way. You kept grinning, and there were a couple of places in this story—the place where the hero dumps the lime Jell-O on the fat girl’s head is the best—where you laugh right out loud. But they’re jittery laughs, you know. You laugh and then you want to look over your shoulder to see what heard you. The opposing lines of tension in that story were really extraordinary. The more you laughed, the more nervous you got. And the more nervous you got, the more you laughed…right up to the point where the hero goes home from the party given in his honor and kills his wife and baby daughter.”

  “What’s the plot?” the agent asked.

  “No,” the editor said, “that doesn’t matter. It was just a story about a young man gradually losing his struggle to cope with success. It’s better left vague. A detailed plot synopsis would only be boring. They always are.

  “Anyway, I wrote him a letter. It said this: ‘Dear Reg Thorpe, I’ve just read “The Ballad of the Flexible Bullet” and I think it’s great. I’d like to publish it in Logan’s early next year, if that fits. Does $800 sound okay? Payment on acceptance. More or less.’ New paragraph.”

  The editor indented the evening air with his cigarette.

  “‘The story runs a little long, and I’d like you to shorten it by about five hundred words, if you could. I would settle for a two-hundred-word cut, if it comes to that. We can always drop a cartoon.’ Paragraph. ‘Call, if you want.’ My signature. And off the letter went, to Omaha.”

  “And you remember it, word for word like that?” the writer’s wife asked.

  “I kept all the correspondence in a special file,” the editor said. “His letters, carbons of mine back. There was quite a stack of it by the end, including three or four pieces of correspondence from Jane Thorpe, his wife. I’ve read the file over quite often. No good, of course. Trying to understand the flexible bullet is like trying to understand how a Möbius strip can have only one side. That’s just the way things are in this best-of-all-possible worlds. Yes, I know it all word for word, or almost. Some people have the Declaration of Independence by heart.”

  “Bet he called you the next day,” the agent said, grinning. “Collect.”

  “No, he didn’t call. Shortly after Underworld Figures, Thorpe stopped using the telephone altogether. His wife told me that. When they moved to Omaha from New York, they didn’t even have a phone put in the new house. He had decided, you see, that the telephone system didn’t really run on electricity but on radium. He thought it was one of the two or three best-kept secrets in the history of the modern world. He claimed—to his wife—that all the radium was responsible for the growing cancer rate, not cigarettes or automobile emissions or industrial pollution. Each telephone had a small radium crystal in the handset, and every time you used the phone, you shot your head full of radiation.”

  “Yuh, he was crazy,” the writer said, and they all laughed.

  “He wrote instead,” the editor said, flicking his cigarette in the direction of the lake. “His letter said this: ‘Dear Henry Wilson (or just Henry, if I may), Your letter was both exciting and gratifying. My wife was, if anything, more pleased than I. The money is fine…although in all honesty I must say that the idea of being published in Logan’s at all seems like more than adequate compensation (but I’ll take it, I’ll take it). I’ve looked over your cuts, and they seem fine. I think they’ll improve the story as well as clear space for those cartoons. All best wishes, Reg Thorpe.’

  “Under his signature was a funny little drawing…more like a doodle. An eye in a pyramid, like the one on the back of the dollar bill. But instead of Novus Ordo Seclorum on the banner beneath there were these words: Fornit Some Fornus.”

  “Either Latin or Groucho Marx,” the agent’s wife said.

  “Just part of Reg Thorpe’s growing eccentricity,” the editor said. “His wife told me that Reg had come to believe in ‘little people,’ sort of like elves or fairies. The Fornits. They were luck-elves, and he thought one of them lived in his typewriter.”

  “Oh my Lord,” the writer’s wife said.

  “According to Thorpe, each Fornit has a small device, like a flit-gun, full of…good-luck dust, I guess you’d call it. And the good-luck dust—”

  “—is called fornus,” the writer finished. He was grinning broadly.

  “Yes. And his wife thought it quite funny, too. At first. In fact, she thought at first—Thorpe had conceived the Fornits two years before, while he was drafting Underworld Figures—that it was just Reg, having her on. And maybe at first he was. It seems to have progressed from a whimsy to a superstition to an outright belief. It was…a flexible fantasy. But hard in the end. Very hard.”

  They were all silent. The grins had faded.

  “The Fornits had their funny side,” the editor said. “Thorpe’s typewriter started going to the shop a lot near the end of their stay in New York, and it was even a more frequent thing when they moved to Omaha. He had a loaner while it was being fixed for the first time out there. The dealership manager called a few days after Reg got his own machine back to tell him he was going to send a bill for cleaning the loaner as well as Thorpe’s own machine.”

  “What was the trouble?” the agent’s wife asked.

  “I think I know,” the writer’s wife said.

  “It was full of food,” the editor said. “Tiny bits of cake and cookies. There was peanut butter smeared on the platens of the keys themselves. Reg was feeding the Fornit in his typewriter. He also ‘fed’ the loaner, on the off chance that the Fornit had made the switch.”

  “Boy,” the writer said.

  “I knew none of these things then, you understand. For the nonce, I wrote back to him and told him how pleased I was. My secretary typed the letter and brought it in for my signature, and then she had to go out for something. I signed it and she wasn’t back. And then—for no real reason at all—I put the same doodle below my name. Pyramid. Eye. And ‘Fornit Some Fornus.’ Crazy. The secretary saw it and asked me if I wanted it sent out that way. I shrugged and told her to go ahead.

  “Two days later Jane Thorpe called me. She told me that my letter had excited Reg a great deal. Reg thought he had found a kindred soul…someone else who knew about the Fornits. You see what a crazy situation it was getting to be? As far as I knew at that point, a Fornit could have been anything from a left-handed monkey wrench to a Polish steak knife. Ditto fornus. I explained to Jane that I had merely copied Reg’s own design. She wanted to know why. I slipped the question, although the answer would have been because I was very drunk when I signed the letter.”

  He paused, and an uncomfortable silence fell on the back lawn area. People looked at the sky, the lake, the trees, although they were no more interesting now than they had been a minute or two before.

  “I had been drinking all my adult life, and it’s impossible for me to say when it began to get out of control. In the professional sense I was on top of the bottle until nearly the very end. I would begin drinking at lunch and come back to the office el blotto. I functioned perfectly well there, however. It was the drinks after work—first on the train, then at home—that pushed me over the functional point.

  “My wife and I had been having problems that were unrelated to the drinking, but the drinking made the other problems worse. For a long time she had been preparing to leave, and a week before the Reg Thorpe story came in, she did it.

  “I was trying to deal with that when the Thorpe story came in. I was drinking too much. And to top it all off, I was having—well, I guess now it’s fashionable to call it a midlife crisis. All I knew at the time was that I was as depressed about my professional life as I was about my personal one. I was coming to grips—or trying to—with a growing feeling that editing mass-market stories that would end up being read by nervous dental patients, housewives at lunchtime, and an occasional bored college student was not exactly a noble oc
cupation. I was coming to grips—again, trying to, all of us at Logan’s were at that time—with the idea that in another six months, or ten, or fourteen, there might not be any Logan’s.

  “Into this dull autumnal landscape of middle-aged angst comes a very good story by a very good writer, a funny, energetic look at the mechanics of going crazy. It was like a bright ray of sun. I know it sounds strange to say that about a story that ends with the protagonist killing his wife and infant child, but you ask any editor what real joy is, and he’ll tell you it’s the great story or novel you didn’t expect, landing on your desk like a big Christmas present. Look, you all know that Shirley Jackson story ‘The Lottery.’ It ends on one of the most downbeat notes you can imagine. I mean, they take a nice lady out and stone her to death. Her son and daughter participate in her murder, for Christ’s sake. But it was a great piece of storytelling…and I bet the editor at The New Yorker who read the story first went home that night whistling.

  “What I’m trying to say is the Thorpe story was the best thing in my life right then. The one good thing. And from what his wife told me on the phone that day, my acceptance of that story was the one good thing that had happened to him lately. The author-editor relationship is always mutual parasitism, but in the case of Reg and me, that parasitism was heightened to an unnatural degree.”

  “Let’s go back to Jane Thorpe,” the writer’s wife said.

  “Yes, I did sort of leave her on a sidetrack, didn’t I? She was angry about the Fornit business. At first. I told her I had simply doodled that eye-and-pyramid symbol under my signature, with no knowledge of what it might be, and apologized for whatever I’d done.

  “She got over her anger and spilled everything to me. She’d been getting more and more anxious, and she had no one at all to talk to. Her folks were dead, and all her friends were back in New York. Reg wouldn’t allow anyone at all in the house. They were tax people, he said, or FBI, or CIA. Not long after they moved to Omaha, a little girl came to the door selling Girl Scout cookies. Reg yelled at her, told her to get the hell out, he knew why she was there, and so on. Jane tried to reason with him. She pointed out that the girl had only been ten years old. Reg told her that the tax people had no souls, no consciences. And besides, he said, the little girl might have been an android. Androids wouldn’t be subject to the child-labor laws. He wouldn’t put it past the tax people to send an android Girl Scout full of radium crystals to find out if he was keeping any secrets…and to shoot him full of cancer rays in the meantime.”