The Deathbird sharpened its talons on the night wind and sailed down through emptiness toward the cinder of the Earth.
22
Nathan Stack had once contracted pneumonia. He had lain on the operating table as the surgeon made the small incision in the chest wall. Had he not been stubborn, had he not continued working around the clock while the pneumonic infection developed into empyema, he would never have had to go under the knife, even for an operation as safe as a thoracotomy. But he was a Stack, and so he lay on the operating table as the rubber tube was inserted into the chest cavity to drain off the pus in the pleural cavity, and he heard someone speak his name.
NATHAN STACK.
He heard it, from far off, across an Arctic vastness; heard it echoing over and over, down an endless corridor; as the knife sliced.
NATHAN STACK.
He remembered Lilith, with hair the color of dark wine. He remembered taking hours to die beneath a rock slide as his hunting companions in the pack ripped apart the remains of the bear and ignored his grunted moans for help. He remembered the impact of the crossbow bolt as it ripped through his hauberk and split his chest and he died at Agincourt. He remembered the icy water of the Ohio as it closed over his head and the flatboat disappearing without his mates noticing his loss. He remembered the mustard gas that ate his lungs as he tried to crawl toward a farmhouse near Verdun. He remembered looking directly into the flash of the bomb and feeling the flesh of his face melt away. He remembered Snake coming to him in the board room and husking him like corn from his body. He remembered sleeping in the molten core of the Earth for a quarter of a million years.
Across the dead centuries he heard his mother pleading with him to set her free, to end her pain. Use the needle. Her voice mingled with the voice of the Earth crying out in endless pain at her flesh that had been ripped away, at her rivers turned to arteries of dust, at her rolling hills and green fields slagged to greenglass and ashes. The voices of his mother and the mother that was Earth became one, and mingled to become Snake’s voice telling him he was the one man in the world—the last man in the world—who could end the terminal case the Earth had become.
Use the needle. Put the suffering Earth out of its misery. It belongs to you now.
Nathan Stack was secure in the power he contained. A power that far outstripped that of gods or Snakes or mad creators who stuck pins in their creations, who broke their toys.
YOU CAN'T. I WON'T LET YOU.
Nathan Stack walked around the burning bush as it crackled impotently in rage. He looked at it almost pityingly, remembering the Wizard of Oz with his great and ominous disembodied head floating in mist and lightning, and the poor little man behind the curtain turning the dials to create the effects. Stack walked around the effect, knowing he had more power than this sad, poor thing that had held his race in thrall since before Lilith had been taken from him.
He went in search of the mad one who capitalized his name.
23
Zarathustra descended alone from the mountains, encountering no one. But when he came into the forest, all at once there stood before him an old man who had left his holy cottage to look for roots in the woods. And thus spoke the old man to Zarathustra:
“No stranger to me is this wanderer: many years ago he passed this way. Zarathustra he was called, but he has changed. At that time you carried your ashes to the mountains: would you now carry your fire into the valleys? Do you not fear to be punished as an arsonist?
“Zarathustra has changed, Zarathustra has become a child, Zarathustra is an awakened one; what do you now want among the sleepers? You lived in your solitude as in the sea, and the sea carried you. Alas, would you now climb ashore? Alas, would you again drag your own body?”
Zarathustra answered: “I love man.”
“Why,” asked the saint, “did I go into the forest and the desert? Was it not because I loved man all too much? Now I love God; man I love not. Man is, for me, too imperfect a thing. Love of man would kill me.”
“And what is the saint doing in the forest?” asked Zarathustra.
The saint answered: “I make songs and sing them; and when I make songs, I laugh, cry, and hum: thus I praise God. With singing, crying, laughing, and humming, I praise the god who is my god. But what do you bring us as a gift?”
When Zarathustra had heard these words he bade the saint farewell and said: “What could I have to give you? But let me go quickly, lest I take something from you!” And thus they separated, the old one and the man, laughing as two boys laugh.
But when Zarathustra was alone he spoke thus to his heart: “Could it be possible? This old saint in the forest has not yet heard anything of this, that God is dead!”
24
Stack found the mad one wandering in the forest of final moments. He was an old, tired man, and Stack knew with a wave of his hand he could end it for this god in a moment. But what was the reason for it? It was even too late for revenge. It had been too late from the start. So he let the old one go his way, wandering in the forest, mumbling to himself, I WON'T LET YOU DO IT, in the voice of a cranky child; mumbling pathetically, OH, PLEASE, I DON'T WANT TO GO TO BED YET. I'M NOT YET DONE PLAYING.
And Stack came back to Snake, who had served his function and protected Stack until Stack had learned that he was more powerful than the god he’d worshipped all through the history of Men. He came back to Snake and their hands touched and the bond of friendship was sealed at last, at the end.
Then they worked together and Nathan Stack used the needle with a wave of his hands, and the Earth could not sigh with relief as its endless pain was ended…but it did sigh, and it settled in upon itself, and the molten core went out, and the winds died, and from high above them Stack heard the fulfillment of Snake’s final act; he heard the descent of the Deathbird.
“What was your name?” Stack asked his friend.
Dira.
And the Deathbird settled down across the tired shape of the Earth, and it spread its wings wide, and brought them over and down, and enfolded the Earth as a mother enfolds her weary child. Dira settled down on the amethyst floor of the dark-shrouded palace, and closed his single eye with gratitude. To sleep at last, at the end.
All this, as Nathan Stack stood watching. He was the last, at the end, and because he had come to own—if even for a few moments—that which could have been his from the start, had he but known, he did not sleep but stood and watched. Knowing at last, at the end, that he had loved and done no wrong.
25
The Deathbird closed its wings over the Earth until at last, at the end, there was only the great bird crouched over the dead cinder. Then the Deathbird raised its head to the star-filled sky and repeated the sigh of loss the Earth had felt at the end. Then its eyes closed, it tucked its head carefully under its wing, and all was night.
Far away, the stars waited for the cry of the Deathbird to reach them so final moments could be observed at last, at the end, for the race of Men.
26
THIS IS FOR MARK TWAIN
* * *
The Whimper of Whipped Dogs
1974 Edgar Allan Poe Award: Best Short Story
On the night after the day she had stained the louvered window shutters of her new apartment on East 52nd Street, Beth saw a woman slowly and hideously knifed to death in the courtyard of her building. She was one of twenty-six witnesses to the ghoulish scene, and, like them, she did nothing to stop it.
She saw it all, every moment of it, without break and with no impediment to her view. Quite madly, the thought crossed her mind as she watched in horrified fascination, that she had the sort of marvelous line of observation Napoleon had sought when he caused to have constructed at the Comédie-Française theaters, a curtained box at the rear, so he could watch the audience as well as the stage. The night was clear, the moon was full, she had just turned off the 11:30 movie on Channel 2 after the second commercial break, realizing she had already seen Robert Taylor in Westward the Wom
en, and had disliked it the first time; and the apartment was quite dark.
She went to the window, to raise it six inches for the night’s sleep, and she saw the woman stumble into the courtyard. She was sliding along the wall, clutching her left arm with her right hand. Con Ed had installed mercury-vapor lamps on the poles; there had been sixteen assaults in seven months; the courtyard was illuminated with a chill purple glow that made the blood streaming down the woman’s left arm look black and shiny. Beth saw every detail with utter clarity, as though magnified a thousand power under a microscope, solarized as if it had been a television commercial.
The woman threw back her head, as if she were trying to scream, but there was no sound. Only the traffic on First Avenue, late cabs foraging for singles paired for the night at Maxwell’s Plum and Friday’s and Adam’s Apple. But that was over there, beyond. Where she was, down there seven floors below, in the courtyard, everything seemed silently suspended in an invisible force-field.
Beth stood in the darkness of her apartment, and realized she had raised the window completely. A tiny balcony lay just over the low sill; now not even glass separated her from the sight; just the wrought-iron balcony railing and seven floors to the courtyard below.
The woman staggered away from the wall, her head still thrown back, and Beth could see she was in her mid-thirties, with dark hair cut in a shag; it was impossible to tell if she was pretty: terror had contorted her features and her mouth was a twisted black slash, opened but emitting no sound. Cords stood out in her neck. She had lost one shoe, and her steps were uneven, threatening to dump her to the pavement.
The man came around the corner of the building, into the courtyard. The knife he held was enormous—or perhaps it only seemed so: Beth remembered a bonehandled fish knife her father had used one summer at the lake in Maine: it folded back on itself and locked, revealing eight inches of serrated blade. The knife in the hand of the dark man in the courtyard seemed to be similar.
The woman saw him and tried to run, but he leaped across the distance between them and grabbed her by the hair and pulled her head back as though he would slash her throat in the next reaper-motion.
Then the woman screamed.
The sound skirled up into the courtyard like bats trapped in an echo chamber, unable to find a way out, driven mad. It went on and on…
The man struggled with her and she drove her elbows into his sides and he tried to protect himself, spinning her around by her hair, the terrible scream going up and up and never stopping. She came loose and he was left with a fistful of hair torn out by the roots. As she spun out, he slashed straight across and opened her up just below the breasts. Blood sprayed through her clothing and the man was soaked; it seemed to drive him even more berserk. He went at her again, as she tried to hold herself together, the blood pouring down over her arms.
She tried to run, teetered against the wall, slid sidewise, and the man struck the brick surface. She was away, stumbling over a flower bed, falling, getting to her knees as he threw himself on her again. The knife came up in a flashing arc that illuminated the blade strangely with purple light. And still she screamed.
Lights came on in dozens of apartments and people appeared at windows.
He drove the knife to the hilt into her back, high on the right shoulder. He used both hands.
Beth caught it all in jagged flashes—the man, the woman, the knife, the blood, the expressions on the faces of those watching from the windows. Then lights clicked off in the windows, but they still stood there, watching.
She wanted to yell, to scream, “What are you doing to that woman?” But her throat was frozen, two iron hands that had been immersed in dry ice for ten thousand years clamped around her neck. She could feel the blade sliding into her own body.
Somehow—it seemed impossible but there it was down there, happening somehow—the woman struggled erect and pulled herself off the knife. Three steps, she took three steps and fell into the flower bed again. The man was howling now, like a great beast, the sounds inarticulate, bubbling up from his stomach. He fell on her and the knife went up and came down, then again, and again, and finally it was all a blur of motion, and her scream of lunatic bats went on till it faded off and was gone.
Beth stood in the darkness, trembling and crying, the sight filling her eyes with horror. And when she could no longer bear to look at what he was doing down there to the unmoving piece of meat over which he worked, she looked up and around at the windows of darkness where the others still stood—even as she stood—and somehow she could see their faces, bruise-purple with the dim light from the mercury lamps, and there was a universal sameness to their expressions. The women stood with their nails biting into the upper arms of their men, their tongues edging from the corners of their mouths; the men were wild-eyed and smiling. They all looked as though they were at cock fights. Breathing deeply. Drawing some sustenance from the grisly scene below. An exhalation of sound, deep, deep, as though from caverns beneath the earth. Flesh pale and moist.
And it was then that she realized the courtyard had grown foggy, as though mist off the East River had rolled up 52nd Street in a veil that would obscure the details of what the knife and the man were still doing…endlessly doing it…long after there was any joy in it…still doing it…again and again…
But the fog was unnatural, thick and gray and filled with tiny scintillas of light. She stared at it, rising up in the empty space of the courtyard. Bach in the cathedral, stardust in a vacuum chamber.
Beth saw eyes.
There, up there, at the ninth floor and higher, two great eyes, as surely as night and the moon, there were eyes. And—a face? Was that a face, could she be sure, was she imagining it…a face? In the roiling vapors of chill fog something lived, something brooding and patient and utterly malevolent had been summoned up to witness what was happening down there in the flower bed. Beth tried to look away, but could not. The eyes, those primal burning eyes, filled with an abysmal antiquity yet frighteningly bright and anxious like the eyes of a child; eyes filled with tomb depths, ancient and new, chasm-filled, burning, gigantic and deep as an abyss, holding her, compelling her. The shadow play was being staged not only for the tenants in their windows, watching and drinking of the scene, but for some other. Not on frigid tundra or waste moors, not in subterranean caverns or on some faraway world circling a dying sun, but here, in the city, here the eyes of that other watched.
Shaking with the effort, Beth wrenched her eyes from those burning depths up there beyond the ninth floor, only to see again the horror that had brought that other. And she was struck for the first time by the awfulness of what she was witnessing, she was released from the immobility that had held her like a coelacanth in shale, she was filled with the blood thunder pounding against the membranes of her mind: she had stood there! She had done nothing, nothing! A woman had been butchered and she had said nothing, done nothing. Tears had been useless, tremblings had been pointless, she had done nothing!
Then she heard hysterical sounds midway between laughter and giggling, and as she stared up into that great face rising in the fog and chimneysmoke of the night, she heard herself making those deranged gibbon noises and from the man below a pathetic, trapped sound, like the whimper of whipped dogs.
She was staring up into that face again. She hadn’t wanted to see it again—ever. But she was locked with those smoldering eyes, overcome with the feeling that they were childlike, though she knew they were incalculably ancient.
Then the butcher below did an unspeakable thing and Beth reeled with dizziness and caught the edge of the window before she could tumble out onto the balcony; she steadied herself and fought for breath.
She felt herself being looked at, and for a long moment of frozen terror she feared she might have caught the attention of that face up there in the fog. She clung to the window, feeling everything growing faraway and dim, and stared straight across the court. She was being watched. Intently. By the young man in the se
venth-floor window across from her own apartment. Steadily, he was looking at her. Through the strange fog with its burning eyes feasting on the sight below, he was staring at her.
As she felt herself blacking out, in the moment before unconsciousness, the thought flickered and fled that there was something terribly familiar about his face.
It rained the next day. East 52nd Street was slick and shining with the oil rainbows. The rain washed the dog turds into the gutters and nudged them down and down to the catch-basin openings. People bent against the slanting rain, hidden beneath umbrellas, looking like enormous, scurrying black mushrooms. Beth went out to get the newspapers after the police had come and gone.
The news reports dwelled with loving emphasis on the twenty-six tenants of the building who had watched in cold interest as Leona Ciarelli, 37, of 455 Fort Washington Avenue, Manhattan, had been systematically stabbed to death by Burton H. Wells, 41, an unemployed electrician, who had been subsequently shot to death by two off-duty police officers when he burst into Michael’s Pub on 55th Street, covered with blood and brandishing a knife that authorities later identified as the murder weapon.
She had thrown up twice that day. Her stomach seemed incapable of retaining anything solid, and the taste of bile lay along the back of her tongue. She could not blot the scenes of the night before from her mind; she re-ran them again and again, every movement of that reaper arm playing over and over as though on a short loop of memory. The woman’s head thrown back for silent screams. The blood. Those eyes in the fog.
She was drawn again and again to the window, to stare down into the courtyard and the street. She tried to superimpose over the bleak Manhattan concrete the view from her window in Swann House at Bennington: the little yard and another white, frame dormitory; the fantastic apple trees; and from the other window the rolling hills and gorgeous Vermont countryside; her memory skittered through the change of seasons. But there was always concrete and the rain-slick streets; the rain on the pavement was black and shiny as blood.