Shriek: An Afterword

  Of artists, we found ample evidence as soon as we arrived—huge murals painted onto the sides of storehouses—and also of the Hoegbotton clan, since we had to pay their tariffs to leave the docks and enter the city proper.

  As for the gray caps, as our relatives had promised, we discovered scant initial trace of this “old, short, indigenous race,” as the guidebooks called them. They were rarely seen aboveground during the day, although they could be glimpsed in back alleys and graveyards at dusk and during the night. We knew only what we had gleaned from Mom’s rare but unsettling bedtime stories about the “mushroom dwellers of Ambergris,” and a brief description from a book for children that had delighted and unnerved us simultaneously:

  Fifty mushroom dwellers now spilled out from the alcove gateway, macabre in their very peacefulness and the even hum-thrum of their breath: stunted in growth, wrapped in robes the pale gray-green of a frog’s underbelly, their heads hidden by wide-brimmed gray felt hats that, like the hooded tops of their namesakes, covered them to the neck. Their necks were the only exposed part of them—incredibly long, pale necks; at rest, they did indeed resemble mushrooms.

  Of the Silence, we had heard even less—a whisper among the adults, a sense that we should not ask about it. Even in Stockton, so far from what had happened—separated by both time and geography—there seemed to be a fear that, somehow, the event might be resurrected by the most casual of comments. No, I discovered Silence much later—only learned during my brief attendance at the Hoegbotton School for Advanced Studies, for example, that the annotations in Ambergrisian history books {A.S. and B.S.} stood for After Silence and Before Silence. Of Samuel Tonsure’s journal, so inextricably linked to the Silence, I heard not even a whisper until Duncan educated me. {I may have given you the most personalized and eccentric education on the Silence in the history of Ambergris!}

  We did not learn much about any of this from Mom. For a good portion of our youth in Ambergris, rare was the day that she rose before noon. Sometimes we barely saw her. She had so many rooms to hide in in that house. Her internal clock, her rhythms, became nocturnal and erratic. She continued to paint, but sometimes we would return home to find that instead of a canvas she had painted the wall of an unused room in a welter of dissonant colors. Until the basement began to flood with river water every time it rained, she loved to sit down there in the damp and read by an old oil lamp we’d brought with us from Morrow, an heirloom dating back to the time of the pirate whalers. {When she was there, Janice and I would sometimes join her. We’d pull up chairs and listen to the whispering gasp of the river water as it tried to get in through the floorboards, and we’d read our books or do our homework. Mom rarely said anything, but there was something about being together in the same room that felt comfortable. I think she enjoyed it, too, but I don’t know for sure.}

  I do remember that in our mother’s absence one of my aunts tried to help orient us to the city, telling us, “There’s a Religious Quarter, a Merchant Quarter, and an old Bureaucratic Quarter, and then there are places you don’t go no matter what. Stay out of them.” Faced with such vague warnings, we had to discover Ambergris in those early days by exploring for ourselves or asking our classmates.

  The move to Ambergris changed my relationship with Duncan. Before the move, Duncan had been the annoying shadow, the imitator who always had to do what I was already doing. When I started a rock collection at the age of eight, inspired by the exposed granite on the hillside near our house in Stockton, Duncan started one, too, even though he didn’t understand why. No matter how I shooed him away, Duncan had to follow me up the hill. A cautious distance away from my irritated mumblings, he would squat in his wobbly way and run his hand through the pebbles, looking for the shiniest ones. Over time, he would squinch closer and closer, waddling like a duck, until before I knew it we were looking for stones together and my collection became our collection.

  When I became entranced by the children’s stories of mammalogist Roger Mandible, Duncan not only stole the books from my room but colored in them and scrawled his name, handwriting as neat as a drunken sailor’s, across many of the pages.

  By the time I’d reached the age of fourteen or fifteen, I’d realized he copied me because he loved me and looked up to me. {I didn’t look up to you for long—you stopped growing after you turned fourteen, I believe.}

  But by then the death of our father and the move to Ambergris had transformed me into something more than Duncan’s sister. There was something in the connection Dad and Mom had that had energized them both—that had made them both more than they had been alone. Because without Dad, Mom lost, or forgot, how to take care of us. I’m certain if Mom had died instead that Dad would have behaved the same way. He was no more practical than our mother. He was as apt to fall over and stub a toe putting on his pajamas as she was to cut herself chopping up carrots. They shared a general absentmindedness that Duncan and I, looking back on those years as adults, found endearing. Dad searching for the newspaper he held in the crook of his arm. Mom looking for the earrings she’d just put back in the jewelry case. Somehow, together, though, they muddled through and managed to disguise their individual incompetence at the job of parenting.

  With Dad dead and the move to Ambergris having unmoored Mom from any last vestiges of parental regard, I became Duncan’s mother in many ways. I made sure he got up in time for school. I made him breakfast. I helped him with his homework. I made sure he got to bed on time. He stopped copying me and started obeying me. {…Although with a smoldering disrespect for authority as embodied by my suddenly strict sister. But I’m lying. I welcomed it. I needed some structure. I needed someone to tell me what to do back then. I was still just a child. And a frequently scared one, despite all of my explorations. To take the lead while exploring seemed natural; to take the lead in everyday life was monstrously difficult.} Gone was the admiration, perhaps, but so too the corrosive disease of competition. At least, back then.

  Somehow, despite our rough knowledge and this change in our roles, we managed to fit in, to get along, to come to feel part of Ambergris with greater ease than might have been expected. Much of it had to do with our attitude, I think. Duncan and I should have been upset about leaving our old school and friends behind, but we weren’t. Not really. In a sense, it came as a great relief to escape the pity and concern others showed us, which trapped us in an image of ourselves as victims. Freedom from that meant, in a way, freedom from the moment of our father’s death. This made up for the other dislocations.

  {Dare I deprive the reader of that first glimpse of Ambergris? That first teasing glimpse during the carriage ride from the docks? That glimpse, and then the sprawl of Albumuth Boulevard, half staid brick, half lacquered timber? The dirt of it, the stench of it, half perfume, half ribald rot. And another smell underneath it—the tantalizing scent of fungi, of fruiting bodies, of spores entangled with dust and air, spiraling down like snow. The cries of vendors, the cries of the newly robbed, or the newly robed. The first contact of shoe on street out of the carriage—the resounding solidity of that ground, and the humming vibration of coiled energy beneath the pavement, conveyed up through shoe into foot, and through foot into the rest of a body suddenly energized and woken up. The sudden hint of heat to the air—the possibilities!—and, peeking from the storm drains, from the alleyways, the enticing, lingering darkness that spoke of tunnels and sudden exploration. One cannot mention our move to Ambergris without setting that scene, surely! That boulevard became our touchstone, in those early years, as it had to countless people before us. It was how you traveled into Ambergris, and it was how they carried you out when you finally left.}

  But as fascinated as Duncan would become with Ambergris, he went elsewhere for his education. At our mother’s insistence, in one of her few direct acts of parenting. Duncan received his advanced degrees in history from the Institute of Religiosity in Morrow {or as historians often call it, “that other city by the River Moth,” a good hundred m
iles from Ambergris}, his emphasis on the many masters of the arts who had been born or made their fortune in Ambergris, as well as on the Court of the Kalif—for he saw in these two geographical extremes a way to let his interests sprawl across both poles of the world. He could not study the artists of Ambergris without studying the very anatomy of the city—from culture to politics, from economics to mammalogy. And because Ambergris spread tentacles as long and wide as those of the oldest of the giant freshwater squid, this meant he must study Morrow, the Aan, and all of the South. Study of the Kalif, which I always felt was a secondary concern for him, meant mapping out all of the West, the North. {Early on, I had no idea what constituted a “secondary concern.” Anything and everything could have been useful. The important thing was to accumulate information, to let it all but overwhelm me.}

  In that Duncan was never what I would call religious, I believe that this monumental scope represented his attempt to re-place himself within the world, to discover his center, lost when our father died, or to build himself a new center through accumulation of knowledge. In a sense, History was always personal to Duncan, even if he could not always express that fact.

  To say Duncan studied hard would be to understate the ardor of his quest for knowledge. He devoured texts as he devoured food, to savor after it had been swallowed whole. He memorized his favorite books: The Refraction of Light in a Prison, The Journal of Samuel Tonsure, The Hoegbotton Chronicles, Aria: The Biography of Voss Bender. Years later, he would delight me, no matter how odd the circumstances of our meetings, with dramatic readings, in the imagined pitch and tone of the authors, him still so passionate in his love of the words that I would forever find my own enthusiasm inadequate.

  In short, Duncan became overzealous. Obsessed. Driven. All of those {double-edged} {s}words. He did not allow for his own human weakness, or his need to feel connected to the world through his flesh, through interactions with other human beings. Better, I am sure he felt, to become the dead hand of the past, to become its instrument.

  Duncan did not make friends. He did not have a woman friend. When I visited him, during breaks in my own art studies at the Trillian Academy, at his rooms at the Institute, he could not introduce me to a single soul other than his instructors. Duncan must have appeared to be among the most pious of all the pious monks created by History. {I had friends. Your infrequent trips to visit meant your idea of my life in that place was as narrow as that sliver of emerald light in the Spore that you keep going on about. I needed to converse with people to test out my theories, to gauge dissent and to begin to realize what ideas, when expressed to others in the light of day, evaporated into the air.}

  Recognizing both his genius and his desire for lack of contact, the Institute, its generosity heightened by the small scholarship our father had endowed it with as well as the memory of him walking its hollowed halls, had, by the second semester, isolated Duncan in rooms that expanded with his loneliness. My brother’s only window looked out at the solid, unimaginative brick of the Philosophy Building, giving him no alternative to his vibrant inner life. {This was, after all, the point of the Institute—to focus on the unexamined life. Nothing wrong with that.}

  As if to embody the complexity and brittle joy of his inner life in the outer world, Duncan slowly covered the walls of his rooms with maps, pictures, diagrams, even pages torn from books. Ambergrisian leaders stared down impishly, slightly crooked, half-smothered by maps of the Kalif’s epic last battle against the infidel Stretcher Jones. Bark etchings by the local Aan tribespeople shared space with stiff edicts handed down by even stiffer Truffidian priests. James Alberon’s famous acrylic painting of Albumuth Boulevard formed the backdrop for a hundred tiny portraits of the original Skamoo synod. The bewildering greens and purples of Darcimba’s “The Kiosks of Trillian Square” competed with the withered yellows of ancient explorers’ maps, with the red arrows that indicated skirmishes on military schemata.

  Duncan devoted one dark, ripe little corner to the “changing facade of Ambergris,” as he called it. At first, this corner consisted only of overlapping street plans, as if he were building an image of the city from its bones. The stark white paper, the midnight black veins of ink, contrasted sharply with everything else in his rooms. The maps were so densely clustered and layered that the overall effect reminded me of a diagram of the human body. Or, perhaps more metaphorically accurate, like a concentrated forest of intertwining vines {recalling the forests of my youth in Stockton}, through which no one could possibly travel, even armed with a machete. {My first great accomplishment—a way of cross-referencing dozens and dozens of seemingly unrelated phenomena so that, in a certain light, in a certain darkness, I could begin to see the patterns, the connections. Later, I would use this same technique, on a vastly different scale, at the Blythe Academy.}

  With each visit, I noticed that the forest had grown—from a dark stain, to a presence that variously resembled in shape a mushroom, a manta ray, and then some horribly exotic insect that might kill you with a single sting. Gradually, in an inexorable invasion through both time and space, Ambergris came to dominate his rooms, and then layer itself to a thickness greater than the walls, or so it often seemed, sitting in my chair, looking over a manuscript.

  The stain had become the wallpaper, and the last remnants of non-Ambergris materials had become the stain. Looking back on those earliest diagrams and montages on his walls, could he have guessed how far they would lead him? How far he would travel, and at what price? {Underneath, any astute observer could have found a wealth, a riot, of new information. You had only to peel away a corner and there, revealed, the secret obsession: the ghosts of the Silence, the gray caps, and much else. “I’m going underground,” it all said. For those who could read it.}

  “Your wall has changed. Has it changed your focus?” I asked him once.

  “Perhaps,” he replied, “but it still doesn’t make sense.”

  “What doesn’t make sense?” I asked.

  “They’re the only ones who could have done it. But why? And how?”

  I looked at him in confusion.

  “The Silence,” Duncan said, and a shiver, a resonance, passed through me. The Silence and the gray caps.

  More than two hundred years before, twenty-five thousand people had disappeared from the city, almost the entire population, while many thousands had been away, sailing down the River Moth to join in the annual hunt for fish and freshwater squid. The fishermen, including the city’s ruler, had returned to find Ambergris deserted. To this day, no one knows what happened to those twenty-five thousand souls, but for any inhabitant of Ambergris, the rumor soon seeps through—in the mottling of fungi on a window, in the dripping of green water, in the little red flags they use as their calling cards—that the gray caps were responsible. Because, after all, we had slaughtered so many of them and driven the rest underground. Surely this was their revenge?

  I had only learned about the Silence the semester before; it was frightening how adults could keep the details of certain events from their children. It came as a revelation to me and my classmates, although it is hard to describe how deeply it affected us.

  “It keeps coming back to the Silence,” Duncan said. “My studies, Dad’s studies. And Samuel Tonsure’s journal.”

  Tonsure, Duncan had told me, was one of those who pursued the gray caps underground during the massacre that had preceded the founding of Ambergris. He had never returned to the surface, but his journal, a curious piece of work that purported to describe the gray caps’ underground kingdoms, had been found some seventy-five years later, and subsequently pored over by historians for any information it might impart on the Silence or any other topic related to the gray caps. They were studying it still, Duncan included.

  “You’re not Dad, Duncan,” I said. “You could study something else.”

  Even then, before he was employed by James Lacond, before he met Mary, I sensed the danger there for Duncan. Even then, I knew somehow that Dun
can was in peril. {We’re all in peril from something. I count myself lucky not to have succumbed to the usual perils, like addiction to mushrooms or alcohol.}

  But Duncan just stared at me as if I were stupid and said, “There’s nothing else to study, Janice. Nothing important.”

  I remember the inevitable progression of the images on his walls with the clarity of dream. However, beyond the few words reproduced above, our conversations have faded into the oblivion of memory.

  Duncan emerged from those rooms with a degree and good prospects {an exaggeration; I perhaps had the prospect of a brief flash of fame, followed by an urgent need to make a living in a profession other than the one I had chosen as my passion}, but even then he was different from the other students. I watched his professors circle him at the various graduation parties. They treated him with a certain worried detachment, perhaps even fearfully, as if he had grown into something they could no longer easily define. As if they dared not develop any emotional attachment to this particular student. {Mom, who had continued to recede into her memories, did not come up for the ceremony—and we rarely went to see her, now that we were grown.}

  Later, Duncan told me that he had never known solitude, never known loneliness, as he did in those few hours after graduation when he walked like a leper through gilded rooms tabled with appetizers and peppered with conversations meant for everyone but him. The tall towers of senior professors glided silent and watchful, the antithesis of Mary Sabon and her quivering, eager necklace of flesh. {Everyone feels isolated at those types of events, no matter how good the party, or how scintillating the conversation, because you’re about to be expelled into the world, out from your own little piece of it.}