It's power, but a kind of pointless, impotent power.
No one is discriminated against more than alive people discriminate against the dead. Nobody is as badly marginalized. If the dead are portrayed in popular culture it's as zombies... vampires... ghosts, always something threatening to the living. The dead are depicted the way blacks were in 1960s mass culture, as a constant danger and menace. Any dead characters must be banished, exorcised, driven from the property like Jews in the fourteenth century. Deported like illegal-alien Mexicans. Like lepers.
That said, go ahead and laugh at me. You're still alive, so apparently you're doing something right. I'm dead, so go right ahead and kick sand in my fat, deceased face.
In the prejudiced, bigoted modern world, alive is alive. Dead is dead. And the two factions must not interact. This attitude is entirely understandable when you consider what the dead would do to property values and stock prices. Once the dead informed the living that material possessions were a big joke—ARE a big joke—well, the De Beers people could never sell another diamond. Pension funds would truly wither.
In reality, the dead are always around the living. I hung around with my parents for a month; seriously, it beat tagging along to watch the Mr. Skeazy Vanderskeaze mortuary guy pump out my blood and monkey with my naked thirteen-year-old corpse. My environmentalist parents chose a biodegradable casket of pressed-wood pulp guaranteed to rapidly break down and encourage bacterial subsoil life-forms. This is typical of how little respect you get once you're dead. I mean, the well-being of earthworms gets a higher priority.
Consider that as proof positive that you're never too young to record a final directive.
It was like being buried inside a piñata.
If I'd managed to call the shots I'd have been buried in an all-bronze, hermetically sealed casket studded with rubies, not even buried but laid to rest in a crypt of carved white marble. On a tiny wooded island in the center of a lake. In the Italian Alps. However, my parents pursued their own vision. Instead of something elegant, they chose a caterwauling gospel choir from some church that needed to garner national exposure for an album they were ready to launch. Somebody reworked that Elton John song about the candle so it went, "Good-bye, Madison Spencer, though I never knew you at all..." They even released about a zillion white doves. Talk about clichéd. Talk about derivative.
Among the loitering dead, even JonBenet Ramsey felt sorry for me. Even the Lindbergh baby was embarrassed on my behalf.
Here I was, dead, and all the little Miss Skanky Von Skankenbergs at my boarding school were still alive and attending my memorial service. The three Slutty MacSluts stood there, all pious, heads bowed, not saying a word about how they'd taught me the French-kissing Game. Those three Whorey Vander Whores took their printed funeral programs to my mom and asked her to autograph them. The president of the United States helped carry the papier-mâché, eco-friendly biotainer to my grave. So did the prime minister of Great Britain.
Movie stars were in somber attendance. Some famous poet said some crap flowery poem that didn't even rhyme. World leaders were there to pay their vaunted respects. Connected by satellite, the entire planet was there to say, "Good-bye."
Except Goran, my beloved, my one true love... Goran wasn't.
XXVI.
Are you there, Satan? It's me, Madison. It dawns on me that I've never adequately thanked you for sending the car, and I ought to; it was an extremely sensitive, thoughtful gesture on your part. You acted very kindly toward me at a time when I desperately needed such courtesy, and I want you to know that I'll always appreciate that generosity.
It's no easier to be a just-dead spirit than it is to be a just-born infant, and I'm pathetically grateful for any modicum of care and nursemaiding. Clustered around my grave site at Forest Lawn, everyone was crying: my mom and dad were crying, the president of Senegal was crying. Everyone was just boo-hooing with the notable exception of me, and that's because me crying at my own funeral strikes me as awfully egocentric. It goes without saying that no one can see the real me, the spirit me, standing in their grieving midst. I know, I know, in that totally archetypal Tom Sawyer scenario it's supposed to be way satisfying to attend your own funeral and witness how everyone secretly loved and adored you, but the sad truth is that most people are just as fakey-fake to you after you're dead as when you're alive. If there's even a thin margin of profit in it, everyone who hated you will rend their garments and flop around like phony crybabies. Case in point: the trio of Miss Trampy McTramptons station their skeazy preteen selves around my bereft mother and tell her how much they loved me, even as their spidery anorexic fingers and French manicures toy with bejeweled rosaries all lumpy with Tahitian black pearls and fat rubies and emeralds designed by Christian Lacroix for Bulgari that they ran off and bought on Rodeo Drive just for today's funeral. These three Miss Slutty Sluttenheimers keep whispering to my bereft mom that they've each been receiving psychic messages from me, that I keep visiting them in their dreams and begging them to pass along messages of love and support to my family, and my poor mom seems traumatized enough to listen to these three horrid harpies and take their lies seriously.
In greater numbers, a bevy of blond production assistants glom onto my dad, all of them wearing sexy black stripper gloves and trying to out-leg one another by letting their black miniskirts ride up too far on their tanned-and-waxed thighs while they clutch little brand-new, black leather-bound Bibles the same way they would Chanel pocketbooks, and all told it's obvious they're all sleeping with him—my father, with all his noble-sounding, high-minded, left-wing platitudes—but he can't expense their various salaries to any project's shooting budget if he admits that the only job they ever perform is blow jobs. This weepy media circus centers around my earthly remains, which are wadded deep inside an organic shroud of unbleached bamboo fiber with some bullshit Asian-looking calligraphy scribbled all over it, resembling like nothing so much as a gigantic off-white turd covered with Chinese gang tags, situated next to my own freshly hewn tombstone. Such are the myriad indignities foisted upon the dead: The stone is chiseled with my full ridiculous name of Madison Desert Flower Rosa Parks Coyote Trickster Spencer, a monstrous personal secret I’ve been vigorously covering up for all my thirteen years and which the three Miss Coozy Coozenburgs clearly can't wait to share with all my old classmates back in Switzerland, not to mention the fact that the birth and death dates carved into the granite will forever fix me at an erroneous nine years old. To add insult to injury, the epitaph says: Maddy Rests Now, Cupped and Suckling at the Sacred Breast Milk of the Eternal Goddess.
This, all of this asinine crap is what you justly deserve if you die without a legally binding final directive. I'm dead and standing a decent distance apart from this mad crush, but I can still smell all their makeup and hair spray.
And if I didn't know the meaning of asinine before, I certainly do now. As for the definition of erroneous, I only have to look around.
And if you can stomach knowing one more fact about the afterlife, here it is: Nobody grieves more at funerals than does the newly deceased. That's why I'm so pathetically grateful when I avert my gaze from this dismal tableau to see, parked at the curb, just idling at the edge of a graveyard lane, a black Lincoln Town Car. The shiny waxed-and-polished black of it reflects the army of mourners... the blue sky... the gravestones of Forest Lawn... really, it reflects everything except for me, because the dead don't have reflections. On earth, the dead don't cast a shadow or show up in photographs. Best of all, standing beside the car is a uniformed chauffeur, his hair hidden beneath a visored cap and half his face blocked behind mirrored sunglasses. In his black-driving-gloved hand he holds a white clipboard with, written across it in blocky handwriting, Madison Spencer. This driver wears a little chrome name tag on his lapel, his name engraved there, but it's not worth the bother to read, because I know from long habit that I'll forget it a millisecond from now and just start calling him George.
Having spent
half my life tooling around in these car-service cars, I know the drill. I take a step, another step, a third step toward the car, and the driver wordlessly opens the rear door and steps aside for me to enter. He makes a slight bow and touches the edge of the clipboard to the edge of his visored hat in a little salute. Once the legs of my skort are safely ensconced in the seat, the driver swings the door closed with a thud, the solid sound of a quality-made American land yacht, so heavy and muffled that it ends any suggestion of the living, breathing world outside. The windows are so darkly tinted that I find myself in a cradling cocoon of black leather, the smell of leather polish, the cold feel of air-conditioning, and the soft gleam of murky glass windows and brass interior trim. The only sound comes from behind the old-school partition that separates the front and rear seats. Submerged under the overall smell of leather is another, fainter smell; it's as if someone has recently peeled and eaten a hard-boiled egg in this car, a tiny stink of sulfur or methane. And there's the smell of popcorn... popcorn and caramel... popcorn balls. The little window in the center of the partition is shut, but I can hear the driver take his seat and click his seat belt. The engine starts and the car moves forward in slow, languid motion. After a long moment the front of the car tilts upward. It's the same sensation one associates with the long climb up the first hill of a roller coaster or the impossibly steep ascent needed for a Gulfstream to achieve takeoff from the little alpine airport of Locarno, Switzerland.
The padded and upholstered leathery womb that is the backseat of a Town Car... anytime one finds oneself in such a place she ought to assume she's en route to Hades. In the magazine pocket sits the usual assortment of trade rags, including the Hollywood Reporter, Variety, and a copy of the Vanity Fair with my mom grinning on the cover and spouting her Gaia, Earth First! gibberish on the inside. She looks Photoshopped almost beyond recognition.
And yes, my parents have taught me well about the Power of Context and Marcel Duchamp, and how even a urinal becomes art when you hang it on the wall of a classy gallery. And pretty much anyone could pass as a movie star if you put their mug shot on the cover of Vanity Fair magazine. But that's how come I so, so, so appreciate crossing into the afterlife aboard a Lincoln Town Car as compared to a bus or a pole barge or some other cattle-car, steerage form of sweaty mass transit. So I again thank you, Satan.
The steep rising angle of the car's trajectory and the resulting g-forces settle me deeper into the leather upholstery. The little window in the driver's partition slides aside to reveal the chauffeur's sunglasses framed in the rearview mirror. Speaking to me via his reflection, the driver says, "If you don't mind my asking... are you related to the movie producer Antonio Spencer?" Of his features, all I can see is his mouth, and his smile stretches to become a spooky leer.
I retrieve the copy of Vanity Fair and hold the cover photo of my mother beside my own face, saying, "See any resemblance? Unlike my mom I have pores..." Already,
I'm falling asleep, drifting off. Sadly, I sense where this conversation is going.
The driver says, "I do some screenwriting, myself."
And yes, of course, I saw this reveal coming from the moment I first saw the car. Every driver is named George, and every driver in California has a screenplay ready to fob onto you, and since the age of four—when I came home from Halloween trick-or-treating, my pillowcase loaded with spec screenplays, I've been trained to manage this awkward situation. As my dad would say, "We're not reading for new projects at this time..." Meaning: "Go peddle your spec script to some other sucker for financing." But despite a childhood of arduous training in how to gently and politely dash the hopes and dreams of moderately gifted, earnest young talents... maybe just because I'm exhausted... maybe because I realize that the eternal afterlife will seem even longer without the distraction of even low-quality reading material... I say, "Sure." I say, "Get me a clean copy, and I'll give it a read."
Even as I'm drifting off to sleep, my hands still gripping the Vanity Fair with my mom's face on the cover, I sense that the front of the car is no longer climbing into the sky. It's leveled off, and, as if we've crested a mountain, we're slowly beginning to tilt downward in a slow, perilous, straight-down plunge.
From the rearview mirror, still leering, the driver says, "You might want to buckle up, Miss Spencer."
That said, I release my magazine and it falls down, through the partition hole, and lies flattened against the inside of the windshield.
"Another thing is," the driver says, "when we get to our destination, you don't want to touch the cage bars. They're pretty dirty."
The car plummeting, plunging, diving impossibly fast, in ever-accelerating free fall, I quickly and sleepily fasten my seat belt.
XXVII.
Are you there, Satan? It's me, Madison. By their nature, stories told in the second person can suggest prayers. "Hallowed he thy name... the Lord is with thee..." With this in mind, please don't get the idea that I'm praying to you. It's nothing personal, but I'm simply not a satanist. Nor, despite my parents' best efforts, am I a secular humanist. In light of finding myself in the afterlife, neither am I any longer a confident atheist nor agnostic. At the moment, I'm not certain in what I believe. Far be it from me to pledge my faith to any belief system when, at this point, it would seem that I've been wrong about everything I've ever felt was real.
In truth, I'm no longer even certain who I, myself, am.
My dad would tell you, "If you don't know what comes next, take a good long look at what came before." Meaning: If you allow it, your past tends to dictate your future. Meaning: It's time I retrace my footsteps. With that in mind, I abandon my job at the telemarketing phone bank and set off on foot, carrying my new high heels, wearing my trusty, durable loafers. Clouds of black houseflies hover, buzzing, dense and heavy as black smoke. The Sea of Insects continues to boil in eternal rolling, gnashing chaos, its shimmering, iridescent surface stretching to the horizon. The prickly hillocks of discarded finger- and toenail parings continue to grow and slough in scratchy avalanches. The desert of broken glass crunches underfoot. The noxious Great Ocean of Wasted Sperm continues to spread, engulfing the hellish landscape around it.
And yes, I find myself a thirteen-year-old dead girl gaining a fuller knowledge of her own trust issues, but what I'd really rather be is an Eastern Bloc orphan abandoned and alone in my misery, ignored, with no possibility of rescue until I become indifferent to my own horrid circumstances and unhappiness. Or, as my mother would tell me, "Blah, blah, blah... shut up, Madison."
My point is, I've made my entire identity about being smart. Other girls, mostly Miss Slutty Vandersluts, they chose to be pretty; that's an easy enough decision when you're young. As my mom would say, "Every garden looks beautiful in May." Meaning: Everyone is somewhat attractive when she's young. Among young ladies, it's a default choice, to compete on the level of physical attractiveness. Other girls, those doomed by hooked noses or ravaged skin, settle on being wildly funny. Other girls turn athletic or anorexic or hypochondriac. Lots of girls choose the bitter, lonely, lifetime path of being Miss Snarky Von Snarkskis, armored within their sharp-tongued anger. Another life choice is to become the peppy and upbeat student body politician. Or possibly to invent myself as the perennial morose poetess, poring over my private verse, channeling the dreary weltschmerz of Sylvia Plath and Virginia Woolf. But, despite so many options, I chose to be smart—the intelligent fat girl who possessed the shining brain, the straight-A student who'd wear sensible, durable shoes and eschew volleyball and manicures and giggling.
Suffice it to say that, until recently, I had felt quite satisfied and successful with my own invention. Each of us chooses our personal route—to be sporty or snarky or smart—with the lifelong confidence that one can possess only as a small child.
However, in light of the truth: that I did not die of a marijuana overdose... nor did Goran reveal himself as my romantic ideal... my schemes have brought nothing except heartache to my family... Thus, it would f
ollow that I am not so smart. And with that, my entire concept of self is undermined.
Even now, I hesitate to use words such as eschew and convey and weltschmerz, so thoroughly is my faith in myself shaken. The actual nature of my death reveals me to be an idiot, no longer a Bright Young Thing, but instead a deluded, pretentious poseur. Not brilliant, but an impostor who would craft my own illusory reality out of a handful of impressive words. Such vocabulary props served as my eye shadow, my breast implants, my physical coordination, my confidence. These words: erudite and insidious and obfuscate, served as my crutches.
Perhaps it's better to recognize this degree of personal fallacy while still young, rather than lose one's fixed sense of self in middle age as beauty and youth fade, or strength and agility fail. It might be worse to cling to sarcasm and contempt until one finds herself isolated, loathed by all her peers. Nevertheless, this extreme form of psychological course correction still feels... devastating.
With that crisis fully realized, I retrace my route, returning to the cell where I first arrived in Hell. My arms swinging, the diamond ring which Archer gave me, the finger ring, flashes heavy and stolen. No longer can I present myself as an authority on being dead, so I retreat to my enclosure of filthy bars, the comfort provided inside a lock, the rust and grime scratched by the pointed safety pin of a dead punk rocker. Doomed within their own cells, my neighbors slump, gripping their heads between their hands, so long frozen and catatonic in attitudes of self-pity that spiderwebs envelop them. Or they pace, punching the air and babbling.
No, it's not too late for me to devote myself to being funny or artsy, energetically flopping my body around on some gymnastics mats or painting moody masterpieces; however, having failed at my initial strategy, I'll never again have such faith in a single identity. Whether I channel my future into being the sporty girl or stoner girl, the smiling cover on a Wheaties cereal box, or an absinthe-guzzling auteur, that new persona will always feel as phony and put-on as plastic fingernails or a rub-on tattoo. The rest of my afterlife, I'll feel as counterfeit as Babette's Manolo Blahniks.