Tasha’s credit card was worn to a raveling. The tour paid good money for a roadie like her, certainly better than acts like Oblivion Godhead and Penetration Grid had back in her death-metal days, but Hunter Berkeley’s tours tended to pass through some of the most expensive cities in the world, and bring even more money in during their sojourns. The current one crawled through the world like an old-style traveling circus or a military campaign in the Chinese Civil War. They were in Milan now. Next up was Zurich. Things in Switzerland cost so much that even Milan people struggled there.

It had been hard, almost impossible, for a long time now, for her to care overmuch about how she made her living. She did the best she could; the things she did, though furtive and usually against the Law, were to help people cope with the evils of the world, if they could. She furnished dubious potions to jilted women and talismans of protection and imprecation to farmers whose cows were being rustled; once in a great while for the bereaved or the desperate she would call up the spirits of the dead. By the dead she suspect herself unloved; they were content, usually, it seemed, to be undisturbed in that state. She was relieved when things went otherwise, when it felt as if someone was thanking her for giving a last look backward at the land of the living, under the streaming sky. Cold lips had kissed hers, once, after her husband had died; that woman’s shade had felt sorry for her, she thought. It was pretty to think so, of course; it flattered her and made her feel a sneaking kindness towards herself for reasons of which she was not fully sure. “Have some fish,” she would always say to people; “you look tired; you must be hungry; have you come a long way?” Seldom to herself. That was something easy to notice, that ungenerousness with herself, and she thought it was common enough among decent people, everyday people, unimpressive people. It seemed so nice, too nice, to think that that shade might have wanted to recompense that a little, but it was hard not to suspect so, and to hope.

Even with the bonfire roaring the light does not penetrate more than one or two of the curtain-layers of trees. Graduation, seven girls celebrating, no boys. Someone’s old Outback wagon, someone else’s older sibling’s F150, domestic beer, bro country blasting, whooping laughter, skinny dipping, water and trees and fire and piney sand. Near the fire, Jane and Allison; further away, Bryhanna and Astrid; in the water, Nella and Nevaeh. Libby. She is neither particularly close nor particularly far.

Markus Grady smiled and laughed and slapped backs and thanked people for a gift that he was not happy to get. His employers in the Ministry of Works, women and men whom he neither respected nor liked, had in view of his years of service seen fit through some advancement rule to favor and congratulate him with a promotion and a raise. He was twenty-two years, now, into his work procuring truesilver for the walls around Queen’s Bower. The usual career was thirty. His raise amounted, per year, to seventy ducats.

Caveat lector: There’s a lot of deliberately-unsettling sex stuff in this one.

❦

“Female heterosexuality is in crisis,” you hear tell, “and has been since Genesis 3. You know this. I know this. I don’t think we need to discuss it any longer.”

            When you are seven you meet your best friend, snaggletoothed and free. In your early days seventy times sevenfold you love her. When you are fourteen you realize that in certain lights, in certain kinds of clothing (kinds for which you are still, some say, too young), she looks just like Kate Beckinsale in that Van Helsing movie that your teacher put in the DVD player on the last state-mandated classless day of school. That which you thereby realize and that which you by it mean take another seven years to sink in, and by then you can flee from it, you know how to flee from it, and she is tragically not quite inclined enough to stop you.

Note: “Standalone” tag notwithstanding, this is part of a broader story cycle, but the other stories in it are not going to be made available for quite some time.

“What’s this we’re listening to, Bella?” Sydney Alter asked his granddaughter on the winding two-lane blacktop between two banks of wooded hills. It was a surly afternoon in early July and the summer sun above the Catskills was never quite there and never quite gone. Bella was twenty years old, taking a break from college because of the pandemic, and living with Sydney and his second wife Gloria as a safer alternative to making her way out to Colorado where her parents and sisters were hunkering down.

(Note: I think the translation of Marinetti to which I have access is still copyrighted, so this riff on motivated reading of political texts that makes use of that translation can’t and shouldn’t be. Complete Creative Commons free-for-all. See if I care.)

The foregoing will have prepared you for understanding one of our chief Futurist endeavors, namely the abolition in literature of the seemingly unquestionable fusion of the dual concepts of Woman and Beauty. The effect of this has been to reduce romanticism to a kind of heroic assault, launched by a warlike, lyrical male on a tower that is bristling with enemies, gathered about the divine Woman-Beauty.

Marinetti opposes the objectification of women. Some argue that he himself perpetuates the objectification of women throughout this essay in another form, but he makes it clear at the beginning that this is not his intent, and even though impact matters more than intent, the fact that Marinetti supported women having equal political rights to men as well means that we ought to take him at his word here. Our key to interpreting this must then be that he opposes the objectification of women and their treatment as mere sexual objects.

Antonelle Vetiver (not her real name) looked from the chopper in which she sat anticipating the first interesting thing to happen to her in years. She was dressed for the job she wanted (a movie archaeologist) rather than the job she had (a real archaeologist), in a Lara Croftish getup of cropped tank top, short shorts, heavy boots, and heavier sunglasses, with a sort of linen jacket over top of everything. The lone sands that stretched far away below her were not level; they were in a mountainous part of the world, and moreover were in it unlawfully, against the express instructions of the government of a certain country. Antonelle did not care about these things, or perhaps it would have been better and more honest to say that actually she liked them; they made her feel more like Indiana Jones and less like some functionary or stoolie. The man piloting the helicopter, Rodney Clark of Needham, Massachusetts, cared, but Antonelle was paying him a whole boatload of money for this, with an astronomical sum still to come depending on how the next part of the trip went.

Swimming in warm water that lapped at every dorsal inch in pliant acceptance of her misbegotten backstroke, she realized after a while that jellyfish, tiny and transparent, like minuscule balloons some of which had little bits of brackish-inlet sedge or seaweed floating suspended within them, had begun to swim alongside her. Concerned for a moment, she was becalmed again when one touched her upper arm and proved unable or unwilling to sting. Unable, it must have been—the jellyfish, she remembered, a brainless and almost nerveless scrap of animated water, had no more will than it had pain, there in that warm water that soon would cover much more of the world than it did.

Note: This short story was an “occasional” satire on the relatively-recent death of Queen Elizabeth II, meant to show how ridiculous some of the standards to which various sanctimonious American leftists claimed to hold her would have been in practice.

It is a well-known story, so famed among those interested in this kind of history. On February 6, 1952, a young woman of twenty-five wakes up in a treetop hotel in Kenya, a loft, an eyrie, looking out over verdant wet-season plains. A grim-faced runner comes and tells her to make her way to the nearest telephone, where she is told that her father has died peacefully over the night and she is now the queen and sovereign of vast swathes of the globe.

What does that “sovereign” mean? What might she do with that queenhood? Not much, some argue; some people say that she is a figurehead, a pasteboard mask, an avatar of power rather than someone by whom or with whom or in whom power can actually be used. These people will tell you that she can only act according to the so-called “advice” of her servants, who in turn must be able to win votes in a democratically elected Parliament, and it is that Parliament that can do absolutely anything it likes.

“The thing about high school,” her father said, “is that it’s jocks versus nerds. That’s the basics.”
And she started high school. She did not find it to be jocks versus nerds, exactly.

Historical note: I first conceived of and wrote this story in the year 2018. Make of that what you will.

It was an unseasonable afternoon in late winter and Blaise Bondarenko tracked damp grit into the building. He was here to meet with his film appreciation group for the first time in over a month. There had been legal troubles and Blaise had had to come up with some pretty airtight excuses to avoid them. The weather had been brutally cold as little as a week ago and one of Blaise’s friends was still home sick after being out in it for a few minutes.

It was a season of unwanted miracles. The world was reeling and kindness seemed expensive. It was the year of the pandemic and the summer of George Floyd. The world lurched closer and closer to some unknown ultimate destination, and Comet NEOWISE appeared in Northern Hemisphere skies.

Note: This story is a contribution to a fictive body of critical and fan discussion being built around a nonexistent Mafia movie called Goncharov. One can learn the basics of how this discussion came about by searching for the alleged movie’s title. In the Goncharovian spirit of collective authorship and modern myth-making, I’m electing to put this story under a Creative Commons “Attribution” license, the most permissive kind. Anybody can do anything with the material in this story as long as some vague gesture is made towards crediting me with some of the ideas. Many of my own ideas, after all, emerged from the broader atmosphere of improv-like storytelling and mythbuilding that swept the internet in general and the microblogging website Tumblr in particular late last month.

With the recent upsurge of interest in the 1973 Mafia film Goncharov, it behooves the critic to give a brief survey of this film’s previous reception. Critical analysis has focused on several main areas and themes within the film: its sexual elements (in particular the homoerotic undertones between Goncharov and Andrey and between Katya and Sofia) and connected feminist concerns, its religious motifs, its atypicality for an early Martin Scorsese film, and its potential political subtexts, to name just a few. This brief essay will attempt to overview, in an unsystematic way, some of those lenses. Appended are synopses (with much unavoidable repetition) of all cuts and releases of the original film from 1973 through 2003; it remains to be seen whether next year’s fiftieth anniversary release will depart significantly from any of these. Since the focus of this essay is the original film in all its versions, we will not be addressing Quentin Tarantino’s abortive late-1990s remake, or the 1981 Turkish ripoff Moskova’dan dev adam (Mighty Men from Moscow) starring Yavuz Selekman and Cüneyt Arkın. The best treatment of Moskova’dan dev adam in English is a chapter in Yuli Lowe’s 2005 book Remix and Pastiche in Turkish Action Cinema: A Moviegoer’s Guide. Tarantino’s ideas for the attempted 1990s remake, some of which made it in highly variant form into 2009’s Inglourious Basterds, are described in almost all detailed surveys of his oeuvre. Of note regarding the Tarantino concept is that it is generally considered to have a tighter plot than does the cryptic, occasionally slapdash original film.

Once upon a time there was a mechanical watch who fell in love with a rose of the winds. She would visit him at all hours of the day, and she would grace him with her winds in accordance with his hours. Her cold dry tramontanes teased him at midnight and kept him cool at noon; her brisk wet levantes made him worry for his movement in the witching hour and in midafternoon; her siroccos and ostros and libeccios through dawn and through dusk warned him of the dangers of day or of night; at breakfast and dinner her easygoing ponentes entertained him at table and her stiff self-confident mistrals sent him to work or to sleep.

Rot was setting in all over Toby Walker’s house. Evil, blue evil, spread like a flow tide over the wooden wainscotting and along the wooden beams. None of her efforts to get it dealt with had panned out, and even her best friend told her that her front door stank of mildew. It was the end of a not-too-warm but very wet October, and her yard was filled with rain-speckled muted-colored leaves.

The child went home each night to a house in the cold hills. There were unseasonable storms and winds in the late evenings, storms and winds on which a witch might fly through an upright window to speak to the little girl in benign but frightening tones. The girl’s uncertainty is an uncertainty that a witch might like to solve, in her necromantic way and for her own fey or devilish purposes. The girl might, then, worry a loose strand of yarn at one of the cuffs of her sweater as she speaks to the witch, telling the witch that in her dreams she has other and better unnatural or supernatural friends.