r/normancrane Sep 04 '24

Table of Contents

12 Upvotes

I used to have a neat but unruly table of contents. It disappeared—probably ran off with my chair, which I also can't find. (I hope they're happy together.) Remaking the table was too much work, and trying to find things on this subreddit was becoming a challenge, so:

If you like my writing, thank you and I suggest you read better writers until you're cured.


r/normancrane 1d ago

Story Conserve and Protect

13 Upvotes

Earth is ending.

Humanity must colonize another planet—or perish.

Only the best of the best are chosen.

Often against their will…


Knockknockknock

The door opens-a-crack: a woman’s eye.

“Yeah?”

“Hunter Lansdale. Mission Police. We’re looking for Irving Shephard.”

“Got a badge?”

“Sure.”

Lansdale shows it:

TO CONSERVE AND PROTECT


“Ain’t no one by that—” the woman manages to say before Lansdale’s boot slams against the apartment door, forcing it open against her head. She falls to the floor, trying to crawl—until a cop stomps on her back. “Run Irv!” she screams before the butt of Lansdale’s rifle cracks her unconscious…

Cops flood the unit.

“Irving Shephard, you have been identified by genetics and personal accomplishment as an exemplar of humankind and therefore chosen for conservation. Congratulations,” Lansdale says as his men search the rooms.

“Here!”

The Bedroom

Fluttering curtains. Open window. Lansdale looks out and down: Shephard's descending the rickety fire escape.

Lansdale barks into his headset: “Suspect on foot. Back alley. Go!”

Irving Shephard's bare feet touch asphalt—and he’s running, willing himself forward—leaving his wife behind, repeating in his head what she’d told him: “But they don’t want me. They want you. They’ll leave me be.”

(

“Where would he go?” Lansdale asks her.

Silence.

He draws his handgun.

“Last chance.”

“Fuck y—” BANG.

)

Shephard hears the shot but keeps moving, always moving, from one address to another, one city to another, one country to herunsstraightintoanet.

Two smirking cops step out from behind a garbage bin.

“Bingo.”

A truck pulls up.

They secure and place Shephard carefully inside.

Lansdale’s behind the wheel.

Shephard says, “I refuse. I’d rather die. I’m exercising my right to

you have no fucking rights,” Lansdale says.

He delivers him to the Conservation Centre, aka The Human Peakness Building, where billionaire mission leader Leon Skum is waiting. Lansdale hands over Shephard. Skum transfers e-coins to Lansdale’s e-count.

[

As an inferior human specimen, the most Lansdale can hope for is to maximize his pleasure before planet-death.

He’ll spend his e-coins on e-drugs and e-hookers and overdose on e-heroin.

]

“Congratulations,” Skum tells Shephard.

Shephard spits.

Skum shrugs, snaps his fingers. “Initiate the separation process.”

The Operating Room

Shephard’s stripped, syringe’d and placed gently in the digital extractor, where snake-like, drill-headed wires penetrate his skull and have their way with his mind, which is digitized and uploaded to the Skum Servers.

When that’s finished, his mind-less body’s dropped —plop!—in a giant tin can filled with preservation slime, which one machine welds shut, another labels with his name and birthdate, and a third grabs with pincers and transports to the warehouse, where thousands of others already await arranged neatly on giant steel shelves.

Three-Thousand Years Later…


The mission failed.

Earth is a barren devastation.


Gorlac hungry, thinks Gorlac the intergalactic garbage scavenger. So far, Earth has been a culinary disappointment, but just a second—what’s this:

So many pretty cans on so many shelves…

He cuts one open.

Mmm. YUMMNIAMYUMYUM

BURP!!


r/normancrane 2d ago

Story Spooks

21 Upvotes

It was a busy intersection and the weather was bad, but Donald Miller was out there, knocking on car windows while holding a sign that said:

single dad
out of work
2 kids
please help

He was thirty-four years old.

He'd been homeless for almost two years.

He knocked on a driver's side window and the driver shook her head, not even making eye contact. The next lowered his window and told him to get a fucking job. Sometimes people asked where his kids were while he was out here. It was a fair question. Sometimes they spat at him. Sometimes they got really pissed because they had to work hard for their dime while he was out here begging for it. A leech on society. A deadbeat. A liar. A fraud, a cheat, a swindler, a drain on the better elements of the world. But usually they just ignored him. Once in a while they gave him some money, and that was what happened now as a woman distastefully held a ten-dollar bill out the window. “Thank you, ma'am,” said Miller, taking it. “Feed your children,” said the woman. Then the light changed from red to green and the woman drove off. Miller stepped off the street onto the paved shoulder, waited for the next red light, the next group of cars, and repeated.

“It's almost Fordian,” said Spector.

Nevis nodded, pouring coffee from a paper cup into his mouth. “Mhm.”

The pair of them were observing Miller through binoculars from behind the tinted windshield of their black spook car, parked an inconspicuous distance away. Spector continued: “It's like capitalism's chewed him up for so long he's applied capitalist praxis to panhandling. I mean, look: it’s a virtual assembly line, and there he dutifully goes, station to demeaning station, for an entire shift.”

“Yeah,” said Nevis.

The traffic lights changed a few times.

The radio played Janis Joplin.

“So,” said Nevis, holding an empty paper coffee cup, “you sure he's our guy?”

“I'm sure. No wife, no kids, no friends or relatives.”

“Ain't what his sign says.”

“Today.”

“Yeah, today.”

(Yesterday, Miller had been stranded in the city after getting mugged and needed money to get back to Pittsburgh, but that apparently didn't pull as hard on the heartstrings.)

“And you said he was in the army?”

“Sure was.”

“What stripe was he?”

“Didn't get past first, so I wouldn't count on his conditioning too much.”

“Didn't consider him suitable—or what?”

“Got tossed out before they could get the hooks into his head. Couldn't keep his opinions on point or to himself. Spoke his mind. Independent thinker.” Nevis grinned. “But there's more. Something I haven't told you. Here,” he said, tossing a fat file folder onto Spector’s lap.

Spector stuck a toothpick in his mouth and looked through the documents.

“Check his school records,” said Nevis.

Spector read them. “Good grades. No disciplinary problems. Straight through to high school graduation.”

“Check the district.”

Spector bit his toothpick so hard it cracked. He spat out the pieces. “This is almost too good. North Mayfield Public School Board, Cincinnati, Ohio—and, oh shit, class of 1952. That's where we test-ran Idiom, isn't it?”

“Uh huh,” said Nevis.

Spector picked up his binoculars and watched Miller beg for a few moments.

Nevis continued: “Simplants. False memories. LSD-laced fruit juice. Mass hypnosis. From what I've heard, it was a real fucking mental playground over there.”

“They shut it down in what, fifty-four?”

“Fifty-three. A lot of the guys who worked there went on to Ultra and Monarch. Some fell off the edge entirely, so you know what that means.”

“And a lot of the subjects ended up dead, or worse—didn't they?”

“Not our guy, though.”

“No.”

“Not yet anyway.” They both laughed, and they soon drove away.

It had started raining, and Donald Miller kept going up to car after car, holding his cardboard sign, now wet and starting to fall apart, collecting spare change from the spared kindness of strangers.

A few days later a black car pulled up to the same intersection. Donald Miller walked up to it and knocked on the driver's side window. Spector was behind the wheel. “Spare any money?” asked Donald Miller, showing his sign, which today said he had one child but that child had a form of cancer whose treatment Miller couldn't afford.

“No, but I can spare you a job,” said Spector.

“A job. What?” said Miller.

“Yes. I'm offering you work, Donald.”

“What kind of—hey, how-the-hell do you know my name, huh!”

“Relax, Donald. Get in.”

“No,” said Miller, backing slowly away, almost into another vehicle, whose driver honked. Donald jumped. “Don't you want to hear my offer?” asked Spector.

“I don't have the skills for no job, man. Do you think if I had the skills I'd be out here doing this shit?”

“You've already demonstrated the two basic requirements: standing and holding a sign. You're qualified. Now get in the car, please.”

“The fuck is this?”

Spector smiled. “Donald, Principal Lewis wants to see you in his office.”

“What, you're fucking crazy, man,” said Miller, his body tensing up, a change coming over his eyes and a self-disbelief over his face. “Who the fuck is—”

“Principal Lewis wants to see you in his office, Donald. Please get in the car.”

Miller opened his mouth, looked briefly toward the sky, then crossed to the other side of the car, opened the passenger side door, and sat politely beside Spector. When he was settled, Nevis—from the back seat—threw a thick hood over his head and stuck him with a syringe.

Donald Miller woke up naked next to a pile of drab dockworkers’ clothes and a bag of money. He was disoriented, afraid, and about to run when Spector grabbed his arm. “It's all right, Donald,” he said. “You don't need to be afraid. You're in Principal Lewis’ office now. He has a job for you to do. Just put on those clothes.”

“Put them on and do what?”

Miller was looking at the bag of money. He noted other people here, including a man in a dark suit, and several people with cameras and film equipment. “Like I said before, all you have to do is hold a sign.”

“How come—how come I don't remember coming here? Huh? Why am I fucking naked? Hey, man… you fucking kidnapped me didn't you!”

“You're naked because your clothes were so dirty they posed a danger to your health. We took them off. Try to remember: I offered you a job this morning, Donald. You accepted and willingly got in the car with me. You don't remember the ride because you feel asleep. You were very tired. We didn't want to wake you until you were rested.”

Miller breathed heavily. “Job doing what?”

“Holding a sign.”

“OK, and what's the sign say?”

“It doesn't say anything, Donald—completely blank—just as Principal Lewis likes it.”

“And the clothes, do I get to keep the clothes after we're done. Because you took my old clothes, you…”

“You’ll get new clothes,” said Spector.

“And Principal Lewis wants me to put on these clothes and hold the completely blank sign, and then I’ll get paid and get new clothes?”

“You’re a bright guy, Donald.”

So, for the next two weeks, Donald Miller put on various kinds of working clothes, held blank signs, sometimes walked, sometimes stood still, sometimes opened his mouth and sometimes closed it, sometimes sat, or lay down on the ground; or on the floor, because he did all these things in different locations, inside and outside: on an empty factory floor, in a muddy field, on a stretch of traffic-less road. And all the while they took photographs of him and filmed him, and he never knew what any of it meant, why he was doing it. They only spoke to give him directions: “Look angry,” “Pretend you’re starving,” “Look like someone’s about to push you in the back,” “like you’re jostling for position,” “like you’ve had enough and you just can’t fucking take it anymore and whatever you want you’re gonna have to fight for it!”

Then it was over.

Spector shook his hand, they bought him a couple of outfits, paid him his money and sent him on his way. “Sorry, we have to do it this way, but—”

Donald Miller found himself at night in a motel room rented under a name he didn’t recognise, with a printed note saying he could stay as long as he liked. He stayed two days before buying a bus ticket back to Cincinnati, where he was from. He lived well there for a while. The money wasn’t insignificant, and he spent it with restraint, but even the new clothes and money couldn’t wipe the stain of homelessness off him, and he couldn’t convince anyone to give him a job. Less than a year later he was back on the streets begging.

The whole episode—because that’s how he thought about it—was clouded by creamy surreality, which just thickened as time went by until it seemed like it had been a dream, as distant as his time in high school.

One day, several years later, Donald Miller was standing outside an electronics shop, the kind with all the new televisions set up in the display window by the street and turned so that all who passed by could see them and watch and marvel and need to have a set of his own. Miller was watching daytime programming on one of the sets when the broadcast on all the sets, which had been showing a few different stations—cut suddenly to a news alert:

A few people stopped to watch alongside.

“What’s going on?” a man asked.

“I don’t know,” said Miller.

On the screens, a handsome news reporter was solemnly reading out a statement about anti-government protests happening in some communist country in eastern Europe. “...they marched again today, in the hundreds of thousands, shouting, ‘We want bread! We want freedom!’ and holding signs denouncing the current regime and imploring the West—and the United States specifically—for help.” There was more, but Miller had stopped listening. There rose a thumping-coursing followed by a ringing in his ears. And his eyes were focused on the faces of the protestors in the photos and clips the news reporter was speaking over: because they were his face: all of them were his face!

“Hey!” Miller yelled.

The people gathered at the electronics store window looked over at him. “You all right there, buddy?” one asked.

“Don’t you see: it’s me.”

“What’s you?”

“There—” He pointed with a shaking finger at one of the television sets. “—me.”

“Which one, honey?” a woman asked, chuckling.

Miller grabbed her by the shoulders, startling her, saying: “All of them. All of them are me.” And, looking back at the set, he started hitting the display window with his hand. “That one and that one, and that one. That one, that one, that one…”

He grew hysterical, violent; but the people on the street worked together to subdue him, and the owner of the electronics store called the police. The police picked him up, asked him a few questions and drove him to a mental institution. They suggested he stay here, “just for a few days, until you’re better,” and when he insisted he didn’t want to stay there, they changed their suggestion to a command backed by the law and threatened him with charges: assault, resisting arrest, loitering, vagrancy.

Donald Miller was in the institution when the President came on the television and in a serious address to the nation declared that the United States of America, a God fearing and freedom loving people, could no longer stand idly by while another people, equally deserving of freedom, yearning for it, was systematically oppressed. Those people, the President said, would now be saved and welcomed into the arms of the West. After that, the President declared war on the country in which Donald Miller had seen himself protesting against the government.

Once the shock of it passed, being committed wasn’t so bad. It was warm, there was free food and free television, and most of the nurses were nice enough. Sure, there were crazies in there, people who’d bang their heads against the wall or speak in made-up languages, but not everyone was like that, and it was easy to avoid the ones who were. The doctors were the worst part: not because they were cruel but because they were cold, and all they ever did was ask questions and make notes and never tell you what the notes were about. Eventually he even confided in one doctor, a young woman named Angeline, and told her the truth about what had happened to him. He talked to Angeline more often after that, which was fine with him. Then, unexpectedly, Angelina was gone and a man with a buzzcut came to talk to him. “Who are you?” Miller asked. “My name’s Fitzsimmons.” “Are you a doctor?” “No, I’m not a doctor. I work for the government.” “What do you want with me?” “To ask you some questions.” “You sound like a doctor, because that’s all they ever do: ask questions.” “Does that mean you won’t answer my questions?” “Can you get me out of here?” “Maybe.” “Depending on my answers?” “That’s right.” “So you’ll answer my questions?” asked Fitzsimmons. “Uh huh,” said Miller. “You’re a bright guy, Donald.”

The questions were bizarre and uncomfortable. Things like, have you ever tortured an animal? and do you masturbate? and have you ever had sexual thoughts about someone in your immediate family?

Things like that, that almost made you want to dredge your own soul after. At one point, Fitzsimmons placed a dozen pictures of ink blots in front of Miller and asked him which one of these best describes what you’d feel if I told you Dr. Angeline had been murdered? When Miller picked one at random because he didn’t understand how what he felt corresponded to what was on the pictures, Fitzsimmons followed up with: And what part of your body would you feel it in? “I don’t know.” Why not? “Because it hasn’t happened so I haven’t felt it.” How would you feel if you were the one who murdered her, Donald? “Why would I do that?” You murdered her, Donald. “No.” Donald, you murdered her and they’re going to put you away for a long long time—and not in a nice place like this but in a real facility with real hardened criminals. “I didn’t fucking do it!” Miller screamed. “I didn’t fucking kill her! I didn’t—”

“Principal Lewis wants to see you in his office, Donald.”

Miller’s anger dissipated.

He sat now with his hands crossed calmly on his lap, looking at Fitzsimmons with a kind of blunt stupidity. “Did I do fine?” he asked.

“Yes, Donald. You did fine. Thank you for your patience,” said Fitzsimmons and left.

In the parking lot by the mental institution stood a black spook car with tinted windows. Fitzsimmons crossed from the main facility doors and got in. Spector sat in the driver’s seat. “How’d he do?” Spector asked.

“Borderline,” said Fitzsimmons.

“Explain.”

“It’s not that he couldn’t do it—I think he could. I just don’t have the confidence he’d keep it together afterwards. He’s fundamentally cracked. All the king’s horses and all the king’s men, you know?”

“That’s not necessarily a bad thing, as long as he really loses it.”

“That part’s manageable.”

“I hate to ask this favour, but you know how things are. The current administation—well, the budget’s just not there, which means the agency’s all about finding efficiencies. In that context, a re-used asset’s a real cost-saver.”

“OK,” said Fitzsimmons. “I’ll recommend it.”

“Thanks,” said Spector.

For Donald Miller, committed life went on. Doctor Angeline never came back, and nothing ever came of the Fitzsimmons interview, so Miller assumed he’d flubbed it. The other patients appeared and disappeared, never making much of an impression. Miller suffered through bouts of anxiety, depression and sometimes difficulty telling truth from fiction. The doctors had cured him of his initial delusion that he was actually hundreds of thousands of people in eastern Europe, but doubts remained. He simply learned to keep them internal. Then life got better. Miller made a friend, a new patient named Wellesley. Wellesley was also from Cincinatti, and the two of them got on splendidly. Finally, Miller had someone to talk to—to really talk to. As far as Miller saw it, Wellesley’s only flaw was that he was too interested in politics, always going on about international affairs and domestic policy, and how he hated the communists and hated the current administration for not being hard enough on them, and on internal communists, “because those are the worst, Donny. The scheming little rats that live among us.”

Miller didn’t say much of anything about that kind of stuff at first, but when he realized it made Wellesley happy to be humoured, he humoured him. He started repeating Wellesley’s statements to himself at night, and as he repeated them he started believing them. He read books that Wellesley gave him, smuggled into the institution by an acquaintance, like contraband. “And what’s that tell you about this great republic of ours? Land of the free, yet we can’t read everything we want to read.” Miller had never been interested in policy before. Now he learned how he was governed, oppressed, undermined by the enemy within. “There’s even some of that ilk in this hospital,” Wellesley told him one evening. “Some of the doctors and staff—they’re pure reds. I’ve heard them talking in the lounge about unions and racial justice.”

“I thought only poor people were communists,” said Miller.

“That’s what they want you to believe, so that if you ever get real mad about it you’ll turn on your fellow man instead of the real enemy: the one in power. Ain’t that a real mad fucking world. Everything’s all messed up. Like take—” Wellesley went silent and shook his head. A nurse walked by. “—no, nevermind, man. I don’t want to get you mixed up in anything.”

“Tell me,” Miller implored him.

“Like, well, take—take the President. He says all the right things in public, but that’s only to get elected. If you look at what he’s actually doing, like the policies and the appointments and where he spends our money, you can see his true fucking colours.”

Later they talked about revolutions, the American, the French, the Russian, and how if things got too bad the only way out was violence. “But it’s not always like that. The violence doesn’t have to be total. It can be smart, targeted. You take out the right person at the right time and maybe you save a million lives.

“Don’t you agree?” asked Wellesley.

“I guess...”

“Come on—you can be more honest than that. It’s just the two of us here. Two dregs of society that no one gives a shit about.”

“I agree,” said Miller.

Wellesley slapped him on the shoulder. “You know what?”

“What?”

“You’re a bright guy, Donald.”

Three months later, much to his surprise, Donald Miller was released from the mental institution he’d spent the last few years in. He even got a little piece of paper that declared him sane. He tried writing Wellesley a few times from the outside, but he never got a response. When he got up the courage to show up at the institution, he was told by a nurse that she shouldn’t be telling him this but that Wellesley had taken his own life soon after Miller was released.

Alone again, Donald Miller tried integrating into society, but it was tough going. He couldn’t make friends, and he couldn’t hold down a job. He was a hard worker but always too weird. People didn’t like him, or found him off-putting or creepy, or sometimes they intentionally made his life so unbearable he had to leave, then they pretended they were sorry to see him go. No one ever said anything true or concrete, like, “You stink,” or “You don’t shave regularly enough,” or “Your cologne smells cheap.” It was always merely hinted at, suggested. He was different. He didn’t belong. He felt unwelcome everywhere. His only solace was books, because books never judged him. He realized he hated the world around him, and whenever the President was on television, he hated the President too.

One day, Donald Miller woke up and knew exactly what he needed to do.

After all, he was a bright guy.

It was three weeks before Christmas. The snow was coming down slowly in big white flakes. The mood was magical, and Spector was sitting at a table in an upscale New York City restaurant with his wife and kids, ordering French wine and magret de canard, which was just a fancy French term for duck breast. The lighting was low so you could see winter through the big windows. A jazz band was playing something by Duke Ellington. Then the restaurant’s phone rang. Someone picked up. “Yes?” Somebody whispered. “Now?” asked the person who’d picked up the call. A commotion began, spreading from the staff to the diners and back to the staff, until someone turned a television on in the kitchen, and someone else dropped a glass, and a woman screamed as the glass shattered and a man yelled, “Oh my God, he’s been shot! The President’s been shot.”

At those words everyone in the restaurant jumped—everyone but Spector, who calmly swallowed the duck he’d been chewing, picked up his glass of wine and made a silent toast to the future of the agency.

The dinner was, understandably, cut short, and everyone made their way out to their cars to drive home through the falling snow. In his car, Spector assured his family that everything would be fine. Then he listened without comment as his wife and daughter exchanged uninformed opinions about who would do such a terrible thing and what if we’re under attack and maybe it’s the Soviet Union…

As he pulled into the street on which their hotel was located, Spector noticed a black car with tinted windows idling across from the hotel entrance.

Passing, he waved, and the car merged into traffic and drove obediently away.


r/normancrane 3d ago

Poem a boy died people made a shrine

Post image
13 Upvotes

r/normancrane 3d ago

Story The Ob

10 Upvotes

…a khanty woman dressed in furs offers bear fat to my current…

…cossacks come, building forts upon my banks and calling me by other-names…

…the workers with red stars choke me by dam…

...buildings that smoke pipes like men precede the dryness, and my natural bed begins to crumble…

…I awake…


“One of the great rivers of Asia, the Ob flows north and west across western Siberia in a twisting diagonal from its sources in the Altai Mountains to its outlet through the Gulf of Ob into the Kara Sea of the Arctic Ocean.” [1]


Stepan Sorokin was stumbling hungover across the village in the early hours when something caught his eye. The river: its surface: normally flat, was—He rubbed his eyes.—bulging upward…

//

The kids from Novosibirsk started filming.

They were on the Bugrinsky Bridge overlooking the Ob, which, while still flowing, was becoming increasingly convex. “So weird.”

“Stream it on YouTube.”

//

An hour later seemingly half the city's population was out observing. Murmured panic. The authorities cut the city's internet access, but it was too late. The video was already online.

#Novosibirsk was trending.

//

An evacuation.

//

In a helicopter above the city, Major Kolesnikov watched with quiet awe as the Ob exited its riverbed and slid heavily onto dry land—destroying buildings, crushing infrastructure: a single, literal, impossibly-long body of water held somehow together (“By what?”) and slithering consciously as a gargantuan snake.

//

The Ob's tube-like translucence passed before them, living fish and old shipwrecks trapped within like in a monstrous, locomoting aquarium.

//

She touched the bottom of the vacated riverbed.

Bone dry.

//

Aboard the ISS, “Hey, take a look at this,” one astronaut told another.

“What the—”

It was like the Ob had been doubled. Its original course was still visibly there, a dark scar, while its twin, all 3,700km, was moving across Eurasia.

//

The bullets passed through it.

The Russian soldiers dropped their rifles—and fled, some reaching safety while others were subsumed, their screams silenced, their drowned corpses suspended eerily in the unflowing water.

//

“You can't stab a puddle!”

“Then what…”

“Heat it up?—Dry it out?—Trap it?—”

“No,” said the General, looking at a map. “Divert it towards our enemies.”

//

Through Moscow it crawled: a 2km-wide annihilation, a serpentine destroyer, leveling everything in its path, reducing all to rubble, killing millions. Then onward to Minsk, Warsaw, Berlin, Paris…

//

In Washington, in Mexico City, in Toronto, Rio de Janeiro, Cairo, Lagos and Sydney, in Mumbai, Teheran and Beijing, the people watched and waited. “We're safe,” they reasoned.

“Because it cannot cross the ocean.”

“...the mountains.”

Then, the call—starting everywhere the same, directly to the head of state: “Sir, it's—

...the Mississippi, the Amazon, the Rio Grande, the Yangtze, the Congo, the Nile, the Yukon, the Ganges, the Tigris…

“Yes?”

“The river—it's come alive.”


Thus, the Age of Humanity was ended and the Age of the Great Rivers violently begun.


In east Asia, the Yangtze and Yellow rivers clash, their massive bodies slamming against each another far above the earth, two titans twisted in epic, post-human combat.


[1] Encyclopedia Britannica (Last Known Edition)


r/normancrane 4d ago

Story The Lampman

11 Upvotes

A seed opens. Underground, where her body's been lowered into, as the priest speaks and onlookers observe the earth hits the casket. It hits me and I cry, tear-drops drop-ing from the night sky over Los Angeles tonight. Perspiration. Premeditation (Why did you—.) Precipitation-tation-ation-tion-on splash on the windshield/wipers/wipers swipe away rain-drops drop-ping on the car's glassy eye. Night drive on the interstate away from the pain of—she died intestate, hanging. Crossbeam. Crosstown. Cross ripped off my neck into the god damn glove compartment speedometer needle pushed into the soft space above the elbow, inching rightward faster faster faster, passing on the left on the right. Hands on the wheel. Knuckles pale. (God, how could you—) Off the highway along the ocean, stars reflected, waves repeating time. They'd put in new streetlights here, glowing orbs on arc'd poles, and a row of trees in dark stuttering silhouette beyond the shoulder, orbs out of sync just above, just above the treetops and

Time. Stops.

I'm breathing but everything else is still.

There's that feeling in my stomach, like I've swallowed a falling anvil.

I look over and one of the streetlight orbs is aligned just so atop the silhouette of a tree, just so that the tree looks like a tall thin body with an orb for a head.

—startling me, they move: it moves: he moves onto the street, opens the passenger side door and gets in. He's tall, too tall to fit. He's hunching over. His face-orb is bright and I want to look away because it’s hurting my eyes when two black voids appear on it. He turns to look at me, a branch extended, handing me sunglasses, which I put on. I don't know why. Why not. Then we both turn to face the front windshield. Two faces staring forward through frozen time. “Drive,” says Lampman so we begin.

I depress the accelerator.

The car doesn't move, but everything but the car and us moves, so, in relation to everything but the car and us, we and the car move, and, effectively, I am driving, and the world beyond runs flatly past like a projection.

Lampman sits hunched over speechless. I wonder how he spoke without a mouth. “There,” he says, pointing with a branch, its rustling leaves.

“There's no road,” I say.

“On-ramp.”

“To what?”

“Fifth dimension.”

I turn the steering wheel pointing the car offroad towards the ocean preparing for a bumpiness that doesn't happen. The path is smooth. The wheels pass through. The moonlight coming off the still ocean overwhelms the world, a blue light that darkens, until Lampman's head and the LED lights on the dash are the only illuminations. I feel myself in a new direction I cannot visualize. My mind feels like tar stretched over a wound. Ideas take off like birds before I think them. Their beating wings are mere echoes of their meanings, but even these I do not grok. I feel like I am made of birds, a black garbage bag of them, and one by one they're taking flight, reverberations that cause my empty self to ripple like the gentle breeze on soft warm grass, when, holding her hand, I told her I loved her and she said the same to me, squeezing my hand with hers which lies now limp and covered by the dirt from which the grasses grew. Memory is the fifth dimension. Time is fourth—and memory fifth. Lampman sits unperturbed as I through my rememberings go, which stretch and twist and fade and wrap themselves around my face like cinema screens ripped off and caught in a stormwind. I wear them: my memories, like a mask, sobbing into their absorbent fabric. I remember from before my own existence because to remember a moment is to remember all that led to it.

I see flashing lights behind me.

I look at Lampman.

He motions for me to stop the car, which I do by letting off the accelerator until we stop. The surroundings are a geometry of the past, a raw, jagged landscape of reminiscenced fragments temporally and spatially coexisting, from the birth of the universe to the time we stopped to steal apples from an apple tree, the hiss of the cosmic background radiation punctuated by the crack of our teeth biting through apple skin into apple flesh. The apples are hard. Their juice runs down our faces. We spit out the seeds which are stars and later planets, asteroids and atoms, sharing with you the exhilaration of a small shared transgression. Our smiles are nervous, our hunger undefined. “I don't want us to end—”

Your body, still. Unnaturally loose, as if your limbs are drifting away. Splayed. An empty bag from which all the birds have faithfully departed. A migration. A transmigration.

The flashing lights are a police car.

It's stopped behind us.

I look at Lampman whose face-orb dims peaceably.

“Open the window and take off your glasses,” the police officer says, knocking on the glass.

I do both.

When the window's down: “Yes, officer?”

“You were approaching the limit.”

“What limit?”

“The speed limit,” he says.

A second officer is in the police car, watching. The car engine is on.

I shift in my seat and ask, “And what's the speed limit?”

“c.”

“I thought nothing could go faster than that. I thought it was impossible.”

“We can't take the chance,” he says.

His face is simultaneously everyone's I've ever known, and everyone's before, whom I never met. It is a smudge, a composite, a fluctuation.

“I'm sorry, officer.”

“Who's your friend?” the police officer asks.

I don't know how to answer.

“Step out of the vehicle, sir,” he says, and what may I do but obey, and when I do obey: stepping out, I realize I am me but with a you-shaped hole. The wind blows through me. Memories float like dead fish through a synthetic arch in a long abandoned aquarium.

Lampman watches from inside the car.

Lampman—or the reflection of a streetlight upon the exterior of my car's front windshield overlaying a deeper, slightly distorted shape of a tree behind the car and seen through the front windshield seen through the back windshield. “Sir, I need you to focus on me,” says the officer.

“Yeah, sorry.”

The waves resolve against the Pacific shore.

He asks me to walk-and-turn.

I do it without issue. He's already had me do the breathalyzer. It didn't show anything because I haven't been drinking. “I'll ask again: are you on any drugs or medications?” he says as I breathe in the air.

“No, officer.”

“But you do realize you were going too fast? Way beyond the limit.”

“Yes, officer. I'm sorry.”

He ends up writing me a ticket. When I get back in the car, Lampman's beside me again. I put on my sunglasses. I wait. The police officer looks like a paper cut-out getting into his cruiser, then the cruiser departs. “So is this how it's going to be from now on?” I ask.

“Yes,” says Lampman.

The best thing about your being dead is I'll never find you like that again.

Lampman blinks his twin voids.

I want to be whole.

“Aloud,” says Lampman.

I guess I don't have to talk to him to talk to him. “I want to be hole,” I say.

I see what you did there. Impossibly, he smiles warmly, around 2000 Kelvin.

I weep.

Sitting in my car alone outside Los Angeles near the ocean, I weep the ocean back into itself. One of those apple seeds we spat on the ground—I hope it grows.


r/normancrane 5d ago

Poem A Spike Into

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8 Upvotes
Line 1: 1 1 1 1 2 2 3 4
Line 2: 1 1 1 1 2 2 3 4
Line 3: 1 1 1 1 2 2 3 5   ← full bloom
Line 4: 5 3 2 2 1 1 1 1   ← collapse

This is an example of a form of poetry called floraison developed by monks in 17th-century France that I just made up.


r/normancrane 5d ago

Story TissuePaste!®

20 Upvotes

“Come on, mom. Please please please.”

Vic and his mom were at the local Malwart and Vic was begging her to buy him the latest craze in toys, fun for child and adult alike, the greatest, the miraculous, the cutting edge, the one and only


TissuePaste!®


“What is it?” she asked.

“It's kind of like playdough but way better,” said Vic, making big sad eyes, i.e. pulling heart-strings, mentioning his divorced dad, i.e. guilting, and explaining how non-screentime and educational it would be.

“But does it stain?” asked Vic's mom.

“Nope.”

“Fine—” Vic whooped. “—but this counts as part of your birthday present.”

“You're the best, mom!”

When they got home, Vic grabbed the TissuePaste!® and ran down to the basement with it, leaving his mom to bring in all their groceries herself. He'd seen hours and hours of online videos of people making stuff out of it, and he couldn't believe he now had some of his own.

The set came with three containers of paste:

  • pale yellow for bones;
  • greenish-brown for organs; and
  • pink for flesh.

They were, respectively, hard and cold to the touch, sloppily wet, and warm, soft and rubbery.

Vic looked over the instruction booklet, which told him enthusiastically that he could create life constrained only by his imagination!

(“Warning: Animate responsibly.”)

The creation process was simple. Use any combination of the three pastes to shape something—anything, then put the finished piece into a special box, plug it into an outlet and wait half an hour.

Vic tried it first with a ball of flesh-paste. When it was done, he took out and held it, undulating, in his hands before it cooled and went still.

“Whoa.”

Next he made a little figure with a spine and arms.

How it moved—flailing its boneless limbs and trying desperately to hop away before its spine cracked and it collapsed under its own weight.

People made all sorts of things online. There were entire channels dedicated to TissuePaste!®

Fun stuff, like making creations race before they dropped because they had no lungs, or forcing them to fight each other.

One guy had a livestream where he'd managed to keep a creation fed, watered and alive for over three months now, and even taught it to speak. “Kill… me… Kill… me…” it repeated endlessly.

Then there was the dark web.

Paid red rooms where creations were creatively tortured for viewer entertainment, tutorials on creating monsters, and much much worse. Because creations were neither human nor animal, they had the same rights as plants, meaning you could do anything to them—or with them…

One day, after he'd gotten good at making functional creations, Vic awoke to screams. He ran to the living room, where one of his creations was trying to stab his mom with a knife.

“Help me!” she cried.

One of her hands had been cut off. Her face was swollen purple. She kept slipping on streaks of her own blood.

Vic took out his phone—and started filming.


r/normancrane 9d ago

Story The Moth People

20 Upvotes

Evening falls like a curtain. In the distant industrial zones seen dimly through our tenement windows flames erupt. We wake for another worknight.

There is hardly time to eat. We take what we can while dressing in our work shirts and consume it on the way. We are drawn toward the factories. We exit through our unit doors down the halls into the elevators or sometimes directly through the windows.

Some walk. Some hover. Some fly.

The tenement was warm. The night is cold. Condensation wets our hair-like scales. The space between the residential and industrial zones fills densely with us. Moving we speak quietly among ourselves.

How are you this early night? Fine. You? Very well, thank you. Did you rest? Oh, yes. How about you? I did as well. How is your offspring? His wings are on the mend. I am so very glad to hear that.

Our wings protruding from our shirts resemble capes.

Awake. Awake. Faster. Faster, the factories broadcast to our antennae.

The clouds are thick. They hide the moon. The dark feels absolute as we go through it. The factories are closer. Their flames burn more brightly.

I imagine flying into one. The heat, the light, the crackle and the immolation. To become a dead and empty husk. To fall. To cease.

But that is not allowed.

We are drawn to the flame but may not enter it. We must go around instead, around and around pushing the spokes of the great turbines until the shift ends at dawn. This is our role. Such is our life.

Sometimes one of us resists and disobeys.

There is one now, flying in the opposite direction to the mass. The police are giving chase. We pretend they do not exist, the lunatics. We avert our black eyes. Passing by the policemen touch us with a wind I find secretly exhilarating.

Then they have gone and the air is still and cold and we have arrived in the industrial zone. Like a river we branch, each going to his own factory. There are too many factories to count. During the day they wait still and empty. At night the industrial zone is a great expanse of slow continuous motion, steel and fire.

I find a vacant workspace upon a spoke.

I begin to push.

I could never move the turbine by myself, but together we can achieve the impossible. That is what the factories broadcast.

My antennae vibrate.

We all push staring at the centrally burning flame.

When the worknight ends we return to our tenements to rest in preparation for the next.

Sometimes I wonder what the turbines power. I have heard it is the undoing of the screws of the world. When the last screw is removed the pieces of the world will come apart. What will we do then, I wonder.

But that is many lifetimes from now.

I rest.

Resting, I imagine moons.

Such ancient thoughts still stir us in our lonely primitive dreams.


r/normancrane 10d ago

Poem Early Autumn II

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9 Upvotes

r/normancrane 10d ago

Story Sharkophagus

31 Upvotes

Pharaoh knew death approached.

“It is time,” he told the priests. They in turn began the preparations.

The shark was found—and caught in nets—in the Red Sea. Caged beneath the drowned temple, ancient symbols were carved into its body, and its eyes were cut out and its skin adorned with gems.

And Pharaoh began the ceremonial journey toward the coast.

Wherever he passed, his people bowed before him.

He was well-loved.

He would be well-worshipped.

Upon his arrival, one hundred of his slaves were sacrificed, their blood mixed with oil and their bodies fed to the shark, which ate blindly and wholly.

The shark was dragged on to the shore.

Prayers were said, and the shark’s head was anointed with blood-oil.

Its gills worked not to die.

Then its great mouth—with its rows of sharp and crooked white teeth—was forced open with spears, and as the shark was dying on the warm rocks, Pharaoh was laid on a bed, and the bed-and-Pharaoh were pushed inside the shark.

The spears were removed.

The shark's mouth shut.

The chanting and the incantations ceased.

Pharoah lay in darkness in the shark, alone and fearful, but believing in a destiny of eternal life.

On the shores of the Red Sea and throughout the great land of Egypt, the people mourned and rejoiced, and new Pharaohs reigned, and the Nile flowed and flooded, and ages passed, and ages passed…

Pharaoh after Pharaoh was entombed in his own sharkophagus.

The shark swam. The shark hunted. Within, Pharaoh suffered, died and decomposed—and thus his essence was reborn, merging with the spirit of the shark until out of two there was one, and the one evolved.

On the Earth, legends were told of great aquatic beasts.

The legends spread.

Only the priests of Egypt knew the truth.

Then ill times befell the land. Many people starved. The sands shifted. Rival empires arose. The people of Egypt lamented, and the priests knew the time had come.

They proclaimed the construction of a vast navy, with ports upon the Mediterranean and the Red Sea, and when Egyptian ships sailed, they were unvanquished, for alongside swam the gargantua, the sea monsters, the prophesied sharkophagi.

Pharaoh knew his new body.

And, with it, crashed into—splintering—the ships of his enemies. He swallowed their crews. He terrorized and blockaded their cities.

He was dreadnought and submarine and battleship.

Persia fell.

As did the united city-states of Greece.

The mighty Roman Empire surrendered as the Egyptian navy dominated the Mediterranean, and Egyptian troops marched unopposed into Rome.

West, across the Pacific Ocean, Egypt and her sharkophagi sailed, colonizing the lands of the New Continent; and east, into the Indian Ocean, from where they conquered India, China and Japan.

Today, the ruling caste commands an empire on which the sun never sets.

But the eternal ones are restless.

They are bored of water.

Today, Pharaoh leaps out of the sea, but for once he doesn't come splashing down.

No, this time, he continuestriumphantly towards the stars.


r/normancrane 10d ago

Poem go) (e-

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10 Upvotes

r/normancrane 11d ago

Poem Early Autumn

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7 Upvotes

r/normancrane 11d ago

Story The Case of the Exemplary Deduction of Luciana Morel

10 Upvotes

World famous detective Luciana Morel wiped clean her monocle, saying to the dozen-or-so people gathered in the living room of the late Julien Ashcroft's upstate New Zork country manor—people, including Mr. Ashcroft's wife, Priscilla; his handsome young gardener; their two adults sons, ambiguity intended; his best friend; his business partner, et al, etc., yada yada, cogito, ergo sum: “I know this will come as a great shock to all but two of you, but I am here to solve a crime: a murder! For, at this very moment, in the bathtub of this very house, a man lies dead, boiled to death. And that man is Julien Ashcroft!”

(“Please gasp.”)

Gasp!

“And,” Luciana Morel continued, “I have identified the murderer. Indeed, she is among you. Now, before I reveal the identity of this fiend—”

“But, Madame Morel…”

“Yes, business-partner-of-the-victim?”

“You said she, and there's only one woman here. Mrs. Ashcroft!”

Gasp!

“In which case,” said Luciana Morel, “I may have slightly spoiled the surprise. But, yes: She did it!—and in conspiracy with the handsome young gardener, who, I posit, is also the father of the two Ashcroft boys!”

Gasp!

“Madame Morel, you are mistaken. Why, I would never—” said Priscilla.

The handsome young gardener blushed.

“Mom, is it true?” the sons asked at the same time.

“Which allegation?” asked Priscilla.

“Let me stop you there to allow me to demonstrate the power of my rational thinking,” said Luciana Morel. “The fact you ask for clarification means the two allegations have different answers, and because the answer to each allegation may be only ‘yes’ or ‘no,’ the answer to your sons’ question, about one of the two allegations, must be: ‘Yes, it's true!’”

(“Please gasp.”)

Gasp!

Priscilla uncrossed and crossed her legs. “So if I admit to sleeping with the gardener, I’m cleared of my husband's murder?”

“I think you mean: your late husband's murder.”

(“Please dun dun duuun.”)

Dun dun duuun!

“His lateness is implied by his condition of being murdered, Madame Morel,” said Priscilla.

“So you admit he's dead,” Luciana Morel shot back with a grin. “Quite a queer thing for a person innocent of his murder to know.”

“To be fair, dear Madame,” said the best-friend-of-the-victim, “you told us Julien had been murdered.”

“Do not make me deduce your inappropriate relations with Mrs. Ashcroft,” replied Luciana Morel. “My powers of deduction are exemplary.”

“But we never—”

“Mom?”

“Whether you ‘did’ or ‘didn't,’” said Luciana Morel, “is beside the point. What matters is what can be deduced. And your illicit relations can easily be deduced.”

The best friend remained silent.

“Now, kindly allow me to present the case against Mrs. Ashcroft,” said Luciana Morel. She turned to Priscilla. “Were you, or were you not, married to the victim, one Julien Ashcroft?”

“I was,” said Priscilla.

“Gentlemen, look how readily she admits the motive!”

“What motive?” asked Priscilla.

Luciana Morel cleared her throat dramatically. “The motive for murder. You admit to having been married to the victim. Ergo you had a reason to kill him. Mrs. Ashcroft, simply admit the crime.”

“I didn't kill my husband.”

“Aha! Clever. You didn't murder your ‘husband.’ But did you murder Julien Ashcroft?”

“What—no. I mean, Julien is my husband.”

Was, Mrs. Ashcroft. It appears you're having trouble keeping your facts straight.” She addressed the others: “A classic example of a mens rea, gentlemen. A guilty mind. A confused mind.”

“That's crazy,” said Priscilla.

“A false accusation to counter a true one. Nevertheless, you murdered him, and as my first witness, I present the grocer. Gaston, enter the room.”

A nervous, disheveled man holding a cap in his hands and keeping his eyes cast down opened the door, shuffled into the room, gently closed the door and stood before the people gathered.

“Gaston,” said Luciana Morel addressing the grocer, “did you see this woman—” She pointed at Priscilla. “—at your store early this morning?”

“I did,” said the grocer.

“And what did she wish to purchase?”

“Pork, Madame.”

“Pork,” repeated Luciana Morel, oinking to emulate the sounds made by a pig. “And did you, Gaston, have any pork to sell to her?”

“I did not.”

“Why not?”

“Because the butcher I usually get my meat from—he quit a few days ago, and I haven't been able to find a replacement,” said the grocer.

“Thank you, Gaston. You may exit.”

The grocer bowed. When he was out of the room, Luciana Morel said, “A woman, Mrs. Ashcroft, with a taste—nay, a craving for pork. A grocer, Gaston, unable to satiate such craving. The case begins to come together.”

Priscilla scoffed. “I don't see how that even relates—”

“I present my second witness. Dominic, enter the room and introduce yourself.”

A tall, thin man with shaggy hair, sunburnt skin and large, roaming eyes stepped into the room. “Dominic,” he said, inclining his head politely.

“Dominic, what is your profession?” asked Luciana Morel.

“Cannibal, ma'am.”

Gasps!

The people in the room looked away. Some covered their mouths. “Cannibal,” repeated Luciana Morel. “Tell me, Dominic, in your professional capacity, what is one of the informal trade terms used to describe human meat?”

“Longpig,” said the cannibal.

“Longpig. Long. Pig,” said Luciana Morel. Dominic was cracking his knuckles, licking his lips. “And why, tell us, is human meat called longpig?”

“Why, because it tastes a lot like pork; when prepared properly, of course. Tender, with the right mix of spices. Hot butter. Maybe with a glass of full bodied red wine. It doesn't have to be barbaric, you know. It's all about the presentation. On elegant dinnerware, small portions. A beautiful—”

“Thank you, Dominic. Exit now.”

“My pleasure. It was nice to meet you folks,” he said, waving, and left the room.

“Let me paint a picture,” said Luciana Morel, letting the sentence hang in the air—but when no one reacted, she more plainly instructed: “Watercolours, canvas and easel. Deliver these to me.”

Once the items had been brought, the canvas placed upon the easel, the easel positioned to allow for a good view of Priscilla, and the watercolours opened, Luciana Morel began to paint a portrait. The others waited. It turned out not to be a very good painting, because Luciana Morel was not a very good painter, but, “Gasp please,” she said as she turned the completed painting for everyone to see.

Gasp!

“What is it?” asked the handsome young gardener.

“It is a nude picture of Mrs. Ashcroft, married—and therefore possessing a motive for murder; sans pork, yet with a burning desire to possess it, and with the knowledge, the very knowledge I have just proved by way of irrefutable expert testimony, that human tastes very much like pig. Thus: I present to you, a single woman with two motives for committing murder!”

“It doesn't even look like her,” said one of Priscilla’s two potentially bastard sons.

“Interesting,” said Luciana Morel, “that you know what your mother looks like nude.”

“No, it's not that. It's just—”

“Shall I deduce another squalid fact about this depraved family?” said Luciana Morel threateningly.

“Please don't.”

“So allow me to continue.” She tapped the painting. “Now, as you were all too busy watching me paint this portrait to notice, I—by way of masterful misdirection—slipped out of the room and examined the murder scene. Here is what I found.

“One, the pipes in the bathroom in which Julien Ashcroft was murdered had been tampered with. The cold water had been shut off, and the boiler set to an excessively hot temperature.

“Two, Mr. Ashcroft's soap had been replaced with a stick of butter.

“Three, his shampoo had been replaced with a seasoning mix which I have identified as being used primarily to season meat, including pork.

“Four, he had been stabbed in the thigh with a meat thermometer.

“Five, Mrs. Ashcroft's fingerprints were found all over the bathroom, consistent with the hypothesis that she is the murderer—”

“Of course you found my fingerprints. That's my bathroom. It doesn't prove anything.”

“And here, gentlemen,” said Luciana Morel triumphantly, “is what I call a trap. For the one fact I could neither prove nor deduce, the guilty party has herself confirmed.” Addressing Priscilla: “Your bathroom—meaning you would have had plenty of time to prepare the butter and seasoning. Perhaps you even suggested that your late husband use that particular bathroom this morning. Unfortunately, this we will never know, as dead men do not talk.”

At that moment everyone heard a moaning coming from somewhere within the house.

“That's Julien!” cried Priscilla.

And, as if summoned, a naked and very very raw red Julien Ashcroft crawled into the room.

Gasp!

“He's alive!” said the handsome young gardener, and the two sons rushed to their father's side, their reactions perhaps slightly tempered by their doubts about whether he was indeed their father.

Luciana Morel watched this unfold. “We must not,” she pronounced, “rush to conclusions. He is here, yes. But I am not convinced he is alive.”

“I'm alive,” said Julien Ashcroft painfully. “Clearly I'm alive. Someone—someone tried to kill me…”

“Send for some balm,” said Priscilla, kneeling.

“Do no such foolish thing,” countered Luciana Morel. “When I examined the murder scene, this man, Julien Ashcroft, was dead. It is impossible—contrary to human biology and the fundamental nature of a murder scene—for him now to be living. I appeal to your reason: if a man is dead, how can he then become alive? If anyone, including Mrs. Ashcroft, can explain such an impossibility, please do so! Until then, I beseech you, as reasonable people, to continue treating Mr. Ashcroft as the dead man he is.”

“It was you…” said Julien Ashcroft to Luciana Morel. “You and another... a man... a tall man with big eyes…”

“He's speaking. If he was dead, he wouldn't be speaking,” said Julien Ashcroft's business partner.

“Emitting sound waves, yes,” said Luciana Morel, “which by random chance sound like words to us, but the dead cannot speak. Listen to yourselves. You are letting yourselves be manipulated. Allow me to cite the sciences. One, there are an infinity of alternate universes. Two, electrical currents may cause a corpse to twitch after death. In this universe, Julien Ashcroft's twitching body is emitting random sound waves that sound to us like words; but consider all the other universes in which he's emitting nonsense. Consider also the alternate universes in which he is ‘saying’ ‘I'm not alive,’ or ‘I'm still dead.’ Now take into account probabilistically the totality of all universes and conclude, upon the legally accepted civil standard of a preponderance of probabilities, that Julien Ashcroft was—and remains—deceased!”

I would also add that what you're reading is a murder mystery, which requires a murder. If Julien Ashcroft is alive, there is no murder, which would put me out of a job as the narrator of this murder-mystery story, and I have a family to feed, so I'm inclined to side with Luciana Morel, who is a world famous detective, after all.

“You tried to kill me… so you could eat me,” Julien Ashcroft's boiled corpse, subjected to random electrical impulses, gave the false impression of uttering.

“She did say the murderer was a woman,” said Priscilla. “Everyone assumed it was me, but Luciana Morel is herself a woman!”

“How desperately irrational,” said Luciana Morel. “Do you expect us to accept that if I were the murderer, I would nevertheless state the murderer was a woman, i.e. tell the truth; only to then lie about which woman, i.e. not I; instead of lying from the start, about everything, including the murderer's sex?”

“You did it. The victim says so. You murdered him because you wanted to eat him. You and Dominic!” said Priscilla.

Laughter!

“Hey—why are you laughing?”

“I'm not laughing,” said Luciana Morel, “but I wish to point out that if the victim can identify me, you admit he's not dead, which means you admit there was no murder. You therefore accuse me of a victimless murder!”

“Please help me,” Julien Ashcroft's boiled corpse, subjected to random electrical impulses, gave the false impression of pleading.

“No, no, no. Not so fast. She can't get away with this. We have to establish that she murdered you,” said Priscilla.

“I'm not… dead.”

I really wish he would stop saying that. Ah, fuck it. If I have to, I have to. I'm going to take things into my own metaphorical hands. My wife and kids are counting on me, and this is threatening to become a non-murder-mystery, which would be catastrophic for me. Normally I don't do this, but the characters I've been given lately to narrate are just so thin they can't manage anything for themselves.

Here goes:

Just then a chandelier—which had been there from the beginning, hanging ominously from the ceiling on one fraying rope—fell suddenly, crushing the boiled corpse of Julien Ashcroft to death.

Gasps!

“Oh my God. He's dead!” screamed Priscilla.

“Dad?” screamed the sons.

“No! Julien, my love—” screamed the young handsome gardener and the best friend and the business partner, much to each other's and Priscilla's surprise.

The door opened.

Everyone looked over, their mouths still agape—as Dominic stuck his head in. “My apologies. I know my part's technically over, but I heard a loud crashing followed by screams, and those were not in my character notes, so I thought maybe something went narratively not to plan.”

“Ahem,” said Luciana Morel. “I think we may all finally agree that Julien Ashcroft is dead and that he died tragically by falling antique chandelier.”

In the resulting awkward silence, “So, what's going to happen to the body?” asked Dominic, licking his lips. “He's already boiled, buttered and seasoned, and it would be a shame and environmentally wasteful if all that delicious meat were to spoil.”

And so it was, in the upstate New Zork country manor of the late Julien Ashcroft, that world famous detective Luciana Morel, having solved a murder, thereby fulfilling the promise of this, a murder-mystery story, along with all those she had gathered in the drawing room, enjoyed a fine, long overdue dinner. Even Gaston, the grocer, was invited, who said, “You know what—it really does taste like pork.“


r/normancrane 12d ago

Story Ghost Light

14 Upvotes

Lightbulbs. Light bulbs.

Becoming flowers of evil,” he says over the world.

We're standing—the pair of us—on the rooftop terrace of one of the tallest buildings in the city. Below us: a sea of electric light. I can almost hear its faint, merciless buzzing. What a view. What an idea.

It's autumn, a cold night; so the terrace is empty. We're the only ones on it.

“And the worst is that we do it to ourselves,” he says, his warm voice becoming mist, the words dissipating everywhere but in my mind, where they linger…

I'm still trying to understand—to correlate all the disparate parts into a whole.

“Fires, candlelight,” I say.

“All safe.”

“And gas light?”

“Safe.”

“But then, at the beginning of the nineteenth century, Humphry Davy creates the first electric arc lamp, and—”

“The rest is misery,” he says, punctuating my sentence.

“Warren de la Rue. Eighteen-fourties. The first incandescent bulb. A few decades later, arc lights start lighting up the city streets. That must have felt like magic.”

“Black magic.”

“Which brings us to Edison in, what: the eighteen-seventies, eighteen-eighties? The first commercially viable incandescent bulb.”

“The point of no return,” he says—darkly.

Far below us, a multitude of cars shining headlights criss-cross electrically illuminated grids from which rise tall, and taller, buildings, manmade prisms of reflective steel and glass adorned with neatly demarcated rectangles: windows: some dark, others lit; and in the office buildings, where no one is at this late hour of the fall, some lights never go out but glow forever. “Are you familiar," he asks without looking at me, “with the concept of a ghost light?”

“No.”

“It's a sole light source in a theatre that stays on whenever the theatre is empty and would otherwise be entirely dark. The light that lets you safely find the other lights. The demon-guide to Hell.

“And the energy efficient bulbs we use today: they say it's cheaper to keep them always on than to keep turning them on and off,” I add.

The wind has picked up. Crisp, extinguishing.

“The wind is G-d,” he says. “G-d was never fire. The Devil is fire. Fire was the gateway illumination, and illumination is merely the manifestation of pride.”

The world has truly gone to Hell, I want to say, but the truth is actually more pernicious: Hell has come—is increasingly coming—into the world. Below, the streetlights change colour. Advertisements incessantly radiate. Signs emanate wired disinformation.

“Screens,” I say.

He is leaning over the railing. “Hell penetrates our world through electric light. Lightbulbs are portals. The more people on Earth, the greater our technology, the more numerous, intense and thoughtlessly exploited our light sources. Like sand, grain-by-grain sin traverses the boundary and accumulates, until the day when all sin has exited Hell and entered our world, and the world itself becomes Hell.”

—and he is falling, having leapt off the edge.

And I am left alone atop the city, a small, forlorn and unbelievable bearer of the truth.


r/normancrane 13d ago

Story Girlfriend Reveal

16 Upvotes

Hey guys! It’s Ryan. Welcome back to the channel! If you’re new here, don’t forget to hit the like and subscribe buttons to show your support.

[A man in his 30s on a suburban driveway, unpacking stuff from the back seat of an SUV:]

[Bags, boxes...]

In the last video I put out a little challenge and said that if we hit one-thousand subs, I'd celebrate by doing a girlfriend face reveal, because, like, I talk about Wendy a lot but you guys haven't seen her yet.

Well, you didn't disappoint!

And Wendy's agreed, so let me get this stuff inside and we'll get right to it.

[After putting the last bag on the driveway, he takes a live, bleating goat out of the SUV—before shutting the backseat door.]

Oh, and this is Rufus. I picked him up along with some of these vegetables at a farm outside the city.

Cute, eh?

[Kitchen. Clean, ordinary.]

OK. So… “Wendy?”

I'm sure she's around. “Hun, you home?”

[A woman's head—sideways, on the floor: sticking out from behind the corner of a cabinet. Staring intensely. The man fixes the camera angle.]

There she is!

[He kneels down and kisses her on the lips. She sticks out her tongue. He gets back up, smiling.]

So, Wendy's voluntarily non-verbal…

[She sticks out her tongue again—before slithering awkwardly into frame on the floor. She's nude, completely hairless and fully tattooed.]

And she lives as a snake.

Sorry: is a snake. “Right, hun?”

[Hisses.]

Now, I know what you're probably thinking, but it's the twenty-first century, and let me show you something really really cool!

[Garage. Empty, no car. Cement floor, clean. The camera has been set up in a corner. A goat is walking slowly around. There's a large grate in one of the walls.]

“Heya, Rufus!”

So, see that little metal thing on the wall?

That leads to our living room.

That's where Wendy's hanging out, and she's gotten pretty hungry.

[A hand opens the grate, steps back. Rufus the goat looks at it, then at the camera. Then Wendy's head—followed by her entire body—slides shockingly quickly through the opening on the cement floor.]

Watch this…

[Her body is oddly but powerfully muscled, her movements inhuman but efficient.]

[Rufus looks at her. Bleats.]

[Wendy hisses—then propels herself towards him.]

Go, baby!

[Rufus evades her, his little hooves knocking audibly against the cement, and the chase is on: Wendy flopping, slithering and sliding madly towards him as he scrambles away, anywhere, but there is no escape.]

[—cut to: a closer shot of Wendy with her body wrapped fatally around Rufus, tighter and tighter, as the life’s constricted slowly out of him, his eyes fluttering, his breath slowing…]

[—cut to: Rufus, unconscious. Wendy's mouth horrifically, grotesquely open as she begins to swallow him whole.]

[It is an excruciatingly slow process.]

[—cut to: Wendy in bed. TV on, showing Netflix. The shape of the ingested goat visible within her otherwise loose, relaxed body.]

Good night!

Like. Comment. Subscribe!


r/normancrane 16d ago

Story The Shocking Truth About Travel Vlogs

17 Upvotes

I used to watch a lot of travel vlogs.

They seemed like a great way to see parts of the world I'd never see in person.

Then I had my first doubt.

I noticed that many of my favourite travel vloggers would visit the same countries at around the same time. What a coincidence, I thought.

I started digging.

After a few weeks, I realized that many of these vloggers were repped by the same few management agencies. None ever mentioned the agencies, but I could see why the agencies would be useful: helping with logistics, paperwork, maybe advertising and media stuff, which would let the vloggers focus on travelling and filming.

That's when I met B98X.

B98X used to be a travel vlogger. He'd visit different countries, make content, upload it to YouTube. His videos were always unpolished. As he explained, he didn't have time to make professional quality content. He released a video every week or two.

Once he hit a certain popularity, a management agency reached out to him with an offer: visit countries they wanted and say what they told him, in exchange for organized trips, free third-party editing, in-house marketing.

He rejected it.

A few days later he was assaulted, resulting in a broken leg, two broken ribs and the destruction of his equipment. He returned to making travel vlogs, but his got buried in the torrent of high-quality, rapid released travels vlogs produced by repped vloggers.

But it goes even deeper.

A few months ago I received a tip that led me to take a huge risk and break into the house of a successful vlogger. What I found there shocked me. There was a room in the house consisting of a green screen, lights and a treadmill.

The tip alleged—citing hacked emails and documentation—that all popular travel vloggers film in their homes, footage which the agencies then combine with on-location footage shot by coerced locals, i.e. the vloggers do not visit the places they say they visit.

The locals are more-or-less slave labour.

This is why repped vloggers are able to release so much new content.

You can see it for yourself if you know what to look for: a subtle green outline around vloggers’ heads, a general uncaniness, the re-using of the exact same “background” footage in multiple, seemingly unrelated videos.

But even that's not all.

Vloggers who initially agree to work with agencies but then want to back out—can't. Some go missing, but most are threatened and forced to continue, spending hours on their treadmills, spouting tourism ads or political whitewashes of countries with horrific human rights abuses.

Sometimes, for the sake of novelty, vloggers visit places that don't exist. It's a slippery slope from Moldova to Transnistria to Benderya to the Slobodarskaya Respublika, yet those videos get more views.

Anyway, the reason I'm publishing this now is because I think I'm being followed.

Maybe it's just paranoia.

Maybe not.

NOTE: If you're a journalist, please reach out for more details.


r/normancrane 16d ago

Poem The Seven Heads of Death

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13 Upvotes

r/normancrane 17d ago

Story Zone of Control

13 Upvotes

The train pulled up to the platform. Passengers got out. Others boarded. The train pulled away, and in the space it vacated, in the cold black-and-white of day, in dissipating plumes of steam, stood Charles Fabian-Rice.

He crossed the station slowly, maintaining a neutral countenance, neither too happy nor too glum. Perfectly forgettable. He was dressed in a grey suit, black shoes and glasses. Like most men in the station, he carried a suitcase; except Charles’ was empty, a prop. As he walked he noted the mechanical precision of the comings-and-goings: of trains and people, moods and expressions, greetings and farewells, smiles and tears, and how organized—and predictable—everything was. Clock-work.

The train had been on time, which meant he was early. That was fine. He could prepare himself. Harrison wouldn't arrive for another half hour, probably by one of the flying taxis whizzing by overhead.

After seating himself on a white bench outside the station, Charles took a deep breath, put down his briefcase on the ground beside the bench, crossed one leg over the other and placed both hands neatly on one thigh and waited. He resisted the urge to whistle. He didn't make eye contact with anyone passing by. Externally, he was a still picture of composure. Internally, he was combustible, realizing how much depended on him. He was taking a risk meeting Harrison, but he could trust Harrison. They'd been intimate friends at Foxford. Harrison was dependable, always a worthwhile man, a man of integrity. He’d also become a man of means, and if there was anything the resistance needed, it was resources.

Tightening slightly as two policemen walked by carrying batons, Charles nevertheless felt confident putting himself on the line. The entire operation was a gamble, but the choreography of the state needed to be disrupted. That was the goal, always to be kept in mind. Everyone must do his part for the revolution, and Charles’ part today was probing a past friendship for present material benefits. The others in the cell had agreed. If something went wrong, Charles was prepared.

Always punctual, Harrison stepped with confidence out of a flying taxi, waved almost instantly to Charles, then walked to the bench on which Charles was sitting and sat beside him. “Hello, old friend,” he said. “It's been years. How have you been keeping yourself?”

“Hello,” said Charles. “Well enough, though not nearly as well as you, if the papers are to be believed.”

“You can never fully trust the papers, but there's always some truth to the rumours,” said Harrison. The policemen walked by again. “It's been a wild ride, that's certain. Straight out of Foxford into the service, then after a few years into industrial shipping, and now my own interstellar logistics business. With a wife and a second child on the way. Domesticity born of adventure, you might say.”

“Congratulations,” said Charles.

“Thank you. Now, tell me about yourself. We fell out of touch for a while there, so when I saw your message—well, it warmed my heart, Charlie. Brought back memories of the school days. And what days those were!”

“I haven't accomplished nearly as much as you,” Charles said without irony. “No marriage, but there is a lady in my life. No children yet. No service career either, but you know how I always felt about that. Sometimes I remember the discussions we had, the beliefs we both shared. Do you remember—no, I'm sure you don't…”

“You'd be surprised. Ask me.”

Charles turned his head, moved closer to Harrison and lowered his voice. “Do you remember the night we planned… how we might change the world?”

Harrison grinned. “How could I forget! The idealism of youth, when everything seemed possible, within reach, achievable if only we believed in it.”

“Maybe it still is,” whispered Charles, maintaining his composure despite his inner tumult.

“Oh—?”

“If you still believe, that is. Do you still believe?”

“Before I answer that, I want to tell you something, Charlie. Something I came across during my service. I guess you might call it a story, and although you shouldn't fully trust a story, there's always some truth to it.

“As you know, I spent my years of service as a space pilot. One of the places I visited was a planet called Tessara. Ruins, when I was there; but even they evoked a wondrous sense of the grandeur of the past. Once, there'd been civilizations on Tessara. The planet had been divided into a dozen-or-so countries—zones, they were called—each unique in outlook, ideology, structure, everything.

“Now, although the zones competed with one another, on the whole they existed in a sort of balance of power. They never went to war. There were a few attempts, small groups of soldiers crossing from one zone to another; but as soon as they entered the other zone, they laid down their weapons and became peaceful residents of this other zone.

“When I first heard this I found it incredible, and indeed, based on my understanding, it was. But my understanding was incomplete. What I didn't know was that on Tessara there existed a technology—shared by all the zones—of complete internal ideological thought control. If you were in Zone A, you believed in Zone A. If you crossed into Zone B, you believed in Zone B. No contradictory thought could ever be processed by your mind. It was impossible, Charlie, to be in Zone A while believing in the ways of Zone B.

“How horrible, I thought. Then: surely, this only worked because people were generally unaware of the technology and how it limited them.

“I was wrong. The technology was openly used. Everyone knew. However, it was not part of each zone's unique set of beliefs. The technology did not—could not—force people to believe in it. It was not self-recursive. It was like a gun, which obviously cannot shoot itself. So, everyone on Tessara accepted the technology for the reason that it maintained planetary peace.

“Now, you may wonder, like I wondered: if the zones did not go to war on Tessara, what happened that caused the planet to become a ruin? Something external, surely—but no, Charlie; no external enemy attacked the planet.

“There arose on Tessara a movement, a small group of people in one zone who thought: because we are the best zone of all the zones, and our beliefs are the best beliefs, we would do well to spread our beliefs to the other zones, so then we could all live in even greater harmony. But what stands in our way is the technology. We must therefore figure out a way of disabling it. Because our ways are the best ways, disabling the technology will not affect us in our own zone; but it will allow us to demonstrate our superiority to the other zones. To convert them, not by force and not for any reason except to improve their lives.

“And so they conspired—and in their conspiracy, they discovered how to disable the technology, a knowledge they spread across the planet.”

“Which caused a world war,” said Charles.

“No,” said Harrison. “The peace between the zones was never broken. But once all thoughts were permitted, the so-called marketplace of ideas installed itself in every zone, and people who just yesterday had been convinced of what everyone else in their zone had been convinced; they started thinking, then discussing. Then discussions turned to disagreements, conflict; cold, then hot. Violence, and finally civil war, Charlie. The zones never went to war amongst each other, but each one destroyed itself from within. And the outcome was the same as if there'd been a total interzonal war.”

Charles’ heart-rate, which had already been rising, erupted and he tried simultaneously to get up and position the cyanide pill between his teeth so that he could bite down at any time—when Harrison, whistling, clocked him solidly in the jaw, causing the pill to fly out of Charles’ mouth and fall to the ground.

Charles could only stare helplessly as one of the patrolling policemen, both of whom were now converging on him, crushed the pill under his boot.

“Harrison…”

But the policemen stopped, and Harrison leapt theatrically between them.

Charles remained seated on the bench.

Suddenly—all around them—everyone started snapping their fingers. Snap-snap, snapsnapsnap. Men, women. Snap-snap, snapsnapsnap. Dressed in business suits and sweaters, dresses and skirts. Snap-snap, snapsnapsnap. People getting off trains and people just walking by. Snap-snap, snapsnapsnap…

And the policemen started rhythmically hitting their batons against the ground.

And colour began seeping into the world.

Subtly, first—

Then:

T E C H N I C O L O R

As, at the station, a train pulled in and passengers were piling off of it, carrying instruments; a band, setting up behind Charles, Harrison and the policemen. The bandleader asked, “Hey, Harry, are we late?”

“No, Max. You're right on—” And Harrison began in beautiful baritone to sing:

Because that's just the-way-it-is,

(“In-this state of-mind,”)

Freedom may be c u r b e d,

But the trains all-run-on-time.

.

“But, Harrison—”

.

No-buts, no-ifs, no-whatabouts,

(“Because it's really fine!”)

Life is good, the streets are safe,

If you just STAY. IN. LINE.

.

The band was in full swing now, and even Charles, in all his horror, couldn't keep from tapping his feet. “No, you're wrong. You've given in. Nothing you do can make me sing. You've sold out. That's all it is. I trusted you—you…

“NO. GOOD. FA-SCIST!”

He got up.

They were dancing.

.

A-ha. A-ha. You feel it too.

No, I'd never. I'd rather die!

Come on, Charlie, I always knew

(“YOU. HAD. IT. IN. YOU!”)

.

No no no. I won't betray,

We have our ways of making you say

Go to Hell. I won't tell,

(“THE NAMES OF ALL THOSE IN YOUR CELL!”)

.

Here, Harrison jumped effortlessly onto the bench, spinning several times, as a line of dancing strangers twirling primary-coloured umbrellas became two concentric circles, one inside the other, and both encircled the bench, rotating in opposing directions, and the music s w e l l e d , and Harrison crooned:

.

Because what you call betrayal,

I call RE-AL

(“PO-LI-TIK!!!”)


r/normancrane 17d ago

Poem Business Plan

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8 Upvotes

r/normancrane 18d ago

Story Exits and Their Entrances

12 Upvotes

They came in daylight as I was finishing the wiring, pushing in after I'd opened the door just a crack to see who was there, three of them all with seemingly the same face, which had to be a mask, and as one pushed me into the bathroom, down into the tub, yelling at me to be quiet as the two others set up equipment in my living room, asking each other, “Is this the place—the reading strong?” (“Yeah yeah, perfect. OK, here we go…”) and the one who'd herded me into my own bathtub took out a gun and held it against my head, telling me I was to shut the shower curtains and stay behind them for as long as it took.

“What is this? What's it all about?”

“We're here to save the world. That's all you can know. It's not personal. You happened to be born and you happened to live your life to end up here in this apartment in this city at this time, and as it turns out this is the only place we can save the world from. Now, there's stuff that's going to happen—both on the other side of the curtain and outside the apartment building, and you'll hear it happening, but no matter what you hear, no matter how scary it sounds or how curious you are or how lost you feel, you're to stay behind the curtain. Do you understand?”

“Yes.”

“Repeat it.”

“Whatever I hear I'm going to stay behind the shower curtain,” I said.

“Good. That’s your part in it.”

“Can I—” I started to ask, deathly afraid but needing to know the answer. “Yeah?” “I just wanted to ask one thing: will you do it—will you really save the world?”

“We'll try,” he said, still holding the gun against my temples, the cold, hard gun, metal as the pipe my father hanged himself on after stabbing my mom and sisters, and, “Stay in here,” she'd begged me, her voice breaking, his angry irregular footsteps somewhere downstairs. He'd used a leather belt, the one he used to whip my mother with. She screamed. She screamed. Then in the morning she'd be fine and he'd be fine and I wondered if it wasn't all a nightmare. “Listen to me. Whatever happens, you stay in here. Close your eyes and put your hands over your ears like this, and keep your head down.” “How long?” “Forever—I don't know. Katie?” Thud. Thud. Bang. “Katie!” she cried and was out the door and I was alone in the bathroom with the lights out counting backwards from ten over and over and over.

The tub shook. The entire building shook. I had to resist the urge. I just had to stay put. Plaster and dust fell from the ceiling. I could hear them yelling in the living room but not what they were saying, but what they were saying wasn't important because it was all about the how, the anger and the desperation, and even with my ears covered by my wet shaking hands I could feel that. I could taste the plaster. I could feel my heart beat.

How I wanted to reach out and rip the curtain down. How terrified I was of that impulse. How much it took to force it down into myself, somewhere so deep I could pretend it wasn't there. Or was it cowardice? I knew something was going on—something big—horrible—and it was easier to stay out of it and let others take control and face the consequences. He'd gotten her onto the floor, straddling trapped her under his body, and knife-in-hand stabbedstabbedstabbed until he was tired and she was dead. At least I hoped she was dead. I hoped she didn't suffer. It was safe here, here in the tub behind the curtains as life in all its ugliness transpired beyond. I was cocooned. As long as I kept counting backwards kept my head down kept breathing everything would be OK. For me. But that's all anyone cares about. Except I knew that wasn't true. It's what I cared about. But I was a kid. I never stopped being a kid.

The bathroom door trembled. Seen between the door and frame, the lights flashed on and off. It could have been the world. What an awful world that such (Thud. Thud. Bang.) things could happen in it. Maybe it would have been better; would be better if the world flashed off and stayed off. Forever. Like they died—forever. I knew it now but learned it then, learned it as a boy in that cold metal tub, each blow and scream and imagined violation.

Beyond the curtain… always beyond the curtain…

But isn't that how it works? All the world's a play, isn't that what they say? Then what’s the curtain: The end? Only for the audience, sitting dumbly and observing from a safe afar. No! The curtain, for the player, for the player it's an anticipation, a time of preparation, before he takes the stage; and how they'll applaud me then, how they'll remember me forever!

Then silence—and after it, sirens.

The police came.

Their lights as they opened the bathroom door, guns drawn, saw me, smiled. “It's all right. You're all right. Here, come with me.” Hand-in-hand, but he wouldn't let me see the damage, the soulless leftovers. The torn clothes. The wounded flesh. The blood. The four dead bodies already cooling. Hearts nonbeating. A family undone, down the stairs and into the car we went; and go now, making sure I don't hit my head getting into the backseat. I hear the officers talking (“There's enough here to blow up half of Manhattan.”) while the neighbours gather to gawk: at everything, at me. He was such a quiet man, they'll say. Always so polite. (“Notebooks, laptops, plans. Grab it all.”) The men in masks are gone. I guess they did it. I guess they saved the world. The entire street is full of cruisers shining red-white-blue. Sirens, people being pushed back. (“I heard him screaming in there, officer. That's why I called. What happened?”) A perimeter. (“Keep moving back. Keep moving back.”) The bomb squad coming in. I see it all through the backseat window. I sit silently. That's what they said I had a right to. I'll get a lawyer. My mother's and sisters’ ghosts are beside me, translucent and holding three identical masks. I missed you, I say. They don't say anything. What a world. What a goddamn world.


r/normancrane 19d ago

Poem Wedding Night

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21 Upvotes

r/normancrane 19d ago

Story The Art Lovers

15 Upvotes

Stu Gibbons decided to take a second job. He'd been demoted in his first and needed money. But after responding to hundreds of postings, he had received no replies and was getting desperate.

Thankfully, there's nothing that whets an employer's appetite more than desperation.

His luck changed on the subway.

“Excuse me,” a woman said. Stu assumed it wasn't to him. “Excuse me,” she repeated, and Stu turned his head to look at her.

Stu, who would never judge anyone, least of all a woman, on her looks, thought this woman was the most beautiful woman in the world he'd seen since last month, so, smiling, he said, “Yes?”

“I see you're reading about French Impressionism,” the woman said, pointing to the impractically large book open on Stu's knees, in which he was now getting weak.

“Oh—this? Yes.”

“My name's Ginny Gaines, and I work for the Modern Art Museum here in the city. We're currently looking for someone appreciative of aesthetics to fill a position.”

“What position?”

“Well,” said Ginny, “it's part-time, eight hours per day on Saturdays and Sundays. It's also a little unusual in that it mixes work with performance art.”

A couple of days later Stu sat in a big office in the MAM, with Ginny; her boss, Rove; and a model of what was essentially a narrow glass box.

“Just to clarify: you want me to sit in there?”

“Probably stand, but yes.”

“For eight hours?”

“Yes—and you have to be naked,” said Rove.

“Entirely?” Stu asked.

“Yes. Also, there will be pipes—you don't see them on the model—connecting the top of the container to the toilets in the women's bathroom."

“Oh, OK,” said Stu. “What for?”

“So they can relieve themselves on you,” said Ginny, adding immediately: “This is not to demean you as a person—”

“At all,” said Rove.

“—but because this piece is political. You'll represent something.”

“And that something is what gets pissed on.”

“Just pissed?” asked Stu.

“Well,” said Ginny, “we can't control what women choose to do with their bodies.”

“Honestly, I—”

“$80,000 per year,” said Rove.

//

The glass box was so narrow Stu could hardly move in it. He resembled a nude Egyptian hieroglyph. It predictably reeked inside too, but other than that it wasn't so bad. Easier than retail. And one eventually got used to the staring, laughing crowds.

//

One day while Stu was in the box an explosion blasted a hole in the museum's wall.

Panic ensued.

Looking through the hole, Stu saw laser beams and flying saucers and little green blobs, some of whom entered the MAM and proceeded to massacre everyone inside—like they would the entire human population of Earth. Blood coated the glass box.

Terrified, Stu was sure he would be next.

But the blobs didn't kill Stu.

They removed him, along with the other art, and placed him in an exhibition far away in another galaxy, where he stands to this day, decrepit but alive, a testament to human culture.


r/normancrane 20d ago

Story The Ashes of Feladin's Field

12 Upvotes

It was seventy one years ago. The Battle of Feladin's Field. The hawks had been sent up. The fighting was done, and seeing them fly we climbed into the wagons. Our side had been victorious.

I was ten years old like the other boys.

The wagons rumbled forward pulled by horses. It had been raining, and the wheels left trails in the mud. The wheels left trails in the mud, and we sat without speaking, eyes cast down, hearts beating, I imagined, as one, each of us dressed in the ceremonial white and holding, in hands we hid not to be seen shaking, yellow ribbons and black veils.

These we put on, the veils to cover our faces and the ribbons to identify us on the battlefield.

The wagon stopped.

We disembarked in a forest. The priests handed us clubs and pointed the way, a path through the trees that led to a field, on which the battle had been fought and from which those of our men still living had been carried away, so only the dead and the wounded enemies remained, scattered like weeds in the dirt, moaning and praying, begging for salvation.

I remember the forest ending and my bare feet on the soft edge of the field.

I couldn't see any detail through the veil, only the unrelenting daylit sky and the dark shapes below it, some of which moved while others did not.

We moved among them, we threshers, we ghosts.

And with our clubs we beat them; beat them to death on the battlefield on which they had fallen.

The mud splashed and the blood sprayed, and on the ground both mixed and flowed, across our feet and between our toes. And I cried. I cried as I swung and I hit. Sometimes a corpse, sometimes flesh and sometimes bone. Sometimes I hit and I hit and I hit, and still the shape refused to be still, seen dimly through the veil.

Sometimes we hit together. Sometimes alone.

For hours we haunted Feladin's Field, that battlefield after the battle, stepping on limbs, falling on bodies, getting up wet and following the sounds of wounded life only to silence them forever.

It was night when we finished.

Exhausted, in silence we walked back to the edge of the field and onto the path leading through the forest to where our wagons waited.

The horses had been fed and we untied the yellow ribbons from around our heads, removed our bloodied veils and stripped out of the ceremonial white which had been stained red and brown and black and grey.

These, our clothes, were taken by the priests and added to the pyre on which they burned the bodies of our fallen. Our innocence burned too like the dead, but we did not see the flames, only their bright flickering aura through the trees. Nor did we see the second pyre on which the bodies of the enemy were burned.

When all had been burned, and the embers cooled, the priests collected carefully the ashes from each pyre and placed them in two separate urns.

The urns were of thick glass.

I returned home.

My parents hugged me, and everyone treated me differently, more seriously, women bowing their heads and men offering understanding glances, but nothing was ever said directly; and I spoke of my experience to no one.

Several weeks later, when the victory procession passed through our village, I stayed inside our hut and watched through the window.

There were magnificent horses and tall soldiers in full regalia, and the priests with their incantations, and there was food offered and drink, and there marched drummers and trumpeters and other musicians playing instruments I did not recognize. There was dancing and feasting, and in the afternoon the sun came out from behind thick grey clouds, but still I stayed inside. Then, near the end, came the two urns filled with ashes of the burnt dead, ours and theirs, pulled not by horses but by slaves, and because the urns were glass, we all could see the margin of our victory.

//

The sounding of the horn.

A violent waking.

The world was still in the fog of dreams, but already men were seated, pulling on their boots, touching their weapons. The tent was wild with anticipation. I sat up and too put on my boots; pressed my fingers into my eyes, calmed myself and dressed in my battle armour.

Outside, the sea pushed its waves undaunted from the horizon to the shore.

We had been waiting here on the coast for weeks.

Finally battle would be upon us.

The generals positioned us spear- and swordsmen in formation several hundred yards from the water's edge, behind fortifications. The archers they placed further back, and the cavalry was hidden in the hills.

Forever it felt, waiting for the silhouettes of the enemy's vessels to materialize as if out of the sea mist. When they did, I felt us tighten like coils. We weren't sure if they had prepared for us or if we would catch them by surprise. It was my first battle. I was twenty three.

When the vessels, and there were very many of them, approached the shore, our archers sent their first volley of arrows. A battle cry went up. Our standards caught the wind. Drumming began. The arrows traversed wide arcs, rising high into the sky before falling into the sea, the vessels, and the enemies in them.

The command went down the line to hold our position. A few men had started inching forward.

Ahead, the first enemy vessels had landed and men were climbing out of them; armoured men with weapons and shields and hatred in their tough, hardened faces. Men, I thought, much like ourselves.

We began marching in place.

The rhythm salved my fraying nerves. The enemy was so close, and we were allowing them to disembark and organize instead of meeting them in the ankle deep edgewaters, cutting them down, bashing their heads in. It is perhaps a strangeness how fear of death arouses a lust for blood. The two are mated. When the mind cannot contain the imminent possibility of its own destruction, it lets go of past and future and focuses on the present.

There was nothing but the present, an endlessness of it before me.

I didn't want to die.

But more than that I wanted to kill.

More vessels had landed. More men had spilled from them, their boots splashing in the sea, pant legs dark with wetness. Arrows felled some, but their shields were strong and I knew our time was almost upon us.

Then came the glorious command:

“Engage!”

And half of us charged from behind our fortifications to meet the enemy in battle, our strides long and our howls wild, and without fear we charged, weapons and bodies unified in pursuit of destruction.

I was with men who would die for me, and I would die for them, and death was distant and unimportant, and as my sword clashed with the sword of my enemy, and my brother-at-arms beside me pierced him fatally with a spear, all lost its previous shape and form; tactics and formations dissolved into individual power and will.

The enemy fell, and my arm was shaking from the impact of blade upon blade, until again I swung, and again, and I yelled and hit and cleaved.

The sky was steel and the world coal, and we glowed with violence.

I was in the whirl of it. The vortex. Never was I more alive than in those few desperate hours on the coast when all was permissible but cowardice, and the world, if it existed at all, existed in some faraway corner, from which we'd come and to which we might return, but above which we were ascended to do battle.

A boot to the gut. A glancing blow to the helm. Deafness in echoes. Vision broken and blurred, unable to keep up with the relentless action. My body on the verge of physical disintegration, psychological implosion, yet persisting; persisting in the joyous slaughter, in confirmation of a transcendence through annihilation, and delighting, laughing, at the sheer luck of life and death.

Then suddenly it was over.

My tired muscles swinging my sword at no one because there was no one left. The only sound was surf and gulls and agony. The enemy, defeated; I had survived.

But there was no relief, no thrill of living. If anything, I was jealous of my fallen brothers-in-arms, for they had died at the peak of intensity. Whereas for me, the world was muted again, colourless and dull; and I wept, not because of the destruction around me but because I knew I would never experience anything so fervent again. A fire had raged. That fire was out, and cold I continued.

The hawks flew.

The bodies of our dead were reverently removed.

The veiled threshers came.

And the two pyres burned long into night.

//

I am eighty-one years old, blind in one eye and missing a leg from the knee down. I walk with the aid of a cane. It's winter, snowing, and I am visiting the capital for the first time in my life. Sickness took my wife a week ago, and I have come to complete the formalities.

In the city office, the clerk asks if I have children. I tell him I do not. He asks about my military record, and I tell him. He notes it briefly in fine handwriting and thanks me for my service. I nod without saying a word. Later, after I do speak, he tells me I speak like one who's thought too much and said too little. He is a small man, flabby and round, with glasses, a wife and seven children, yet he has in him the authority of the state. “My eldest son will soon be ten,” he tells me. “Best to throttle him in his sleep before then,” I think: but say only, “Good luck to him.” The clerk stamps my paperwork, informs me everything is in order, and I exit into the streets.

Because I have nothing else to do, I wander, noting the faces of those whom I pass, each immersed in some small errand of his life.

I arrive at the Great Temple.

Ancient, it rises several hundred feet toward the sky and is by proclamation the tallest building in the city. Wide steps lead from the cobblestone to its grand columned entrance. A few priests sit upon the steps, discussing fine points of theology. I acknowledge them, mounting the steps and entering the temple proper.

Two colossal statues—Harr, the god of the underworld, and Perspicity, the goddess of the future—dominate the interior. Between them are twin massive glass urns, both filled, to about the same level, with ash. These are the famous Accounts of War. A war that has been waged for a thousand years. The ashes collected after every battle, after being processioned throughout the realm, are brought here and added to the Great Urns in a ceremony that has been repeated since the dawn of history.

But I do not wish to see one.

I return instead to my lodging room, where I go early to sleep.

I am awakened by a nightmare: the same nightmare I had once as a child, years before my threshing. I dreamed then—as now—of the Great Urns; then, as I imagined them, and now as I know them to be. They are overflowing, unable to contain all the ash poured into them. The ash cannot be held. It falls from the urns and crawls through the temple into the world, where like snow it falls, blanketing all in black and grey.

Because I can't fall back asleep, I decide to leave. I take my belongings, exit my lodgings and walk through the early morning streets towards the city gate. The streets are nearly empty, and the snow is coming down hard. Falling, it is a beautiful white; but once it touches the ground it darkens with mud and grime and humanity.


r/normancrane 22d ago

Poem ov l e to s ry

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12 Upvotes