I don't really know what got into me, but last Fall I wrote several short stories. Most of them were poo, but one has stuck with me. I briefly entertained trying to sell some of the stories and therefore resisted posting any of them online. Almost a year later, I've changed my mind. Here's what I think was the best of the bunch. It's the last one I wrote in that brief spasm of do-somethingedness. I'll post it in parts so that it's digestable. What you're reading is the very first draft as it came out the week I wrote it with one quick editing pass as I paste it here in the blog.
With this story, I wanted to see if I could do something compelling with dialogue alone. A dialogue convention that might help the reader and that I didn't know myself until recently, is that if a dialogue paragrah ends with no quote mark, the same speaker is implied to be speaking the next paragraph of dialogue. Enough, here it is.
"It was over before I really felt anything. I mean, I felt the impact, sure. Felt it in my teeth mainly. I remember that. But there's that moment after the impact, before the pain, when the part of you that controls the involuntaries is too stunned, too overwhelmed. All the fuses are blown. You wait for a breath. Your lungs will fill, and you'll be back online. And you know it's gonna hurt. It never came. That breath never came. The pain never came.
"But things were amazing in that moment. Clear. Everything looked so real. So...there. I felt like Lewis's damned ghosts on their field trip to heaven. Everything looked so solid. My book was lying near me, open, the top pages on either side fanning back toward each other, wanting to close back up. My face was pressed sideways on the asphalt, and the book looked like some alien temple at the edge of a charred waste. Each craggy chunk of tar cast a perfect miniature shadow. A street-cleaner must've been by recently -- black pools dotted the landscape, reflecting another, larger world. I saw my face in all of them. It didn't look good.
"There was an awful sound. A great creaking, grating sound. I realized it was my jaw working. My tongue was moving. I was trying to say something. Maybe I was saying something, I don't know. Then it all...winked out."
"What were you reading?"
"Pardon?"
"What book were you reading?"
"Oh, it was an anthology of classic short stories. You know, the kind profs love but mostly just bore or enrage everyone else. Or both. Great for classroom discussions but for the most part, just miserable as far as what people want from a story.
"It had fallen open to Stockton's The Lady, or the Tiger. Are you familiar with it? I swore to myself I'd never pull a Stockton...leave the conclusion entirely up to the reader. No one wants that. Ambiguity sure, give them something to talk about, but to just leave it all to the reader with a wink and a nod? Not me. Never. Unless you know going into it there'll be no tidy conclusion, you feel you've been wronged. It's all about expectation. So much of how we move through life comes of expectation.
"The worst of it is that Stockton gets what he wants. You catch yourself thinking about the question he leaves: What fate does the princess choose for her doomed lover? You remind yourself that you hate the story when you find yourself picking it up the second time, and the third. Soon you're writing your own Lady or Tiger just to get the thing out of you. For me, writing is often exorcism."
"Excuse me, may I remind you two of where we are? You're going on like we're on some kind of holiday."
"And where are we, precisely, would you say?"
"...we're not on holiday."
"Thank you, that's quite helpful."
"I think I might know what's going on."
"Do tell."
"We all ended up here after some trauma, yes? We should all be dead, but there are no demons dragging us down into fiery pits. No loved ones with angel's wings leading us toward a wonderful, white light. We can't feel anything; an effect of our condition. We can't see anything; an effect of our location."
"If you could dispose of the pedantry and move on to the point it would be most appreciated."
"Sorry. We can hear and smell and speak. We can shift, but can't seem to move. We seem to be...anchored. I think we're hovering."
"Hovering?"
"Hovering. There's an ancient Hebrew belief that after death, the spirit hovers over its body for three days, intending to reenter it if possible."
"...It's vapor lock."
"It's a load of crap."
"I'm sorry, vapor lock?"
"When an engine gets hot, a bit of fuel can evaporate and block the rest. The engine stalls and you don't go anywhere until it condenses. Or is siphoned off.
"...We either phase shift back into our bodies or get sifted off?"
"Shift or sift."
"I don't think we're headed back in. This isn't the first century. There's no grace period in the twenty-first century -- when you're dead you're dead."
"Nevertheless, here we are."
"And again I ask where, precisely, is here?"
"Tilt your head back. A very faint line of light, do you see it? I'm guessing each of us has one of our own. I don't think those are above us. I think we're lying prone, and those are doors...drawer doors."
"God have mercy, it's a morgue. We're in a morgue, aren't we?"