When I woke, I thought I saw Sybel standing over me, but I was wrong. I was quite alone in my cot, in this dismal back room.
I have left out so much, and yet there is no time now to go back and put it in its proper place. I’ve had no time to explore my {brief } conversion to Truffidianism under Bonmot’s guidance after my unfortunate accident. I’ve not dwelt on my two miscarriages. Or that I was a drug addict for most of my adult life. That I loved Sirin, for many years, in secret, and that we slept together a few times four or five years ago. That—and I am so sorry for this—that I am the one who told Bonmot about Duncan’s relationship with Mary. {I suspected. At the time, I would have been beyond furious; I never would have talked to you again. But now I see that that isn’t what destroyed my relationship with her.} That I stole Duncan’s journal from his apartment months before he left for the underground, long before I acquired the trunk. {Again, I had a suspicion it was you.} That there are definitely things walking up and down the tunnel at my back. That not everything I have told you is the truth as Duncan saw it. That my typewriter glows so brightly that I no longer need a lamp to see. That Duncan’s glasses are in my shirt pocket, dormant, waiting for me to put them on.
None of that is important next to what I do have time to share with you, because I think I finally made Mary Sabon see—really see. It wasn’t Duncan. It was me who did it.
How? A stroke of good fortune, and Truff knows I deserved one. About two months before Duncan’s final disappearance, I led a group of insufferable snobs around the city—the type who sneer at anything genuine and delight in the false; the less truthful the better. Yet they turned out to be falsely snobbish themselves, once I saw them in another light—one was Martin Lake’s new agent, David Frond, and two were his friends, visiting Ambergris for the first time. It was truly a miraculous intervention. When David found out who I was, the look he gave me made it clear he had thought I was dead. The thrill rising in my chest was because he knew my name at all.
After we talked for a while, David offered me a job rounding up Lake’s old artist friends and getting them to display their work at a gallery show doubling as a party for Lake’s fiftieth birthday. With any luck, he’d let me coordinate the party as well, he said. It was certainly a better offer than anything Sirin had brought my way in quite some time.
“It will be a regular parade of ghosts from Martin’s past,” he said, smiling.
It would be a parade of ghosts from my past, too, and I wasn’t sure I liked the thought of that. Still, I needed the money if I wanted to keep my apartment. The tour guide business had been bad of late.
And, oh, the dead, the ghosts, catalogued but never accounted for among the living. The people I have known who thought they knew me. Each astonished face I tracked down vied more seriously for the winner of the most-startled-Janice-is-alive contest. Each astonished face would be a way to shore up Lake’s ego by showing what a mediocrity Insert First & Last Name had turned out to be.
Most of them were people who had been oddly absent whenever I’d been in any kind of real trouble, coincidentally enough. During the ceremonial slitting of the wrists. During the gallery’s financial woes. While I was in the hospital reconciling myself to the empty space where once five toes had cavorted like penned-up rutting pigs.
No, if it were to be a party of my peers {of veneers and sneers, more like}, then it would just be my luck that I uncovered “acquaintances” or “not quite friends” or outright enemies. Most of my lovers had vanished during the war—they’d survived me, but, still, somehow, the sight of bloodshed scared them—seeking out less eventful lives in Stockton, Morrow, or Nicea. Bonmot and Sybel had both died, of course, and Sirin—through his writing—had ascended to a place where he was, in a way, untouchable. Sybel, of course, was by my side throughout all of the planning for the party; how could I possibly plan a party without him?
When I think of the people I knew back then, I realize that each of us had such private, personal, and immediate experiences that discussion with anyone about them, let alone achieving some kind of joint catharsis, would be meaningless—like a Blythe Academy reunion that invited only strangers from different years. The jargon used might have some kind of similarity, but beyond that, an aching void. That had been the whole point of the New Art—pour all of that empathy into the work, leaving only the surface as a connection to other people. I wonder now if any of it was worth it to any of us.
Still, despite reservations—and, trust me, I had reservations about many of them—I managed to exhume enough of Lake’s long-dormant, sleep-tinged, hibernating friends and their dusty, packed-in-storage-for-decades artwork to earn my salary and be kept on for the party.
My main duty at the party? To herd the ruminant artists, to keep them happy. In the background, I would also help with the invitations, and in return, I would not only receive more money, but a promise of a position at a gallery—a promise I’m sure I must have known would never be kept, no matter what happened at the party. I was beyond that kind of respectability, and some part of me may even have been proud of that.
Four artists showed up for the party that night—any more and I wouldn’t have been able to handle them, or their egos. After all, I was getting close to an age when women of much greater strength than I had retired to an early dotage on some pleasure barge or houseboat sailing idyllic down the River Moth. I was also worried about my brother, and therefore not in the best of moods. I cannot say that I cared that much about party preparations or “reparations,” as I used to joke in the days before the party—with the cook, a sardonic man of my age who lifted my spirits and tried to lift my blouse on more than one occasion.
Lake had decided that the party should be held at the refurbished and renovated Hoegbotton Hotel. It had previously served as a glorified safe house, most active during Festival days, and thus had to be taken apart almost brick by brick to become a “hotel.” For example, such features as iron bars on guest room windows did not convey the right message. Nor, for that matter, did the “safety crawl spaces” that led to tunnels, that led to the River Moth. No, it had all been stripped away as if the gray caps and the Festival were now some remote happening—remote in time and space and even remotely unbelievable, from some period of ancient history that could not be verified by even the most reckless historian. A kind of silly rumor—a scary story told to children before bedtime by unenlightened parents. {I blame such innovations as the telephone. Such prosaic devices make it difficult for people to believe in the other until it stares them in the face and takes a swipe at them.}