Best of all, he liked the white space, the virgin territory bordering a page. All his life he used to ink up that space, fill it with passionate editoriaclass="underline" Couldn’t have said it better myself or Stop this argument before it kills again! Now he no longer wrote in books. In fact, he started making the rounds of Bookman’s stores, buying up the best impersonal books faster than he could read them, just to save them from scribblers.
He left Tucson. He returned to Aurora, to live with his mother in his boyhood home in the Fox Valley. His brother was still there, working for a satellite-dish company. Russell got a job in construction. The clean, repetitive tasks were best. He loved to staple insulation, to cut and nail large square pieces of Sheetrock to freshly plumbed studs. When he was in the flow, even his boss’s hate-mongering talk radio didn’t bother him.
He installed things for his mother: new kitchen cabinets, which she loved; oak bookshelves, which she couldn’t fill. He dated sometimes-kind women who were after exactly nothing. Many nights, he and his brother played long matches of deferential Ping-Pong in the basement on the warped table of their childhood. He read himself to sleep on Silkworms and Civilization and A Small Guide to the Big Bang.
He went to his ten-year high-school reunion. The prospect held no more dread than any working day. He didn’t mind listening to his successful classmates’ achievements. He almost enjoyed telling his own riches-to-rags story. Confession was his only penance.
A former buddy from the sophomore year 4 × 100 relay was intrigued. “You’re a published writer?”
Was, Russell corrected.
The buddy-accomplished deadbeat throughout his youth-had hit on a publishing scheme that threatened to turn him into a philanthropist. He’d founded a self-improvement magazine called Becoming You. Foods, workouts, lifestyles, finance: one of thousands, yes. But Becoming You had a twist: all the copy was subscriber-generated. And all subscriber-contributors were paid in quantities of advertisers’ goods. Write a feature on how micronutrients reversed your declining memory, and you won a year’s supply of Pom-a-Grenade antioxidant cocktail. Advertising exposure, underwritten costs, deeply involved subscribers, and the wisdom of crowds combined to leverage the zeitgeist.
Come to Chicago, the buddy told Russell Stone. Become a part of Becoming You.
Russell demurred: he no longer wrote for publication. But the buddy didn’t need Stone’s writing. He needed Stone to turn scores of semiliterate, fervent testimonials into something readable.
The offer felt oddly appealing. True, the pieces would be personal in the worst way. But the person in question wouldn’t be Russell Stone. Ghosting for amateurs was the perfect contrition.
Russell worked the job as if volunteering for a humanitarian NGO. With his new income, he found a Logan Square studio and decorated it with dozens of pastel scenes that he drew, now that Ping-Pong no longer filled his evenings. The ten-by-ten-inch pictures showed bright, fluid human figures caught in the process of becoming lakes, clouds, or trees.
Say he eventually fell in with Marie White, a giving soul who loved to come over and read in bed next to Russell while he edited. They never chafed over anything, except his paintings. Marie thought he had a gift, and people with gifts were morally obligated to develop them. Russell just laughed at her, which stung Marie into silence.
After fourteen months, Marie wrote him a full-page note on Matisse stationery saying she was afraid that Russell might be melancholic, which kind of made her love him, but she couldn’t afford to sacrifice her life to his disease. She had to get on with making her own future, and she hoped that Russell would do the same. She was thinking of starting to see someone-a kind gallery owner, in fact. And if Russell ever finally realized how nice his paintings were, she could put him in touch
Becoming You took up the slack. Editing gave the same pleasure as hanging Sheetrock. He fixed predications, aligned parallel structures, undangled participles, unmixed metaphors, and collared runaway modifiers. He ran a comb through the tangled thickets of prose until they almost shone. He went into the River North office three days a week, and he worked three more out of his apartment. Consummate tedium became his art. For two years, he kept to his verbal trade, hoping to sink without a ripple beneath the earth’s crust. He could edit Becoming You for the rest of his life, provided he died in early middle age.
He edited a piece written by an administrative secretary at Mesquakie College about how to fight depression by feeding squirrels. The grateful woman alerted him to an emergency hiring in the Writing Department. A memoirist who taught the Journal and Journey course had taken unpaid leave after a bad episode with mood enhancers that made him travel to San Francisco and assault a blogger who’d insulted one of his published reminiscences about his father.
To Russell Stone’s astonishment, he met the job’s prerequisites. He had the degree and prestigious publications, albeit none for eight years. With just a month to staff the course, the college was ready to take anyone. The interview felt weirdly furtive, as if Russell were defrauding a credit union.
He got the job and crammed for three weeks, prep that the opening night’s class scattered to the winds. But that night goes so well that now, for the first time in years, he imagines himself, with something like shock, becoming someone quite different again, by this time next semester.
From where I sit, the whole human race did something stupid when young-pulled some playful stunt that damaged someone. The secret of survival is forgetting. If evolution favored conscience, everything with a backbone would have hanged itself from the ceiling fan eons ago, and invertebrates would once again be running the place.
“The Genie and the Genome”-final cut-opens with that relentless, digital techno-throb that stands for coming soon. Out of the pulsing blackness emerges a face Donatello might have cast, successfully refuting middle age. The eyebrows arch. The mouth twitches shyly and confides:
Enhancement. Why shouldn’t we make ourselves better than we are now? We’re incomplete. Why leave something as fabulous as life up to chance?
The impish face turns golden and explodes. Each shiny shard tumbles away into more throbbing blackness.
Another face fades in from the void, a big, gruff, empirical Friar Tuck.
Insane? No, I wouldn’t say Thomas Kurton is insane. I might say profoundly nutty. But Darwin was nuts too, right?
Tuck shrugs, and his shoulder ripple starts a whirlpool that washes him away. The smiling Donatello rises from the flood.
A lot of people think this is all science fiction. But then, we live in a country where 68 percent of folks don’t believe in evolution
His face tears in two and rolls up into a double helix. Out of that spiral appears a woman with straight brown hair and eyes as sad as a bloodhound’s. In a clipped Midlands accent, she declares:
One-fifth of human genes have already been patented. You have to pay a license fee just to look at them. People like Thomas Kurton buy and sell genetic material like it’s movie rights
She turns into a sand painting that the wind scatters. Next comes a quick, cross-fade cavalcade of talking heads: