The school puts on a performance of Little Buckle Boy, and he is the lead, the buckle boy, and I join a committee of mothers making costumes for the children. I am lead costume maker in a room full of women, all of us sewing together little silk petals for the flower children and making tiny white pantaloons for the pirates. One of the mothers has a pale yellow ribbon on her finger, and it constantly tangles in her thread. She swears and cries. One day I have to use the sewing shears to pick at the offending threads. I try to be delicate. She shakes her head as I free her from the peony.
—It’s such a bother, isn’t it? she says.
I nod. Outside the window, the children play—knocking each other off the playground equipment, popping the heads off dandelions. The play goes beautifully. Opening night, our son blazes through his monologue. Perfect pitch and cadence. No one has ever done better.
Our son is twelve. He asks me about the ribbon, point-blank. I tell him that we are all different, and sometimes you should not ask questions. I assure him that he’ll understand when he is grown. I distract him with stories that have no ribbons: angels who desire to be human and ghosts who don’t realize they’re dead and children who turn to ash. He stops smelling like a child—milky sweetness replaced with something sharp and burning, like a hair sizzling on the stove.
Our son is thirteen, fourteen. He waits for the neighbor boy on his way to school, who walks more slowly than the others. He exhibits the subtlest compassion, my son. No instinct for cruelty, like some.
—The world has enough bullies, I’ve told him over and over.
This is the year he stops asking for my stories.
Our son is fifteen, sixteen, seventeen. He begins to court a beautiful girl from his high school, who has a bright smile and a warm presence. I am happy to meet her, but never insist that we should wait up for their return, remembering my own youth.
When he tells us that he has been accepted at a university to study engineering, I am overjoyed. We march through the house, singing songs and laughing. When my husband comes home, he joins in the jubilee, and we drive to a local seafood restaurant. Over halibut, his father tells him, we are so proud of you. Our son laughs and says that he also wishes to marry his girl. We clasp hands and are even happier. Such a good boy. Such a wonderful life to look forward to.
Even the luckiest woman alive has not seen joy like this.
There’s a classic, a real classic, that I haven’t told you yet.
A girlfriend and a boyfriend went parking. Some people say that means kissing in a car, but I know the story. I was there. They were parked on the edge of a lake. They were turning around in the back seat as if the world was moments from ending. Maybe it was. She offered herself and he took it, and after it was over, they turned on the radio.
The voice on the radio announced that a mad, hook-handed murderer had escaped from a local insane asylum. The boyfriend chuckled as he flipped to a music station. As the song ended, the girlfriend heard a thin scratching sound, like a paperclip over glass. She looked at her boyfriend and then pulled her cardigan over her bare shoulders, wrapping one arm around her breasts.
—We should go, she said.—No, baby, the boyfriend said. Let’s go again.—What if the killer comes here? The girl asked. The insane asylum is very close.—We’ll be fine, baby, the boyfriend said. Don’t you trust me?
The girlfriend nodded reluctantly.
—Well then, he said, his voice trailing off in that way she would come to know so well. He took her hand off her chest and placed it onto himself. She finally looked away from the lakeside.
Outside, the moonlight glinted off the shiny steel hook. The killer waved at her, grinning.
I’m sorry. I’ve forgotten the rest of the story.
The house is so silent without our son. I walk through it, touching all the surfaces. I am happy but something inside of me is shifting into a strange new place.
That night, my husband asks if I wish to christen the newly empty rooms. We have not coupled so fiercely since before our son was born. Bent over the kitchen table, something old is lit within me, and I remember the way we had desired before, how we had left love streaked on all of the surfaces. I could have met anyone at that party when I was seventeen—prudish boys or violent boys. Religious boys who would have made me move to some distant country to convert its denizens. I could have experienced untold numbers of sorrows or dissatisfactions. But as I straddle him on the floor, riding him and crying out, I know that I made the right choice.
We fall asleep exhausted, sprawled naked in our bed. When I wake up, my husband is kissing the back of my neck, probing the ribbon with his tongue. My body rebels wildly, still throbbing with the memories of pleasure but bucking hard against betrayal. I say his name, and he does not respond. I say it again, and he holds me against him and continues. I wedge my elbows in his side, and when he loosens from me in surprise, I sit up and face him. He looks confused and hurt, like my son the day I shook the can of pennies.
Resolve runs out of me. I touch the ribbon. I look at the face of my husband, the beginning and end of his desires all etched there. He is not a bad man, and that, I realize suddenly, is the root of my hurt. He is not a bad man at all. And yet—
—Do you want to untie the ribbon? I ask him. After these many years, is that what you want of me?
His face flashes gaily, and then greedily, and he runs his hand up my bare breast and to my bow.
—Yes, he says. Yes.
—Then, I say, do what you want.
With trembling fingers, he takes one of the ends. The bow undoes, slowly, the long-bound ends crimped with habit. My husband groans, but I do not think he realizes it. He loops his finger through the final twist and pulls. The ribbon falls away. It floats down and curls at my feet, or so I imagine, because I cannot look down to follow its descent.
My husband frowns, and then his face begins to open with some other expression—sorrow, or maybe pre-emptive loss. My hand flies up in front of me—an involuntary motion, for balance or some other futility—and beyond it his image is gone.
—I love you, I assure him, more than you can possibly know.—No, he says, but I don’t know to what he’s responding.
If you are reading this story out loud, you may be wondering if that place my ribbon protected was wet with blood and openings, or smooth and neutered like the nexus between the legs of a doll. I’m afraid I can’t tell you, because I don’t know. For these questions and others, and their lack of resolution, I am sorry.
My weight shifts, and with it, gravity seizes me. My husband’s face falls away, and then I see the ceiling, and the wall behind me. As my lopped head tips backwards off my neck and rolls off the bed, I feel as lonely as I have ever been.
“THE MAGICIAN AND LAPLACE’S DEMON”
TOM CROSSHILL
Tom Crosshill has been nominated for three Nebula Awards. “The Magician and Laplace’s Demon” was published in Clarkesworld.
Across the void of space the last magician fled before me.
“Consider the Big Bang,” said Alicia Ochoa, the first magician I met. “Reality erupted from a single point. What’s more symmetrical than a point? Shouldn’t the universe be symmetrical too, and boring? But here we are, in a world interesting enough to permit you and me.”