Not that she has much of a choice.
The green mouth opens, revealing fangs. They approach her neck. He loves her so much he'll assimilate her-make her part of himself, forever. He and she will become one. She understands this wordlessly, because among other things this gent has the gift of telepathic communication. Yes, she sighs.
He rolls himself another cigarette. Will he let B be eaten and drunk in this fashion? Or will the sled dogs heed her plight, break loose from their tethers, tear in through the canvas, rip this guy to pieces, tentacle by tentacle? Will one of the others-he favours Y, the cool English scientist-come to her rescue? Will a fight ensue? That might be good. Fool! I could have taught you everything! the alien will beam at Y telepathically, just before he dies. His blood will be a non-human colour. Orange would be good.
Or perhaps the green fellow will exchange intravenous fluids with B, and she will become like him-a perfected, greenish version of herself. Then there will be two of them, and they will crush the others to jelly, decapitate the dogs, and set out to conquer the world. The rich, tyrannical cities must be destroyed, the virtuous poor set free. We are the Flail of the Lord, the pair of them will announce. They will now be in possession of the Death Ray, put together from the spaceman's knowledge and some wrenches and hinges looted from a nearby hardware store, so who will argue?
Or else the alien is not drinking B's blood at all-he's injecting himself into her! His own body will shrivel up like a grape, his dry, wrinkled skin will turn to mist, and in the morning not a trace of him will be left. The three men will come upon B, rubbing her eyes sleepily. I don't know what happened, she will say, and since she never does, they will believe this. Maybe we've all been hallucinating, they will say. It's the North, the Northern Lights-they addle men's brains. They thick men's bloodwith cold. They will not catch the ultra-intelligent alien green gleam in B's eyes, which were green to begin with anyway. The dogs will know, however. They will smell the change. They will growl with their ears back, they will howl plaintively, they will no longer be her friends. What's got into those dogs?
It could go so many ways.
The struggle, the fight, the rescue. The death of the alien. Clothes will be torn off in the process. They always are.
Why does he crank out this junk? Because he needs to-otherwise he'd be stony flat broke, and to seek other employment at this juncture would bring him further out in the open than would be at all prudent. Also because he can. He has a facility for it. Not everyone does: many have tried, many failed. He had bigger ambitions once, more serious ones. To write a man's life the way it really is. To go in at the ground level, the level of starvation pay and bread and dripping and slag-faced penny-ante whores and boots in the face and puke in the gutter. To expose the workings of the system, the machinery, the way it keeps you alive just so long as you've got some kick left in you, how it uses you up, turns you into a cog or a souse, crushes your face into the muck one way or another.
The average working man wouldn't read that kind of thing, though-the working man the comrades think is so inherently noble. What those guys want is his stuff. Cheap to buy, value for a dime, fast-paced action, with lots of tits and ass. Not that you can print the wordstits and ass: the pulps are surprisingly prudish. Breasts and bottom are as far as they'll go. Gore and bullets, guts and screams and writhing, but no full frontal nudity. Nolanguage. Or maybe it's not prudishness, maybe they just don't want to be closed down.
He lights a cigarette, he prowls, he looks out the window. Cinders darken the snow. A streetcar grinds past. He turns away, he prowls, nests of words in his head.
He checks his watch: she's late again. She's not coming.
Seven
The steamer trunk
The only way you can write the truth is to assume that what you set down will never be read. Not by any other person, and not even by yourself at some later date. Otherwise you begin excusing yourself. You must see the writing as emerging like a long scroll of ink from the index finger of your right hand; you must see your left hand erasing it.
Impossible, of course.
I pay out my line, I pay out my line, this black thread I'm spinning across the page.
Yesterday a package arrived for me: a fresh edition of The Blind Assassin. This copy is merely a courtesy: no money will result, or not for me. The book is now in the public domain and anyone at all can publish it, so Laura's estate won't be seeing any of the proceeds. That's what happens a set number of years after the death of the author: you lose control. The thing is out there in the world, replicating itself in God knows how many forms, without any say-so from me.
Artemesia Press, this outfit's called; it's English. I think they're the ones who wanted me to write an introduction, which I refused to do, of course. Probably run by a bunch of women, with a name like that. I wonder which Artemesia they have in mind-the Persian lady general from Herodotus who turned tail when the battle was going against her, or the Roman matron who ate the ashes of her dead husband so her body could become his living sepulchre? Probably the raped Renaissance painter: that's the only one of them that gets remembered now.
The book is on my kitchen table. Neglected masterpieces of the twentieth century, it says in italic script under the tide. Laura was a "modernist," we are told on the inside flap. She was "influenced" by the likes of Djuna Barnes, Elizabeth Smart, Carson Mc Cullers-authors I know for a fact that Laura never read. The cover design isn't too bad, however. Shades of washed-out brownish purple, a photographic look: a woman in a slip, at a window, seen through a net curtain, her face in shadow. Behind her, a segment of a man-the arm, the hand, the back of the head. Appropriate enough, I suppose.
I decided it was time for me to phone my lawyer. Or not my real lawyer. The one I used to consider mine, the one who handled that business with Richard, who battled Winifred so heroically, though in vain-that one died several decades ago. Ever since then I have been passed from hand to hand within the firm, like some ornate silver teapot fobbed off on each new generation as a wedding gift, but that nobody ever uses.
"Mr. Sykes, please," I said to the girl who answered. Some receptionist or other, I suppose. I imagined her fingernails, long and maroon and pointed. But perhaps these are the wrong kind of fingernails for a receptionist of today. Perhaps they are ice blue.
"I'm sorry, Mr. Sykes is in a meeting. Who may I say is calling?"
They might as well use robots. "Mrs. Iris Griffen," I said, in my best diamond-cutting voice. "I'm one of his oldest clients."
This did not open any doors. Mr. Sykes was still in a meeting. He is a busy lad, it appears. But why do I think of him as a lad? He must be in his mid-fifties-born, perhaps, in the same year Laura died. Has she really been dead that long, the time it's taken to grow and ripen a lawyer? Another of those things that must be true because everyone else agrees they are, although they don't seem so to me.
"May I tell Mr. Sykes what it concerns?" said the receptionist.