Back Acceptance Save as PDF
Contents (50)
  1. ACCEPTANCE
  2. JEFF VANDERMEER
  3. Dedication
  4. Table of Contents
  5. 000X: THE DIRECTOR, TWELFTH EXPEDITION
  6. PART I RANGE LIGHT
  7. 0001: THE LIGHTHOUSE KEEPER
  8. 0002: GHOST BIRD
  9. 0003: THE DIRECTOR
  10. 0004: THE LIGHTHOUSE KEEPER
  11. 0005: CONTROL
  12. 0006: THE DIRECTOR
  13. 0007: THE LIGHTHOUSE KEEPER
  14. 0008: GHOST BIRD
  15. 0009: THE DIRECTOR
  16. 0010: CONTROL
  17. PART II FIXED LIGHT
  18. 01: THE BRIGHTNESS
  19. 02: THE MOANING CREATURE
  20. 03: THE ISLAND
  21. 04: THE OWL
  22. 05: THE SEEKER & SURVEILLANCE BANDITS
  23. 06: THE PASSAGE OF TIME, AND PAIN
  24. PART III OCCULTING LIGHT
  25. 0011: GHOST BIRD
  26. 0012: THE LIGHTHOUSE KEEPER
  27. 0013: CONTROL
  28. 0014: THE DIRECTOR
  29. 0015: THE LIGHTHOUSE KEEPER
  30. 0016: GHOST BIRD
  31. 0017: THE DIRECTOR
  32. 0018: THE LIGHTHOUSE KEEPER
  33. 0019: CONTROL
  34. 0020: THE DIRECTOR
  35. 0021: THE LIGHTHOUSE KEEPER
  36. 0022: GHOST BIRD
  37. 0023: THE DIRECTOR
  38. 0024: THE LIGHTHOUSE KEEPER
  39. 0025: CONTROL
  40. 0026: THE DIRECTOR
  41. 0027: THE LIGHTHOUSE KEEPER
  42. 0028: GHOST BIRD
  43. 000X: THE DIRECTOR
  44. ACKNOWLEDGMENTS
  45. About the Author
  46. PRAISE FOR THE SOUTHERN REACH TRILOGY
  47. ALSO BY JEFF VANDERMEER
  48. Credits
  49. Copyright
  50. About the Publisher

Now “Control” fell away again. Now he was the son of a man who had been a sculptor and of a woman who lived in a byzantine realm of secrets.

His father’s carving fell from his hand, clattered onto a step, came to a halt, there on the stairs, alongside the signs and symbols left by his predecessors. A scrawling on the walls. An empty boot.

He sniffed the air, felt under his paws the burning and heat, the intensity.

This was all that was left to him, and he would not now die on the steps; he would not suffer that final defeat.

John Rodriguez elongated down the final stairs, jumped into the light.

0026: THE DIRECTOR

Two weeks before the twelfth expedition, the old battered cell phone comes home with you. You don’t remember bringing it. You don’t know why security didn’t question it. It’s just there, in your purse, and then on the kitchen counter. The usual suspects occur to you. Maybe Whitby’s even stranger than you think or Lowry’s having a laugh at your expense. But what does it matter? You’ll just bring it back in the morning.

By then the divide between work and home is long gone—you’ve brought files home, you’ve done work at home, scribbled things on scraps of paper and sometimes on leaves, the way you used to do as a kid. In part because you take delight in imagining Lowry receiving photographs of them in his reports; but also using those materials seems somehow safer, although you can’t say why, just a heightened sense of a “touch” roving among the files, a presence you can’t pin down or quantify. An irrational thought, an idea that just came into your mind one night, working late. Going into the bathroom every so often to throw up—a side effect of the medication you are taking for the cancer. Apologizing to the janitor and saying any foolish thing you could think of other than that you were sick: “I’m pregnant.” Pregnant with cancer. Pregnant with possibility. It makes you laugh sometimes. Dear alcoholic veteran at the end of the bar, do you think you’d like to be a father?

It’s not a night for Chipper’s, not a night for garrulous Realtors and nodding drunks. You’re tired from the additional training, which has required more travel up north to Central to participate with the rest of the expedition and to receive your own training as expedition leader. To fully understand the use of hypnotic commands, to understand the importance—the specific details—of the black boxes with the red light that help to activate compliance.

So instead of going out, you put on some music, then decide on television for a while because your brain is cooked. You hear a sound in the hallway, beyond the kitchen—just something settling in the attic, but it makes you nervous. When you go look, there’s nothing there, but you get your ax from where you keep it under the bed for home defense. Then return to the couch, to watch a thirty-year-old detective show filmed in the south. Lost places, locations that don’t exist now, that will never come back. A landscape haunting you from the past—so many things gone, no longer there. During the car chases, you’re watching the backgrounds like they’re family photos you’ve never seen before.