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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

Until the resistance falls away like a breath held too long and then released, and you both stumble through the door and out into Area X. With Whitby on all fours, hugging the ground, shaking convulsively, and you pulling him free and past, so he won’t accidentally stagger in the wrong direction and disappear forever. He’s gasping like you both are gasping, from the freshness of the air, acclimating to it.

Such a blue, cloudless sky. A trail that should be so familiar, but it has been decades since you saw the forgotten coast. It will take more than a moment to think of it as home. You recognize the trail more from photographs and the accounts of expedition members, know it was here before the first invaders, was used by some of your long-ago ancestors, and has even now survived, overgrown, as part of Area X.

“Can you walk?” you ask Whitby, once you’ve brought him back to his senses.

“Of course I can walk.” Enthusiastic, but a kind of brittle sheen behind it, as if something has already been stripped away underneath.

You don’t ask him what he dreamed, what he saw. You don’t want to know until you’re back across.

You had reviewed those toxic Area X video clips from the doomed first expedition not to seek answers but, with some measure of guilt, to seek a connection with the wilderness you’d known as a child. To reinforce your memories, to recall what you could not recall—pushing past the screams, the disorientation, and the lack of comprehension, past Lowry’s weeping, past the darkness.

There you can see the line of rocks near the lighthouse, the shore already a little different then, as if Whitby’s terroir could be traced through the patterns left by the surf. As if down there, amid the sand-crab holes and the tiny clams digging in every time the water reveals them, some sample might hold all the answers.

The trails, too: a dark stillness of the pine trees and thick underbrush mottled by a strangled light. The memory of being disoriented and lost in a thunderstorm at the age of six, of emerging from that forest not knowing where you were—brought out of you by the cautious quiet way the expedition leader noted looming clouds, as if they presaged something more than a need to find shelter.

After the storm, in the startling revelation of open space and sunlight, you’d encountered a huge alligator blocking the narrow path, with water on both sides. You’d taken a running start and jumped over it. Never told your mother about the exhilaration, the way you had in mid-leap dared a glance down to see that yellow eye, that dark vertical pupil, appraise you, take you in like Area X had taken in the first expedition, and then you were over and past, running for a long time out of sheer joy, sheer adrenaline, like you’d conquered the world.

The running on the screen toward the end is away from something, not toward something, and the screams later not of triumph but of defeat—tired screams, as of weariness at fighting against something that would not properly show itself. In your more cynical moments you thought of them as perfunctory screams: an organism that knows there is no point in fighting back, the body capitulating and the mind letting it. They were not lost as you were lost that day; they had no cottage by the sea to return to, no mother pacing on the deck, worried out of her mind, grateful for your sudden grimy, soaked appearance.