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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

In the lengthening silence and solitude, Area X sometimes would reveal itself in unexpected ways. I began to perceive infinitesimal shifts in the sky, as if the pieces did not quite fit together … and to acquire from the habitat around me a sense of invisible things stitching through, phantoms that almost made me reconsider my antipathy for the S&SB’s emphasis on the supernatural.

Standing in a clearing one evening, as still as possible, I felt a kind of breath or thickness of molecules from behind that I could not identify, and I willed my heartbeat to slow so that for every one of mine the hearts of the tree frogs throating out their song might beat twenty thousand times. Hoping to be so quiet that without turning I might hear or in some other way glimpse what regarded me. But to my relief it fled or withdrew into the ground a moment later.

Once, the sky broke open with rain in an unnatural way, and through the murk an odd light burned at the limits of my vision. I imagined it was the far-off lighthouse, that other expeditions had been sent in after me. But the longer I stared the more the light appeared to be cracking open the darkness, through which I glimpsed for a moment dissipating shadows that could have been peculiar storm clouds or the reverse quickening of some type of vast organism. Such phenomena, experienced off and on these past thirty years, have also been accompanied by a changing of the night sky. On such nights, presaged only by a kind of tremor in the brightness within me, there is never a moon. There is never a moon, and the stars above are unfamiliar—they are foreign, belonging to a cosmology I cannot identify. On such nights, I wish I had decided to become an astronomer.

On at least two occasions, I would define this change as more significant, as a kind of celestial cataclysm, accompanied by what might be earthquakes, and cracks or rifts appearing in the fabric of the night, soon closing, and with nothing but a greater darkness seen shining through. Somewhere, out in the world or the universe, something must be happening to create these moments of dysfunction. At least, this is my belief. There is a sense of the world around me strengthened or thickened, the weight and waft of reality more focused or determined. As if the all-too-human dolphin eye I once glimpsed staring up at me is with each new phase further subsumed in the flesh that surrounds it.

Beyond these observations, I have a single question: What is the nature of my delusion? Am I hallucinating when I see the night sky that I know? Or when I see the one that is strange? Which stars should I trust and navigate by? I stand in the ruined lighthouse some nights and look out to sea and realize that in this form, this body, I will never know.

My survival has also, to put it bluntly, been predicated by hurting myself. By the time I stood on the shore opposite the island, about to swim over, I was using pain to push the brightness back. The ways were myriad and I was precise. You can find methods to almost drown, to almost suffocate, that are not as onerous as the thought might suggest. Ways to suggest the infliction of pain that can fool whatever lies within you. A rusty nail. A snake’s venom. As a result, pain does not much bother me anymore; it gives me evidence of my ongoing existence, has saved me from those times when, otherwise, I might have stared so long at wind and rain and sea as to become nothing, to just disappear.