Chapters (42)
- Title Page
- Copyright Notice
- Dedication
- City of Saints and Madmen
- Dradin, in Love
- 1
- The Hoegbotton Guide to the Early History of the City of Ambergris
- 1
- The Cage
- 1
- The Transformation of Martin Lake
- The Strange Case of X
- Shriek: An Afterword
- AN AFTERWORD TO THE EARLY HISTORY OF AMBERGRIS
- PART I
- 1
- 5
- PART II
- 1
- 4
- A (BRIEF) AFTERWORD BY SIRIN
- Finch
- MONDAY
- 1
- TUESDAY
- 1
- WEDNESDAY
- 1
- THURSDAY
- 1
- FRIDAY
- 1
- SATURDAY
- 1
- SUNDAY
- ACKNOWLEDGMENTS
- Illustration credits
- NOTES
- Notes 2
- Also by Jeff Vandermeer
- A Note About the Author
- Newsletter Sign-up
As he locked the door behind him and ascended the staircase, he realized that it was all a horrible shame. Clearly, the writer had lost contact with reality, no matter how desperately that reality had struggled to get his attention. And that poor woman, still unidentified, that X had pushed into the path of a motored vehicle (he hadn’t quite had it in him to tell X just how faulty his memory was)—she was proof enough of his illness. In the end, the fantasy had been too strong. And what a fantasy it was! A place where people flew and “made movies.” Disney, tee-vee, New York City, New Orleans, Chicago. It was all very convincing and, within limits, it made sense—to X. But as he well knew, writers were a shifty lot—not to be trusted—and there were far too many lunatics on the streets already. How would X have coped with freedom anyhow? With his twin fantasy of literary success and a happy marriage revealed as a lie? (And there were X’s last words as the door had closed: “All writers write. All writers edit. All writers have a little darkness in them.”)
They had found no record of him in the city upon his arrest, so he had probably come from abroad—from the Southern Isles, perhaps—carrying his pathetic book, no doubt self-published by “Spectra,” a vanity operation by the sound of it. He knew those sounds himself from his modest dabbling in the written arts. In fact, he reflected, the only real benefit of the session, between the previous transcripts and the conversation itself, had been to his fiction; he now had some very interesting elements with which to compose a fantasy of his own. Why, he could already see that the report on this session would be a kind of fiction itself, as he had long since concluded that no delusion could ever truly be understood. He might even tell the story in first and third person, to both personalize and distance the events.
When he reached the place where he had plucked the rose, he took it from his buttonhole and stuck its stem back in the crack. He regretted having picked it. But even if he had not, it would have been doomed to a short, brutish life in the darkness.