Clarkesworld Anthology 2012 (117 page)

“Menelaus is furious when his wife returns,” he eventually says. “Can you imagine? Almost as furious as when she first left. How dare she have survived so much without him? How dare he remain such a fool in her presence.”

I shrug. Javier pushes my shoulders back down, checks for wrinkles. Checks the portrait above the assembly table. Nodding, he reaches up to drape an icing chiton over my nakedness. I am taller than him by a hand, but he is clever as a monkey when it comes to climbing. Hopping from footstool to bench and back, he maneuvers around me, the long tube of material bunched in his arms. Though the gauze is thinner than faith, the strength of his recipe keeps it together.

That, and his devilish fingers.

They dart in and out, gathering, smoothing, fluffing my garment until it blouses in wondrous folds. Pins appear, disappear. Puncturing, piercing, holding the fabric in place. Javier’s lips smack as he thinks, as he tucks. He steps back to take me all in. Steps up, tugs a pleat. Steps back, cocks his head. Steps up, fidgets a cord around my waist. Steps back, smacks, annoyed. Up and back, up and back. Step-ball-change, once more from the top. Up and back in the perfectionist’s dance.

At last, he is satisfied. A pendant is the final touch, a mille-feuille heart on a string of rarified gold. “You are a feast,” he says, coiling the cold thing around my throat. “You are a picture.” Overcome, he smacks lips and hands—and his cufflink catches on my neckline. Catches, and tears.

The robes sigh apart, exposing me from gullet to gut. Javier rushes to fix it. He flaps and gouges, making it worse. Up and back, up and back, he flaps, gouges, wrecks and ruins. Up and back, the necklace snaps. The silver bonbons he’d spent hours spiraling around my cinnamon aureoles are scraped loose. Part of my rib cage concaves. Tiny candies plink to the floor.

But there is air in my chest. There is breath. Surely, this is good?

“And he is ever at mercy of the gods,” Javier mutters, smudging my marzipan to keep the custard from seeping out. “We’ll have to cancel, Una. Reschedule for another time. We can’t arrive with you in this state—what will they think?”

“You underestimate—” I almost say
yourself,
but taste the error before it’s spoken. A confectioner does not reach Javier’s standing without resolve. Without ego. Instead, I reassure him with a familiar wink. “Tonight, I’ll play the mystic. You know the routine. Smoke, mirrors, communing with spirits. It’s only fitting.” I look down at my Hellenistic garb. The ragged flaps of material lift easily and, thankfully, with minimal debris. I fasten them on my left shoulder, covering the worst of the mess. Leaving my heart and one flawless breast bare.

Holding his gaze, I curtsy. “A seer should ever reveal as much as she obscures.
N’est-ce pas?
”

His laugh is a sad little bark.

“And you are a vision,” he says.

I am ready to go, but Javier is nervous.

I don’t tell him he’s being silly. Don’t remind him I’ve survived three vigorous outings this week, mostly intact. He doesn’t need to hear it. There’s no limit to his talent, no damage he can’t reverse. I’m living proof, I could tell him. I’m here because of him. I’m here. But he’s heard it all before.

Everything will be fine, I could say. Three faultless soirées in the space of a week. Three journeys, survived. As many trips as Helen made, or more, depending on Javier’s mood when telling stories. And only a few pieces lost, despite the Sadeans. Nothing important. I’m still together—
we’re
still together. Everything is fine.

Even so, Javier is nervous.

“They want to see you, Una. That’s all, so they say. After so long. Only to see you.” He is speaking to me, but his back is turned. Facing the faded oil painting. “They’ve got countless portraits, cameos, ambrotypes. Countless memories.
Insufficient,
they say.
It’s just not the same.
” Javier snorts. “So now, finally, they want to see
you.
”

Vacant glass eyes gaze down from the shelves. The molds sneer at me. Waiting their turn.

“I’ll give it my all,” I say, the phrase stale on my tongue.

“Yes, of course,
ma chère,
” Javier replies to the wall. “You always have.”

In the mansion’s grand dining hall, dinner is imminent. The sideboard is weighed down with a hoard of gold dishes. Steaming tureens, saucières, bain-maries. The room suffocates with aromas of the meal to come. Fine claret is decanted. Muscat and champagne are chilling for later. Legions of silverware are arranged in ranks beside plates. Crystal stemware gleams. Footmen stand at the ready. Carafes of ice-water dripping condensation onto their white gloves. Poised to begin service, they look out over the room. Vigilant, unblinking.

As always, Madame dominates the table’s head while Monsieur commands the foot. Eight rigid people occupy the seats between. Men sporting versions of the same black-and-white suits. Women in lusterless monochrome. All posturing, variations with the same facial features. To my left, Javier folds and refolds his napkin. A cue, perhaps? I await further signals—but like the hors d’oeuvres and drinks, none are forthcoming. For all his anxiety, my confectioner has neglected to give me instructions. Am I the centerpiece this evening? Am I the dessert? Our hosts have offered no guidance. Made no requests. The moment we entered, they simply invited me to sit. To join them at table, like a guest.

They want to see you, Javier said.

They all do, don’t they? They want the same Una, over and over. I am always her. Over and over.

But tonight I am also sibyl, oracle, prophetess. Tonight I am breathless from seeing so much. Seeing and being seen.

“A striking resemblance,” Maman says at last.

“We had heard,” says Papa, mustache bristling. “But, you understand, we needed to see for ourselves.”

“Of course,” replies Javier. “Of course. Remarkable,
n’est-ce pas
?”

I shiver under their scrutiny.

“How many of these—” says the youngest Demoiselle,
la sœur,
jeweled hand fluttering. Grasping for an explanation. “How long has it been—? How did you reconstruct—? I mean, look at her. Just,
look.
Please tell me this isn’t her death mask . . . ”

They look and look and look away.

“Absolutely not,” whispers Javier. “Does she look dead to you?”

Of course, I repeat silently. Of course. Remarkable,
n’est-ce pas
?

I reach down. Pull my legs up one at a time. Twist until I’m perched like a swami on the mahogany chair. Mousse leaks from my hips. Cream swills in my guts. I exhale and collect my thoughts. Prepare my premonitions. Summon my ghosts.

“Shall we begin?”

One of the black-ties glares at me. “Una was much more lithe,” he says. “Much more vibrant. Such an exquisite dancer, such a beautiful singer. To have wasted her life on vulgar cabaret . . . ”

“Slinking in alleys . . . ”

“Scuffling for coin in dank, decrepit places . . . ”

“Cafés and
folies.
” Top-hat shakes, spits. “Damp, even in summer. Small wonder the wheeze got her—”

My joints stiffen as he speaks. Vein-syrup coagulates. Grenadine clogs my nostrils. I exaggerate a cough, swallow fizz. Use spittle and phlegm to demand their attention. “Shall we begin?”

“Heartbreaking,” says another. “Clearly, a wife cannot survive on sugar, liquor, and promises alone . . . ”

“A husband should provide more—”

“
Ça suffit,
” says Maman. “My daughter made her own choices. What’s done is done.”

“But this,” says Papa, crossing himself. Expression doughy. “She has had no say in
this.
”

“Open your eyes,” I intone with all the gravitas of Helen on the ramparts. Fire flickers in my gaze. “Open your eyes. Una is here.”

Give them what they desire,
my confectioner once told me,
and the audience will never forget you.

Cardamom flakes from my cheeks as I grin, enigmatic. Remember me? Peppermint auras smoke from my mouth, sweet and pervasive. What a show we’ve planned! What a performance. There will be no weeping this time. No throttling chest-rattle. No thick, unbreathable air. It won’t be like before.

Remember?

I am weightless, seeing them here, being seen. I am buoyant.

A fairy-floss spirit spins out of my fingertips. She clouds up to the ceiling, floats down the walls. Shrouds the gallery of portraits hung there. “Una,” I say, louder now. At my command, the specter coalesces. Straight nose, high brows, Helen’s fixed stare. She is the mold, the paintings, replicated in floating skeins of cotton candy. “Una is here.”

My eyeballs roll back in their sockets. The undersides are concave. Hollow, but not void. Diamond-shaped dragées trickle out. Dry-tears. My pupils turn skullward, but I am not blind. I am Delphic. Past, present, future. All-knowing. All-seeing.

I look and look and don’t look away.

Chairs screech back from the table. Heels chatter their exit, but not mouths. Mouths are black lines, firm-clenched or drooping. Mouths are hidden behind satin-gloved fingers, closed behind handkerchiefs. Mouths are quivering disgust. There will be no licks, no nibbles from these. No kisses.

Maman’s handmaiden swats the apparition, clearing a path so her mistress can leave. Papa sniffs. Dabs his lowered eyes. Orders servants back to the kitchens. Follows them out. Javier sits rigid as meringue beside me. Will he add this story to his repertoire? Will he tell the next Una what he’s told us already, over and over, so many times?

Give them what they desire,
he said.

Specters, spirits, sweet subtleties.

“Wait,” Javier says as his in-laws retreat from the room. Indecorous penguins, making their excuses before the entrée. “Stay! You wanted to see—”

New memories to replace the old.

Pulling, pulling, the ghost unspools from my heart. She spills. She aches.

“Is this not her face?” he says, leaning close enough to kiss. “Is Una not right here? Is she not perfect?”

“This is not her face,” I repeat. Wrong, try again. My thoughts are muddled, drunk on passion and time. “You wanted to see.” Musk falls from my gums.
Bohèmes break brittle bones.
No, wait. Not quite. That’s not alphabetical—macadamias, marshmallows, mignardises. Better. My fingers snap, one by one.
Bohèmes bones break brittle.
Sherbet foams from my mouth, grenadine from my nostrils. Custard seeps, melts my delicate robes. My hands find, flail, flounder in Javier’s warm grip. Cream gluts from my sternum, splattering the Wedgwood. Shaking, my head teeters. Throbs. Tilts.

“She is not perfect,” says the ghost.

Forced skyward, Helen’s stony gaze comes to rest on the ceiling rose.

“This is not her face.”

Will Javier tell the next Una this story?

Give them what they desire,
he said.

New memories.

Remember?

My chest heaves, drowning in buttercream. The ghost breaks its tether, unmoors, dissolves. “This is not her face,” she says. Not quite. The tone is off. The thick-glugging timbre. “Javier.”

Try again and again.

“Una is not right here.”

About the Author

Lisa L Hannett
hails from Ottawa, Canada but now lives in Adelaide, South Australiacity of churches, bizarre murders and pie floaters. Her short stories have been published in
Clarkesworld Magazine, Fantasy Magazine, Weird Tales, ChiZine, Shimmer, Steampunk II: Steampunk Reloaded, the Year’s Best Australian Fantasy and Horror (2010 & 2011),
and
Imaginarium 2012: Best Canadian Speculative Writing,
among other places. She has won three Aurealis Awards, including Best Collection 2011 for her first book,
Bluegrass Symphony
(Ticonderoga), which was also nominated for a World Fantasy Award.
Midnight and Moonshine,
co-authored with Angela Slatter, will be published in 2012. Lisa has a PhD in medieval Icelandic literature, and is a graduate of Clarion South. You can find her on Twitter @LisaLHannett.

The Corpse of the Future:
Jane C. Loudon’s
The Mummy!
and Victorian Science Fiction

S. J. Chambers

When we think of mummies, we don’t recall the desiccated corpses that rest behind museum glass, but the dehydrated reanimated corpse of lovelorn Imhotep played by Boris Karloff in the Universal Pictures flick
The Mummy
(1932), or the more recent reincarnation in the 1999 remake of the same name starring Brendan Fraser, Rachel Weisz, and Arnold Vosloo. In these films, Imhotep is a sinister and mystical Other who is searching for his lost love, and in doing so curses the Brits and Americans that revived him with mayhem. However, the cinematic mummies—like most Universal Pictures monsters (ahem,
Frankenstein
)—barely resemble their literary prototype, Cheops, who is revived by a galvanic machine rather than incantations to reinforce divine law and thwart political conspiracies.

Cheops does this wandering in
The Mummy!: A Tale of the Twenty-Second Century,
a futuristic meditation on England in the year 2126. Published anonymously in three volumes in 1827, and again in 1828, it proffers a futuristic hope of what its 17-year old author, Jane C. Loudon, hoped technology and social progress would improve in her country, and in doing so hones in on the trends and occupations of Regency England, such as whether the monarch (and church) should be abolished and whether Positivism and technology would ultimately better society. It’s also a parable on the othering of non-Western countries, a trend that of course became manifested during the British Empire but began with Egyptomania thanks to the Napoleonic discoveries of pharaonic tombs in 1789.

While all of these political implications hinge on the current affairs of Loudon’s time—political unrest compounded by the American Revolution and Napoleonic Wars, as well as the beginnings of workers rights movements—each argument she makes is also towards an ultimate dismissal of the Romantic movement that advocated (mostly) socialism, atheism, metaphysical science rather than technological, and Orientalism. The main target of her parody was Mary Shelley’s
Frankenstein
(1818).