Supernatural Noir (19 page)

——

Laird Barron
is the author of two collections:
The Imago Sequence and Other Stories
and
Occultation
, both from Night Shade Books. His work has appeared in places such as
Fantasy & Science Fiction, Inferno: New Tales of Terror and the Supernatural
,
Lovecraft Unbound
,
Black Wings: New Tales of Lovecraftian Horror
,
Clockwork Phoenix
, and
The Del Rey Book of Science Fiction and Fantasy
. It has also been reprinted in numerous year’s-best anthologies. Mr. Barron lives in Olympia, Washington.

Elizabeth Bear

—

Last, the bullet blooms against steel. Still almost pristine until that moment, now its conical head flattens. Its copper jacket splinters into shrapnel needles, wire-fine, scattering. The core
splashes
, the force of impact so great that cold metal splatters like syrup, droplets blossoming in an elegant chrysanthemum. The butt of the casing flattens against the engine block for a split second before it peels away and falls.

But it’s already exited the girl, and the girl is falling.

——

January is baking brownies.

She watches water and butter boil together with a mass of green leaves, once dried and now rehydrating. These are grown-up brownies. Her kitchen reeks of burnt sugar and wet rope, complicated and musty as copal.

She makes sure the water doesn’t boil off. Too-high heat destroys the THC. Cooking is an applied form of chemistry.

She pours the slurry into a pottery bowl through a strainer draped with cheesecloth, then twists the cloth to get the last of the butter. The water and butter go in the fridge to cool. She cleans the tools and starts breaking apart squares of Ghirardelli unsweetened chocolate, which she will eventually combine with brown sugar and melt into the separated butter.

——

The bullet blasts a gaping exit wound in the girl’s body. It’s not the penetration of the bullet that does this; the bullet is quite small. Rather, it’s transferred energy—a shock wave—that knocks a plug of blood and muscle and skin out of her side, that vaporizes a portion of her body and splashes it over the massive open block of the carousel engine a moment before the bullet splashes, too.

That bullet has already passed through the girl when she reaches weak, estranged hands for the impact point and staggers one step back, then two, teetering among littered tussocks on high heels she never should have worn to the carnival.

——

January takes the brownies to the birthday party. The clamor of the Wurlitzer greets her as soon as she opens her car door, but the carousel is out of sight, turning and turning in its great wood-and-glass enclosure that glows like a Christmas ornament in the blue twilight. The sound of the one-machine band climbs against a clear October evening. The western sky’s still creamy gold, though a band of indigo shows to the east, stars prickling through. January’s breath mists, and oblong yellow leaves somersault across the grass, but once she’s inside she’ll be warm.

For now she tugs her scarf tight and balances the plate of brownies on one hand while locking the car doors with the other. She picks her way over uneven ground, watching another dark shape or two rattle keys, check doors, and drift through the gloaming like ghosts drawn to a séance. January follows a tall, slender woman in a plain gray dress, much younger than most of the crowd. Somebody’s daughter?

The carousel is housed in a circular structure like a train roundhouse—except smaller, and intricately decorated. The row of windows under the cedar-shake eaves are stained glass—this side, over the open double door, shows autumn scenes shading into winter.

January imagines the theme is carried all the way around. Around the curve of the building, the milk-glass snows probably melt out in lime green and gold.

The band organ almost blows her hair back as she passes inside. It thumps through the cold cement floor. The bass drum shudders in the empty spaces of her chest. The lofty space isn’t as warm as she’d hoped—cold air settles along the neckline of the pushed-back hood of her cardigan—but it’s bright and crowded and full of the smell of popcorn and the voices of crowds of people January knows sort of halfway well, or used to know well in college.

She waves with her free hand as she moves around the outskirts of the carousel, looking for the birthday boy, the snack table, or both. The crowd keeps her from getting a good look at the merry-go-round; apparently Martin can turn out enough friends for his fiftieth to make even a carousel housing seem crowded. But that’s okay; she can wait until she’s found Martin to go pet the wooden ponies.

As if her determination were a summoning, he materializes before her, one hand extended for the plate and the other to take her shoulder and kiss her quickly in
hello
. He’s got crow’s feet and spectacles now, and he’s thicker in the middle than when they were lovers. The hair slicked back into his ponytail is more silver than ginger.

He points to the brownies with the corner of his eyeglasses. “Adulterated table?”

“Would I let you down?”

He grins, a grin that pays for all their long and questionable history, and takes her arm. Progress to the refreshments is slow—the penalty for traveling with the guest of honor—but the inevitable interruptions allow January to gaze her fill upon the carousel.

Because she was curious, and because she has the research skills of any good children’s librarian, she knows that it was carved between 1911 and 1914 by Russian Jews who had immigrated to Ohio. She knows that their previous work was carving ladies’ hair ornaments, and she knows that the carousel stood in its original setting for fifty years before being shipped east to its new place of pride as the focal point of a municipal park designed by Frederick Law Olmsted—where you can rent it for birthday parties at night or in the off-season.

But that’s not the kind of knowledge that can prepare one for the glow of lights and the flash of mirrors, the chiaroscuro and the colors. The crashing of the Wurlitzer echoes until January can only make out what Martin is saying because she knows him so well, and eventually they find themselves by the snack tables.

The larger one has a white cloth, and is covered with casseroles and chips and desserts. A cooler must contain cans of soda. The smaller one has a tie-dyed cloth, and the cooler underneath contains beer.

Martin sets her plate in the center of the display, whisking off the plastic to reveal a stack of two-bite chocolate squares, each stuck with a toothpick with a paper cannabis leaf glued to the top—just in case there should be any misunderstandings. Before he turns away, he liberates a brownie. “You made these kind of small.”

“I made them kind of strong,” she answers. A responsible herbalist always tests the merchandise before turning it loose. “Anyway, there’s three-quarters of a pound of chocolate in those things.”

Judging by the blissful expression that crosses his face when he sniffs the brownie, that’s the right ratio. “Someday, these will be nearly legal again.”

“Nah,” January says. She takes Martin’s arm and leads him toward the carousel. “It’ll take
generations
to recover from the eighties. Come on. Let’s ride.”

Despite the crush of people, there’s no real line, and even if there were, clinging to the birthday boy’s arm has its benefits. Martin, licking brownie grease off his opposite thumb, hands January up onto the deck of the carousel, which—unlike the smaller merry-go-rounds she rode as a kid—doesn’t settle beneath her weight.

Martin releases her hand. The Wurlitzer hesitates.

The carousel has more than just horses. The closest animals, three abreast, are giraffes, vivid yellow and chocolate brown with caparisons of gold and red and blue. Their long necks look knotty; January can see the places where one piece of wood was joined to another to make up the length. The giraffes look awkward and their blown-glass eyes bulge unnaturally, catching the harsh glow and reflecting it back like raccoon eyes in headlights.

“Lasers fully charged.”

“I don’t think the carvers ever saw a live giraffe.” Martin’s a contractor now—four years of college and it turns out he’s that much happier with a hammer in his hands. It took him years of thrashing to figure it out, but the fun of being fifty is having done the figuring.

He ducks to inspect the hooves. “These don’t move. Do giraffes really have hooves? I’d have thought camel feet.”

“They really do.” She reaches way up to pat the nearest giraffe on the nose. “And the next row go up and down. It looks like just the circus animals don’t move.”

Martin stands as if the rising thunder of the Wurlitzer raised him. He leans around the giraffe to follow her gaze. The next row of three is horses, and if the giraffes are stiff, the horses are stunning. The Russian cousins were apparently better at familiar animals, because these
breathe
. They’re slightly caricatured, flaring nostrils and bulging eyes—glass again, too-round bubbles affixed to the insides of the hollow heads, so the carousel lights shine through them—but the cartoonishness expresses itself as heroism rather than ridiculousness. The carved necks arch, the carved teeth champ, the carved manes mount like breaking waves. The outside horse in each row is larger and braver than his brothers, the exterior side of each pony more brilliantly decorated than the one inside.

January touches a palomino ear and feels a thrill. She walks the length of the horse, letting her fingers trail down his neck and across the saddle. The saddlecloth sparkles with silver gilt, though the stirrup irons hanging from stretched leathers are worn. When her fingers reach the tail, she almost jerks back; there’s hide under the cream-colored locks. It’s a real horsetail.

“Better pick a pony,” Martin says. “The ride is filling up.”

She smiles and moves on. Past a lovers’ carriage—red and gold, and decorated with cherubs even more uncanny than the giraffes—and another row of standees—elephant, lion, and tiger. (“How come the giraffes get three representatives?” Martin wants to know, and under her breath January answers, “Quotas.”) The elephant is a little questionable, and the lion and tiger are not to scale—the lion is largest of the three—but the carving on the big cats is spectacular. Their eyes squint over frozen snarls. Pink tongues roll slickly behind curved yellow fangs. Small chips at the tops of each canine tooth must be from children shoving their hands into the big cats’ mouths. She shudders. Even in play, who would want to do that?

Behind them are grays—and January’s heart skips. The inside pony might be the plainest on the carousel—in fact, January wonders if she was borrowed from an older merry-go-round to make up a gap—and the stallion on the outside is a heavy-hoofed, broad-shouldered draught horse, his whiskery head so huge it looks like his neck is bowed under the weight of it. But the mare in the middle is perfect—medium sized, caught at the bottom of her leap for easy mounting, and with a gentle expression and crimson leaves braided into the toss of her mane.

“Her,” January says, and strokes the pale-pink wooden muzzle under the long, dappled wooden nose.

“Oh, not the middle one,” says Martin. “You can’t catch the brass ring if you’re on the middle one.”

“Brass ring?” January tucks her long, felted-wool skirt around her tights.

“Sure,” Martin says. “This carousel still has brass rings. Catch one, and you get a free ride.”

“But the rides are
all
free—”

He waves his hand in that airy manner that used to make her want to kiss him, dismissing all protests. “It’s the principle.”

She rolls her eyes and puts on her best
I’m humoring Martin
face. Recognizing it, he grins.

“Fine, but I’m riding Buttercup next time.”

“Buttercup? You’re
not
keeping her—”

He stands aside so she can mount the stallion, but it still looks uncomfortably wide, and she turns to the plain little filly on the inside. She’s stiffer than the others, more plainly made, her seams more apparent. Even her paint looks dull. The bulging glass eyes are more crudely fitted, and this pony has not only a tail of real horsehair, but a mane also, mingled strands of black and white and gray.

“Macabre,” January says, petting it, and swings up into the saddle.

It’s been a long time since she was on a real horse, and she’s never done it in heels—even low heels like these Mary Jane clogs. But once her feet are in the stirrups and she’s remembering how to use the leverage, she finds herself sitting comfortably, legs extended, one hand resting on the spiraling brass sleeve that covers the steel pole the horse hangs from. Her skirt drapes the saddle like a lady’s cloak in a tapestry.

“Brass ring,” she says to Martin, who is watching her from under furrowed brow.

“Brass ring.” He swings onto the stallion, which—at the top of its arc—makes him seem miles and miles taller.

Other riders fill in. The elephant immediately in front of January is occupied by Martin’s freshman-year roommate Andrew. His narrow height is distorted in the middle by a potbelly now, but his colorless hair still sticks out every which way, though there is less of it. He dangles himself over the back of the beast and extends one telescopic arm to pat the dragonfly ornament between the gray filly’s eyes. “You got the ugliest ride in the joint again.”

“But the elephant has the ugliest rider,” she answers, and watches him try to take it as a joke, the way people who camouflage their viciousness as humor generally have to. He manages, more or less, but while he’s arranging his face January rolls her eyes at Martin.

Martin rolls them right back. Andrew must catch the exchange, because he says, “Don’t tell me you two are back together?” in a prickly voice, which makes Martin laugh like he’ll never stop.