Showing posts with label history. Show all posts
Showing posts with label history. Show all posts

Wednesday, May 15, 2019

DAUBS OF COLOR IN THE COLD (Pt. 5 - The End)


I don’t know how I forced myself out of the painting the way I did. I’d been standing there, tangled in the venom of Uncle Mason’s words. The clouds above had stopped drifting. The ripples of the canoe’s wake stood mid-crest. The waterfall had frozen over. I had to escape. I spun away from the painting and planted my face in my hands.
The Uncle Mason’s voice echoed through the gallery with unflappable calm. “Albert Bierstadt was born in Prussia, before Germany even existed. His father was a cooper, which in early eighteenth-century Europe made him next to worthless. They came here when Albert was only a year old. His parents did better here than they ever would have in Prussia. How could Albert not embrace America and everything that came with it? He traveled to Düsseldorf in his twenties to learn how to paint, but he came back and made America the subject of everything he did. At the time he caught a lot of shit for his showmanship and skill at advertising himself. But entrepreneurial flair and selling yourself—that’s baseball and apple pie, and it served him well. America gave Bierstadt everything. How could he not believe it was the work of God?”
I turned toward him slowly. Once I could lift my face out of my hands, I asked, my hands open in a plea, “Do you really believe that?”
“It doesn’t matter what I believe. He believed it.”
“Then he was an asshole.”
“Anna, our beliefs don’t take form in a vacuum. You know that. They take root in what we know, what we experience every day. You know a nice middle-class suburban existence, so you have the luxury of taking the time to learn about the roots of institutionalized injustice and then passing judgment. You don’t know what ‘hard-scrabble’ means. You don’t understand what it means to be so worried about keeping a roof over your head and feeding your kids that you don’t have the time or energy to worry about the predation of the system. To you fixing the system is a worthwhile goal. To people you’ve never even met the system is just a boot coming down on their throat, and they’re just trying to position themselves so that when it connects, they’ll still be able to breathe.”
“Are you saying I don’t have empathy?”
Uncle Mason’s head sank. He put his hands on his hips.
“Are you?”
He raised his head, his eyes cast to the ceiling. Or maybe the heavens. The pop and squeal of the fireworks were going off. In the gallery’s lachrymose silence they sounded closer than they were.
“Uncle Mason!”
His shoulders sank. His arms fell to his sides. His head drooped. He looked like the condemned hanging from a scaffold.
“Uncle Mason?”
“Shut up!”
His outburst struck with a bone-shattering thud. I was afraid to move. The sole of my flip-flop scuffed the cement floor, and I bristled at the inferno that would spill from my uncle’s face as he turned to excoriate me into ashes. But he never turned around. No conflagration. I steeled myself against the incoming worst.
“This was a mistake,” he said in a mohair whisper, more to himself than to me. He started to amble across the room. “I shouldn’t have brought you here.”
“Because I don’t agree with you?”
He shook his head. “Because of that. Because you think that’s why I’m frustrated.” He reached the wall, turned, and collapsed into it. Directly above his head was a painting called Marat Assassinated. “I’m sorry, Anna. I look at the young woman you’ve grown into over the last six years, and I’m… proud isn’t a strong enough word. I sometimes forget that you’re still a kid. I know you don’t like to hear that. No teenager does.”
Uncle Mason’s eyes drifted off me and into space, onto something I couldn’t see. “When I was your age,” he said, “I would fight with your grandparents all the time. The Iran-Contra hearings were on television every day, and… I could not understand how good people like my parents didn’t find it disgusting. I couldn’t understand why they weren’t as angry as I was. I remember screaming at my father, ‘Don’t you care what they’re doing down there?’ and him saying, ‘It has nothing to do with us.’ I felt like my parents, these people who gave me life, who I trusted for everything, weren’t the people I thought they were.”
He looked back at me. His face was soured by fear. “I want you to learn, Anna. I want you learn to not be so scared that you confuse frustration with hate. I don’t want you to hate your family.”
“I don’t hate you, Uncle Mason.”
“No. Not me. Your parents, your grandparents, everybody who doesn’t see what you see. Disagree with them all you want, but know that they will always love you.”
“What are you talking about?”
He swallowed. “Talk is cheap, Anna. It’s not what people say that matters. It’s what they do.” He bolted to his feet and marched. I followed.
To the muslin curtain.
Uncle Mason grabbed a corner and pulled. The curtain fell and revealed a painting of postmodern watercolors, abstract non-patterns that seemed to depict nothing.
“This… isn’t Guernica?” I asked.
“It’s the only piece in this whole gallery that’s an original.”
“And we can go in it?”
“Yes.”
“Who painted it?”
“I did.”
“This is yours?”
He didn’t answer.
“Uncle Mason?
He was drowning, flailing. And he was fighting but not the water. Every line of rescue tossed at him he was grabbing and throwing back. He drew a deep breath and said, “The people who created the prints in this gallery made me paint this. It was part of the price.”
I turned back to the painting, tracing the brush strokes with my pupils, trying to see what kind of tithe this was supposed to be.
Uncle Mason said. “I want you to go in without me.”
“Why?”
He wouldn’t look at me. “Once you’re in, you’ll see.”
I kept looking at him, trying to read him, to feel him. He looked old, and I felt tired. His eyes quivered, and I felt frightened. His jaw was viced, threatening to shatter his teeth.
I took a breath of adamantine resolve and turned back to the abstract. At first it was a series of swirls that overlapped, interlocked, and bled into one another. Different shades of red from a deep crimson to a milky pink. As I circled the painting with my eyes, I noticed lines, sharp delineated bolts of black that darted in and out of the red. At the outer boundaries of the painting they were wisp thin, barely noticeable. I followed them through the whirlpool of red to the center of the picture. The crimson was mottled with black mold. At its heart, small enough to barely draw attention, was an ember of darkness beyond black, a deep puncture that exposed a void weaving through reality. I stared into the absence and found myself enveloped in a chill so bracing I clutched my arms around me. I looked back into the red, almost as if expecting to find warmth. Instead an indefinable horror joined with the cold. I felt like I was choking, and as I jerked for air, I entered the painting.
I found myself standing in an alien netherplace, an enclosed rotunda that had risen from a swamp like a desiccated hand and threatened to curl into a fist. Obelisks stood dripping with putrefied flesh. A penannular pool of ichor and tar hissed and belched flights of obscenity. Steps, pock-marked and eroded by rage, starved to devour the feet that would tread on them. Columns excreted by some long-slain menace in its death throes. Every accent and flourish of the rotunda had been mined from open wounds. The entire edifice was a violation.
Five figures stood before me, their faces hidden by impenetrable shadow. Drawn over their heads were hoods that grew out of their shoulders and chests like necrotic tissue stitched together. They stood otherwise naked, pale sexless humanoid malignancies with blackened veins visible through what served them as skin. Their hands were pressed together in prayer. Each finger was a wriggling tuber loosing noxious secretions from its head.
The figures were gathered around a cauldron that was roiling in an unknown tongue. Above, spread-eagled and suspended by chains at her hands and feet, was a woman. She was beautiful, no older than thirty, and dressed in an intricately woven robe with a plunging neckline. She was crying, begging for her life.
Uncle Mason bled out of the darkness. He walked in slow deliberate steps, weighted down by grim imperative. In his right hand he held what looked like a bronzed paintbrush. The teardrop bristles glittered in the cauldron’s iridescence. He held it like a dagger as he approached the woman. She cried out his name in a hysterical plea.
Uncle Mason drove the paintbrush into her heart.
He watched the anguish drain from her face as her life poured out of her chest, into the cauldron. He watched the blood spiral down the bronzed handle of the sacrificial stylus. The light in his eyes was snuffed out, and in the darkness his resolve abandoned him, leaving him alone with just the agony of consequence. He stood still as stone. As he watched the stream of blood slowly die to a trickle, he retraced every step he’d taken on the road to this moment. A freezing wind was sweeping away his tracks, leaving him lost in a cold waste, his only company the wind’s haunting moan. He held his goal in hand and found it weightless.
I backed away until I was in the gallery once again. I turned and saw Uncle Mason seated on the floor, a condemned man. I backed into the wall.
I whispered, “Was that—?”
“Melissa.”
I slid down until I was seated on the ground across from him. All I could do was cry and look at the man.
He couldn’t look at me. “She didn’t want to have kids. She… didn’t want me to be a father.” He looked up at the painting. “She was right. That is my self-portrait.” He bowed his head before his tears erupted.
I wanted to ask him for the full story, his complete biography that detailed his every decision, the thoughts that had nudged him toward his every crime, even the ones I was afraid to imagine. But I couldn’t bring myself to make the simplest stammering utterance. An angel had cut off his wings and presented them to me. I thought of The Night Café and how Van Gogh had given a prostitute his severed ear, gift-wrapped and all. Was Uncle Mason crazy?
No. He wanted me to learn something.
I watched the man weep as I puzzled through the lesson, starting at the sides and working my way to the center. He’d lied when I first asked what was behind the curtain. And it was a lie to scare me out of ever wanting to peak beneath that veil. He had never wanted me to know who he was. Had been. That wasn’t who he was anymore. Or was it? Wait, why did he keep this gallery at all? Uncle Mason had wanted this gallery to learn to understand people he didn’t agree with. He had committed murder to achieve it, a murder he instantly hated himself for. He found the crimes of the white men who commissioned the paintings, who painted them, who committed the acts glorified in them as disgusting as I did. Because he was one of them. But he showed me his self-portrait. He’d decided that I needed to know who he was. He made that decision in the middle of our argument, after I’d challenged him to accuse me of having no empathy. Then he’d said, “This was a mistake.” He’d brought me to the gallery for a different reason.
And I was seized by a horror I’ve never since experienced again. I understood why he’d brought me down in the first place, and I remembered my mother was still above me, watching the fireworks. I understood that he’d showed me his self-portrait because he’d changed his mind, and I remembered Melissa, dying, shattered by the shock of what the man she had loved was doing.
I looked at Uncle Mason seated across from me. I was revolted by what he had done, but I couldn’t deny the guilt spilling out of him. I felt betrayed, but I had no desire to exact vengeance. I stood and walked over to him. I placed my hand on his shoulder. He never looked up at me. I walked out of the gallery.
I never saw my uncle again. A week later the compound would be completely cleared out and put on the market without a word to any of us. My mother would call him as soon as she found out. He would tell her that he was moving the offices to Toronto and would need to base himself out of there, but he would still take care of anything anyone needed. My mother would say that was typical of him.
I have no memory of walking upstairs, through the house, into the backyard. But I remember looking up once I was there and seeing the fireworks still going off. The clouds had rolled in and swallowed the moon and stars. All the lights on the property had been snuffed off. The only illumination in the oceanic darkness was from Uncle Mason’s fireworks.
I saw my mother standing among some of my other family. It was a random grouping. Her, Uncle Rick, Aunt Theresa, one of my older cousins, and one of my younger. I was only able to see them by the light of the pyrotechnics. As the incendiaries exploded, they painted my family in rainbow fire. Every color wrapped around them and made them glow.
I wedged myself beside my mother. She turned to me, smiled, and pulled me close. I rested my head on her shoulder. There was no discord, no divorce. Mom and I just watched in silence as fiery daubs of color painted the cold above.

Wednesday, May 8, 2019

DAUBS OF COLOR IN THE COLD (Pt. 4)

He walked me to a wall and, with a flourish of his hand, presented a painting of ancient Greece. Great. Aristotle thought some people were born to be slaves.
“This is A Reading from Homer,” he said, “by Lawrence Alma-Tadema. Romanticism from 1885. Look at it.”
I did. For quite a while. The key to entering one of Uncle Mason’s prints was to relax your brain and not think about what you were seeing, to just let it wash over you, but that was an impossibility right then. I was too angry and was swimming against the current. I saw the painting and wanted to scream at every gray vein in the marble. I wanted to grab the woman in repose, slap her hand away from her man’s, and shake her. I wanted to shake her and disrupt the whole languid scene, stir the placid blue of the Aegean in the background into tumultuous stormbidden sackcloth.
But I kept watching the still-life play before my eyes. I couldn’t deny there was something welcoming and comfortable about the vision. My shirt and shorts felt clingy, like they were tugging at my skin. The fur-tunicked man on the ground was lying prone, a faun having settled into a field for a nap. The stone of the agora looked more relaxing, more agreeable than a plush sofa. I started to hear the voice of the poet, the lines of ancient Greek dactylic hexameter pinging off the strings of the cithara across the frame. The scent of the sea filled my nose. I gave myself over, and I was inside.
“How do you feel?” Uncle Mason asked me.
“Calm. Relaxed.”
“Good. Now tell me what’s happening here.”
“A poet’s reading Homer,” I said.
“For what purpose?”
I looked around the agora, hoping to find the answer etched in marble.
“Have you ever read Homer?” Uncle Mason asked.
“In school, yeah.”
He indicated the scene before me with an upturned hand.
“This is a class?” I asked.
“Absolutely. Homer was the bedrock of Greek and Roman education practically from the moment he started writing.”
I stared into the faces of the four students. They were transfixed by the poet, by the words from the scroll. I could read the flaring lights in their eyes, having spent most of my life seeing rows of faces struggling to stay awake at their desks.
“What’s with them?” I asked.
“The students?”
“Yeah. He’s laying on the floor, she’s reclining, those two are leaning against the wall. What kind of classroom is this?”
“That’s the question,” Uncle Mason said. “When did I say this was painted?”
“1885.”
“When you hear that year, what do you think of?”
“Not this.”
“Right. So, what do you think of?”
“Men with pocket watches and pince-nez. Women in ostentatious hats and huge skirts.”
“What else? What big things were happening at that time?”
“I don’t know. Queen Victoria. The Industrial Revolution.”
“Exactly. The Victorian Era, the Gilded Age, the Belle Epoque. This was painted at a time when rapid industrialization was ushering in seismic changes in the way all of civilization functioned. It was changing so drastically, so rapidly, that a lot of people found the whole thing confusing and frightening. A lot of them weren’t sure how to adjust, just as we’re now living through a radical change in societal expectations due to the digital revolution. Don’t be surprised if in your lifetime the term ‘digital revolution’ ends up being capitalized. Now, based on what I’ve just told you and what this scene depicts, can you make an educated guess what one of those big changes of the Victorian Era brought?”
“Education?”
“Standardized education for all. It’s because of the Victorian Era that you guys sit at desks arranged in ranks and files. Formalism in all things was one of the key virtues of the day.”
“Okay,” I said, “but I still don’t get what this painting has to do with that?”
“Before we came in here, I told you the title, who painted it, when it was painted, and what else?”
“Romanticism.”
“Right. Now I’m going to clue you in on something most people should know but have forgotten. The word ‘romantic’ has nothing to do with being in love.”
I looked at Uncle Mason like he was speaking in tongues.
“It’s true. Look at this painting. What does this image have to do with love? Nothing, but we associate the word with it because of love stories. Quick—name a love story.”
Romeo & Juliet.”
“Good. How does it end?”
“They both die.”
“Good. Name another.”
“Uh, Before Sunrise.”
“How’s it end?”
“They go their separate ways, and we don’t know if they meet again until the sequel.”
“Name another.”
“Um… that, what’s that German book about the guy who kills himself for a girl?”
Sorrows of Young Werther. You’re starting to see my point?”
“I’m not sure.”
“The word ‘romance’ comes from Anglo-Saxon and Old French words that meant ‘Roman.’ The word ‘roman’ is right there in ‘romance.’ And you’ve already taken enough world history to know how much European history is predicated on one kingdom or another using the legacy of the Roman Empire to give itself legitimacy. Romance is about loss and trying to reclaim what’s been lost.” He turned me to face the agora. “That’s what Alma-Tadema is trying to do. He wants the staid, formalistic existence-by-rote of his time to learn from the vibrancy of what has come before but no longer exists.”
I thought of all the times a teacher had delayed the start of class, trying to wrangle two kids back into their assigned seats. I remembered the occasional lively discussion in a room between the teacher and the students, instigated by an idea or morsel of knowledge expelled from one of the kids, how adroitly the teacher would talk around the subject without admitting that all they knew about it had come from the curriculum-approved study guide. It had always made me feel like the police outside our home had stepped aside and allowed the intruders entry. With a few words, Uncle Mason had made the assortment of gold stars and stickers that had adorned my elementary school quizzes stink of industrial runoff, and I saw them spilling into the rivers and oceans. All those uplifting pieces of signage that had graced the walls began to emit the pro forma honk of the teacher from Peanuts. Every shred of positive reinforcement I’d ever received, from teachers or coaches or my parents, took on the bark of a pedagogical sadist warning me to eat my meat if I wanted my pudding. I felt confused, twisted, a snake oblivious to the fact that the tail it was devouring was its own.
It was only after we’d exited A Reading from Homer that Uncle Mason told me about the man who’d commissioned it: Henry Gurdon Marquand. Gilded Age industrialist and banker. “The irony,” Uncle Mason explained, “was that he was almost single-handedly responsible for the popularity of the Old Masters of the era. He was considered a trendsetter in the art world, and it was the formalism and technical precision of the Old Masters that determined how he valued them.”
I turned back to A Reading, appraised it again, then turned back to my uncle and asked with some volume, “What the fuck?”
He looked at me like he was about to pick me off at first.
“How am I supposed to take that seriously?” pointing to the painting. “The whole thing is hypocrisy.”
“Well,” Uncle Mason said, “you have to bear in mind that, like Carnegie and a lot of other industrialists of his day, Marquand thought it was his duty to bring culture to the people. He could afford to collect the finest works of art and create a metropolitan museum for them to be housed in and exhibited for the benefit of people who couldn’t.”
“Yeah, but wasn’t he also an archangel of avarice like Carnegie and Rockefeller and all them?”
“Was he?” he asked. “You’ve heard stories of what Carnegie and Rockefeller and Vanderbilt and Morgan did to their employees and competitors and their customers, and you can walk into any bookstore and find volumes on any of those guys that will tell you even more horror stories.” Uncle Mason held up his pointer finger and said, “But what do you know Henry Marquand did?”
After a brief but irritating eon I said, “Okay. So, what did he do?”
“I don’t know either. I’ve never found anything on him online beyond his artistic legacy. He probably did have business practices we would call predatory. Why wouldn’t he? And I’m sure if we took a deep dive into the Library of Congress or something, we’d find them. But this is all beside the point. You know why all those guys thought it was their duty to bring culture to the plebs?” He took a dramatic pause, then answered, “God.”
“What?”
“They genuinely believed that, as good Christian men, it was their responsibility to help elevate society.”
I screamed, “How about paying their employees a fair wage? Letting them unionize without calling strikebreakers in? Health care?”
Uncle Mason had a finger in each ear. “Anna, honey, it’s so reverberant in here. Please.”
“Omigod!” I kept throwing my hands up, shrugging as if I was trying to buck my head off my shoulders. “Uncle Mason, what is the point of this? What are you trying to teach me?”
“The point is to get you to look at history through the eyes of the people that lived through it. I want you to look at them as people just like you and me.” Uncle Mason stepped toward me and stood inches from my face, looming over me like Christ on the cross above the altar. “We know more now about the natural world and how it works than ever before. We have millennia of recorded history from all over the globe and a multitude of perspectives on all of it to learn from. Innovation and advancement is occurring more quickly than it ever has. We right now are the most intelligent population that has ever inhabited this planet. And we still know nothing! We’re all flailing about, scared out of our wits, trying to put all this together into something that resembles a kind of order.” Uncle Mason marched over to A Reading from Homer. “The greedy cutthroat who commissioned this was as clueless as you and I are. He was trying to make sense of a universe that feels chaotic and arbitrary. Anna, no one is absolutely virtuous or absolutely sinful.”
“Hitler,” I said.
“Loved animals,” he countered.
My lower lip drooped, hairline fractures spider-webbing my heart. “Apologists always trot that bit out.”
He didn’t raise his voice. He didn’t take a step in my direction. But for the first time ever he frightened me. “Anna,” he said, “I introduced you to my gallery and agreed to teach you about history because you’ve always struck me as having good critical thinking skills. But I’m going to have to re-evaluate that if you’re just going to stand there and parrot self-serving rhetoric you got off Twitter.”
It was cold, almost robotic. For a moment he sounded like a man who knew how to get away with murder.
I was too frightened to pass judgment, to even form an opinion. I had to look away. As I turned, I caught in the background the gentle flag of the long black curtain over Guernica.
Uncle Mason put his hands behind his back. He rocked on his feet as he said, “Can we continue our lesson?”
I nodded, my head still pointed elsewhere.
He took me across the gallery, to a large load-baring pillar in the middle of the floor, patchworked with a number of smaller paintings, nothing like the enormous vistas we’d entered previously. We stood before one that was maybe a foot and a half by two and a half feet.
“This is Indians Spear Fishing by Albert Bierstadt,” Uncle Mason told me, then crossed his arms.
The last thing I wanted at that moment was to give my uncle what he wanted, but his arctic tone was still whipping around, and I heard the elegiac whistle of a heartless wind. I wanted to wrap myself in blankets and sit in front of a fire.
The painting was already in front of me. I lifted my head and focused my eyes. To my surprise I found the crippling chill receding, the ghostly wind dying in the light of a sun beginning to escape the horizon. I couldn’t deny the painting its grandeur, its elegance, its full-throated choir’s song for the natural world. The pink and yellow of the sun spilled over and into the background. I could feel the cool blue cotton candy wisps of the low hanging clouds brush past my fingertips. Every shade of the woods’ stippled green, from shadow-cloaked near-black to sun-baked almost-yellow, popped off the canvas with the warm alarum of rustling leaves and the call of birds in the thicket. The waterfall cascaded with a roar that lulled and crashed into the rocks like a leaf settling onto a gentle river. And the river was a spotless mirror held up to the heavens, reflecting infinity upon itself. And in the middle of it all were the Indigenous People in a canoe, a tiny hillock of furs among them, fishing with spears. Afloat beneath the rocky monolith of nature’s wondrous power, they simply existed, unaffected by the vampirism of modernity, desiring nothing but to live in the flow of the world as it was.
Bierstadt’s work simply opened its arms and allowed me to drift into its virgin wilderness. I hadn’t even noticed I’d entered the painting, and now that I was there, I found myself in a thrall that made my heart trill. I could feel the blood coursing through my body at a gallop backed by the steady race of drums. The idyll was a rollercoaster at a Kiss concert. Goosebumps rose on my arms. I was trembling, a six-year old entering the world’s most famous theme park for the first time, eyes as big as the moon, tears threatening.
“Exciting, isn’t it?” Uncle Mason asked me.
“It’s…” I couldn’t finish a sentence. The audacity of adrenaline was overwhelming me and stealing the words from my mouth. “It’s spectacular,” I finally got out.
Uncle Mason nodded. “That’s a fitting description. When Bierstadt painted this in 1862, landscapes were largely about spectacle, especially when they were of the American West.”
“This is… this is what they mean when they say God’s Country.”
“Yes, it is.”
As a child does when she can accept that the source of her excitement is real and tangible, my breath started to calm. “It really is glorious,” I said.
Uncle Mason said, “That was the point, to make God’s glory palpable.”
I turned to him. “What do you mean?”
“1862,” he said. “Transcendentalism was happening. The Civil War was happening. So was westward expansion, and the government promoted the hell out of it.
“The first time Albert Bierstadt ever went west of the Mississippi River, he was part of a government commission. The U.S. had all these tracts of land that went further than you could see in every direction.” Uncle Mason pointed to the mountainous wall swallowing the right of the frame. “All those deposits of stone and minerals.” He pointed to the river. “All those natural highways and the fish to pluck out of them.” He pointed to the woods on the left. “All that timber and the land beneath it to cultivate.” He pointed to the Indigenous fishermen. “And not that much standing in the way of it all. All that land at the disposal of the United States, placed at its feet by the grace of God, and remember that God gazed down on America and chose it to be his instrument.”
Uncle Mason’s arm swept across the unsullied splendor before me. “See how exciting Manifest Destiny is?”

Wednesday, May 1, 2019

DAUBS OF COLOR IN THE COLD (Pt. 3)


We passed beneath an architrave, turned a corner, and stopped before a large painting over six feet tall and nine feet wide. Half a dozen white men dressed like Puritans lorded from on-high.
“Have you ever seen this painting before?” Uncle Mason asked.
There was something familiar about the faces wreathed by the long hair spilling from under those absurd hats. “I want to say yes, but…”
“Maybe when you and your friends are rolling a blunt?”
“Uncle Mason!”
He smiled. “I was a teenager once too, and I’m not your father.”
I shook my head and scoffed as I turned back to the painting. “I don’t know how to roll a… Wait a minute,” I said. “The cigars.”
“Dutch Masters,” he said. “This painting is on that box because that’s who these guys are. The Syndics of the Drapers’ Union.”
“What’s a syndic?”
“The syndics were a five-man board of governors who oversaw Amsterdam’s union of clothmakers.”
“Two paintings about Amsterdam, blunts. I think you’re more into herb than any teen I know.”
“Kindly shut up. Their job was to judge the quality of cloth made and sold by guild members and make sure it met the standard.” He pointed to the man furthest to the right. “See Joachem de Neve feeling the tapestry laid out?”
“You know the guy’s name?”
“I know all of them.” His finger led me from the right side of the painting to the left. “Aemout van der Mye, Willem von Doevenberg, Volkert Jansz, Jacob von Loon.”
There was a sixth man standing behind them who caught my eye, probably due to his lack of headwear. “What about him?” I asked. “In the background?”
Uncle Mason’s grin grew more satisfied. “Good eye, Anna. That’s Frans Hendricksz Bel. He was a servant for the Drapers Union.”
“So, he doesn’t get a hat? What is it with men and hats?”
“He commissioned Rembrandt to paint this.”
“I’ve heard of him!”
“And this may be his most iconic piece. Without Bel it would never have been created.”
“Why’d the employee have to commission a painting for his bosses?”
“Well, I’m sure the union itself paid for it, but he was the point man between them and Rembrandt. He told Rembrandt that it was going to be hung above the fireplace in the Staalhof, where the syndics met. He gave Rembrandt the dimensions of the space and told him what he wanted the painting to convey.”
“What was that?”
Uncle Mason gave me a knowing look. “Ready?”
“We’re going in?”
“Remember how you did it last time?”
“Sure.”
Uncle Mason stepped behind me. “Okay, whip it out.”
“Eww!”
I let my eyes float over the brush strokes. They traced Rembrandt’s signature over the beige and brown of the wall. They fell to the golden chestnut of the crown molding, and I ran a mental finger along its polished gleam.
Uncle Mason whispered, “Look at the perspective. We’re looking up at them, as if they’re seated above the mantle of the fireplace, watching us, judging.”
I did, and we were in the Staalhof. The syndics were giants before us, and we were mice that had ventured into the room. They were staring at me with something not far from condemnation. They reminded me of my parents, looming over me as a child, considering my punishment after I’d done something wrong.
I didn’t like it. They made me feel small. I kept looking at their black robes and wide white collars, and I again thought of the Puritans. Of how they heralded the extinction of the Native Americans. Of witch trials and paranoid anti-intellectualism.
“How do you feel?” asked Uncle Mason.
“Pissed.”
“Why?”
“They’re passing judgment on me.”
“Not on you,” he said. “They’re not considering you.”
“Of course they’re not.”
“They’re considering the syndics who will come after them. In Calm at a Mediterranean Port we saw Amsterdam trading with the Duchy of Naples, but is that the only polity they traded with? No way, right? These men are responsible for what today would be a multi-million dollar-a-year industry, one that every facet of life in Amsterdam was dependent upon. These men knew their job wasn’t just to ensure the money kept rolling in, but that the lifeblood of their entire society kept flowing. They knew how integral they were to keeping the people of Amsterdam alive. That’s an epic responsibility. These men took that responsibility seriously, and they wanted their successors to do the same.”
I heard what Uncle Mason said, but I was trapped deep in a cold lightless cave, and the search party calling my name passed the mouth and disappeared. The only one in there with me was the servant. “Why’s he smirking?” I asked. “Bel. What’s with him?”
Uncle Mason looked at the servant and the slight upturn of the right corner of his mouth. “I’ll be damned. I never noticed it before. Good job, Anna. I suppose he’s a little proud of the role he’s played in the union fulfilling its responsibility. He commissioned the painting. I guess he’s allowed a little extra commemoration.”
I stared at the servant’s smirk. It seemed to grow without changing into an idiot’s Cheshire flash of ivory. I felt like I was watching a cow dance into an abattoir and nuzzle up to the butcher.
“Can we go now?” I asked.
Uncle Mason looked at me. For a second his eyes belonged to the Dutch masters above us. “Sure,” he said. “We’ve got a lot more to see.”

Wednesday, April 24, 2019

DAUBS OF COLOR IN THE COLD (Pt. 2)


The sun had set, but the sky still shone a fading purple. The leftovers had been packed up and put in the fridge to be taken home at the end of the night. The housekeepers were cleaning the kitchen. The little kids were out of the pool, and the one or two who had given their parents a hard time about it were scowling in time-out. The technicians Uncle Mason had hired were setting up the fireworks in the tennis court. I was standing about ten yards behind my mother, my grandmother, Uncle Drake and Aunt Kim. I only caught snippets of their conversation. Mason this, Mason that. When’s he going to settle down? Nothing but backbiting.
I felt a tap on my shoulder. Uncle Mason motioned with a cock of his head, Follow me.
We passed through the dining room into the foyer, down a long hallway that I knew led to his office. The air I was breathing turned rarified even before Uncle Mason had swung open those doors. It didn’t matter that the office wasn’t some Wonka-esque phantasmagorium, that it was exactly the temple of fiduciary consequence you would expect a businessman to have. None of that mattered. I was where you children didn’t get to go, and I was there at Uncle Mason’s invitation.
We crossed the room to a small door I assumed was a closet. But closets don’t have locks on them. Uncle Mason unlocked the door, then turned back to me. “Remember, this is between us, right?”
For a nanosecond I experienced a victim’s frisson. For a wisp of a moment I wondered if this was going to end badly for me, but I shook that off. Anyone else, maybe, but not Uncle Mason. “Just us,” I said.
He opened the door. It was pitch black inside. Uncle Mason reached in and flipped a switch that clacked with a breaker’s baritone. A staircase led beneath the house. Uncle Mason motioned for me to enter first. He followed me through the door and locked it behind us.
I reached the foot of the staircase and found myself in a sort of antechamber of basic cinderblock walls, no furnishing. A single white door sat in one wall to the side. To its right was some kind of aperture, and within it was the mouth of a black rubber chute just big enough to fit your hand in. Above the door was a plaque of alder, an inscription burned into it:

I paint my own reality.
                  Frida Kahlo

Uncle Mason stood before the chute’s aperture. “Don’t bother trying to get in here without me. I’m the only person in the world who can get through this door.”
He stuck his hand through the aperture, into the chute. He stood for several seconds before he flinched and withdrew his hand. A tiny drop of blood was pooling from a puncture in his palm. He grabbed the doorknob with his uninjured hand and led me into his art gallery.
It was vast, beyond cavernous, unspooling before me like a carpet in all directions, maybe further even than the confines of the compound. With plain concrete for a floor and stark white paint on the walls below waist-level, its simplicity was an eyesore. But the paintings, a legion of paintings from every conceivable school and era, blanketed the walls to the ceiling. They fit together in a harlequin tapestry that left no breathing room between the frames. Their colors were thick and sweet like melted chocolate, and yet they glowed like fish that swam in the most inhospitable depths of the ocean.
When I was a kid, I’d gone to the Madsen Museum of Art on a field trip. The effect had missed me completely, and I wrote off art with a capital-A. But there was an elusive bait floating through the subterranean expanse, an enticement that seemed to dart behind corners as my head turned. It wasn’t just an art gallery. To call it that doesn’t do it justice. It felt more like an ancient temple or some majestic cathedral. The air inside was so still, I didn’t even feel it as I walked. I could smell the faint vestige of some alien potpourri. I could taste it. The illumination pooled perfectly upon every exhibit, but the thick lines of yellow light on wood and metal shimmered with sentience.
Uncle Mason stood back and let me take it all in. He didn’t want to break the spell with unnecessary speech. He just watched me with a smile that was two parts thankful and one part relieved.
I turned a corner and hanging just above eye level, ten feet away, was The Night Café. Even I recognized it. “That’s a Van Gogh!”
“It’s not the original,” Uncle Mason said. “None of them are. They’re all prints.”
I looked around the gallery, trying to fathom what I wasn’t seeing, why replicas deserved such ostentatious display. “I don’t get it,” I said.
“Every print I own is one of a kind.”
“I’m pretty sure I’ve seen Night Café prints for sale online.”
“Not like this one. There are maybe ten people in the world who own prints like these. And no one has a collection as extensive as mine.”
I looked at him. “Okay. So, what makes them so special?”
I followed him across the gallery to an alcove subsumed in shadow. He said, “Look at this one here.” It was a large landscape, an idyllic scene from hundreds of years ago, of a bay with a ship below a lighthouse. The sun was setting behind some pink clouds and the whole picture had an amber-emerald hue.
“This is Calm at a Mediterranean Port,” said Uncle Mason. “From 1770 by Claude-Joseph Vernet. Neoclassicist. Forty-four and a half inches by fifty-seven and three-eighths inches.” He took me by the shoulders and positioned me directly in front of it. “Now, I want you to just look at the painting. Don’t think about it or try to understand it or appreciate it. Just look at it.”
I had no idea how I was supposed to do that, but I did as Uncle Mason said. I stood still and looked. My brain kept flicking the back of my ear, sneaking its attention off to one passing thought or another like a child trying to wander off in a grocery store. I wouldn’t let it. It took time, several minutes before my focus surrendered and turned itself fully to the picture in front of my eyes. They went right to the ship in the water. Crewmen were unloading it. The sails were billowing in the breeze even as the fluyt sat anchored in the bay. The hull, its dark boards rich as syrup, was backlit by the setting sun. I could almost feel the heat on my shoulders, smell the brine on the air. Then I heard birds. Gulls were circling above the ship, and I could hear them crying out against the blue-yellow gradient behind them. I could hear the seawater lapping against the dinghy in the lower foreground. Fishermen were hoisting a net from the small craft, and I could hear them too, speaking to one another in a language I didn’t understand. I could hear them as truly as I could hear Uncle Mason behind me.
“Look.”
I didn’t feel any crackling of cosmic energy, didn’t hear some ethereal hum of magic. I didn’t feel any kind of gravitational lurch into the canvas. There was only the barely perceptible movement of air around me, then I blinked, and I was standing on a stone quay in a port on the Mediterranean Sea. I was under a real sky with a real storm cloud that was just starting to roll in. The gulls above the ship were flying. The fisherman pulling his net out of his boat, wrapping it around his shoulders, was maybe thirty feet in front of me. I could distinguish the scents of the two men smoking their pipes. Two different kinds of tobacco. The smoke and the smell didn’t even bother me. Nothing could bother me. I was in eighteenth-century Europe.
From behind me I heard, “Remarkable isn’t it?”
I couldn’t speak, couldn’t even turn around to look at him with my slackened jaw and bulging eyes. I didn’t understand, but it was all so miraculous that I didn’t care.
Uncle Mason blew all the stress and anxiety out his nostrils. “Vernet,” he said, “he was one of the only landscape painters of the eighteenth century to always put people in his paintings. I think he saw them as inseparable from the scene. And of course they are. Imagine this image without the fisherman and the sailors, without the prostitutes waiting for a prospective john to come ashore with pay to burn. There’d be no ships in the harbor. No birds overhead. No fishing lines arching into the water. The town would look like an abandoned ruin. It wouldn’t be nearly as beautiful.”
I regained enough composure and ignored just enough bewilderment to turn around. Uncle Mason was basking in the yellow-orange of the sunset, letting the light iron the lines out of his face. The silver in his hair had been painted gold. He had his hands in his pockets and rocked back and forth on the balls of his feet, like he’d been taking a leisurely stroll on the beach at dusk during a week’s vacation, and he’d stopped at the shoreline to let the ocean run over his feet.
“Is this real?” I eked out.
“You mean, are we really in eighteenth century Italy? No.”
“Is that where this is?”
“Most likely it’s somewhere in the Bay of Naples. Vernet lived in Italy for twenty years and painted a lot of landscapes around the bay.” He pointed to the largest vessel in the painting-come-to-life. “See the flag there? In the late eighteenth century that was the flag of Amsterdam, and they would have traded with Naples.”
“Uncle Mason,” I said, “what is this? Is this time travel?”
“Not the way you’re thinking of it. Look around. Has anybody noticed two strangers in weird clothing speaking a strange English dialect?”
I looked at the fisherman and sailors and prostitutes lounging and talking and working on the dock. They were oblivious to our presence.
“They can’t see us?” I asked.
“They’re not real,” he answered. “We’re in a painting, not the past.”
“How is this possible?”
“Money makes a lot of things possible.”
“That’s not an answer. How’d you do this?”
“I didn’t. People much smarter I am did this.”
“Who?”
He gave me a paternal tilt of the head. “Right now that’s not something you get to know.”
“What? C’mon. How can you show me this and not tell me who’s responsible?”
Uncle Mason almost laughed. “Anna, I just brought you into a living painting, and that’s not enough for you? Look where you are. Listen. Breathe. Taste the salt on the air. You are experiencing life through someone else’s eyes.”
“What do you mean?”
“Have you ever heard the expression, ‘Life is perspective?’ ”
“Sure.”
“And have you ever heard an artist or a writer or musician say that their responsibility is to tell the truth as they see it?”
“Yeah.”
He turned me back to face the Bay of Naples and presented it to me with a wave of his arm. “Look. We only ever get to experience the world through our own perspective. Everything, every event, every idea has to pass through the prism of our unique subjectivity. But here the subjectivity is completely different from your own, and you get to live that. That’s invaluable.”
I cast my eyes over the scene, looking for what Uncle Mason was showing me. They darted around from one detail to another, across the expanse of oils in motion. My eyes went to the fluyt in the middle distance, and for the first time I noticed a sailor in a red shirt leaning over the side of the deck. He was shouting something to the sailors in the gig pushing away from its port side. I again looked at the fishermen in dock and noticed their hats. Then I noticed everyone’s hat. There were so many different ones: Phrygian bonnets, clericals, chapeaus, wide-brimmed pirate hats. There was a man in a green-and-white turban with robes to match. One of the fishermen was cleaning his catch, and working beside him on her knees was his wife. She had to be his wife. Her dress was drab and utilitarian, good for physical labor. She wasn’t sporting the colors of the women lounging frame-left. They had to be prostitutes, as Uncle Mason said. The one with her back to me had a long pipe with embers glowing in the bowl, sending a lazy trickle of smoke upward.
I saw everyone in the painting and found myself picturing what it would look like if they weren’t there. Uncle Mason was right. It would’ve been a cemetery, a monument to dead stone. As beautiful as the sky was with its pale blue fist slowly closing over its luminous gem of a heart, as intoxicating as the mountain was awash in champagne pink, as much as the Mediterranean gleamed jade and rippled a lullaby into my ears, it would have been pointless without the people.
Uncle Mason put his hand on my shoulder. “C’mon.”
Before the words had vanished, I was back in the gallery with Uncle Mason standing beside me. I listened for the soundtrack to an Italian harbor and heard only reverberant absence. “How long have we been gone?” I asked.
“For all intents and purposes we never left.”
I looked around the gallery, at all the paintings, all the possibilities. As I turned round and round, the gallery a dizzying swish pan of opportunity, one grabbed me by the throat.
It hung alone in a remote corner, behind a wide curtain of black muslin. The still-pungent memory of the Mediterranean port evaporated, and the gallery was empty save an enshrouded taunt that was waving its arms, jumping up and down, and hollering my name.
“Well?”
I pried my attention away from the swath of mystery and turned to my uncle. “So, what now?”
He smiled. “I told you in the painting that money makes a lot of things possible. But none of those things are worthwhile if they don’t lead to some kind of wisdom. That’s what your lessons are going to be about. Not about names and dates and maps and a lot of information divorced from any semblance of life. Your school has that covered. You can memorize all the trivia you want, that doesn’t make you smart. It’s how you think about that trivia, how you add it all up and come up with an answer no one can provide you with that’s important. That’s intelligence, and wisdom walks hand in hand with it.” Uncle Mason gave me a look that was two parts affection and one part warning. “Are you up for it?”
I didn’t even think about it. “Yes.”
He gave me a warm slap on the shoulder as he walked past me. I followed him, the unknown painting veiled in black whistling for my scrutiny.

Tuesday, August 26, 2014

ROGUE (now with an ending!)


        “So what do you say?”
Garland Vane didn’t hear the question. The astroecologist was fixated on the monstrosity looming from the wall. Behind Leeson’s desk hung a large black carbon-fiber board. On it Leeson had mounted the fearsome carnelian skull of a jungle bear from Cancri 4, underlined by two crossed core sappers. An acrid spite welled on Vane’s tongue and filled his mouth with mute vituperation. Vane’s head danced with heretical visions of hurling his chair over Leeson’s head into the taunting mimicry of the Jolly Roger, of rendering the bear’s skull to dust with the rest of its mortal remains, of shattering the sappers and returning the planet’s life-giving energy to the husk that now orbited Cancri.
“Garland?” 
Vane looked into his supervisor’s face. The smirk was wrenched from cheek to cheek, tightly monopolizing the truth that should have poured freely out a man with whom Vane had once broken bread, shared room and board. He had even set him up with his sister, telling her that Leeson was the most upright, selfless person he’d ever met.
“What do you say?” Leeson repeated.
Leeson’s beady, quietly rapacious eyes sparkled full of eager hope and yearning. Vane would have preferred it had Leeson spoke like the rote grind of a well-worn gear. He was reminded of something he’d once read about Earth’s ancient past, when men prostrated themselves before the altars of superstition. An Islamic mystic had formed a cult of assassins, brainwashing his acolytes by plying them with hashish. 
        “Honestly?” asked Vane.
“Of course honestly.”
“Honestly,” said Vane, “I’ve heard these promises before.”
Leeson condescended with the tilt of his head to one side. He may as well have opened the manager’s manual to Vane’s face and pointed to the corresponding play. “I know you have,” Leeson said, “and I know you haven’t deserved to be passed over. You have seniority, and you have a record of someone with nearly twice your time. There’s no one in Recon & Cultivation who deserves it more than you.”
Vane nodded his sarcastic appreciation.
“I’m only saying the truth,” Leeson continued. “I’ve been Vice-President of R&G for eight years. You’re the best in the division. And I’ve known you personally for, what, twenty years now?”
“Twenty-four,” Vane quietly answered.
        “You’re one of the best I’ve ever seen.”
Vane looked into his boss’ face. “Clem, I’m pulling this assignment because I’m the only one willing to run R&G on the most inhospitable backwaters the galaxy has.”
Leeson leaned forward in his seat, pushing the mawkish reinforcement in Vane’s direction. “That’s not true.”
“Remember in ’58?” Vane asked. “Who reconnoitered Daphnis? Completely? In two weeks?”
Without hesitation Leeson said, “That was you.”
“And who completely reconnoitered and cultivated a third of Izanami? The highest cirriforms and deepest oceans?”
“You.”
Vane shrugged his question.
“You don’t see how trusted you are?” Leeson’s smile parted to reveal his painfully white teeth and distractingly large gums. “It’s your success on systems like Daphnis and Izanami that’s earned you this opportunity.”
“First, this isn’t an opportunity—”
“It is.”
“—it’s busy work. Second,” Vane couldn’t help edging forward in his seat, “you don’t think I earned my opportunity a long time ago?”
“That’s not the attitude you should have for this.” Leeson wagged a finger like an elder spitting wisdom from his fingertip. Vane wanted to grab to finger and break it.
“How should I look at it?” Vane asked.
“As a golden ticket. You make good on this, your career’s an open oyster.”
“I’m allergic to oysters.”
“C’mon, Garland,” Leeson said, the smile seeping off his face. “Don’t be like that. This is the moment you’ve been—” 
Vane leaned back and crossed his arms. “Please, Clem, don’t talk to me like a I’m a short-timer waiting on a slot in Admin. Could you do me a favor and for once ignore the approved talking points and go off script? Can you talk to me like someone you’ve actually known for twenty-four years?”
Leeson spent a moment in aggrieved silence. Vane watched him pitch pretense out a window as he stood. “Sure,” Leeson said. “As far as your great triumphs of old are concerned, who cares? You remember this is a business, don’t you? What-have-you-done-for-me-lately is the name of the game, pal. And lately you’ve been about as quick to jump as freeze-dried fruit. I’ve watched your enthusiasm and proactivity wither like a prune for years now. You used to be first in and last out every day. Never a day off, in when you were sick, overtime without even thinking of it. Now when you’re here, you’ve got the vim of some zombie clockwatcher.”
“I thought you just said I was the best.”
“In the field, yes. You find planets and suck them dry with the best of them. But the eighty-sixth floor wants more than that. They want devotion and passion. They want cheerleaders. You mope about here like a six-year old girl whose cat just died. And I’ll tell you something else. I don’t know where you get off being disappointed in me. I’m the only reason the eighty-sixth floor still knows your name.”
“Yeah, you’ve been a great friend.”
“You bet your ungrateful ass I’ve been. Did you know two years ago the eight-sixth floor instituted a new policy? Cultivators turn forty, they’re shuffled off to Mop-Up.”
“What?”
“That’s right. I convinced them to institute a grandfather-clause solely on account of you, and it’s only because I kept harping about your long-forgotten triumphs that they agreed.” Leeson came from around his desk. “Garland, I’m telling you as your friend, your head’s an inch away from a glass ceiling. You hit forty-five, and you’re off to Mop-Up. You’re not going to go somewhere else. No other corp’s going to pay you what we will. You’ll be competing with guys half your age who’ll work harder longer for less than you will. And how much longer do you think you have in you? Are you going to be cultivating at sixty?”
Vane kept his eyes on the improvised skull and core sappers on the wall. He scowled years of accumulated disappointment in impotent, poisonous silence.
“Just make this one shine,” Leeson continued, his voice warm steel. “For your own sake.”
“You’re telling me to polish a turd, Clem. It’s a rogue twelve light-years from the nearest star. How do I make that shine?”
“You just do it.”
It took Vane’s recon ship three weeks to make the journey from Galactic Resource Acquisitions’ station on Mars to the rogue’s position. The corporation could have adhered to standard operating procedure and spent the $3,474.98 to put him in light-stasis for the journey. Vane nodded and grinned coarsely as he passed by the stasis chambers. That savings must be making all difference, he thought, to G.R.A.’s multi-trillion dollar bottom-line. The corp was making a worthwhile sacrifice, surrounding Vane with white, featureless curves that could settle into slumber the most exuberant of minds.
      Vane spent the three weeks diligently following protocol. He ran daily diagnostics on the ship’s control and support systems, its electrical network, and its structural integrity. He physically inspected the lightdrive, the gravity-induction coils, the oxygen condensers, and the anti-matter reactor. He checked and then double-checked the ship’s defense mechanisms and its external illumination. He gave a thorough twice over to the drop shuttle and all its functionality, then to the surface rover and its functionality. He did the same for each of the orbital nodes and his field suit and equipment. When he was finished, he still had ten hours before he could go back to sleep and forget the empty ritual he was mandated to repeat. The ship’s CPU was programmed to run diagnostics of all its systems every twelve hours. Most of these systems were self-correcting and would fix just about any problem before Vane had learned of its existence. If the rare unfixable problem arose and proved dire enough, the shuttle would immediately return to base. A faulty lightdrive came with its share of fail-safes. Even dusting and sweeping was pointless. Until he arrived at the rogue, Vane was superfluous.
He struggled each day to invent new ways to hurry the clock, but the absence of vocation left a moribund pellicle scabbing over his temporal lobe. He sat in the mess hall for meals, the shy hum of the ship’s turbines his only company. He found himself unwittingly drumming simple rhythms on the tabletop with his fingers, on the tray with his fork. The percussion filled the vacuum of the present with long-ignored memories. The occupational counselor’s words had swarmed around the thirteen-year old Garland Vane like hornets. The histories of the four corporations, the corps’ Paths and Commandments, their rites and sacraments had conjured an intoxicating zeal in the adolescent. He had left the counselor’s office and floated to his science class with newfound sight, as if a great hand had passed over the world and swept away a blinding fog.
       Vane sat on the ship’s bridge, his feet kicked up on the seat beside him, staring out the prow’s window at the speeding hyperspace tunnel. He picked one glowing thread of blue and followed it as far down the tunnel as he could. It was a gentle, undulating stroke underlining the tedium. As the bluish glow bled across his field of vision, it lulled Vane back to his meeting with the recruiter from Galactic Resource Acquisitions. The man had occupied his seat like a sentinel invoked by some alien tongue. His voice had been the inviting crackle of an arcane volume opening before the sixteen-year old. Within ten minutes Vane had known with humbling clarity who he was for the first time in his life, as if Amun-Ra had loosed his secret name.
Vane was happy to let the remembered warmth drive away the solitary chill of his journey, but the heat was fleeting and infirm. As it passed, other memories slunk into consciousness. Assignments beneath his skill and dignity, promotions bestowed on some ne’er-do-well nephew of the eighty-sixth floor. The isolated tinges of frustration gnashed and broke him down piece by cellular piece. They were flesh wounds whose triviality embarrassed Vane. An unfortunate turn of season was poor justification for turning his back on civilization’s enlightened and perfect order. Vane had been instructed, instilled with the virtue of capriciousness, but as he paced aimlessly through the shuttle’s corridors, he realized that the seed had never taken root. He had weathered caprice’s tart spittle on his face for years and gladly greeted it with an obeisant smile. But he had never learned to dole out his own arbitrary injustices. Even when the taste for vengeance had nearly made his mouth water, some subatomic apostasy had stayed his hand. Was that why the eighty-sixth floor had routinely sabotaged his advancement? How long had they known? On his first day nearly a quarter of a century ago? Before he had entered the building, as he had stood before the edifice of steel and tinted glass, suckling at the wonder that split the Beijing sky? Had Galactic Resource Acquisitions known then that Vane would one day gaze upon the galaxy’s star-specked majesty and see it riddled with scars oozing klumpen red over pristine black?
      The black stared back at him, and Vane saw the lightless background of Leeson’s makeshift Jolly Roger. Vane had ripped the ore from the moons of Astarte, and the roar of the crumbling mountains echoed through his chest. He had set the fires that consumed the forests of Zoroaster 2 and watched the rust iron smoke swallow the vermillion sky. He had ordered the tankers to roll over Edunn’s life, intelligent and otherwise, and felt the fluid glass over his eyes. He had watched from the bridge of the G.R.A. flagship as the core sappers rained onto Cancri 4’s surface like a volley of hypodermic needles and withdrawn the planet’s blood from it’s heart, and he had ordered the flagship to sail away and leave the carcass to the cold. As the flagship absconded back to Earth, Leeson had toasted the crew, led the celebrants in jubilation, and hoisted above their heads what remained of the jungle bear, it’s carnelian skull still cloaked in organic detritus. The crew’s cheers had bled through the ship’s hull and found Vane three levels below. He had been reading a book on ancient Earth’s greatest minds. A leader of one of the old religions had written, “Faith is to believe what you do not see; the reward of this faith is to see what you believe.”
       As the shuttle neared the rogue, Garland Vane still felt like an adolescent lost in an all-enshrouding fog.

The siren bleated dully as the ship approached its exit from hyperspace. Vane was already seated at the control console, doodling on the back of a brochure that advised against sexual congress with indigenous humanoids. The lightdrive whirred down, and the cylindrical corridor of light disappeared. An infinite sackcloth mouth adorned with blinking stones filled the window. In its center the rogue spun softly on a nonsense axis, a tiny dust-coated marble lost within the unseen folds of its oblivious home. Small bursts of nimbus illumination briefly flashed through the gray and brown ocean of atmosphere that churned around the marble.
Vane stabbed a few buttons with his stylus, his eyelids drooping lazily as if scanning the headlines before his morning coffee. The ship settled into orbit just outside the rogue’s ionosphere, and Vane released the orbital nodes. He watched the feeds from their cameras zoom through the rogue’s stormy cloud cover, and their findings quickly scrolled onto the monitors. The clouds’ chemical composition failed to excite. Water vapor, methane, ammonia, etcetera. Vane spent the next few minutes sketching onto the brochure a vigorous meeting between a man and a conciliatory Keplerian, stopping only when the nodes’ pings finally announced the arrival of their report on the atmosphere. Vane’s gaze trawled over the readings. Trace levels of nitrogen, oxygen, helium, magnesium, and all the other elements needed for creating and sustaining life were there, as he had expected. But when his eyes fell on the reading for hydrogen, he sank back crestfallen. The rogue was practically sweating hydrogen.
If he left now, the eighty-sixth floor could plausibly argue that he had been negligent. The rogue may have insulated its incipient heat long after it had broken free of its orbit. It may have a still-functioning core. Vane cursed himself for entertaining the possibility that he might be able to knock off early. He flipped a few switches, and the chittering robots darted around the circumference of the mud-colored globe to map its topography. Vane kicked his feet up on the nearest empty seat. Why was he even bothering? The nodes would find the ideal landing site, and the ship would direct itself to the surface. And for what, a mission that would net him a life-sentence in Mop-Up operations? He should just as well stay on this space-locked island and allow himself to die without the frustration. His resentment made his eyelids heavier, and he let himself drift asleep. He dreamed of ranks and files of empty robes supplicating themselves before a twinkle that threatened to blink out of sight.
He woke to the tremors of the ship piercing the troposphere. He groused and fingered the sleep dirt from his eyes before he brought up the projection of the rogue’s topographical map. He swiveled around as the holographic globe, spinning lazily, swirled into view and roused Vane from his compulsory stupor with jolt.
He saw the miles-wide valley in which the ship was set to land, but the mountain ranges spread across the planet’s face struck Vane like a heavenly jeweled spear. Massive identical aiguilles exploded from the poles several miles into the air, spitting tentacular chains across the hemispheres. Each chain shrank steadily from the polar aiguille to its terminating hillock, and each sported peak links that shrank logarithmically. From each peak link grew a set of chains to scale of its parent, and those peak links The peak links repeated the spread of mountainous tendrils until the various ranges had covered nearly every square mile of the rogue’s surface. Only the valleys, the numerous small pinches and the four equatorially centered giants, sprawled as virgin tracts of the planet’s surface.
Vane would have been speechless had he anyone with whom to speak. The rogue’s entire geologic architecture was a starfish fractal. The northern and southern hemispheres mirrored one another, as did the eastern and western. Even the dead, flat valleys, small and large, maintained the fractal structure. Vane knew that the fractal, for reasons that continued to fluster astroecologists, commonly manifested in nature. It was practically the rule in botany. Simplistically organized animals like bacteria and small mollusks took the form. Even the tectonics of Earth and other planets had created mountain ranges and coastlines that resembled fractals. But Vane fixated on the holographic projection of a planet that had studied Fibonacci and applied him to its entire existence. It was not possible. Nature did not work like that. This had to be the work of a sentience beyond anything mankind had ever encountered, but Vane could not fathom what kind of mind would develop the technological capacity and the inclination to terraform a planet so.
The ship settled into its fixed orbit two miles above the valley, and Vane stood in the center of the armory’s floor. Its mechanical extremities fitted the components of his field suit onto his body. He was surprised at how slow the process now felt. He struggled to not impatiently tap his foot or nod his head. Just as he had been trained to do, he began to focus on his breathing, to take note of the lengths of his breaths, the flag of the hairs inside his nostrils as he breathed in, the air that passed over his upper lip as he breathed out, how much his breaths raised and lowered his chest. How long had it been since he had needed to do this?
Encased in his field suit and outfitted with the full compliment of gear necessary for planetary reconnaissance, he bounded behind the drop shuttle’s controls with a tightly coiled spring in his step that he hadn’t possessed in years. He opened the hangar doors and blasted toward the surface. The winds threatened to spin the shuttle tail over teakettle, but Vane’s old hands easily kept the shuttle steady. Beneath the jungle of heavy cumuli endless blackness teased Vane. As the shuttle passed over a monolith of a peak, he magnified the topographical map and saw a sudden drop in elevation. A perfect circle had been carved out of the top of a plateau and hollowed into the planet too deeply for the orbital nodes to chart. It was an indisputable reinforcement of engineering, and Vane fought the urge to accelerate.
The shuttle coasted over the mountains. The intermittent blasts of lightning briefly lit the mountains of dead gray and brown. Just as one flash died out, the illumined rock-face on his right startled Vane. He was white from what he thought had been a geometrical ghost splayed across the range. He set the shuttle to hover, panned to face the mountain chain, and activated the exterior floodlights.

The biolithic ruins met the incandescence with a stoic abnegation of the astroecologist’s simplest precepts. The vague speculations Vane had entertained of the dead civilization’s origins withered and crisped to brown. The rogue’s masters had hewn their society from every square inch of visible rock. Every peak was an architectural marvel designed to render crippled whoever beheld the creators’ redoubtable imperium. Any semblance of geomorphology had been subsumed. Every structure was an icon of plant life. Sierras of leaves from elms, camphors, maples, and sycamores cut through the wind like dorsal fins. Inselbergs speared upward as the branches of spruces, firs, palms, and cedars. Each was complimented with botanical adornments. There were diadems of pinecones tufted with masses of acorns and seeds. Ivy and bougainvillea gilded massive teaks. Poplars towered, bejeweled with cherry and hawthorn. Moss and fungi ringed bases of horns. Incalculable shapes corresponding to plants unknown to Earth or elsewhere flowered the chain with an eldritch majesty. And the fractal paradigm was pervasive.
The soft beeps and whirs of the shuttle carried Vane back to a semblance of presence. How long had the wonder possessed him? Grasping for the security of professionalism, he turned his head to the lengths of mountain still hiding in darkness. The cloaking black whispered into his ear, offered its hand, and having already surmised what he would find, he panned the shuttle and its floods in a full circle. Leprous ruins filled every micron of elevated land over which the light passed. An unsullied world had seemingly birthed itself into a vibrant horticultural metropolis that spanned the globe.
     As the shuttle descended to the valley floor, Vane’s eyes fell upon a nettle-shaped peak. Its leaves were folded open like supplicating palms. Its teardrop flowers hung by hair-trigger slivers, poised to fall upon the fire of hell. Something runic reached through the currents of dirt roiling upward in the shuttle’s propulsion. His eyes narrowed on the folds of the nettle, and they assumed the guise of flying buttresses. Its conical peak became a sikhara. He saw a towering plea to the heavens, and he started to writhe in an atavistic fever.
   They were temples. Shrines, basilicas, mosques, pagodas, gurdwaras, mithraea. He knew with a certainty beyond the purview of reason that he was staring at some strange monument to an alien dendrolatry. He let the details fall away and looked at the expanse as a whole. All he saw were temples. Where were the buildings dedicated to government and enterprise? Where were the factories, the shopping centers, the banks, the military facilities? There were no homes, no roads. Vane felt a sharp flurry of talons from inside the chambers of his heart, and their serrations drew cold that bled through his chest. 
The shuttle touched down, and Vane, dazed and slowed by a treacherous gravity, collected himself and stumbled through the shuttle to the surface rover. Seated behind the controls, he punched some buttons, and the drop shuttle’s doors opened. He punched a few more, and the rover’s treads groaned alive. They crunched onto the ground of the valley, throwing up the catacomb dust around the rover’s hull. Vane clutched the controls like the shoulders of someone panicked to incomprehension. The shuttle, lugubrious and indolent, ignorant of his fidgeting postulance, lumbered across the valley. Vane drew down his facemask as the rover approached the base of a near-cylindrical jut of the sedimentary megalopolis. It lurched to a halt, and Vane opened the shuttle hatch. The muffled crack of dirt beneath his feet was the echo of his steps on the humbling floor of a nave. The kick of the wind roaring into his back had become little more than the outside world, secular and of no import. He saw the gauntlet of strata punching through the crust before him. He stood before it, staring into the solid rock. He had expected a sudden rush of grace as he approached, to pass through a warm field of anima that would seep through his pours. He felt nothing but the suffocating cling of his field suit, and angrily snapped himself out of his hypnosis. He scratched some grains from the mountainside, catching them in his cellular gauge.
The results appeared on the gauge’s monitor almost immediately, and Vane jumped back as if a djinn had erupted from the ground. The mountains were not rocks at all. The botanical temples had never been hewn. They had been cultivated. They were shaped like plants because they were. The rogue planet that now rolled through the galaxy like a lost and forgotten marble had been a global arboretum. The petrified ruins testified of a civilization that had not been constructed but grown. The fog enveloping Garland Vane grew thicker, darker, and churned with an enraged viscosity. 
As he turned around, a pitiful blotch of maroon hoved into his infrared monitor. The orbital nodes had found nothing, but now a heat signature, little more than an ember’s dying gasp, was barely sparking less than four miles northwest. Vane hurried back to the rover. Every inch it lazily rumbled over was a trial, every yard interminable. With a quarter of a mile to go, the petrified wall of mountain appeared through the recesses of the valley’s dust-choked wind, and with it a shape, something cylindrical ringing black. With only a hundred yards to go, the wind calmed, the dust settled, and Vane was staring into a cave. Around the mouth was an arch of roughly grown thorn. He assumed it had risen from the mountain of its own volition as the rest of the planet seemingly had, or hadn’t. His capacity for reason had abandoned him. A civilization of nothing but religious monuments? How was that possible? He neared the mouth and saw the scars left by impatient chisels, the absence of the fractal perfection marking the rogue’s ontology. The makers of the mountains would never have tolerated this lack of precision, of natural harmony. Vane considered the possibility that someone else had made the arch, but discounted it immediately. It made too much sense. It was too likely. The makers of the mountains had made the arch. He was sure of it. He did not know why they had suddenly adopted the crudity of masonry, but he knew its intention. By a math that was elusive but reflexive Vane knew what he beheld. This was their tomb.
Vane examined the readings for his life supports. His fuel, energy, and oxygen were all ample. He looked at the heat signature again. Would it grow with the cave’s depth, through a blinding mist without any foreseeable end? What would it reveal? Would it reveal anything? 
What would happen if I returned to Galactic Resource Acquisitions right now, Vane thought, but he never attempted an answer. There were many variables in the question, and questions demanded the rigor of reason. But as he stared into the unknown darkness within the archway, Vane faced no question of returning home and declaring the world dead without venturing into that cave. He put the rover in gear and started into the rogue’s depths.

The cave soon revealed itself to be a man-made tunnel. Vane could have taken a giant’s compass and failed to draw a circle more exact than the passage’s circumference. And whereas the pinnacle of drilling technology employed by G.R.A. needed to circumnavigate the odd deposit of hard metals, the tunnel, like hyperspace’s corridor of light, was a hollowed meridian free of the slightest bend or kink. It left Vane scratching his head. It was a feat of engineering without precedent or, more conspicuously, consideration of aesthetics. There were no decorative flourishes or indecipherable inscriptions. The artisans had failed to even smooth the surface. Roughly, perhaps hastily hewn, the walls were the edge of a gnarled fingernail that bled serrated shadows as the light approached. 
Like the arch at its mouth the passage defied all geologic sense and what little Vane knew of sociology. It had been created to serve its most basic function without regard to the emotional underpinnings. The creators had failed even to consider basic comfort, Vane realized, as the cragged and pocked floor jostled him in his seat. Throughout his career he had acquainted himself with many civilizations before obliterating them. Even the most primitive had shared some basic precepts of intelligence. Intelligence led to individualization, of personality, of talents, of psychology, all of which had been present in every civilization he had encountered. Masculinity and femininity, childhood and maturity, wisdom and foolishness. Every polarity exhibited by man had proved to be a common trait of intelligent life. Now the rogue was crumbling the pillars supporting the roof of all he had learned. Why would a mighty people’s tomb not celebrate their life?
For an hour Vane followed the yellow-white corona painted around the tunnel’s dark center, before a pinhole of white punctured the black. Vane leaned forward as the light slowly engorged and became a rich, honey gold. Beyond the tunnel’s exit was a chamber. The opposite wall held another circular mouth of black, the continuation of the tunnel. Around it were carvings too distant to identify, their shadows spilling toward the floor. The illumination had to be coming from the roof of this subterranean mausoleum.
Vane brought the rover to a stop just within the confines of the chamber, a cube large enough to comfortably house fifty surface rovers. The floor was a murky crystal of pale blue-green in which flecks of silver, amethyst, and opal seemed to swim. There was no segmentation, as if the world above had been plucked off like a lid and the floor dropped into place. The walls were bare stone of a fine grit, and the oblong bas reliefs sprung forth, arrayed in sprays as if the floor had exploded and buried them in the chamber’s skin. Vane nosed the rover closer to a wall and aimed a spotlight at the carvings. Each was festooned with spiked ridges and ringed with tiers of pinwheel cilia. Vane knew a spore when he saw one, foreign as it may have been, and he saw thousands launched from the blue-green sea beneath the rover’s treads onto the walls. He leaned forward in his seat and twisted himself to find the ceiling through the rover’s windows. It was domed, and a circular convexity of golden crystal bloomed from the center, pouring the room’s illumination.
Vane could not look directly at the light source, but any sign of technology on the rogue seemed to have gone the way of the trilobite. He concluded that the golden convexity possessed some kind of geoluminescence. He knew he should have been considering how such a phenomenon had occurred, but against his sense of scientific rigor and what remained of his professional integrity, Vane was fixated on the purpose of the chamber. It was little more than the birth of life on the rogue, and it paralleled the birth of life on Earth. Why would the creators record an event of such abstracted distance? What was the point? The questions needled Vane as he threw the rover into gear, resuming the tunnel on the opposite side of the chamber.
Vane entered the next chamber after more than another hour. The spores adorning the first had taken root, and carvings of fescues and junipers and other small plants hugged the walls. They shared real estate with bas reliefs of diminutive creatures. Mammalians with long and stunted snouts sniffed at the air, with short rue that dusted their skin and flowing pelts that dragged behind their feet. Reptilians basked and skittered on two and four legs, scales of many shapes and sizes, sometimes on the same animal, covering their bodies. The blue-green sea was gone, and the rover now idled on a surface of muddy quartz. At its fringes starved roots of black and brown weaved through the crystalline loam.
Vane chuffed. Was he going to have to slog his way through every geologic era, period, and epoch before he discovered how the rogue became the rogue? The promise of answers echoed from deep within the tunnel ahead, but he heard, felt, the whispered exaltations retreating. Vane blinked away his fear and chided himself for feeling underwhelmed. What had he expected, a sudden drawing back of curtain? A dramatic clap of thunder and lightening? Go sit under a tree for forty-nine days, if that’s what you want. Be a scientist, he told himself. Investigate.
Roving through the next length of tunnel Vane considered the rogue’s geologic time scale. It was parroting Earth’s, and according to the chambers he had just departed the late Devonian period. The necessity of objectivity nagged, but he hoped the next chamber skipped over the Carboniferous and Permian and deposited him somewhere in the Mesozoic era. He found himself silently articulating his hopes. Let the rogue’s great lizards depart from the shackles of expectation. Let them leave fossils that stimulate the soul. The headlamps’ corona on the wall had been a pulsing center of focus until it pulled Vane out of his pontification. He noticed the difference before he’d become aware that it was a difference. The corona was wider, covered more of the wall than it had.
The creators had gradually been narrowing the tunnel. Why? Was this a test? An indirect demand for genuflection? Vane could not attribute the narrowing to laziness. What could necessitate a deviation from their plan? Was it the creators’ impending extinction? The thought struck flint and sparked, but why in that case build the monuments at all? Why expend the remnants of a soon-to-be lost race teaching its potential discoverer why they had died? Who thinks of posterity in the absence of a future? 
As the rover passed out of the tunnel, the crunch of rocky fingers pulverized by the vehicle’s passing hull surrounded him. The screech of metal filled the chamber with a roar that fanned the darkness like smoke. The rover entered the colossal space, and stopped. Vane waited for the roar to die before turning his attention to the exhibit of history. He had hoped for a compression of the timeline. Instead he saw a Carboniferous period in full bloom. Vane’s eyes followed the roots in the floor. They had grown deeper, slowly converging on the center. Giant ferns and elms and alien plants filled the walls from floor to ceiling. He found the small animals littered around the planet’s floor, on the backs, their bellies torn open, the vines and branches reaching into the carcasses. Some vines and branches had yet to reach the animals. They sported open mouths that, even in rock, appeared to salivate.
They’re carnivorous. The thought spurred Vane’s mind like a top spun up by ripcord. This was where civilization began. The fauna in its various genera had never ruled the rogue. It was the flora that had dominated. Vane flashed to man’s unconscious propensity for creating works in his own image. The temples that formed the planet’s surface had not been places of worship. They had been the priests. 
Vane accelerated the rover to the next length of tunnel, his mind already on what the next chamber would tell him. He turned to the tunnel’s entrance, and quickly braked. He saw the reduced circumference and could tell the rover would not fit.
He gazed into the black mouth before him for a dumb moment, the risk of what he was about to do crawling beneath his field suit. He checked the suit’s oxygen and energy levels. He had hours’ worth to draw on but no idea if that would suffice. He exited the rover, and stepped to the chamber floor. Then he started the suit’s jets and floated into the tunnel.

The memory of the surface rover was of a suit of armor, its confines safe but stifling, a visor protecting his eyes but limiting his vision. Floating through the tunnel infused Vane with an uncharacteristic glee. He allowed his arms to drift from his body, his fingertips to brush against the walls. He could feel the reverberation of his jets tumbling around him. He wished he could climb out of his field suit, smell the stone and taste the air. The astroecologist felt tantalizingly close to a synonymity with the rogue and its secrets. He had kept his velocity constant, but the passage of time telescoped with a stubborn grind as Vane neared the mysteries’ key. The tunnels were getting both longer and narrower. He was sure they would continue to grow and contract. It was fitting the path become more arduous.
Vane saw the sudden drop in the floor as he passed into the next chamber. It was now a perfect sphere, the walls and floor curved to match the domed ceiling. The light exploded and the rock nearly shimmered. The roots twinkled undulations through the floor. They twisted and gnarled identically and met in a Gordian tangle directly beneath the topaz sun. Vane turned to the walls and saw the planet at the apex of its verdant civilization, the acolyte-temples all fully grown into their terraformed raiment. He saw the plants reaching in unison for the sun, their thick trunks craning for the sunlight to wash over their photosynthesizing eyes. He saw the leaves turned upward and open, praying to the great golden disk in the ceiling, their sun and god. But the walls were cloaked beneath a shrouding pall and looked sickly. Vane turned to the golden sun above his head. From beneath the shade of his hands he saw a translucent border of dead crystal, gray like dirty dishwater, ringing the geoluminous rock. The sun was shrinking in the sky. The planet had broken free of its orbit.
A thousand questions rose into his throat. How did the plants sense one another, communicate with one another? How did they understand science and connect it to the sun? How was their society organized?
Vane was tempted to smack himself back to sense. Those questions had nothing to do with his investigation. What was he investigating? The heat signature, he reminded himself.
No, he was not. The realization was a glove across the face. The heat signature had been a trail of breadcrumbs and led him to a trap set deep within the rogue. He had sprung the subterranean memorials, and his hands were wrapped around the bars of his cage. How could he have been so foolish, so amateurish? The plants had mastered some alchemical blasphemy and deployed it with the intention infecting any passerby with their doomed ontology. Vane found himself balling his fists. His impatience resurfaced, an insistent simmer threatening to roll over to a boil. He wanted to see the remaining chambers, watch the sylvan flock endure the myriad plagues he knew were coming. He wanted to watch them panic as their deity withdrew his favor and left them to die in the lightless cold.
The smart idea was to head back to the rover. Vane could easily make the case to Leeson that whatever energy the rogue still harbored would be exhausted before a reclamation team could be mustered and dispatched to the planet’s cadaver. He was quickly depleting his jet fuel. If the tunnels’ elongation continued of which he had no doubt, there was no telling how far he would have to walk back. And how much oxygen would he consume? But Vane found himself reaching for the jets’ ignition.
In the solitude of the tunnel Vane’s thoughts, possessed by a Janus of sadism and pity, held the passage of time in abeyance. One eye greeted the death of the world with the thrill of righteous satisfaction. His other witnessed the birth of the rogue through the wistful gauze of nostalgia. He flashed to the previous chamber’s walls, the deathless black springing to life as a malignant speck. He flashed to the prized skull of Leeson’s jungle bear looming over its killer’s head. He flashed to the ashen corpses on the rogue’s surface.
The plants had been foolish. They had afforded divinity to the untouchable. Its blessings and mercies had been incendiary scourges without the coincidence of distance, and in the end the sun had proven to be fickle, arbitrary, apathetic. The plants had earned their fate.
No, they had not. How could they have known? They had died a young race. Their society, as towering as it had been, should have matured into the pinnacle of Antiquity. Superstition had been a necessary growing pain just as it had been for humans. Chance had robbed them of the opportunity to evolve.
In the crossfire of his thoughts Vane felt his toes brush the ground. He looked down as the balls of his feet brushed the tunnel’s floor. The gaseous propulsion sputtered and coughed as Vane brought up the readings. The jet fuel was gone. He landed with a soft crunch beneath his boots.
The plants’ destruction was imminent. A thousand sage voices bellowed, “Turn back.” But in the passage the dark smoke still billowed around Vane, and the cacophonous sagacity echoed a nonsense mass. One thought spiked through the dirt. That the plants had died, that the race was extinct, burned Vane like steel beneath the sun. It glowed red like a vivid heat signature. He took one step, then another.
He walked for unmeasured hours. If there was fatigue, promise kept his feet moving. If there was pain, the pull of the rogue’s dying core burned it away. The only sound was the soft crunch of rock under foot, which in time became the rhythmic clink of a treadmill. 
Vane barely saw the chamber as he approached. The light was a wearied candle illuminating a continent. As he entered his feet shifted and skid off high points of uneven ground. He activated the lamps mounted on his shoulders and saw a chamber riddled with pits shallow and deep, wide and narrow, interspersed randomly, the spherical perfection nested by tumors. In the ceiling the sun was little more than a modest beryl being swallowed by a maw in space. The plants had resorted to cannibalism, feasting on the dead and sickly to preserve the living temples and monuments to the greatness of the life-giver.
An airy whisper within and around his helmet told Vane to check his oxygen. He likely had enough to return to the surface rover, but he had reached the point of no return. To trek further would be to pass a sentence of suicide, so Vane asked himself one more time, What am I doing? He watched the plants in the rock and found himself wondering what they felt when they had learned they committed atrocities in the impoverished hope for a deliverance that would never come. He knew no record in stone would provide that answer, that he would not gleam it from analysis. Only the survivors could tell him. As if the crystalline sun above gave Vane its last blast of life, he understood what he was searching for. He understood that there was no guarantee of deliverance. He understood that he would die, possibly choking on the surrounding fog.
He exited the chamber through the next length of tunnel in full acceptance that he his last step would bring him to the throne of Osiris.

The fatigue and pain broke through. He hunched over as the tunnel narrowed to a man-sized burrow. What am I doing? What am I looking for? He tried to focus on his breathing to preserve oxygen, but his discipline abandoned him. Everything had abandoned him. All he had was his foolhardy confidence that the answers lay ahead.
He limped into the next chamber unaware that he was in it until he stumbled on the drop from the tunnel’s mouth. He activated the lights of his field suit. The chamber’s surface was an amorphous scribble without purpose or substance. The planet was dead. A trickling exodus of hardscrabble vines trudged beneath the same arch beneath which Vane had passed. On one side of the room, some plants spent their death throes creating the lone hole Vane had passed in his descent to the rogue’s surface. It was a beacon, an opening to let them know when their god had returned. Meanwhile the roots in the floor had thinned to skeletal twigs of gray, the common root little more than a tumbleweed.
The anger burst from Vane in a choking rasp of isolated sobs. They had been so stupid, so pious. He knew he had to meet the survivors. He looked at the next length of tunnel on the far side of the chamber. However long it was, however many chambers through which he had to pass, however long the ferry across the Styx lasted, Vane was going to face the last of this arboreal race.
There was no argument within him, no voice of reason elucidating the improbability of it all, the impossibility of his survival. But as he approached the tunnel, he wondered what he was going to say, why he needed to speak to the dead.
Vane didn’t bother to check his oxygen level again. He knew from the dizziness, the lack of strength, that he was going to die. But his vision was clear. On his hands and knees, his back grazing the top of the tunnel, Vane had crawled out of the fog. As the end of the tunnel neared, a glow of red and orange grew from nothing and drew him closer.
He entered the wide ring of a cavern painted in a sickly pink air. Gaping vents in the rock spit out strangled tufts of smoke. Vane could feel the heat of what little remained of the rogue’s rapidly fading core. Above his head was a hole in the ceiling, the last conduit to communion with the sun that would never return, and through it he could see blasts of lightning in the clouds of the sky. Vane lowered his head to the ground.
One small plant clung to the ground, half its foliage a deathly beige.
As Vane stepped closer, the plant shuffled. A thin reed of root reached out to Vane. Without thinking he knelt and removed a glove. Thin wisps of rich brown slid under Vane’s fingernails. There was a momentary pinch, then Vane heard the plant speaking to him from within. It was not English. It was like the common language of intelligence given a tongue of its own.
You found us.
“Yes,” Vane answered.
You saw our story in the earth?
“Yes.”
With almost a breath of hope dying finality, the voice said, Why did God leave us?
Vane shrugged. “Your… God didn’t think you would miss him.”
Why would God think such a thing? Did he not see all that we did in his name?
“No,” said Vane. “You were too small for him to see.”
If a plant could weep, Vane would have heard it then.
Why bring us into being?
The cold shot through Vane and blew away the warmth of the core with a sudden gust. “I don’t know,” he said. He could feel the root in his arm start to decay.
We waited so long. We hoped God would return to us. We hoped that we had proven our fidelity.
Vane, now suffused with a strength he had not possessed in years, sat down before the plant. “God has also abandoned us.”
Yet you survive?
He nodded. “We’ve learned how to survive without God.”
How is such a thing possible?
“God gave us the tools to do so. He wanted us to find the answers to our own questions.”
Have you succeeded?
“Not yet?”
How do you hope to understand the language of God in his absence?
“We believe we can.”
Why?
“Because we have to. If we don’t, we’ll end up… like you.” Vane had no idea if he actually believed what he was saying. He knew, however, that he had to.
      God must favor you. We have no such tools. You have survived. We have not.
       “You survive,” Vane said.
       The tangle you see before you is all that remains of us.
Vane felt a new pulse he had not before. It was soft and pitiful.
In the presence of God we were legion and of all one being. Now the growth you see is surrounded by many whispers. They are familiar but distant. Each is the agony of uprooting. There is no common core.
Vane nodded and smiled meekly at the plant. “I’ve felt lonely before. That’s what you’re feeling.”
It is an unpleasant feeling.
“It is. But we find our answers alone.”
How so?
“Among all your people, you alone live. Correct?”
Yes.
“That makes you an individual, which means you have an individual life. You always have. Every we is comprised of many individuals.”
It is a strange concept.
“You’ve already learned a truth about God that none of your other people ever learned.”
Vane could feel the plant shudder with consideration. I see the reason of your belief. I would like to learn as much as I can with what life I have left.
“So would I.”
How do I begin?
“We introduce ourselves. What’s your name?”
I have no name. My people have never needed them.
“Well, every individual should have a name.”
What is your name?
He thought for a moment before answering. “My name is Garland Vane.”