PseudoPod 667: Allochthon

Show Notes

Hey PseudoPod family, is your TO READ pile getting shorter? We have a solution for you. Coming out this week is Monster, She Wrote: The Women Who Pioneered Horror and Speculative Fiction. This is written by our friends Lisa Kroger and Melanie R. Anderson who host the Know Fear Cast along with Matt Saye. I really enjoyed how each chapter begins with an introduction that explains the era and its representative styles. It then follows with a number of exemplars of that era and style in both short and long fiction formats.

And Quirk Books delivers again with the physical copy of this book. The layout is exceptional and O! The illustrations! Each chapter has illustrations in repeating patterns like could inhabit some creepy wallpaper, with subjects related to a number of the particular stories covered there. I loved the pulp panel in particular with Shambleau by C.L. Moore and The Canal by Everil Worrell – which just so happened to run as episode 648 earlier this year. I loved seeing a shout-out to PodCastle and narrator extraordinaire Dave Robison, and we’re looking forward to bringing some of the stories highlighted here to your ears in the not too distant future.


Allochthon

by Livia Llewellyn


North Bonneville, 1934


Ruth sits in the kitchen of her company-built house, slowly turning the pages of her scrapbook. The clock on the bookcase chimes ten. In the next room, the only other room, she hears her husband getting dressed. He’s deliberately slow on Sundays, but he’s earned the right. Something about work, he’s saying from behind the door. Something about the men. Ruth can’t be bothered to listen. She stares at the torn magazine clipping taped to a page. It’s a photo of an East Coast socialite vacationing somewhere in the southern tropics: a pretty young woman in immaculate white linens, lounging on a bench that encircles the impossibly thick trunk of a palm tree. All around the woman and the tree, a soft manicured lawn flows like a velvet sea, and the skies above are clear and dry. Ruth runs her free hand across the back of her neck, imagining the heat in the photo, the lovely bite and sear of an unfiltered sun. Her gaze wanders up to the ceiling. Not even a year old, and already rain and mold have seeped through the shingled roof, staining the cream surface with hideous blossoms. It’s supposed to be summer, yet always the overcast skies in this part of the country, always the clouds and the rain. She turns the page. More photos and ephemera, all the things that over the years have caught her eye. But all she sees is the massive palm, lush and hard and tall, the woman’s back curved into it like a drowsy lover, the empty space around them, above and below, as if they are the only objects that have ever existed in the history of time.

Henry walks into the room and grabs his coat, motioning for her to do the same. Ruth clenches her jaw and closes the scrapbook. Once again, she’s made a promise she doesn’t want to keep. But she doesn’t care enough to speak her mind, and, anyway, it’s time to go.

Their next-door neighbor steers his rusting car down the dirt road, past the edges of the town and onto the makeshift highway. His car is one of many, a caravan of beat-up trucks and buggies and jalopies. Ruth sits in the back seat with a basket of rolls on her lap, next to the other wife. It started earlier in the week as an informal suggestion over a session of grocery shopping and gossip by some of the women, and now almost forty people are going. A weekend escape from the routine of their dreary lives to a small park further down the Columbia River, far from the massive construction site for the largest dam in the world, which within the decade will throttle the river’s power into useful submission. The wives will set up the picnic, a potluck of whatever they can afford to offer, while they gossip and look after the children. The men will eat and drink, complain about their women and their jobs and the general rotten state of affairs across the land, and then they’ll climb a trail over eight hundred feet high, to the top of an ancient volcanic core known as Beacon Rock.

The company wife speaks in an endless paragraph, animate and excited. Billie or Betty or Becky, some childish, interchangeable name. She’s four months pregnant and endlessly, vocally grateful that her husband found work on a WPA project when so many in the country are doing without. Something about the Depression. Something about the town. Something about schools. Ruth can’t be bothered. She bares her teeth, nods her head, makes those ridiculous clucking sounds like the other wives would, all those bitches with airs. Two hours of this pass, the unnatural rattle and groan of the engines, the monotonous roll of pine-covered hills. The image of the palm tree has fled her mind. It’s only her on the lawn, alone, under the unhinged jaw of the sky. Something about dresses. Something about the picnic. Something about a cave—

Ruth snaps to attention. There is a map in her hands, a crude drawing of what looks like a jagged-topped egg covered in zigzagging lines. This is the trail the men are going to take, the wife is explaining. Over fifty switchbacks. A labyrinth, a maze. The caravan has stopped. Ruth rubs her eyes. She’s used to this, these hitches of lost time. Monotonous life, gloriously washed away in the backwater tides of her waking dreams. She stumbles out of the car, swaying as she clutches the door. The world has been reduced to an iron-gray bowl of silence and vertigo, contained yet infinite. Mountains and space and sky, all around, with the river diminished to a soft mosquito’s whine. Nausea swells at the back of her throat, and a faint, pain-tinged ringing floods her ears. She feels drunk, unmoored. Somewhere, Henry is telling her to turn, to look. There it is, he’s saying, as he tugs her sleeve like a child. Ruth spirals around, her tearing eyes searching, searching the horizon, until finally she—

Something about—


—the rock.

Ruth lifts her head. She’s sitting at her kitchen table, a cup of lukewarm coffee at her hand. The scrapbook is before her, open, expectant, and her other hand has a page raised, halfway through the turn. On the right side of the book, the woman in the southern tropics reclines at her palm in the endless grass sea, waiting.

Henry stands before her, hat on head, speaking. —Ruthie, quit yer dreamin’ and get your coat on. Time to go.

—Go where.

—Like we planned. To Beacon Rock.

The clock on the bookcase chimes ten.

Outside, a plane flies overhead, the sonorous engine drone rising and falling as it passes. Ruth rubs her eyes, concentrating. Every day in this colorless town at the edge of this colorless land is like the one before, indistinguishable and unchanging. She doesn’t remember waking up, getting dressed, making coffee. And there’s something outside, a presence, an all-consuming black static wave of sound, building up just beyond the wall of morning’s silence, behind the plane’s mournful song. She furrows her brow, straining to hear.

Henry speaks, and the words sound like the low rumble of avalanching rock as they fall away from his face. It’s language, but Ruth doesn’t know what it means.

—Gimme a moment, I’m gonna be sick, Ruth says to no one in particular as she pushes away from the table. She doesn’t bother to close the front door as she walks down the rickety step into warm air and a hard gray sun. Ruth stumbles around the house to the back, where she stops, placing both hands against the wooden walls as she bends down, breathing hard, willing the vomit to stay down. Gradually, the thick sticky feeling recedes, and the tiny spots of black that dance around the corners of her vision fade and disappear. She stands, and starts down the dusty alley between the rows of houses and shacks.

Mountains, slung low against the far horizon of the earth, shimmering green and gray in the clear quiet light. Ruth stops at the edge of the alley, licking her lips as she stands and stares. Her back aches. Beyond the wave and curve of land, there is… Ruth bends over again, then squats, cupping her head in her hands, elbows on knees. This day, this day already happened. She’s certain of it. They drove, they drove along the dirt highway, the woman beside her, mouth running like a hurricane. They hung to the edges of the wide river, and then they rounded the last curve and stopped, and Ruth pooled out of the car like saliva around the heavy shaft of a cock, and she looked up, and, and, and.

And now some company brat is asking her if she’s okay, hey lady are you sick or just taking a crap, giggling as he speaks. Ruth stands up, and slaps him, crisp and hard. The boy gasps, then disappears between the houses. Ruth clenches her jaw, trying not to cry as she heads back around the house. Henry stands beside the open car door, ruin and rage dancing over his face. Her coat and purse and the basket of rolls have been tossed in the back seat, next to the wife. She’s already talking up a storm, rubbing her belly while she stares at Ruth’s, her eyes and mouth all smug and smarmy in that oily sisterly way, as if she knows. As if she could know anything at all.

The sky above is molten lead, bank after bank of roiling dark clouds vomiting out of celestial foundries. Ruth cranks the window lever, presses her nose against the crack. The air smells vast and earthen. The low mountains flow past in frozen antediluvian waves. Something about casseroles, the company bitch says. Something about gelatin and babies. Something about low tides. Ruth touches her forehead, frowns. There’s a hole in her memory, borderless and black, and she feels fragile and small. Not that she hates the feeling. Not entirely. Her hand rises up to the window’s edge, fingers splayed wide, as if clawing the land aside to reveal its piston-shaped core. The distant horizon undulates against the dull light, against her flesh, but fails to yield. It’s not its place to. She knows she’s already been to Beacon Rock. Lost deep inside, a trace remains. She got out of the car and she turned, and the mountains and the evergreens and thrusting up from the middle, a geologic eruption, a disruption hard and wide and high and then: nothing. Something was there, some thing was there, she knows she saw it, but the sinkhole in her mind has swallowed all but the slippery edges.

Her mouth twists, silent, trying to form words that would describe what lies beyond that absence of sound and silence and darkness and light, outside and in her head. As if words like that could exist. And now they are there, the car is rounding the highway’s final curves before the park. She rolls down the window all the way, and sticks her head and right arm out. A continent behind, her body is following her arm, like a larva wriggling and popping out of desiccated flesh, out of the car, away from the shouting, the ugly engine sounds, into the great shuddering static storm breaking all around. She saw Beacon Rock, then and now. The rest, they all saw the rock, but she saw beyond it, under the volcanic layers she saw it, and now she feels it, now she hears, and it hears her, too.

Falling, she looks up as she reaches out, and—


The clock on the bookcase chimes ten. Her fingers, cramping, slowly uncurl from a cold coffee cup. Henry is in the other room, getting dressed. Ruth hears him speaking to her, his voice tired water dribbling over worn gravel. Something about the company picnic. Something about malformed, moldering backwaters of trapped space and geologic time. Something about the rock.

Tiny spattering sounds against paper make her stare up to the ceiling, then down at the table. Droplets of blood splash against the open page in her scrapbook. Ruth raises her hand to her nose, pinching the nostrils as she raises her face again. Blood slides against the back of her throat, and she swallows. On the clipping, the young socialite’s face disappears in a sudden crimson burst, like a miniature solar flare erupting around her head, enveloping her white-teethed smile. Red coronas everywhere, on her linen-draped limbs, on the thick bark of the palm, on the phosphorus-bright velvet lawn. Somewhere outside, a plane drones overhead, or so it sounds like a plane. No, a plain, a wide expanse of plain, a moorless prairie of static and sound, all the leftover birth and battle and death cries of the planet, jumbled into one relentless wave streaming forth from some lost and wayward protrusion at the earth’s end. Ruth pushes the scrapbook away and wipes her drying nose with the edges of her cardigan and the backs of her hands. Her lips open and close in silence as she tries to visualize, to speak the words that would describe what it is that’s out there, what waits for her, high as a mountain and cold and alone. What is it that breathes her name into the wind like a mindless burst of radio static, what pulses and booms against each rushing thrust of the wide river, drawing her body near and her mind away? She saw and she wants to see it again and she wants to remember, she wants to feel the ancient granite against her tongue, she wants to rub open-legged against it until it enters and hollows her out like a mindless pink shell. She wants to fall into it, and never return here again.

—Not again, she says to the ceiling, to the walls, as Henry opens the door. —Not again, not again, not again.

He stares at her briefly, noting the red flecks crusting her nostrils and upper lip. —Take care of that, he says; grabbing his coat, he motions at the kitchen sink. Always the same journey, and the destination never any closer. Ruth quickly washes her face, then slips out the door behind him into the hot, sunless morning. The company wife is in the back, patting the seat next to her. Something about the weather, she says, her mouth spitting out the words in little squirts of smirk while her eyes dart over Ruth’s wet red face. She thinks she knows what that’s all about. Lots of company wives walk into doors. Something about the end of Prohibition. Something about the ghosts of a long-ago war. Ruth sits with her head against the window, eyes closed, letting the one-sided conversation flow out of the woman like vomit. Her hand slips under the blue-checked dish towel covering the rolls, and she runs her fingers over the flour-dusted tops. Like cobblestones. River stones, soft water-licked pebbles, thick gravel crunching under her feet. She pushes a finger through the soft crust of a roll, digging down deep into its soft middle. That’s what it’s doing to her, out there, punching through her head and thrusting its basalt self all through her, pulverizing her organs and liquefying her heart. The car whines and rattles as it slams in and out of potholes, gears grinding as the company man navigates the curves. Eyes still shut, Ruth runs a fingertip over each lid, pressing in firm circles against the skin, feeling the hard jelly mounds roll back and forth at her touch until they ache. The landscape outside reforms itself as a negative against her lids, gnarled and blasted mountains rimmed in small explosions of sulfur-yellow light. She can see it, almost the tip of it, pulsating with a monstrous beauty in the distance, past the last high ridges of land. Someone else must have known, and that’s why they named it so. A wild perversion of nature, calling out through the everlasting sepulcher of night, seeking out and casting its blind gaze only upon her—

The company wife is grabbing her arm. The car has stopped. Henry and the man are outside, fumbling with the smoking engine hood. Ruth wrests her arm away from the woman’s touch, and opens the door. The rest of the caravan has passed them by, rounded the corner into the park. Ruth starts down the side of the road, slow, nonchalant, as if taking in a bit of air. As if she could. The air has bled out, and only the pounding static silence remains, filling her throat and lungs with its hadal-deep song. —I’m coming, she says to it. —I’m almost here. She hears the wife behind her, and picks up her pace.

—You gals don’t wander too far, she hears the company man call out. —We should have this fixed in a jiffy.

Ruth kicks her shoes off and runs. Behind her, the woman is calling out to the men. Ruth drops her purse. She runs like she used to when she was a kid, a freckled tomboy racing through the wheat fields of her father’s farm in North Dakota. She runs like an animal, and now the land and the trees and the banks of the river are moving fast, slipping past her piston legs along with the long bend of the road. Her lungs are on fire and her heart is all crazy and jumpy against her breasts and tears streak into her mouth and nose and it doesn’t matter because she is so close and it’s calling her with the hook of its song and pulling her reeling her in and Henry’s hand is at the back of her neck and there’s gravel and the road smashing against her mouth and blood and she’s grinding away and kicking and clawing forward and all she has to do is lift up her head just a little bit and keep her eyes shut and she will finally see—


Ruth’s hands are clasped tight in her lap. Scum floats across the surface of an almost empty cup of coffee. A sob escapes her mouth, and she claps her hand over it, hitching as she pushes it back down. This small house. This small life. This cage. She can’t do it anymore. The clock on the bookcase chimes ten. —I swear, this is the last time, Ruth says, wiping the tears from her cheeks. The room is empty, but she knows who she’s speaking to. It knows, too. —I know how to git to you. I know how to see you. This is the last goddamn day.

On the kitchen table before her is the scrapbook, open to her favorite clipping. Ruth peels it carefully from the yellowing page and holds it up to the light. Somewhere in the southern tropics: a pretty young woman in stained white linens, lounging on a bench that encircles the impossibly thick trunk of a tree that has no beginning or end, whose roots plunge so far beyond the ends of earth and time that, somewhere in the vast cosmic oceans above, they loop and descend and transform into the thick fronds and leaves that crown the woman’s head with dappled shadow. All around the woman and the tree, drops of dried blood are spattered across the paper like the tears of a dying sun. The woman’s face lies behind one circle of deep brown, earth brown, wood brown, corpse brown. She is smiling, open-eyed, breathing it all in. Ruth balls the clipping up tight, then places it in her mouth, chewing just a bit before she swallows. There is no other place the woman and the palm have been, that they will ever be. Alone, apart, removed, untouched. All life here flows around them, utterly repelled. They cannot be bothered. It is of no concern to them. What cycle of life they are one with was not born in this universe.

In the other room, Henry is getting dressed. If he’s talking, she can’t hear. Everywhere, black static rushes through the air, strange equations and latitudes and lost languages and wondrous geometries crammed into a silence so old and deep that all other sounds are made void. Ruth closes the scrapbook and stands, wiping the sweat from her palms on her Sunday dress. There is a large knife in the kitchen drawer, and a small axe by the fireplace. She chooses the knife. She knows it better, she knows the heft of it in her hand when slicing into meat and bone. When he finally opens the door and steps into the small room, she’s separating the rolls, the blade slipping back and forth through the powdery grooves. Ruth lifts one up to Henry, and he takes it. It barely touches his mouth before she stabs him in the stomach, just above the belt, where nothing hard can halt its descent. He collapses, and she falls with him, pulling the knife out and sitting on his chest as she plunges it into the center of his chest, twice because she isn’t quite sure where his heart is, then once at the base of his throat. Blood, like water gurgling over river stones, trickling away to a distant, invisible sea. That, she can hear. Ruth wipes the blade on her dress as she rises, then places it on the table, picks up the basket and walks to the front door. She opens it a crack.

—Henry’s real sick, she says to the company man. —We’re gonna stay home today. She gives him the rolls, staring hard at the company wife in the back seat as he walks back to his car. The wife looks her over, confused. Ruth shuts the door. That bitch doesn’t know a single thing.

Ruth slips out the back, through the window of their small bedroom. The caravan of cars is already headed toward the highway, following the Columbia downstream toward Beacon Rock. They’ll never make it to their picnic. They’ll never see it. They never do. She moves through the alley, past the last sad row of company houses and into the tall evergreens that mark the end of North Bonneville. With each step into the forest, she feels the weight of the town fall away a little, and something vast and leviathan burrows deeper within, filling up the unoccupied space. When she’s gone far and long enough that she no longer remembers her name, she stops, and presses her fingers deep into her sockets, scooping her eyes out and pinching off the long ropes of flesh that follow them out of her body like sticky yarn. What rushes from her mouth might be screaming or might be her soul, and it is smothered in the indifferent silence of the wild world.

And now it sees, and it moves in the way it sees, floating and darting back and forth through the hidden phosphorescent folds of the lands within the land, darkness punctured and coruscant with unnamable colors and light, its dying flesh creeping and hitching through forests petrified by the absence of time, past impenetrable ridges of mountains whose needle-sharp peaks cut whorls in the passing rivers of stars. A veil of flies hovers about the caves of its eyes and mouth, rising and falling with every rotting step, and bits of flesh scatter and sink to the earth like barren seeds next to its pomegranate blood. If there is pain, it is beyond such narrow acknowledgement of its body. There is only the bright beacon of light and thunderous song, the sonorous ringing of towering monolithic basalt breathing in and out, pushing the darkness away. There is, finally, past the curvature of the overgrown wild, a lush grass plain of emerald green, ripe and plump under a fat hot sun, a wide bench of polished wood, and a palm tree pressing in a perfect arc against its small back, warm and worn and hard like ancient stone. When it looks up, it cannot see the tree’s end. Its vision rises blank and wondrous with branches as limitless as both their dreams, past all the edges of all time, and this is the way it should be.

About the Author

Livia Llewellyn 

Livia Llewellyn is a writer of dark fantasy, horror and erotica. Her fiction has appeared in numerous magazines and anthologies, including Subterranean, Nightmare Magazine, and Postscripts; and her short story collection Engines of Desire: Tales of Love & Other Horrors was nominated for the Shirley Jackson Award for Best Collection. Her second collection Furnace won the THIS IS HORROR Award the same year as PseudoPod picked up fiction podcast of the year. Her website is at www.liviallewellyn.com, where she lists all her current works-in-progress and upcoming publications.

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About the Narrator

Christiana Ellis

Christiana Ellis is an award-winning writer and podcaster, currently living in Massachusetts. Her podcast novel, Nina Kimberly the Merciless was both an inaugural nominee for the 2006 Parsec Award for Best Speculative Fiction: Long Form, as well as a finalist for a 2006 Podcast Peer Award. Nina Kimberly the Merciless is available in print from Dragon Moon Press. Christiana is also the writer, producer and star of Space Casey, a 10-part audiodrama miniseries which won the Gold Mark Time Award for Best Science Fiction Audio Production by the American Society for Science Fiction Audio and the 2008 Parsec Award for Best Science Fiction Audio Drama. In between major projects, Christiana is also the creator and talent of many other podcast productions including Talking About SurvivorHey, Want to Watch a Movie? and Christiana’s Shallow Thoughts. Her most recent novel: Phyllis Esposito: Interdimensional Private Eye is now available as both print and ebook. All her work can be found at christianaellis.com.

 

 

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