THE MOTHMAN COMETH | S.T. CARTLEDGE

His lips shone black with the blood of machines. His body trembled and his wings shook. His whole body was soaked in the stuff. The hot, thick globs of machine-blood were like liquor to him. A sweet, sweet nectar coating his throat and filling his body with warmth. More machines would be buzzing down the street after him shortly, but he was already drunk with madness. His brain was clouded with a haze which rendered all actions inconsequential to him. He didn’t give a fuck any more.

The machines were quick to hunt him down, but he was faster. They came into the alley with a burst of chaotic light vomiting into the damp dark space, the corpses of his victims still bleeding out. A long, low rolling sound echoed off the walls, a manhole cover spinning like a coin loudly coming to a stop. The machines crowded around the hole itself, flooding their light into the sewer system for a glimpse of the mothman. One by one they dropped into the sewer until the last of them found itself with an armoured claw gripping its neck as its body dangled in the hole. The mothman crushed the back of its neck against the edge of the hole and slammed the manhole cover against its head.

Once.

Twice.

Three times and its body went limp, its wings once magnetic, now still. He rolled the cover back over the hole and sat down on it. He pulled the thing’s head from its body, and the manhole cover sat flush with the alley. The body of the machine dropped into the fecal soup with a deep splosh.

The mothman loved watching the light leave their eyes. It was a sensation almost as addictive to him as drinking their black blood. The other machines whined and buzzed, but from the underside of the sewer they couldn’t create enough force to slide the mothman from the manhole cover.

A panicked and frenzied machine is a good machine, he thought to himself.

A dead machine is better.

He threw the head on top of the bodies of the other corpses and waited for the sewer beneath him to grow quiet. He waited for the machines to make their way through the sewer to the next nearest exit three blocks south. He waited, then he leapt into the air and spread his wings, becoming a distorted shadow in the sky.

The night is his domain. He would not be hunted so easily and next time—next time… he would not be so merciful.

###

Dawn came with the burning glow of hell. A giant sun on the horizon bearing the sickness of its age, great dark cancers carved upon its face. The markings formed the image of a dark red skull, ever-watching from so far away, a galactic doomsayer. The mothman woke in his home in the forest of dead things, where the skeletons of birds and trees and wolves and bees served a reminder to the mothman of the world that used to be. It reminded him of a life before the sun was dying and that the machines were hellbent on bringing this world to its inevitable extinction.

From the hollowed out tree that was his home, he climbed out into the forest canopy. A mass of twigs and bones carefully connected over the years separated the canopy from the floor. Once upon a time, he remembered when such canopies would grow naturally, and that they were vibrant shades of green and brown and red and yellow, not the bone-white that he now tread gently across as he headed deeper into the forest, turning his back on the steel and concrete city which was home to the apocalyptic machines.

In the forest he felt safe. While the machines often flew overhead in the night, they never entered the tangled mess of forest. Only their droning buzzing back and forth kept his sleep restless. Their lights blinded him, penetrating through the dead and fragile wood so thin, so transparent. Either they saw no need to explore the forest, or they had no desire.

The mothman liked to think there was a third explanation, that perhaps they were afraid of a certain mythic man-beast which lived there and was known to terrorise the machines with his insatiable bloodlust.

He reflected on this dream as his feet crunched on the dark, grainy sand as he walked towards the lake. The surface was smooth and undisturbed, a mirror image of the sky, an inverted skull smiling at him from the dark water. He ran his hands through it, scrubbing at the blood stuck to his exoskeleton, distorting the skull and sending the red sky into a frenzy.

The blood had leaked everywhere, stuck in the small gaps of his joints where his soft, fuzzy flesh lay hidden. The scrubbing of the arms soon turned into a full submersion in the water. He waded out, rotating his limbs in wide arcs to get the water moving through his joints. It was cool and refreshing on his aching body. He swam out to the point where his feet no longer touched the bottom. Then he let himself sink and he let the blood float away. Beneath the surface he opened his eyes—a clouded vision. Ghosts of fish swimming past him so close his body was spinning from the momentum. His wings were soft and loose, paper-thin moving about the water like a fish tail. Beautiful. Ethereal. Beneath the surface the marbled image of the sun almost looked whole and healthy. He smiled and saw other living things, birds, beetles, rabbits, bears. A human. A child. Beautiful. Kind. Touching trees and flowers with such wonder it made the world feel like magic. Such wonder that in those times it was the mothman who was displaced, not the machines.

In that moment, the surface of the water was broken. The sharp, narrow snout of a fox, jaws snapping up a phantom fish for itself. A real fox and a real fish, neither creature had the mothman seen in such a long, long time. Just machines. He couldn’t be sure if he could trust his eyes. Or his mind, processing an elaborate vision. An apparition or a dream. His body floated to the surface and his head gently lifted out.

There was the fox.

At the edge of the lake with a fish sideways in its mouth. Inverted in the reflection, there was the fox. The mothman felt as though his mind had been jump-started with a thousand volts. And what else? he thought. And what else could be living out here that he doesn’t yet know about.

The excessive rush of light and sound of machines passing overhead. They flew so low they gave the water shivers. The mothman peeled his eyes from the fox for one moment, and then it was gone. Like a ghost. Like it never existed at all.

###

The city seemed always to be spawning more and more machines with each passing day. He couldn’t kill them fast enough. He was addicted to their blood, though their flesh had nothing to offer, though it sustained him through the post-human years, though the slaughter was fun, he was viciously outnumbered. Strength in numbers. He was just a party of one. Not only that, but the machines seemed to be building themselves bigger and stronger, forming a collective hive-consciousness throughout their technological sprawl, and when the smaller ones died, they were replaced by machines more vicious and destructive. Their lights were brighter too, almost blinding. To catch a mothman, blind the fucker right out of the sky. Burn him with the heat of a thousand suns. Rip him limb-from-god-damn-limb and stomp his face to insect-mush.

Do unto others as they would do unto you.

He would hunt them through the city as long as they would hunt him down. He would crave their blood, he would starve for it. He would spend the following days and weeks and months ripping those machines apart, thrashing and biting into their veins before the life has left their bodies. He would rip the lights from their skulls and collect them in the sewer while none of them were watching. He would steal them out into the forest where below the canopy, in what little shelter he had, the mothman worked on his own retina-destroying torch.

That was the easy part.

What he needed next was a power source. A machine still living, pulled under his control so he could bring it to the forest, the first of its kind to set foot in the place, and light up the night sky like no mere machine had done before.

###

He was in a hollowed out building on the edge of town, watching from the shadows from the corner of the window.

The machines were now too big to fit inside the buildings. They could no longer fit down the alleys. They would never set foot in the sewers again. They had the power, but the mothman had the tactical advantage. The machines kept to the streets, and the larger of them remained in cleared out concrete lots, war machines waiting to be deployed.

The mothman picked off the smallest of them to give him the energy and the buzz to stay alert and focused. They were on the hunt. They were always on the hunt now, but the mothman was determined to have his fill of machine-blood and destruction before his time ran up.

The city was now a constant drone of magnetic wings and scorching lights.

The mothman had to move carefully. He matched their movements so as to remain in the folds of darkness cast out by their light. He moved through the city by sticking to the shadows and the narrow spaces between buildings where the enlarged machines couldn’t reach. The further he went into the city, the larger the machines became. They carelessly demolished small buildings. The roads cracked beneath their weight. Their lights burned brighter than the sun, even when it was healthy. And with the torch that the mothman had built, he would have to harvest himself a big machine.

He saw it so far away, and he knew it was the one. It was a mountain formed out of metal, hundreds of eyes, thousands of limbs, millions of small magnetic wings, along with dozens of giant magnetic wings, a giant dark shadow hovering brilliantly over the city. He imagined its glorious blood pooling out from so many places as it flew high over the buildings and the streets, raining the black blood down on all the lesser beings festering below. He had grown so used to navigating the city around the machines that he approached the monolithic machine with ease. None of the other machines with their blistering lights saw a damn thing.

Up close, he saw what the robots were really doing. Most of their parts had come from scrap harvested from all over the place, but this creature, and some of the other grotesquely misshapen machines around had been pieced together with the unrefined parts of their dead ones. This was a colossal monster of machines previously executed and brought back only to go through the whole process again.

What the mothman really needed now was control.

He climbed the mountain of dead machines and fought off every machine which tried to stop him. He ripped off their wings with his bare hands. He ripped their throats out with his teeth. Afterwards, he would surely need a deep soak in the lake to cleanse his skin of their greasy blood.

His hands and feet grappled whatever small jutting bit of metal they could reach or whatever crevice they could dig themselves into. His feet burned as they pushed, his arms ached as they pulled. His wings gave him that extra bit of lift needed to leap to the next handhold and maintain it until he found his footing.

He found himself sinking into a rhythm as he climbed what he imagined to be the machine’s spine. Other machines flew up and onto the giant, scrambling towards the mothman, ready to smash, slash, slice, and puncture him to a bloody pulp death. Whenever one came close enough he flew off and up and landed higher, kept climbing. He was quick, nimble. From above he could rip off dead machine parts and toss them at the lesser machines.

At the top he was untouchable. He was a fucking menace to the machines. He ripped and slashed and gouged and tore the machines to pieces. He tossed their carcases down the mountain-machine to the streets. He had no sympathy for them. He tore into the mass of dead machine rendered a living mass of destruction. His fingers pried it open and burst the tubes pumping blood through its body. His fingers explored through the surface until he came upon a protective shell. A skeleton to break through before he could reach the inner workings, before he could bring it under his control. Guts were everywhere. Blood was drenching everything slick and wet. Inside the twisted mass of metal he closed the hole above him to keep the other machines out. He could feel it on his skin. The prickling electricity. The pulse of life inside this metallic shell, this magnetic body. The deeper he explored the more he felt and saw and understood. As the machines formed around the hole through which the mothman had disappeared, their buzzing drone grew louder, as did the buzzing of the mountain-machine. It began to fly above the city and away towards the forest. And it was the mothman controlling it all the way.

###

He stood on the forest floor, poised ready for flight at a moment’s notice. A machine lay down, body slowly rising and falling with the pulse of its energy, although it lacked the aggression to fight the mothman. He climbed on top of the machine and it wandered almost drunkenly down a beaten path almost erased. The outer casing of its head was discarded behind them, and the mothman had his fingers deep inside the machine’s head, playing with the idea that he could make a machine do exactly what he wanted. This was his test run before going for a more scale-appropriate machine for the blinding light-weapon he had fashioned with which to defend himself.

The machine was four times as large as the mothman, but was the smallest machine he could find. With his hands in the machine’s head, the mothman sent it running across a clearing. It lost its footing, crashed into a tree and threw him off into the dirt. As he dusted himself off and pulled himself up, he caught a glimpse of what he thought was the shadow of a fox darting away as the tree itself came collapsing down. The machine did not pick itself back up. It could not pick itself back up. Its consciousness was in his fingers. The fox whether same or different, real or imagined, was lurking around his peripherals, taunting, tricking. A cunning game of distraction. As the tree made contact with the ground it turned to a mess of dry, scattered splinters. It was once a tree in image, but the substance and strength of it had died long ago.

With his hands he called the machine back into motion and commanded it like he was its puppet master once again. He was its champion. He gave it the power to walk. He gave it the power of coordination. He gave it the power of flight, and then it became the first war machine he could call his own. He was connected. He was in control. He could use it to fight his battles for him, but for how long? He killed it completely and drank its machine-blood to get a thirst for the prize. He returned to the city to harvest himself the biggest machine they had. To turn a weapon against its own people. To destroy the machines and to let the sun die in peace.

###

He had never known power quite like this. It was a beautiful and terrifying thing. No wonder the machines could not control it. No wonder they could not contain it. No wonder they hungered for more. The machines swarmed the mountain-machine to take it down, but its entire being was controlled by the mothman. He made the mountain reach giant hands out and crush the machines like flies. The larger ones he knocked out of the sky with a swooping fist sending them off balance with broken wings. The machines latched on and greatly outnumbered the mothman, more than he could destroy, they latched on to his metallic shell and climbed over him in search for an entrance to the fleshy puppet-master within, to do something which would bring the hijacked beast to a grinding halt. They were a manic hoard and they gradually peeled back the layers of the mountain’s skin. They tore off chunks of it and tossed them down to earth. A trail of machine parts littering the way from the city to the forest.

In his home, the mothman had the tactical advantage of knowing his surroundings. Unfortunately, the machine he controlled was too big to manoeuvre through it. He tore down the big dead trees, canopy crashing down, as he endeavoured to cannonball his way through to the weapon which awaited his return. He set the mountain-machine down near enough to it and shook loose all the scraps which had accumulated and all the smaller machines which weighed it down. He peeled off an entire layer of the mountain-machine’s armour and suddenly it was much lighter, stronger, more manoeuvrable. It transformed from a mountain-machine into a colossal machine-warrior. It grabbed the torch light and fixed it to its head. The light came on and scorched the sky, leaving burn marks in the air. With dozens of nimble mechanical limbs crushing down on the attacking machines, the mothman defended his legacy, and with his blinding new weapon shining down on the swarm of machines, he melted them into a bubbling metallic mirror soup.

He thought himself invincible, but while he melted a great number of them to oblivion, an even greater number, machines almost half as tall tackled his champion down and ripped his fleshy body from the machine shell which encased him. The giant machine-warrior fell limp and the mothman felt his wings rip from his body and his bones crunch into a million splintered pieces. He fell in slow motion from high above the trees back to earth, slowly, red sky bleeding, burning skull sun dying, a sickness of man and machine. The face of the sun in his last dying moments looking less like a skull and more like the face of a fox. A cunning creature whose ghost had outlived his own. An idea which refused to be destroyed. Were his eyes gazing upon a different sun? A new sun which dawned a new age beyond the setting of the final skull?

His body was the last living thing to commit itself to the earth as the earth transitioned into a new state of post-flesh consciousness. There was no fox or fish or mothman. The machines were not real. They were an imagined state of being. They held no real autonomy in this reality. As the mothman ceased to exist, they too slipped into extinction because of it. They existed because of him, and they lost the war because they destroyed him.

###

The ground quaked terribly, a vicious tremor which levelled all the trees. It cracked open like a giant human mouth and swallowed the body of the mothman. It absorbed his body into the land so that he could continue his eternal journey as a part of all things. He became one with the cosmos. He died so that he could live forever.

And then the earth swelled as if pregnant with life. A warm, glowing mountain-womb of terrain rising up smiling and ready to burst forth new life. A billion infant anthropomorphic moths, a billion moth men and moth women birthed outwards into the world. And it was a beautiful thing. And the collective consciousness of the world was golden and kind. All was forgiven. In youth the cycle repeats itself and forever it would be this way until the end of time.

###

“What the fuck did I just read?” the woman said, tossing the mess of paper to her bedside table.

“The Mothman Cometh! The greatest epic battle between beast and machine that was ever chronicled throughout all time!” He was kneeling on the bed excitedly waiting for her enthusiasm to kick in.

“What? It made no sense! Mothmen. Machines? What. Why can’t you just write something normal?”

He slumped a little. She was not enthused. “What’s not to get? It is what it is. Who cares if it doesn’t make sense.”

“I do. I care. There’s no reason for any of this to happen. It’s just random stuff happening because you think it’s awesome. There’s no meaning to the story.”

“Sure there is. There’s plenty of meaning to it.”

“Okay. Humour me. What’s it about?”

“Well, there’s the lonely mothman, who is immortal. He’s been around forever, so he’s seen civilisations rise and fall. He’s been the subject of fear and paranoia, an outcast from the human race, despite not being terribly unlike them. So he’s this brooding isolated figure who has seen all life as we know it die. He’s lived through to a post-apocalyptic wasteland where, of course, the machines are the only thing left surviving. It’s the last remaining legacy of humanity, and it’s this poisoned concept that’s ruining the earth. Everything has lost its substance. Everything is dead or an emotionless machine.”

“And what the fuck does that mean?”

“It means that life is pretty fucking bleak if you think about it. You don’t know who or what will be around after you’re gone. I’ve just written about two different sides of humanity colliding after humanity ceases to be a thing. The mothman represents preservation and the machines represent consumption. And of course the machines use light to lure the mothman out, but he’s been around for so long he’s become desensitized to it. He’s sick of it. He just wants to wipe out the machines and get on with his life. But the machines can’t just be destroyed so easily. They’re a disease. A plague.”

“You think people will get all that from reading your story?”

“Why not. Even if they don’t consciously think about all the finer details, they’ll understand the general impression of it.”

“Yeah, well I still think it’s stupid. What the fuck was up with the sun? And the fox? Was it even a real thing?”

“That’s for the reader to decide for themselves.”

“Was it real?”

“No.”

“I fucking knew it. And the sun? Suns don’t die like that.”

“It’s a story. The sun can do whatever it wants. The sun can be a giant kitten which rolls across the earth swatting at trees and setting them on fire. The sun can be a spaceship which orbits the earth and shoots down anything which tries to get in its way. The sun can be—“

“I get it already! Fuck. Whatever.”

“So you didn’t like the story?”

She sighed. “It just didn’t make sense to me. I don’t hate it. I just don’t understand why you would make all this shit up.”

“Okay,” he said. He lay down in bed and pretended not to feel hurt.

“I mean, it could be worse,” she said. “You could have ended it with a stupid meta scene where it was all a story written by an author and he debates with his girlfriend the entire point of the story.”

“Oh my god,” he said, sitting up. “That would be amazing!”

 


 

11653431_10200620441990862_1575777047_nS.T. Cartledge is the author of House Hunter and Day of the Milkman. When he is not writing or working he enjoys reading manga and watching anime.

Get DAY OF THE MILKMAN here!

Artwork | Bill Purnell

landscape_0012

landscape_0013

landscape_0032

portrait_0028

portrait_0038

portrait_0046


Look at more of his work and purchase prints on his website!

Add him on Facebook!

or follow him on Twitter!

The Collaboration of Kurt Cobain & Burroughs

Recently, the new Kurt Cobain documentary (MONTAGE OF HECK) hit HBO and I had the opportunity to watch it. It’s an well-made documentary, unlike any other. It’s a collage of animated biopics narrated by recordings of Kurt reading his own writing, art he made as a child, and all the way up to the original notebook Nirvana songs were written into. Some parts were tough to watch, but were great for its honesty in his more strung out days. One of the most interesting things the documentary doesn’t touch on is when he collaborated with William S. Burroughs to accompany one of his stories. The guitar in the background is as haunting as you’d expect it to be…

 

Tea-Killer | Zoltán Komor

While sipping my tea in the morning, I find a small, two-inch long naked female corpse on the bottom of the cup. Her white skin fades into the white porcelain, tiny gobs of tea leafs cover her round breasts. I immediately slap the cup down, and snick across to the phone to call the police. I forget all about checking if she’s really dead. Of course, how could I give her mouth to mouth resuscitation, otherwise? Her body is about the size of a match-stick.

I walk in circles, up and down the kitchen, when the doorbell finally rings. Two detectives arrive, eyeing me suspiciously. I let them in, and point at my table. They hem and haw while examining the body in the cup.

“You know her?” the older one asks. I tell him, I’ve never seen this woman in my life.

“Did she drown?” I ask.

“The autopsy will soon tell,” answers the detective, taking out his camera and taking pictures of the crime scene. The younger one asks for nail-scissors and locks himself in my bathroom with the small corpse. I nervously offer the other detective some tea.

“I once knew a fortune-teller who could read the future from these tea-leaves,” he yarns, slurping at his hot drink. “Sounded crazy to me, but the newspaper wrote that there was a man who found the winning lottery numbers in his cup. And you know what? He’s a rich man now.”

“Yeah, I would have preferred the lottery numbers too,” I admit, and the detective begins to laugh. His partner steps out from the bathroom, with some fresh blood-stains on his shirt. He’s holding a plastic bag with the body of the poor girl and the dirty nail-scissors I had given him. He’s handing them to me, and I don’t reach for so he just puts them on the table.

“Well… She drowned for sure,” murmurs the man. The other detective nods, and puts on his hat.

So, this was yesterday. Since then, a yellow police-line has cordoned off my kitchen table – they tell me I can’t tear it until the investigation is over, and it would be better if I wouldn’t do any cleaning in the kitchen. When I woke up this morning I found that I didn’t have the strength to make any tea. I just couldn’t get rid of the image of that dead girl, laying on the bottom of the cup. Every time I thought about it the nausea began to squeeze my stomach. So I decided to visit the bar at the corner instead, and just ordered a cup of black tea there. As the waitress arrived, somehow she looked very familiar – this pretty girl placing the streaming tea down on my table with a strange smile on her face.

“It is so rare, you know. A man ordering tea. Men usually want coffee,” she prattles on, and finally, I do recognize her. Of course, I’d seen this woman before– yesterday. Laying in the bottom of a cup. The blood drains from my face and I react to the situation in the dumbest possible way: I stand, put on my coat, and run from the place without a word.

At home, an open door greets me. Three men sit in my kitchen, with steaming cups in their hands. Two I recognize immediately – the detectives, they are back, but this time, they brought along an old fashioned guy with a wig. Some kind of judge, I guess.

“I’ve some bad news,” begins the older detective with a strange and somehow evil grin on his face. “It looks like the girl was drowned by someone else. The microscopic pictures revealed signs of a struggle on the body.”

I collapse into a chair, and try to say something, but I’m breathing heavily now. Only a few words escape my mouth – they are fluttering in the room, getting lost in the tea’s steam.

“In the bar… The girl… Black tea… The lottery numbers…”

This, of course, doesn’t make any sense.

“I hope you understand, we have so many cases that we can’t allow ourselves to sit on any one case for too long,” one policeman tells me with a sharp, unsparing voice, tapping the judge’s shoulders.”So, we must speed things up a bit here and start your trial, well. Now.”

This is madness. I want to rail against this ridiculous treatment but I know that any resistance would be useless. So instead, I give the judge a sincere look of appeal as he begins swirling the tea cup between his fingers, trying to read out a verdict from the tea leaves waltzing within.

The kitchen is dead silent. Everyone gazes at the judge’s shaky gray hand, at the cup in his clenched fingers, each of us hoping to glimpse the blackness inside, where it seemingly never stops swirling.


kzZoltán Komor was born in June 14, 1986. He lives in Nyíregyháza, Hungary. He writes surreal, bizarro short stories that he later translates into English. He published in several literary magazines (Horror, Sleaze and Trash; Drabblecast; The Phantom Drift; Gone Lawn; Bizarro Central; Bizarrocast; Thrice Fiction Magazine; The Missing Slate; The Gap-Toothed Madness; Wilderness House Literary Review; Caliban Online; etc.) His first English book, titled Flamingos in the Ashtray: 25 Bizarro Short Stories, was released by Burning Bulb Publishing in 2014. His second English book, titled Tumour-djinn was released by MorbidbookS in the same year. You can visit him at www.zoltankomor.com.


YOU CAN FIND HIS BOOK ON AMAZON!

tumourdjinnbook

Joseph Whiteford’s Strange Children Stories

Joseph Whiteford is an incredible artist and musician. I stalk everything he does. I interviewed him once at a previous publication. A couple Youtube treats I often revisit are these children’s books turned into songs by Harley Poe and accompanied by the original illustrations of Joseph Whiteford. I would love to see these illustrations become real children’s books one day, but the music made for them even more wonderful in their own right…

1. Herschell Goes to Heaven

2. Lewis was an Odd Boy

YOU CAN ALSO STALK JOE’S WORK HERE!

Jenny Malevolence | Garrett Cook

High above the city, dark hair flowing down his sculpted shoulders hovered The Aegis, shield of the gods, the perfect man.  The Medusa face on his breastplate pronounced death to the wicked with its judgmental glare, though it seldom did its job, since the ethics of petrification, are, to say the least, a quagmire. Even the hooded madman before him, whose body crawled with metallic nanoinsects would not deserve a life trapped forever in stone.

“This ends now, Malevolence!” declared The Aegis, raising a fist that shattered tyrant tanks.

“The Singularity Man laughs at your threats. Your fate is the fate of all things, and that’s gray goo. I devour your inertia, I take your potential energy.”

The Aegis’ punch slowed beyond a crawl, seeming to turn to a fragment of a fragment of a frame, and the hooded madman, whose body danced with a million robotic bugs hummed with power, physics itself repurposed for the whims of The Singularity Man.

“I take in your potential,” said the Singularity Man, giving back a strike of his own, with thundering force, faster than light, “and I shit out death!”

The punch penetrated the breastplate, the flesh, the ribcage underneath it, and inside the body of the hero, The Singularity Man grabbed at his heart, yanking it out and leaving in its place the insects. He unceremoniously dropped the organ to the ground to splatter below, while inside the demigod’s body, the insects cauterized the wound with tiny lasers.

The Aegis didn’t get to properly die, his brain functions rebooted straight away. Blood swimming with new respirocytes, the hero was now part of the Singularity Man.

Jenny was there, she was him, The Singularity Man. She was there and had been there many times over the past couple weeks. She would cease to be Jenny for minutes, given instead the experience of tearing a heart from the chest of The Aegis and being the one man that could be. It was the beeping from her computer of 100 tokens, gratuity for a glance underneath her oversized Misfits shirt that roused her from thirst.

Were she thirty pounds lighter, she could have asked for 200, 300, 500. Were she thirty pounds lighter, maybe they’d be more polite. Maybe. Maybe it wouldn’t be “tits BB” or “show your fat ass”. If she were thirty pounds lighter, maybe they would actually express some concern that she was staring blankly, into her webcam, past her webcam for minutes at a time, periodically twitching as she experienced the still beating heart of the world’s greatest hero in her hands. Whether this was so or not, this was how she felt. Like she was a person who sat and stared until a man a thousand miles away deemed it the time for her to get naked.

It still beat waitressing. And it seemed like the sort of thing that beat flying around murdering superheroes to absorb them into a technoorganic bug hive. She dispassionately pulled the shirt over her head, gave her pale double D cups a shake.

“Mmm, thanks Bonersaurus! Hope you like ‘em!” she forced a smile past the image of the most important person in the world dead at her armored hands. If they were her armored hands. They certainly felt like hers or at least like that they could not be anyone else’s. She forced a smile past remembered sensations of daydreamed skittering swarms inside and on her. She forced a smile past no job, no future and no ideas in a world where an invulnerable mangod flies through the sky righting wrongs and rendering man as he knew it obsolete. That smile had a great way to travel and during that time, it had grown quite weary.

She went back to waiting again, seeing little potential. Her breasts were out, which changed the situation somewhat but now instead of just confused and afraid, she was confused, afraid and topless, trying to do a job that she barely wanted to do. She gave her magenta hair what she thought was a seductive flip, and trained her sad, brown eyes on fields of imaginary hardons to let them know she knew that they were out there and to let them intuit that she cared.

There’d been a time in which she had cared and the thought of a man’s excitement over a body that wasn’t Cosmo, Vogue or Hustler was enough to make her feel grateful for the attention. The novelty of this wore off, as it became less about admiring her body and more about making demands of it. The object of desire had become a utility. She felt this quite keenly as she waited for somebody to ask more of her, to pump another quarter in a woman turned arcade cabinet.

She shuddered a little upon seeing one particular username. Struck a raw nerve. TheAegis69. Every man wanted to be The Aegis. Every woman wanted The Aegis, every alien tyrant and giant robot wanted to be the one to rid the Earth of The Aegis. Had she become more superintelligent orangutan or mad scientist than woman? Was she the subject of desires not her own? This wasn’t The Aegis, just some guy bragging about the strength to go at it all night.

“Wow,”she said with a histrionic eyeroll, “nice work taking down Slaughtercus last week, Aegis. Is your cock strong as fifty men? Wanna go private and show me?”

No reply. Nothing at all. She found herself wishing this was the actual Aegis saying he was alright. She even wished this was the actual Aegis asking to see her asshole. The Aegis probably wanted to see SOMEONE’s asshole. Why not hers? She was thirty pounds overweight. She would be lucky if anyone did, let alone the ultimate man.

An hour passed and nobody asked to see her asshole. Fifty more tokens. She flashed her pussy a moment and the room went quiet as a tomb until somebody asked if everybody was watching the news and saw that The Aegis had just thwarted Science Pirate. There was some “Who the fuck cares?” Some “show pussy!” Some U-S-A!  No tips. The Aegis was alive.

That was something. And there was nothing. The session faded out. The cocks softened, the tips stopped and Jenny was alone with Jenny. Alone with Jenny crushing the heart of the hero, alone with Jenny floating above the Earth and preparing to put an end to it surrounded by a chitinous cocoon of living machine. She stared at the ceiling and at the world that broke beneath her in her daydream until at last she slept.

She slept as The Aegis flew over the city, concern in his heart of hearts over the welfare of those below. The hero used vision unnaturally honed and hoped and prayed that the tiny, bored things wouldn’t break each other. He hoped and prayed to the old gods that had gifted him his powers that they would be okay and that he wouldn’t fail to miss any of the fragile. He hoped and prayed that the world the old gods made had plenty for everyone.

Grey and clanking, crawling and clicking, the vermin that he missed crawled out from under Jenny’s bed and up into the future, a future that began with one imperfect body. Crawling up on commodified tits, drilling into improper belly. The insects crawled into her ears, spoke to Jenny, promises far sweeter than a couple hundred tokens. No deal was made, instead just a statement of facts. This was the glorious inevitable, vita nuova, evolution. They soaked up fat, re sculpted muscle, chiseled the bones in her round face down to sword sharp points. That which was Jenny slid away, and she was ready to reawaken as the one person it was alright to be.


11096744_10152804346977849_628266494_n

Garrett Cook is an author of horror, Bizarro and Mythos fiction. As well as writing such Bizarro books as Time Pimp and his recent collection You Might Just Make It Out of This Alive, he is also the editor of Imperial Youth Review. He works as a freelance editor and teaches workshops in the Bizarro genre.

Follow his website here!


You Might Just Make It Out Of This Alive!

You can find his latest collection on Amazon!

HEARING THE CONSTANT HUM: AN INTERVIEW WITH WILLIAM PAULEY III

I read an incredible book called HEARERS OF THE CONSTANT HUM by William Pauley III recently. I dug it so much I had to have him come on here for an interview, which after several attempts to bug him to to do so and many threats, he naturally succumbed to The Cockroach’s great will. It was an incredible honor and I think it came out to be quite the excellent read. I hope you enjoy it!

(We suggest a coffee, shots of whiskey, or both before this one…)


10421379_10204289954385996_5878008389860098253_nKafka Review: How did you get into writing the genre-breaking fiction you do?

William Pauley III: I’ve never really looked at it like that. You’re not the first to say it, so clearly it’s something I do, but subconsciously. I just write about things that interest me, and I’m interested in many things across the board.

Kafka Review: Biggest inspirations? I personally see a modern William Gibson and William Burroughs in Hearers of the Constant Hum. Holy shit. You are the third William. It’s probably destiny or some shit, or just another word virus.

William Pauley III: Hahaha. I wouldn’t say that I’m influenced by Gibson or Burroughs, although I do have a deep respect for both. My main literary influences are Ray Bradbury, Isaac Asimov, Mark Z. Danielewski, Franz Kafka, J.G. Ballard, William Golding, J.D. Salinger, Cormac McCarthy, Jonathan Lethem, Joe R Lansdale, and Philip K Dick. There are a million others I should probably list, but I won’t. I will say though that David Cronenberg’s films are my biggest influence overall. The Cronenberg brain and the Pauley brain are made of the same electric human lunar shit.

Kafka Review: Interesting. I pictured a semi-cross between Neuromancer and Naked Lunch while reading Hearers. The Naked Lunch feeling I got from it was naturally accompanied by the styles of Cronenberg’s film adaptation. Hearers of the Constant Hum would definitely make an incredible Cronenberg film. We have a lot in common in some perspectives, as JD Salinger was one of the first authors to ever inspire me to read a whole bibliography. Franny & Zooey put me on track to study quite a bit of history and most religions for a couple years there. House of Leaves by Danielewski also changed the way I look at the formats of writing. Kafka naturally had a great effect as well.

On the other hand, I’ve been reading a lot of modern writers who seem to be writing a lot of ground-breaking stuff and these names in sci-fi constantly come up. What books from the likes of Bradbury, Asimov, Ballard, and Dick do you consider the most influential? Or would give the highest recommendation to for others new to sci-fi?

William Pauley III: Bradbury and Asimov had a knack for taking simple concepts and writing them in such a way that it moves within you, becomes a part of you. They were geniuses in that way, because they were truly the only ones that could have ever written their stories. Had anyone else written The Martian Chronicles, it would have been forgotten. Bradbury knew how to work your emotions. He could play you like an instrument. I recommend starting with The Martian Chronicles, The Illustrated Man, and Fahrenheit 451 with Bradbury and for Asimov, I recommend The Caves of Steel and I, Robot.

Ballard and Dick took a different road on the map of science fiction. They were gritty, and definitely darker. Newcomers should check out Ballard’s High Rise, Crash, and a collection of his short stories. I’ve read a few of those collections and have yet to read a bad one. If you’re interested in checking out the work of Philip K Dick, I would suggest starting with Valis, A Scanner Darkly, or Do Androids Dream of Electric Sheep? His short story collections are also fanastic.

As far as the ones that influenced me the most, all of the above.

Kafka Review: I haven’t read the collection, The Brothers Crunk yet (I have it though and love the Nintendo cover). Are the brothers featured in the Hearers of the Constant Hum the same?

William Pauley III: The Brothers Crunk is a novella about two traveling breakfast burrito salesman that come into contact with a disabled alien robot in the middle of the desert. By touching it, one of them begins to slowly transform into something else entirely. Yes, they are the same brothers from Hearers of the Constant Hum. The events in The Brothers Crunk take place much later than Hearers, and there are a few stories between the two that have yet to be written. The worlds in those books couldn’t be any more different, and I plan to explain that in future books. The brothers also have a small role in the third Doom Magnetic book.

Kafka Review: I was impressed to find the level of scientific philosophy behind the text and how it was snuck into the dialogue. The conversations between the brothers seem necessary to the reader for them to reach the same level of understanding before the novel progress to the next level. I loved it because it seems to be a conversation I have with all of my intelligent friends. It’s like a logical understanding of the vast universe versus the constant way we are told how to feel in morality, but later both sides stand in awe of the genetic human predisposition to protect the truly innocent. I find this weaved into the story really well and somehow dismantles both sides of the argument into something inarguable. Was this intentional from the start, come together slowly, or a complete accident?

William Pauley III: Hearers of the Constant Hum was carefully plotted. I knew exactly what was going to happen in every chapter before the first word was even written. In recent years I’ve become obsessed with the idea of progress. The word ‘progress’ doesn’t seem to be the right word to use when we talk about advancements in technology, yet we use it anyway. I come from the first generation of the technology wave. I grew up in the eighties and nineties, so my entire life I’ve been programmed with the understanding that things are only useful for a short window of time. Every couple of years, there comes a wave of new technology that renders all previous technology useless. As an adult, it’s troubling to see the world we’ve created with this new technology. Yes, there are a million advantages to having all the information in the world right in the palm of our hands, but we’re also losing things that make us uniquely human in the process. People are different now than they were thirty years ago, and I’m not so sure it’s a positive change either. In my book I wanted to explore two things regarding technology: 1) How technology affects our day-to-day living and interactions with other human beings, and 2) How technology will eventually affect the human race at large. Personally, I do not think humans will survive their own inventions, however I think the book makes convincing arguments for both sides of the fence. I want the reader to understand the pros and cons of new technology, and the dangers we’ll have to face if we keep ‘progressing’ at this speed. The ultimate fate of the hearers in the book may be a little extreme, but it gets my point across.

Kafka Review: I’m curious after reading this book if you find science to be repeating things already said in various forms of mysticism centuries prior. Do you think humanity is on an endless cycle when it comes to obtaining so-called knowledge?

William Pauley III: No, I think our quest for knowledge has a definite and abrupt end.

Kafka Review: I suppose what I mean would be better expressed through the work of others. This reminds me of writing from Alan Watts on technology: He once said something along the lines of how it was a great advancement when artists began to paint portraits of people. Then the camera was invented and it was black & white, but it began to improve in quality with filters until finally in color. Since reaching color it has been in a perpetual state of improvement until the high definition of today. Much of the same could be said of technology in regards to video, VHS/ Technicolor evolving into the higher definition disks of today. He goes on to speak about, what was in his time pure science fiction, in regards to our next level of emulating reality. Today it’s nearly a reality when we have such highly complex gaming worlds online, technology forming like Oculus, and scientists translating the chemical processes of the human brain into binary. His meaning was to point out how a small portion of the human brain in which the language-based thoughts we are using to communicate with each other now, is simply trying to create what already exists if a person is present in the moment. That is, living in the optical and being aware of the interconnectivity between their body to everything else on Earth. The end result being the majority of people filter reality through only a small portion of their brain and live in a constant state of confusion, attempting to emulate reality and stimulate emotions in our prescribed entertainment. I’m sharing this information only because it sounds like you might share a similar sentiment when it comes to the constant violence that must be perpetuated in the name of “progress.” I think Hearers is most interesting in how it puts this idea against what seems to be a more popular (and convenient to those living in capitalist societies) of futurists like Ray Kurzweil who believe one day humans will be able to live forever through technology and will act in each moment with the every bit of knowledge to ever come out of humanity (the final frontier of thoughts being translated into binary and supercharged with processing power). It seems to me to be a huge possibility of the future. I mean we are almost there. What I find the most strange, however, is how seemingly easy it is to imagine thinking every possible thought in each instant having the same results in human action as living in the present giving flight to a thought. I wonder if we will see such a thing become a reality in our lifetime and I’m curious if humanity will begin moving backwards, away from technology and advancements in knowledge to something simpler. I do, however, share the idea you are expressing about it having an abrupt end at some point. It being the destruction of the planet or some sci-fi level of mass awakening, I do not know. As anything to reverse the behavior of people now still leaves the question of whether the damage caused by it all is in fact still reversible. Wouldn’t it be quite the paradoxical spectacle to see the final frontier of technology being to live without it? Do you have any thoughts on the scenario from the extremes of these perspectives?

William Pauley III: Those that think we will one day live forever by downloading our consciousness into machines are as blind as the people that one day believe they will be reunited with loved ones in heaven. It’s a pipe dream. Will humans ever solve the mystery of consciousness? Yes, I am sure they will. Will they one day be able to replicate that consciousness and install it into machines? Yes, definitely. Will there come a day when there are machines with memories of once being human? Yes, but the key word here is ‘once.’ These machines may be the future, but it is not our future. It is the beginning of a new, far-superior species. Post-human. We will have rendered ourselves obsolete. If humans survive artificial intelligence, then the future of the human race would likely result in a Matrix-type scenario where humans are desperately trying to remain human and carry on, possibly in hiding, and likely failing. The machines will have no use for humans.

Kafka Review: I’m a bit of a weirdo (obviously, I started something called Kafka Review) when it comes to science in my daily life. After reading a hundred books on neuroscience and the physics of the mind, I see talking with others a little different. It’s all sort of fragmented particles breaking down from the molecule expressing a feeling being sent to the brain from the needs of an organ. I didn’t always see the world this way, but it seems to cut through the constant illusions others are trying to purvey. Anyways, I pictured an invisible field of particles between people in the air as they connect with one from another person to form a thought with protein molecule to be broken down into more particles and cast out into the world. Something I loved about Hearers of the Constant Hum was the way it compared this to insects and parasites. I mean, if someone thinks about it we only call things parasites, “parasites” because they are malicious to us and we don’t take into account the things in our general biology malicious to other creatures. Do you have any games of the imagination like this to keep the concept close throughout your daily life (at least while working on a novel with a concept like this)? I ask because it seems it would take a similar thought process to come up with the idea of the Constant Hum. I think for fun I will always attach little legs and wings to the molecules I picture now, which I think is okay so long as I don’t start swatting at them.

William Pauley III: There have been a couple of books that have really changed the way I think in regards to how humans interact and share thoughts and ideas: Consciousness Explained by Daniel Dennett and The Selfish Gene by Richard Dawkins. The latter is what influenced the idea of what the hum was to represent in my story. Dawkins introduced the theory of memetics, which very basically is the idea that all thoughts are living things, parasites if you will, jumping from host to host to host. He called these little parasites memes. These parasites had me thinking of little insects crawling around inside our brains. So when I was working out just how I was going to structure all my thoughts and obsessions into this novel, I thought it only made sense to incorporate insects into the mix. They are everywhere: the hum, the recordings, the cockroaches in Krang’s apartment, the dead honeybee, Jubilecide, Della’s nickname, so of course explaining the hum as a natural exchange of memes from insect to human seemed like not only the proper way to tell the story, but really the only way.

Kafka Review: I’ll have to add Consciousness Explained to my reading list. I own The Selfish Gene, but haven’t opened it yet. This is certainly an interesting theory, especially when looking at the evolution of ways to communicate like social networks. The thoughts literally trend now and spread like parasites, with each interacting with the individual’s cluster of parasites in their head created out of their current stimuli, their interpretation of the information, and what they hold onto as a personal identity based on their environmental influences of the past. This is a complex explanation for there being so many differences in opinion. I’ll definitely have to dive into the biological science side of this further, as I’ve only focused on work by physicists for the most part. David Bohm did a book called On Dialogue, which was his progress in physics being applied to the ideas on human thinking put forth by Hofstadter’s work, I Am A Strange Loop. A brief overview of the ideas represented by these books was how language, be it in words or mathematics, is represented by an image in memory. This means every piece of knowledge runs into the problem of being a 2-dimensional thing trying to explain the 3-dimensional. This theory in other words, questions if human thought can ever come to a perfected, concise theory of everything in universe while not completely disowning knowledge in the way observations of cause/effect have furthered our survival at an individual level. Recently, a new generation of physicists using Bohm’s, Quantum Trajectory theories also formed a new model of universal theory without the big bang or an end. I can’t imagine it becoming a popular theory, but it definitely seems to go with the infinities of everything else. It’s certainly interesting how pictures can be painted differently, but often create the same parable behind it, regardless of form or subject. This is my personal reason for interest in so many subjects and the arts which incorporate them. I look at physics as the more modern and complex way to understand the interconnectivity of everything. One might think particles forever form from nothing, but it seems we find more ways to put it under a microscope, the more we discover nothing as a myth and the lines brought about by duality seem to blur. There’s a beauty in these perpetual paradoxes that is more broadly expressed to the mainstream through works of art. I think you did an awesome job of this with Hearers of the Constant Hum, while put through the filter of a weird adventure. Should I and readers expect to see more of these complicated influences invoked in future writing?

William Pauley III: Thank you. Yes, there will definitely be more books like this from me. It’s something I think about every day. I don’t feel comfortable living in this world, during this particular time in human history. I feel we’re teetering on the edge of existence and it’s completely out of my control and out of your control. There is a line in Hearers of the Constant Hum that I feel wraps up the basic idea of what I was trying to say in the entirety of the book, my thesis statement, if you will. The line is something spoken by Reynold Crunk during one of his conversations with his brother. He says, “I am a confused animal who fears the idea of progress, not because I do not wish to progress, but because I fear how those in control define progress.” You and I could go back and forth discussing our views on science and the future of humanity, agreeing or disagreeing, but we are not in control and we will never be in control. Our definition of progress is not their definition, and only their definition matters, the ones in control, the ones turning the wheels and pushing the buttons. I am not comfortable with this, and I’m not sure why it isn’t a bigger issue with folks than it has been. Because my mind is consumed with all of this, it is to be expected that it seeps out into all that I do.

And to go back to the first thing you mentioned here, about how the theory of memetics seems to have a role in social networking and the internet­—it definitely does. Those little pictures passed around the internet aren’t called memes by coincidence.

Kafka Review: On a lighter and related note, anything new in the works?

William Pauley III: I just finished up stories for a couple new anthologies. The first should be out sometime around Summer 2015. It’s called 555 Volume 1: None So Worthy. Fifty-five of my short stories will be included in this book, each fifty-five words long. There are ten other authors in this anthology and they are all fantastic. This book is going to be something special. I’m glad to have been a part of it. The second anthology is an as of yet untitled Kaiju-themed anthology edited by Doug Gelsleichter. I’m not sure when this will be out, but it’s shaping up to be quite a beast. The authors involved with this project are also fantastic. As for my next novel, Automated Daydreaming: The Five Lives of Bricker Cablejuice, it’s nearly finished.

Kafka Review: Mentioning 555 reminds me, is that interesting fella still digesting your book?

William Pauley III: Yes, he is! For those who don’t know, Joseph Bouthiette Jr has been recording himself eating my novel, Hearers of the Constant Hum. Yes, eating it. The entire thing. I have no idea why he is doing this, but the important thing is that he is doing it. Look it up on YouTube. It’s definitely worth watching.

Kafka Review: Out of the modern writers you’ve found yourself amongst or compared to, who do you suggest the most and do they have any work you credit the suggestion to?

William Pauley III: I would say that, in my opinion, the most interesting author in my social circle would have to be Gary J Shipley. He writes ultra-bizarre science fiction/horror. The books I’ve read of his, Dreams of Amputation and The Face Hole, are complete mind fucks. His books are like watching a film compilation of all the weirdest, sickest shit you can imagine, all out of context and damn near impossible to truly understand. Reading his work feels like reliving your worst nightmares. For some reason though, I can’t get enough of it. Of course, I’m also a big fan of the authors publishing at Grindhouse Press — Andersen Prunty, CV Hunt, Zachary T Owen, Nick Cato, Steve Lowe, Gina Ranalli, Justin Grimbol, etc. Also, Josh Myers, Gabino Iglesias, Grant Wamack, Matthew Revert, Cameron Pierce, J David Osborne, Tiffany Scandal, and Michael Kazepis all put out fantastic work regularly. I don’t mean to drop a million and a half names, but I’m part of a writing community that I feel lucky to be a part of. Interesting things are happening and a lot of great work is being published.

This Cockroach thanks you for finally creating an equal representation of his people in a work of fiction and this has been a wonderful conversation. It looks forward to more of your work.

William Pauley III: Thank you! I agree, this has been a great conversation. Thanks for exchanging memes with me.


Go buy his book for your friends who still read!

hearers-cover-300dpiAVAILABLE ON AMAZON!

Flowers | Cameron Pierce

When Franz Kafka’s ghost awoke, he found himself transformed in his coffin into a flower. Clawing with his petals at the coffin lid, Kafka’s ghost began to sweat a glow-in-the-dark juice that stank of sulfur. “This must be my spirit leaking out,” he said, and ceased clawing to preserve what remained of his soul.

“This might be Hell,” he said, “but a man could truly sleep down here.””

Yawning, Franz Kafka curled his petals (seven, he counted) beneath his frail, leafy belly. With no alarm clock to disturb the sleep of the dead, Kafka’s now-comfortable ghost nodded off to nightmares of diamond-eyed golems eating the sky. He dreamed of insects reading the scriptures in muddy corners of the cosmos, and in those scriptures he caught muttered accusations against shapeless, yet-to-be-named insects. Among those judgments, he overheard his own name. He beheld a vision of himself as one of those nameless vermin, and of the terminal white light with which every life bloomed before consuming its own petals.


10639676_10154609088320089_8818209917049652394_nWIKI BIO: Cameron Pierce (born May 23, 1988, Bakersfield, California, United States) is an American author of bizarro fiction. currently residing in Portland, Oregon. The Bizarro Starter Kit (Purple) described his work as “Surreal nightmares that are funny, sad, sincere, and violent.”[1] His work has been praised by Troma founder Lloyd Kaufman, Piers Anthony,[2] The Guardian,[3] Cracked.com, Details Magazine,[4] New Times,[5] and SF Site.[6] In 2011, his short story collection Lost in Cat Brain Land won the Wonderland Book Award for Best Collection of 2010.[7] Pierce is also the editor of Lazy Fascist Press.

Send him a tip via Patreon!


“Flowers” appeared in the award-winning book, LOST IN CAT BRAIN LAND:
51IvMevkwyL

Available on Amazon!


WEIRD MOVIE REVIEW: Motivational Growth

This movie was recommended to me by my friend, Jeffrey. It remained stuck in my head after watching the trailer for over a month. I finally saw the flick recently and thought it would be perfect to kick off my reviews…

MG2

The opening credits of thee film are accompanied by crazy infomercials and clips from various channels as the lead character, Ian changes stations. The TV explodes causing Ian’s entire world is shattered and it is revealed he hasn’t left his apartment in six months (which was kind of apparent with the mess in the background). He goes on a long spiel with pseudo-statistics about suicide before trying to mix ammonia and bleach in the bathtub to create gas to commit suicide. He slips trying to close the bathroom’s vent and awakens to a giant blob of talking mold in the corner.

The Mold knows, Jack. The Mold Knows.
– The Mold

MotivationalGrowth_Poster

It keeps calling him Jack and acts as if it knows everything, which is quite the oxymoron. This is only eight or so minutes into the film and it only gets crazier from there. The rest of the movie goes through a strange shooting of its story. Some scenes are pixelated like retro video games. Sometimes the protagonist’s reality splices into infomercials. Every bite of scum The Mold offers brings him closer to the truth, but drives him further into madness.

After breaking a chimp’s arm, it’s not so hard to break a man’s!
– Box, The Landlord

It’s a crazy and bizarre movie, with a couple sudden twists along the way. Lots of things seem to be intentionally inconsistent and irritating, which is uncomfortably enjoyable. I would recommend it to anyone looking for a weird independent film not riddled with clichés. I wouldn’t run into the streets preaching its gospel exactly, but it was fun and definitely worth the view!

It might get you off the couch…after a couple hours!

4 out of 5 ROACH STARS from me!

4star


MAINSTREAM CHATTER: