Read Online Death's Excellent Vacation by Charlaine Harris, Daniel Stashower, Christopher Golden, Jeff Abbott, Katie MacAlister, Jeaniene Frost, Lilith Saintcrow, A. Lee Martinez, Toni L. P. Kelner, Chris Grabenstein, Sarah Smith, L. A. Banks, Sharan Newman - Free Book Online
Authors: Charlaine Harris, Daniel Stashower, Christopher Golden, Jeff Abbott, Katie MacAlister, Jeaniene Frost, Lilith Saintcrow, A. Lee Martinez, Toni L. P. Kelner, Chris Grabenstein, Sarah Smith, L. A. Banks, Sharan Newman
Tags: sf_fantasy_city
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water, Lan and Green and a luminous flying saucer full of giggling, flying teenage Japanese shape-changers. “Make it a submarine now,” the kids tell him. He thinks about recirculators, scrubbers; he pushes molecules around. They sink into the brown darkness like into moving loam.
“Can you—” Lan says.
But he holds up his hand. He has been here.
Ice fishing: the seldom-seen, magical moment when the water under the ice is clear, when the fish can see light from a distance. When they gather. When, in the light, the fisherman sees muscular dark bodies turning. When the fish looks at the fisherman, curious, and the fisherman looks at the fish.
What can you do? Who are you?
He does like he did with the dirt on the floor, like at Lake Musky seining for the kids, but tinier, tiny. He sends out into the water nets that are no stronger than metaphors, trawling for the smallest pieces of drowned bark and leaf, gathering them together, dodging around any fish or eel or water snake. He thinks about Brownian motion. Why did they need Atom’s light? The water clears. The water clears, leaving worms and little fish wriggling, surprised. The darkness recedes around them; a bigger fish bullets by, mouth open, and the small fry streak for safety in the blackness below them. Green globes light around the kids, and around them the fish gather, as if they are all in one great dark place under the ice together, with one flashlight to draw them.
The kitten-girl gives a little breathy scream.
Out of the blackness, out of the depths, She comes. She strikes at the glow, but Green thinks slipperiness and the ball that holds them spins past her teeth. She mouths a man-sized fish and flips her body round, whirls around them, thrashing, stretching out her neck, trying to catch them. She is too big to see whole. Riffles of gills, a great round flat eye like a target, scarred scales.
He plays her. Green is the worm; Green is the net, the line, the hook. The great She-Fish worries at the green ball-light, her teeth an inch away from them, and he and Lan and the kids bounce away from her. She wraps her long neck and tail around them. He feints and slides away.
And then suddenly it is a dance. He knows what she wants. He morphs the ball in which they all float into a mirror-monster of her, a ghost monster of green and light. She rears back. He shapes the green fish to match her motion. And for a moment the two of them hang there, in the water clear as glass, a monster fish like ebony and a monster fish like emerald, and she is still, still, still, and she reaches out her long neck, sniffing, opening her mouth to taste the water with her tongue, tilting her head so she sees him out of one enormous eye.
Are you like me,
her outstretched neck says, her tongue licks, and Green’s heart beats loud in his ears,
Are you like me?
But she throws her head back with a cry of loneliness and disappears into the deep.
When they are back on dry land, the kids say nothing. They stand on the rocky shore, each of them alone for a minute. Then the boy goes from one to the other, touching them on the shoulder, bringing them together into a protective hug. They reach out for the two older men, for Lan. She reaches out for him. Green stands with them, embracing them and embraced.
Tonight he has done new things. Of all of them, that silent lonely hug is the hardest, and it’s what he will remember, that and Nessie’s tongue tasting the green monster made of force and silt, hoping she could find something like herself.
HE takes everyone back to Japan in his invisible force-field UFO. They’re quiet on the trip. Over Japan, the trees are pink and green with springtime. At the big Tokyo train station, the kids and the older men shake hands with him and Lan. Then the Japanese Talents wander away, down escalators. The station is a big mall, open in the center. Green and Lan can still see the group, past the escalator, two levels below them. The kids stand in
“Can you—” Lan says.
But he holds up his hand. He has been here.
Ice fishing: the seldom-seen, magical moment when the water under the ice is clear, when the fish can see light from a distance. When they gather. When, in the light, the fisherman sees muscular dark bodies turning. When the fish looks at the fisherman, curious, and the fisherman looks at the fish.
What can you do? Who are you?
He does like he did with the dirt on the floor, like at Lake Musky seining for the kids, but tinier, tiny. He sends out into the water nets that are no stronger than metaphors, trawling for the smallest pieces of drowned bark and leaf, gathering them together, dodging around any fish or eel or water snake. He thinks about Brownian motion. Why did they need Atom’s light? The water clears. The water clears, leaving worms and little fish wriggling, surprised. The darkness recedes around them; a bigger fish bullets by, mouth open, and the small fry streak for safety in the blackness below them. Green globes light around the kids, and around them the fish gather, as if they are all in one great dark place under the ice together, with one flashlight to draw them.
The kitten-girl gives a little breathy scream.
Out of the blackness, out of the depths, She comes. She strikes at the glow, but Green thinks slipperiness and the ball that holds them spins past her teeth. She mouths a man-sized fish and flips her body round, whirls around them, thrashing, stretching out her neck, trying to catch them. She is too big to see whole. Riffles of gills, a great round flat eye like a target, scarred scales.
He plays her. Green is the worm; Green is the net, the line, the hook. The great She-Fish worries at the green ball-light, her teeth an inch away from them, and he and Lan and the kids bounce away from her. She wraps her long neck and tail around them. He feints and slides away.
And then suddenly it is a dance. He knows what she wants. He morphs the ball in which they all float into a mirror-monster of her, a ghost monster of green and light. She rears back. He shapes the green fish to match her motion. And for a moment the two of them hang there, in the water clear as glass, a monster fish like ebony and a monster fish like emerald, and she is still, still, still, and she reaches out her long neck, sniffing, opening her mouth to taste the water with her tongue, tilting her head so she sees him out of one enormous eye.
Are you like me,
her outstretched neck says, her tongue licks, and Green’s heart beats loud in his ears,
Are you like me?
But she throws her head back with a cry of loneliness and disappears into the deep.
When they are back on dry land, the kids say nothing. They stand on the rocky shore, each of them alone for a minute. Then the boy goes from one to the other, touching them on the shoulder, bringing them together into a protective hug. They reach out for the two older men, for Lan. She reaches out for him. Green stands with them, embracing them and embraced.
Tonight he has done new things. Of all of them, that silent lonely hug is the hardest, and it’s what he will remember, that and Nessie’s tongue tasting the green monster made of force and silt, hoping she could find something like herself.
HE takes everyone back to Japan in his invisible force-field UFO. They’re quiet on the trip. Over Japan, the trees are pink and green with springtime. At the big Tokyo train station, the kids and the older men shake hands with him and Lan. Then the Japanese Talents wander away, down escalators. The station is a big mall, open in the center. Green and Lan can still see the group, past the escalator, two levels below them. The kids stand in
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