miss you, Bill,â I said into the plush Victorian quiet of the hotel hall.
I can swear I never touched his old roomâs door, but just as surely as if Iâd pounded on it with my fist, a voice from within called, âWe hear you. Come on in.â The words were blurred, as if the speaker had a lisp.
I pushed forward; the door swung open. The room was filled with heavy, dark furniture, and books piled in the gloom. A man with long, stringy blond hair and a fluffy blond goatee sat before a velvet-curtained window, bent over a desk with a single brass lamp. At first I had only a quarter-view of his face. He was bent very low indeed, as if kissing the papers scattered on his desk, papers covered by penciled writing in the smallest script Iâd ever seen.
âWelcome back, Gregge,â came a high, twangy voice, different from the one Iâd heard through the door. The blond man turned his head, clamping his mouth tight shut and staring at me with pale blue eyes that held an expression of triumphant glee. A curious high piping seemed to come from within his head. And then all at once his mouth gaped open.
You must believe me when I tell you that his tongue was a small manikin, a detailed copy of William Burroughs, fully animated and alive. I, who have so little imagination, could never invent such a thing.
I stepped back, feeling for the door, wanting to flee and forget what I was seeing. But I struck the door wrongâand it slammed shut. The blond man came closer, mouth open, eyes dancing with spiteful delight. I was shaking all over.
Like a dictator on the balcony of his palace, the meat puppet Burroughs stared out from the mouth, his tiny hands resting upon the lower teeth as if upon a railing.
âI knowed you was coming,â came Billâs thin, rheumy voice. He was using the Pa Kettle accent he sometimes liked to put on. âPicked up your moon-calf aura from the hall.â He paused, savoring my reactions.
âI donât understand,â I said, fighting back a spasm of nausea. âDonât hurt me.â
âIâm working out karma,â said the little Burroughs. âI owe you for never writing back. Iâm gonna let my pal Dr. Teage set you up for a Poe tasting. Later on you might do some secretarial work for usâor make yourself useful in other ways.â He allowed himself one of his appalling leers. âYouâre aging well, Gregge. But thatâs enough outta me already.â
In a twinkling, the Burroughs face on the blond manâs tongue smoothed over, and the tiny arms sank into the pink surface. Iwas faced with a somewhat seedy character licking his lips. His breath smelled of fruit and manure.
âIâm Teage,â he said, his goatee wagging. âAnd youâreââ
âGregge Crane,â I said. âI knew Bill a little, a long time ago. I was with him in this room.â
âI know,â said Teage, who for some reason seemed to trust me. âIâm with him in this room every day. Weâre doing a book together. Iâm like you. I always wanted to be a fiction writer. Look at this.â
On the desk were the sheets filled with tiny words, and lying on one of the sheets was a sharpened bit of mechanical pencil lead with a scrap of tape around one end. Billâs writing implement, half the size of a toothpick.
âThe process is my own invention,â said Teage. âI call it twanking. Before I started channeling Bill, I was a biocyberneticist. Twanking is elementary. You assemble a data base of the writerâs works and journals, use back-propagation and simulated evolution to get a compact semantic generator that produces the same data, turn the generator into the connection weights for an artificial neural net, code the neural net into wet-ware for the gene expression loops of some human fecal bacteria, and then rub the smart germs onto living flesh. I think itâs deliciously fitting
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