VISIBLE FROM THE AIR
Seth on the roof of the building by moonlight, enchanted to learn that its surface is a sheet of black rubber tightly attached to the frame. Seth with buckets of paint from somewhere, working with salvaged brushes, maybe, or with a broom, possibly, or with his hands. Who knows. Alex inside, asleep or just staring off into space as he does now, his childhood friends unsure of how to react, wanting to help, not knowing how. Derrick at home, asleep, sleep has never been a problem, he rests well even when he has things on his mind, when he hears people talk about how they have trouble sleeping he always thinks, I feel bad for you, but in his waking hours now he feels uncertain about several things, almost as soon as he wakes up he starts trying to wish them away because they can’t be resolved: the responsibility he feels about his friends, the difficulty he has reconciling that responsibility with what comes next. The intersection of now and what comes next: it’s visible from his front porch, a little closer every morning now as he sets out for school. He and his friends in his AP classes all seem to have noticed it at the same time, the fragility of their shared nexus. The spaces they’ve cultivated together will shortly undergo a seismic change. There is nothing for them to do at this point but wait.
Seth’s canvas, about which his surviving classmates will unanimously later claim to have known nothing, is vast but simple: it makes good on the promise of Derrick’s work on the MONSTER ADULT X sign by filling in the details. It is an enormous inhuman face. It looks a little like the Master from the TV adaptation of Salem’s Lot, and a little like the Creature from the Black Lagoon. It’s in three colors—white, black, and green—but that black is of course the black of the rubber underneath, Seth making use of negative space to complete this vision of a monstrous guardian for the house, a house whose existence the face proclaims to the heavens above it and to no one else. Its ears are webbed and leathery, its forehead high and pale, its cheeks sunken and greenish. Its thin-lipped mouth is agape as if to receive Communion. Its eyes are wide. It has seen something.
Adorning the portrait, some simple white clouds to the right and left, establishing the face’s unearthly origin firmly enough for those who saw or heard about it later to put a name to it. A monster, a specter, a fiend. A ghost. A devil. It’s easier to rely on familiar things when you’re describing something different than to imagine a context whose parameters require faith, and vision. It’s a sure bet that when people see the easy way across such differences, they will take it.
4.
FROM ST. EVROUL
I should be clear about there being nothing left. On the property, I mean. It would be terrific to describe how I found access to some secret attic space behind a loose panel in the ceiling, and how, inside, I discovered ledgers or receipts or remnants of Derrick and Seth and Alex’s weeks-long redecorating spree—anything at all, really. Prying up the floorboards for primary sources, peeling back the paint: it might have made for a great hook, but, at the time, I couldn’t see any point to it. I’m fairly certain I have greater access to a wider range of contemporaneous artifacts than anyone who’s ever studied the case; I’m diligent in my research, and I’ve learned to be patient. I don’t need to use force to get to the story. The good stuff always surfaces in the end.
But as to the house itself: the refurb job was comprehensive. Try though I might, using my photographs, articles, diagrams, grim memorabilia, primary and secondary sources, and the method of inhabiting a space which is my signature, I’m still essentially living in a new house. Only the outer walls remain: the shape, the view from above. The fortress that this place became in the days following the demise of Monster Adult X was a moment in time, and its destruction, when it came, was total. I sit on my sofa and look out the window, having grown attached to the house in my time here: I feel a ghostly kinship with the lives once lived atop the same ground that now cradles me while I sleep. Sometimes, in quiet moments, this mood seems ready to gather an almost tidal force; I feel like the place is something handed down to me instead of something I bought outright and must vacate when my work is done.
But it’s impossible to squint hard enough to see all the way back to the era before the coming of the age of change, whose beginnings were heralded by the arrival, in San Francisco, of Marc Buckler, aboard PSA flight 295 from Los Angeles.
ATMOSPHERIC DRAG
The further you go back into the past, the more you have to extrapolate about details and specifics; try though you might, you can’t get around this rule. If an aspiring real estate speculator were to fly from Los Angeles to San Francisco today, and, later, for whatever reason, we needed to trace his journey, he’d leave data everywhere: Checking in with the airline. Buying mints at the newsstand. Drinking a vodka tonic at the airport bar.