All Tomorrows Parties
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Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 Next page "Boomzilla," Chevette said, "you take care of this van?" "Deal," he said. "Deal," Chevette said to Tessa. - "Lady," Boomzilla said, pointing up at God's Little Toy, "I want that." "Stick around," Tessa said. "We'll need a grip." Tessa touching fingers to black-padded palm. The camera platform executing a second turn and gliding out of sight, above the tank traps. Tessa smiling, seeing what it saw. "Come on," she said to Chevette and stepped between the nearest traps. "Not that way," Chevette said. "Over here." There was a path you followed if you were just walking through. To take another route indicated either ignorance or the desire to do business. She showed Tessa the way. It stank of urine between the concrete slabs. Chevette walked more quickly, Tessa behind her. And emerged again into that wet light, but here it ran not across the stalls and vendors of memory, but across the red-and-white front of a modular convenience store, chunked down front and center across the entrance to the bridge's two levels, LUCKY DRAGON and the shudder of video up the trademark tower of screens. "Fucking hell," said Tessa, "how interstitial is that?" Chevette stopped, stunned. "How could they do that?" 66 • "It's what they do," Tessa said. "Prime location." "But it's like . . . like Nissan County or something." "'Gated attraction.' The community's a tourist draw, right?" "Lots of people won't go where there's no police." "Autonomous zones are their own draw," Tessa said. "This one's been here long enough to become the city's number-one postcard." "God-awful," Chevette said. "It . . . ruins it." "Who do you think Lucky Dragon Corp is paying rent to?" Tessa asked, swinging the platform around for a pan across the store. "No idea," Chevette said. "It's right in the middle of what used to be the street." "Never mind," Tessa said, moving on, into the pedestrian traffic flowing to and from the bridge. "We're just in time. We're going to document the life before it's theme-parked." Chevette followed, not knowing what it was exactly that she felt. THEY ate lunch in a Mexican place called Dirty Is God. Chevette didn't remember it from before, but places changed V names on the bridge. They changed size and shape too. You'd get these strange mergers, a hair place and an oyster bar deciding to become a bigger place that cut hair and sold oysters. Sometimes it worked: one of the longest-running places on the San Francisco end was an old-style, manual tattoo parlor that served breakfast. You could sit there over a plate of eggs and bacon and watch somebody get needled with some kind of hand-drawn flash. But Dirty Is God was just Mexican food and Japanese music, a pretty straightforward proposition. Tessa got the huevos rancheros and - - Chevette got a chicken quesadilla. They both had a Corona, and Tessa parked the camera platform up near the tented plastic ceiling. Nobody noticed it up there apparently, so Tessa could do documentary while she ate. Tessa ate a lot. She said it was her metabolism: one of those people who never gains any weight regardless of how much she ate, but she needed to do it to keep her energy up. Tessa put away her huevos before Chevette was halfway through her quesadilla. She drained her glass 67 bottle of Corona and started fiddling with the wedge of lime, squeezing it, working it into the neck. "Carson," Tessa said. "You worried about him?" "What about him?" "He's an abusive ex, is what about him. That was his car back in Malibu, wasn't it?" "I think so," Chevette said. "You think so? You aren't sure?" "Look," Chevette said, "it was early in the morning. It was all pretty strange. It wasn't my idea to come up here, you know? It was your idea. You want to make your movie." The lime popped down into the empty Corona bottle, and Tessa looked at it as though she'd just lost a private wager. "You know what I like about you? I mean one of the things I like about you?" "What?" Chevette asked. "You aren't middle class. You just aren't. You move in with this guy, he starts hitting you, what do you do?" "Move out." "That's right. You move out. You don't take a meeting with your lawyers." "I don't have any lawyers," Chevette said. "I know. That's what I mean." "I don't like lawyers," Chevette said. "Of course you don't. And you don't have any reflex to litigation." "Litigation?" "He beat you up. He's got eight hundred square feet of strata-title loft. He's got a job. He beats you up, you don't automatically order a surgical strike; you're not middle class." "I just don't want anything to do with him." "That's what I mean. You're from Oregon, right?" "More or less," Chevette said. "You ever think of acting?" Tessa inverted the bottle. The squashed lime wedge fell down into the neck. A few drops of beer fell on the scratched black plastic of the table. Tessa inserted the little finger of her right hand and tried to snag the lime wedge. 68 "No." "Camera loves you. You've got a body makes boys chew carpet." 'Get off Chevette said Why do you think they were putting those party shots of you up on the website back in Malibu?" 'Because they were drunk Chevette said Because they don t have anything better to do Because they re media students Tessa hooked the lime wedge what was left of it out of the bottle "Right on all three she said but the main reasons your looks Behind Tessa on one of Dirty Is Gods recycled wall screens a very beautiful Japanese girl had appeared Look at her Chevette said "That s looks, right~ Tessa looked over her shoulder That s Rei Toei she said 'So she s beautiful She is "Chevette," Tessa said, "she doesn't exist. There's no live girl there at all. She's code. Software." No way Chevette said 'You didn t know that~ 'But she s based on somebody right~ Some kind of motion capture deal 'Nobody Tessa said Nothing Shes the real deal Hundred • - - percent unreal." - - - "Then that's what people want," Chevette said, watching Rei Toei -- ~- swan through some kind of retro Asian nightclub, "not ex bicycle messengers from San Francisco." No Tessa said you ye got it exactly backwards People don t know what they want, not before they see it. Every object of desire is a found object. Traditionally, anyway." Chevette looked at Tessa across the two empty Corona bottles. "What are you getting at, Tessa?" 'The documentary It has to be about you." "Forget it." "No. I've got vision thing working big-time on this. I need you for the focus. I need narrative traction. I need Chevette Washington." Chevette was actually starting to feel a little scared. It made her 69 angry. "Don't you have a grant to do this one particular project you've been talking about? These innersitual things-" "Look," Tessa said, "if that's a problem, and I'm not saying it is, it's my problem. And it's not a problem, it's an opportunity. It's a shot. My shot." "Tessa, there is no way you are going to get me to act in your movie. None. You understand?' "'Acting' isn't in it, Chevette. All you have to do is be yourself. And that will involve finding out who you really are. I am going to make a film about you finding out who you really are." "You are not," said Chevette, getting up and actually bumping into the camera platform, which must have descended to level with her head while they were talking. "Stop that!" Swatting at God's Little Toy. The other four customers in Dirty Is God just looking at them. 70 16. SUB-ROUTINES THAT Hole at the core of Laney's being, that underlying absence, he begins to suspect, is not so much an absence in the self as of the self. Something has happened to him since his descent into the cardboard city. He has started to see that previously he had, in some unthinkably literal way, no self. But what was there, he wonders, before? Sub-routines: maladaptive survival behaviors desperately conspiring to approximate a presence that would be, and never quite be, Laney. And he has never known this before, although he knows that he has always, somehow, been aware of something having been desperately and utterly wrong. Something tells him this. Something in the core and totality, it seems, of DatAmerica. How can that be? But now he lies, propped in sleeping bags, in darkness, as if at the earth's core, and beyond cardboard walls are walls of concrete, sheathed in ceramic tile, and beyond them the footing of this country, Japan, with the shudder of the trains a reminder of tectonic forces, the shifting of continent-wide plates. Somewhere within Laney, something else is shifting. There is move-ment, and potential for greater movement still, and he wonders why he is no longer afraid. And all of this is somehow a gift of the sickness. Not of the cough, the fever, but of that underlying dis-ease that he takes to be the product of the 5-SB he ingested so long ago in the orphanage in Gainesville. We -were all volunteers, he thinks, as he clutches the eyephones and follows his point of view over the edge of a cliff of data, plunging down the wall of this code mesa, its face compounded of fractally differentiated fields of information he has come to suspect of hiding some power or intelligence beyond his comprehension. Something at once noun and verb. While Laney, plunging, eyes wide against the pressure of informa 71 tion, knows himself to be merely adjectival: a Laney-colored smear, meaningless without context. A microscopic cog in some catastrophic plan. But positioned, he senses, centrally. Crucially. And that is why sleep is no longer an option. 72 17. ZODIAC THEY take Silencio, naked, the black man with the long face and the fat white man with the red beard, into a room with wet wooden walls. Leave him. Hot rain falls from holes in the black plastic pipes above. Falls |
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