A Traditional Horror Story
What have I been working for? It had no right, so the map and I got to wrestling.
Things were fine, just fine until the map, up to now lying dormant as a Halloween mask on the floor of my apartment, decided to uncoil and not so gently eat the parrot—my parrot, my pet since childhood. The topographic rings indicating the height of Red mountain hadn't budged until then. Then Skeeters The Parrot disappeared in mid-hop. I'd just yelled NO! fearing he'd mess up my work. Who knew maps had chick teeth, and could use them?
I'd been suspecting something odd for a while, but I had no idea it involved the progress of my research project from simple myth-making to a “journey” whose final moments would be initiated by a rude uncoiling of contour lines from the grid system. I felt a push of air, like somebody snapping their fingers but no sound—push, collapse, equally quiet. Staring down at the couple of feathers hung shocked in air and floating slowly away from the source of danger, I knew implicitly what the map—whose behavior had commandeered all sense of a situation—insisted upon: shut up.
Poor Skeeters, digested by a neat biology of paper cuts and corrosive inks—broken down into blue dashes flurrying somewhere inside a landscape of beasts. I never had much truck in bestiaries or medieval sufferings of serpents or why animals were drawn and quartered; the whole study seemed to me the domain of fat girls who thought often about the Celts and earnestly believed they would be able to fly after they were dead.
But here I am now, a knot in the belly of a late blooming purulent interest in the fantasies of those I still condescend as escapists, sad victims of bad skin, and experts in hysterical realism.
Things were fine, just fine until the map, up to now lying dormant as a Halloween mask on the floor of my apartment, decided to uncoil and not so gently eat the parrot—my parrot, my pet since childhood. The topographic rings indicating the height of Red mountain hadn't budged until then. Then Skeeters The Parrot disappeared in mid-hop. I'd just yelled NO! fearing he'd mess up my work. Who knew maps had chick teeth, and could use them?
I'd been suspecting something odd for a while, but I had no idea it involved the progress of my research project from simple myth-making to a “journey” whose final moments would be initiated by a rude uncoiling of contour lines from the grid system. I felt a push of air, like somebody snapping their fingers but no sound—push, collapse, equally quiet. Staring down at the couple of feathers hung shocked in air and floating slowly away from the source of danger, I knew implicitly what the map—whose behavior had commandeered all sense of a situation—insisted upon: shut up.
Poor Skeeters, digested by a neat biology of paper cuts and corrosive inks—broken down into blue dashes flurrying somewhere inside a landscape of beasts. I never had much truck in bestiaries or medieval sufferings of serpents or why animals were drawn and quartered; the whole study seemed to me the domain of fat girls who thought often about the Celts and earnestly believed they would be able to fly after they were dead.
But here I am now, a knot in the belly of a late blooming purulent interest in the fantasies of those I still condescend as escapists, sad victims of bad skin, and experts in hysterical realism.


