The Lesser Dead - Softcover

Über die Autorin bzw. den Autor

Christopher Buehlman is the winner of the 2007 Bridport prize for poetry and the author of five horror novels including Those Across the River (best novel nominee, 2012 World Fantasy Awards), medieval apocalypse fable Between Two Fires, chilling vampire tale The Lesser Dead (Named best horror novel of 2015 by the American Library Association), and goblin war fantasy The Blacktongue Thief. A native Floridian, the author currently lives in Ohio with a wife he doesn’t deserve and a snow-shoveling regimen he probably does.

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For Terry White

(That’s my aunt. She was a stewardess and model in the seventies. There’s a reasonable chance she did cocaine at Studio 54.)

(Don’t put that part in the dedication.)

FOR STARTERS

I’m going to tell you about a year. This year. 1978. A lot of shit is happening and I think somebody had better write it down before we all forget.

New York City is the place.

If you’re looking for a story about nice people doing nice things, this isn’t for you. You will be burdened with an unreliable narrator who will disappoint and repel you at every turn.

Still with me?

Too bad for you.

I can’t wait to break your heart.

I’m going to take you someplace dark and damp where good people don’t go. I’m going to introduce you to monsters. Real ones. I’m going to tell you stories about hurting people, and if you like those stories, it means you’re bad.

Shall we go on?

Good. I hate people who pretend they’re something they’re not.

We’re going into the tunnels.

We’ll start up here in Chelsea; there’s a bricked-up ground-level window with half the bricks out, not a big space but big enough, then we’ll go deeper, down where I stay.

Where we stay.

I hope bad smells don’t bother you.

I hope you brought your own light; I don’t need one.

I hope you’re not fat.

Here’s a little taste of what you’re in for, out of sequence, but I told you how unreliable I am. It’s not all this nasty, but this is probably rough if you’re not used to it. If you can get through this, we can hang out.

*   *   *

We heard them before we saw them. Hunchers. That’s what we called people who hunched in the tunnels. We stayed in the tunnels too of course, the deeper tunnels where no sunlight came at all, but we weren’t Hunchers.

We weren’t even people anymore.

When Margaret saw that her home had been broken into, she didn’t hesitate. She tossed off her flip-flops and marched right for the open trapdoor with me behind her, not caring whether I followed, not caring how many of them there were, and there had to be at least two to pull the chain and get that trapdoor up—it was a big heavy bastard of a door made from part of an old subway car and broken-up seats. She walked with one hand balled on her hip, her stained bathrobe open enough to see her tit if you cared to. She was pissed. It was her place, after all. She was our duly elected mayor.

“Goddamn it,” she whispered, kicking a peeping shower of rats out of her way. She picked up and threw down a shred of a hamburger wrapper in disgust. Whoever they were, they had brought food. You don’t bring food into the loops.

They had tied belts together to lower themselves into the hole. A weak light danced down there, a flashlight, and I heard the sound of a lighter. Somebody sneezed a wet one. Somebody else laughed.

She didn’t bother with the belts. Just dropped down. I stayed up and watched. This was really a job for one vampire. Normally Old Boy or Ruth would have handled this. Old Boy was like her part-time bodyguard, lived in an abandoned train car just down the tracks past Purgatory, but he was a secretive fucker and you never knew where he was. Ruth was out hunting. She was always hungry.

Turns out there were four of them, the intruders, I mean; black guy and three whites, but with Hunchers the race thing gets less important because they’re always dirty and dirt has one color. These guys looked hard, prison tattoos, prison muscles, probably came from the tracks under the Bowery. Guys under the Bowery are mostly wanted men and ex-cons, hunching down there in the piss-smelling dark rather than going back to Attica, which doesn’t say much for Attica. They weren’t from the tracks above our tunnels. We had a few Hunchers above us, but not many and they knew better; our guys would sooner take a whiz on the third rail than walk into our loops.

“Whoa!” the black guy said when the fast-moving woman-thing in the bathrobe landed near where he lay back on the couch, Margaret’s prized antique couch, and he jumped and dropped his flashlight.

One of the white guys said, “Shit!”

Margaret snatched up the flashlight. Shone it at them each in turn. Not that she needed it, just wanted to make sure they were good and night-blind.

Two of them spoke at once.

“Get that out of my face!”

“Bitch, you’d best get out of here if you know what’s good for you.”

“Don’t talk like that to my mom,” I said in my high, little-boy voice. I have a great little-boy voice, but I had barely gotten mom out before she started. She started by breaking the flashlight on the black guy’s head—Margaret’s a little racist, but it’s not her fault, she’s Irish. Or maybe he got it first because he was on her couch. Either way, you know how these things go, everything happens in a hurry. The hurt guy yelled, everybody stood up or tried to, there was a sick thump as somebody’s head got stove in, then another one, but I admit the gunshots surprised me. I saw it all from the trapdoor, but what did it look like for the poor bastard with the gun?

His muzzle flashes, and there were two, lit up a dead woman with shining eyes and big dirty canines that belonged on a panther. He yelled before she even touched him. One bullet hit her, the second ricocheted madly in the vaulted brick room. And then she touched him plenty.

The last guy tripped over the coffee table trying to find the belt to climb up. She was on top of him then, putting her knee in his back and pulling his head by the hair at his temples while he went, “Gah! Gah!” until she rocked back like she meant it, his spine popped, and he yelled. She pulled his snotrag from where it tongued out of his back pocket and stuffed it into his mouth, this to shut him up, but he lost consciousness anyway.

She stood up then, a little wobbly, and said something garbled. She spat out a rope of blood.

I leapt down, landed on one of the dead guys, pocketed the dropped Zippo, and sat on the wooden chair. Not the couch.

“What was that?” I said.

She spat again, bloody with a tooth in it.

She put up one wait-a-minute finger and I realized what had happened. She was in pain. He had shot her in the mouth and her busted mouth was forming up again. That didn’t take long. Eyes take longer. You don’t want to get your eye hurt in a fight.

“I said,” she said, slurring just a little on top of her thick-as-bread Conny-whatsis accent, “never call me your mother again.”

A DOOR INTO NIGHT

I like the taste of sweat.

How it runs from the head, through the hair, like water filtering down through earth and tree roots into a spring; only instead of getting purer, sweat gets filthier, picks up grit, maybe tobacco, a hint of shampoo, but under and through all of that is salt. Almost too much salt, like honey was almost too sweet, what I remember of honey. They say the tongue’s cut up into little provinces, salty, sour, bitter, sweet. I don’t know if that’s true, but I do know that salt is about the only taste I enjoy now. Salt in blood is the best, of course, and blood is a feast: iron-coppery and personal and as good in the stomach as ever was a steak. Sweat can’t satisfy, not by itself, but it does hint at what’s next. Sweat is to blood as dirty talk is to sex. It’s an offer. It’s a...