Люциус Шепард - The Best of Lucius Shepard

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The Best of Lucius Shepard: краткое содержание, описание и аннотация

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Lucius Shepard writes from the darkest, truest heart of America—not the heart of the United States or of North America, but all of America—and he writes of it with rare passion, honesty and intelligence. His earliest stories, the ones that made his name a quarter of a century ago were set in the jungles of South America and filled with creatures dark and fantastical. Stories like “Salvador”, “The Jaguar Hunter”, and the excoriatingly brilliant “R&R” deconstructed war and peace in South America, in both the past and the future, like no other writer of the fantastic.
A writer of great talent and equally great scope, Shepard has also written of the seamier side of the United States at home in classic stories like “Life of Buddha” and “Dead Money”, and in “Only Partly Here” has written one of the finest post-9/11 stories yet. Perhaps strangest of all, Shepard created one of the greatest sequence of “dragon” stories we’ve seen in the tales featuring the enormous dragon, Griaule.
The Best of Lucius Shepard is the first ever career retrospective collection from one of the finest writers of the fantastic to emerge in the United States over the past quarter century. It contains nearly 300,000 words of his best short fiction and is destined to be recognized as a true classic of the field. From Publishers Weekly

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“They’re doing a hell of a job,” I said. “World’s in great goddamn shape these days.”

“Diamond Bar has only recently come to primacy. The new millennium will prove the wisdom of the board. And you have an opportunity to become part of that wisdom, Tommy. You have an uncommon sensibility, one that can illustrate the process of the place, give it visual form, and this will permit those who follow in your path to have a clearer understanding of their purpose and their truth. Your work will save them from the missteps that you will surely make.” Ristelli’s voice trembled with emotion. “I realize you can’t accept what I’m saying. Perhaps you never will. I see in you a deep skepticism that prevents you from finding peace. But accomplishment… that you can aspire to, and through accomplishment you may gain a coin of greater worth. Devote yourself to whatever you choose to do. Through devotion all avenues become open to the soul. Serve your ambition in the way a priest serves his divinity, and you will break the chains that weigh down your spirit.”

* * *

On my first night in jail, at the age of fifteen, a Mexican kid came over to where I was standing by myself in the day room, trying to hide behind an arrogant pose, and asked if I was jailwise. Not wanting to appear inexperienced, I said that I was, but the Mexican, obviously convinced that I was not, proceeded to enlighten me. Among other things, he advised me to hang with my own kind (i.e., race) or else when trouble occurred no one would have my back, and he explained the diplomatic niceties of the racial divide, saying that whenever another white man offered to give me five, flesh-to-flesh contact was permitted, but should a Latino, an Asian, an Arab, an Afro-American, or any darkly hued member of the human troupe offer a similar encouragement, I was to take out my prison ID card and with it tap the other man’s fingertips. In every jail and prison where I had done time, I had received a similar indoctrination lecture from a stranger with whom I would never interact again. It was as if the system itself had urged someone forward, stimulating them by means of some improbable circuitry to volunteer the fundamentals of survival specific to the place. Ristelli’s version was by far the most unhelpful I had ever heard, yet I did not doubt that his addled sermonette was an incarnation of that very lecture. And because of this; because I had so little information about the prison apart from Ristelli’s prattle; because I believed it must be a new style of supermax whose powers of spiritual deprivation were so ferocious, it ate everything it swallowed except for a handful of indigestible and irretrievably damaged fragments like Ristelli; for these reasons and more I greatly feared what might happen when I was brought to Diamond Bar.

The gray van that transported me from Vacaville seemed representative of the gray strangeness that I believed awaited me, and I constructed the mental image of a secret labyrinthine vastness, a Kafkaville of brick and steel, a partially subterranean complex like the supermax in Florence, Colorado where Timothy McVeigh, Carlos Escobar, and John Gotti had been held; but as we crested a hill on a blue highway south of Mount Shasta, a road that wound through a forest of old-growth spruce and fir, I caught sight of a sprawling granite structure saddling the ridge ahead, looking ominously medieval with its guard turrets and age-blackened stone and high, rough-hewn walls, and my mental image of the prison morphed into more Gothic lines—I pictured dungeons, archaic torments, a massive warden with a bald head the size of a bucket, filed teeth, and a zero tattooed on his brow.

The road angled to the left, and I saw an annex jutting from one side of the prison, a windowless construction almost as high as the main walls, also of weathered granite, that followed the slope of the ridge downward, its nether reach hidden by the forest. We passed in among the ranked trees, over a rattling bridge and along the banks of a fast-flowing river whose waters ran a mineral green through the calm stretches, cold and clouded as poison in a trough, then foamed and seethed over thumblike boulders. Soon the entrance to the annex became visible on the opposite shore: iron doors enclosed by a granite arch and guarded by grandfather firs. The van pulled up, the rear door swung open. When it became apparent that the driver did not intend to stir himself, I climbed out and stood on the bank, gazing toward my future. The ancient stones of the annex were such a bleak corruption of the natural, they seemed to presage an imponderable darkness within, like a gate that when opened would prove the threshold of a gloomy Druid enchantment, and this, in conjunction with the solitude and the deafening rush of the river, made me feel daunted and small. The engine of the van kicked over, and the amplified voice of the driver, a mystery behind smoked windows, issued from a speaker atop the roof: “You have ten minutes to cross the river!” Then the van rolled away, gathering speed, and was gone.

At Vacaville I had been handcuffed but not shackled, not the normal procedure, and left alone now I had the urge to run; but I was certain that invisible weapons were trained on me and thought this must be a test or the initial stage in a psychological harrowing designed to reduce me to a Ristelli-like condition. Cautiously, I stepped onto a flat stone just out from the bank, the first of about forty such stones that together formed a perilous footbridge, and began the crossing. Several times, besieged by a surge of water, a damp gust of wind, I slipped and nearly fell—to this day I do not know if anyone would have come to my rescue. Teetering and wobbling, fighting for balance, to a casual observer I would have presented the image of a convict making a desperate break for freedom. Eventually, my legs trembling from the effort, I reached the shore and walked up the shingle toward the annex. The building terminated, as I’ve said, in an arch of pitted stone, its curve as simple as that of a sewer tunnel, and chiseled upon it was not, as might have been expected, Abandon Hope All Ye Who Enter Here or some equally dispiriting legend, but a single word that seemed in context even more threatening: WELCOME. The iron doors were dappled with orange patches of corrosion, the separate plates stitched by rows of large rivets whose heads had the shape of nine-pointed stars. There was no sign of a knocker, a bell, or any alarm I might engage in order to announce myself. Once again I gave thought to running, but before I could act on the impulse, the doors swung silently inward, and moved less by will than by the gravity of the dimness beyond, I stepped inside.

My first impression of Diamond Bar was of a quiet so deep and impacted, I imagined that a shout, such as I was tempted to vent, would have the value of a whisper. The light had a dull golden cast and a grainy quality, as if mixed in with particles of gloom, and the smell, while it plainly was that of a cleaning agent, did not have the astringency of an industrial cleaner. The most curious thing, however, was that there were no administrative personnel, no guards, no term of processing and orientation. Rather than being kept in isolation until it was determined to which block or unit I would be assigned, on passing through the annex door I entered the population of the prison like a pilgrim into a temple hall. The corridor ran straight, broken every fifty yards or so by a short stairway, and was lined with tiers of cells, old-fashioned cribs with sliding gates and steel bars, most of them unoccupied, and in those that were occupied, men sat reading, wall-gazing, watching television. None of them displayed other than a casual interest in me, this a far cry from the gauntlet of stares and taunts I had run when I entered the population at Vacaville. Absent the customary rites of passage, undirected, I kept going forward, thinking that I would sooner or later encounter an official who would inscribe my name or open a computer file or in some other fashion notate my arrival. As I ascended the fourth stairway, I glimpsed a man wearing what looked to be a guard’s cap and uniform standing at parade rest on the tier above. I stopped, expecting him to hail me, but his eyes passed over me, and without saying a word, he ambled away.

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