Bennett Sims - A Questionable Shape

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A Questionable Shape: краткое содержание, описание и аннотация

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"The smartest zombie novel since Colson Whitehead's
."
— Ron Charles, "
presents the yang to the yin of Whitehead’s
, with chess games, a dinner invitation, and even a romantic excursion. Echoes of [Thomas] Bernhard’s hammering circularity and [David Foster] Wallace’s bright mind that can’t stop making connections are both present. The point is where the mind goes, and, in that respect, Sims has his thematic territory down cold."
—  "A thinking fan's zombie novel… one that asks the question: Do we lose our humanity when the world starts to crumble?"
—  "Yes, it's a zombie novel, but also an emotionally resonant meditation on memory and loss."
—  "Compressed, copiously footnoted and literary, Bennett Sims'
focuses on a zombie outbreak's effect on a young man and his girlfriend in a single week, in which he and his best friend undertake a quixotic, zombie-strewn search for a missing father."
—  "Evokes the power of David Foster Wallace with a narrative that's cerebral, strangely beautiful, philosophical, and pretty, well, brilliant."
—  "
is a novel for those who read in order to wake up to life, not escape it, for those who themselves like to explore the frontiers of the unsayable. [
] is more than just a novel. It is literature. It is life."
—  "Brilliantly sensitive, whip-smart… Sims’ genius lies in how he builds a terrifically engrossing and utterly unique novel, not in spite, but rather because of the familiarity of the material. A book that is just as touching and funny as it is riotously smart."
—  "Bennett Sims is a writer fearsomely equipped with an intellectual and linguistic range to rival a young Nabokov's, Nicholson Baker's gift for miniaturistic intaglio, and an arsenal of virtuosities entirely his own.
."
— Wells Tower
Mazoch discovers an unreturned movie sleeve, a smashed window, and a pool of blood in his father's house; the man has gone missing. So he creates a list of his father's haunts and asks Vermaelen to help track him down.
However, hurricane season looms over Baton Rouge, threatening to wipe out any undead not already contained, and eliminate all hope of ever finding Mazoch's father.
Bennett Sims turns typical zombie fare on its head to deliver a wise and philosophical rumination on the nature of memory and loss.
Bennett Sims
A Public Space, Tin House
Zoetrope: All-Story

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It was noon when we arrived at the cemetery. 27Still abandoned after the outbreak, it was unsupervised by any guard or caretaker, and we were the only visitors — the only graverobbers — there. Alone among the green hills and the orderly rows of headstones, I stood by with the shovel while Rachel, kneeling beside her father’s grave, pressed her ear to the plot of grass above him, as if auscultating the ground for his heartbeat. She was probably listening for a faint and muffled moaning, or for clawing sounds at the coffin lid. She knelt like that for many minutes, then many minutes more, and the whole cemetery seemed deathly quiet indeed as I loomed uselessly above her, the shovel propped against my right shoulder. Whether she heard anything there she didn’t say. What I heard was her breathing and my own. I was thinking, then, about how Rachel would react to the sight of her undead father. The sight of his white eyes. If he actually had reanimated, I wondered, and if she actually did end up hearing something; if she actually did insist on digging down and if she actually opened that coffin lid — would we see the same thing? Would Rachel see, with me, the awesome otherworldliness in those eyes? While she knelt there with her ear to the grass, I braced myself for anything, including the shock of a pale hand bursting out of the soil. Though what eventually ended up happening was just that Rachel stood up and stretched and suggested that we leave. She seemed disappointed, but then, she didn’t cry, and on the ride home she was even able to announce — as if weighing the other side of the thing — that by this point he was probably merely a skeleton anyway.

So that is where Rachel is coming from. That is where she is coming from when in the kitchen this morning she asks me what Matt plans to do once he finds Mr. Mazoch. That is where she is coming from when she asks me (not explicitly, but with the injured expression on her face, and with the expression, too, of all the wide-eyed owls on her tank top and all the eyelike polka-dots on her pants, which together stare me down like the members of a jury box) whether Mazoch plans to beat his father’s brains in with a baseball bat.

And how can I go about answering this question? Even if I knew for certain that Matt’s plan was to dispatch Mr. Mazoch, I could never explain this to Rachel, who helped care for her father in ways Matt probably never dreamed of caring for his, and who objected out of principle to her family’s decision to euthanize him, and who visits him regularly on an oneiric plane, and who worried about his comfort and wellbeing even into (un) death. How could I explain to her that a son might prefer a dead father to an undead father, that an undead father might weigh like a burden on a son’s conscience? How to convey the sense of filial duty that might be motivating Mazoch to put down, not his father, but the shell of his father, the corpse of a man who had been ready to die and who in all probability did not wish to return from death? To do so I would have to persuade her of the logic of ‘Mr. Mazoch is not Mr. Mazoch,’ ‘My father is not my father,’ this sense in which a hungry creature that has inherited only the body, the remembered itinerary, and the gait of a man (or, if you rather, a man from whom everything but his body, muscle memory, and gait have been pared away, and to whom a hunger has been added) is not the man himself. No need to invoke the Ship of Theseus here! Such an argument would mean nothing, or next to nothing, to Rachel, who will take her father where she can get him. Mr. Mazoch is barely there, consciousness-wise? He responds as an automaton to only the most basic stimuli? No matter. Her own father, laid out in his sickbed as a baby in its crib, could acknowledge only by the glaze in his eyes all the distractions that his family had set up in the room for him: Christmas lights, shiny garlands, balloons, flowers, a television set and a radio, countless other mobile-like devices intended to ward off his boredom. Mr. Mazoch is rotting as he moves? His entrails hang in strands from his stomach, and his eyeball dangles from its socket by an optic nerve? Trifles. Her own father appears in her dreams as a Frankenstein’s monster, patched imperfectly together from bloated corpses, with only half of his amassed body parts working properly at any given moment, and still she takes him where she can get him. Mr. Mazoch is capable only of inchoate moaning? So be it. For years the only phrases that her father was able to form through the pain of his tracheotomy tube were ‘You’re beautiful,’ ‘It hurts,’ and ‘I love you,’ and even in her dreams he’s occasionally afflicted with undead Tourette’s, involuntarily shouting obscenities in response to all of her questions about the afterlife. Did she not have to hide her tears as she was delivering one-sided goodbyes to her bedridden father, is she not now grateful for any dreams of a verbally incontinent father? On the contrary, she takes him where she can get him. Even Matt’s strongest justification for disgust — the fact that Mr. Mazoch feeds compulsively on the living — would cut no ice with Rachel. In the span of her adolescence her father went from eating spoonfuls of peanut butter straight from the jar (with such gusto that a whiff of Jif on my breath still reminds her, powerfully, of him) to folding all foods directly into his stomach, with the indifference of a mussel. ‘Cannibalism?’ Rachel would say. ‘Pah! A father’s diet is not his child’s concern.’ No, Rachel would take her father where she could get him, even a rotting aphasic anthropophagous father, and she would be aggrieved and confused to hear that Mazoch feels any differently. 28

Would be aggrieved and confused, for that matter, if I were to defend Mazoch, to devil’s-advocate for him, or especially if I were to continue to accompany him each morning in full knowledge of his ‘plan.’

This would all be easier for me if, like Rachel, I could simply condemn patricide outright. If I were not even tempted to defend it as an option. But the fact is that the ethics of undeath are murky to me. The questions that Matt and Rachel have been made to face, in the wake of the epidemic, are not questions that it has made me face. This choice between the grave and the quarantine, the shovel and the baseball bat… I have trouble, truthfully, even imagining myself in their shoes. Because my own parents both died (car crash) and were cremated years before the epidemic, they have always been ineligible for undeath. I scattered their ashes myself. I never had to worry about their reanimating, or ask myself what I would do. What my duties would be. Unlike Rachel and Matt, I’ve never had to think of them in terms of undeath. I’ve had to think only of myself in terms of undeath. So whenever I try to align myself with Rachel, and work up some primordial disgust at the thought of patricide, I find that I cannot do it. Who knows how I would react, if I were Matt? It’s his decision.

This, like so much else, is not something I can explain to Rachel this morning. So I do not try to. Having finished buttering our barely toasted toast, I bring the plate to the table and sit beside her. ‘I still don’t know,’ I say to her. ‘I don’t know what he wants to do. But I’ll ask.’

‘Michael,’ she says, reaching over to put her hand on my hand. ‘Mm,’ I say. ‘Just promise me you won’t let him use that bat.’ And here I exhale, immensely relieved, for at last she has given me something that I can truthfully tell her: ‘Rachel. Honey. You know we never use the bats.’

LATER THIS MORNING, I WATCH FROM THE passenger seat as Matt uses his bat to break into a building.

We’re staking out the antiques mall in Denham where Mr. Mazoch used to rent a booth. It’s a squat stucco box isolated on an empty stretch of road, and it’s been locked up for as long as we’ve been coming here: the glass double-doors in front are both expertly boarded from inside, with a length of chain wound around the push bar and a heavy padlock dangling dull and scrotal from the links. Since Mr. Mazoch couldn’t have broken in, we’ve never tried to. Normally Matt just cases the place and we sit in the parking lot to wait.

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