Mat Johnson - Pym

The darkness had materially increased, relieved only by the glare of the water thrown back from the white curtain before us. Many gigantic and pallidly white birds flew continuously now from beyond the veil, and their scream was the eternal Tekeli-li! as they retreated from our vision. Hereupon Nu-Nu stirred in the bottom of the boat; but, upon touching him, we found his spirit departed. And now we rushed into the embraces of the cataract, where a chasm threw itself open to receive us. But there arose in our pathway a shrouded human figure, very far larger in its proportions than any dweller among men. And the hue of the skin of the figure was of the perfect whiteness of the snow.

And that’s it. That’s the ending. That’s it, that’s all, nothing more. That’s the end of the book. No explanation of who the white figure is is given. No word on what happens next. No pseudo-scientific or mystical explanation for the chasm. No explanation of the human figure, or of how they make it back to America. Just over.

There is an afterword “Note” section to the novel, but it offers basically nothing, just more confusion than solution. For one, it tells us that Pym died, and died suddenly, having not completed the final three chapters of the book — but he somehow managed that earlier preface, supposedly written after the journey. What was this mortal accident? Doesn’t say. In addition, the supposed ghostwriter, Edgar Allan Poe, who knows the final story, refuses to tell it as it is entirely unbelievable. And then we’re told that Dirk Peters, who now resides in Illinois, is unavailable for comment on the matter.

Stunning. An ending that confounds more than it concludes. Within this we can see genius as well, as amazingly the reaction of the reader is not to throw the book across the room, as we are tempted to do with most literary disappointments, cop-outs, and blunders. Instead, our reaction is to grip it closer. To make our own connections and conclusions where there is no material provided. Our impetus is to find the satisfactory ending that has eluded us, to walk away with an answer.

You want to understand Whiteness, as a pathology and a mindset, you have to look to the source of its assumptions. You want to understand our contemporary conception of the environment, commerce, our taxonomy of humanity, you have to understand the base assumptions that underlie the foundation of the modern imagination. To truly understand evolution, Darwin couldn’t just stare at dead finches. No, he studied mammals in their embryonic form. How else would he have known that the inner ear owes its structure to what appears in larva stage as amphibious gills? That’s why Poe’s work mattered. It offered passage on a vessel bound for the primal American subconscious, the foundation on which all our visible systems and structures were built. That’s why Poe mattered. And that’s why my work mattered too, even if nobody wanted me to do it. That’s what people like Mosaic Johnson couldn’t understand. It wasn’t that I was an apolitical coward, running away from the battle. I was running so hard toward it, I was around the world and coming back in the other direction.

Garth failed to see the beauty in this rationale. The poetry in it. He was unamused when I showed up bloodied to wake him on the couch to retell my saga, and he didn’t seem to give a damn more for it as I gave him more detail while we trudged out to the site in the park at sunset like he’d demanded. We’d spent the morning and afternoon taking visitors — my lawyer, the college’s lawyer, my insurance claims agent, the college’s team of them — to the mountain of mold on my front porch. The closest I would get to an apology came in the chagrin of the campus attorney reflected against the joy in my own lawyer’s face as the word settlement was first said.

“We’re late. We going to miss the golden hour. You talk about me being fat, you so damn out of shape, we’re not going to make it till dawn,” Garth huffed. Once he got going he could still move fast. Like a dump truck on the highway.

“It’s right there, that’s your painting, isn’t it?” I managed, relieved that he shot on up the path in front of me and I could lean on my thighs and wheeze a bit in dignity. When I caught up to him, Garth was pacing the open field on top of the hill that overlooked the Hudson and the Catskill Mountains that began on the other side of the water. This was a good place to live. We were far enough north from the Point Pleasant nuclear reactor that if it was hit, we’d survive the radiation. Even a dirty bomb in Manhattan would be okay; the wind blew south from here. People moved here for that, and for the natural beauty. And that spot had a stunning view, locals hiked out all the time to see it. Garth was barely looking at it. Mostly he was looking at the ground, walking around a bit, pulling up his print of the painting to compare nature’s majesty with Thomas Karvel’s manufactured mess, then walking to another spot and trying it again.

“Well is this the right place or not?” My phone was ringing, but I was already impatient.

“Yeah. But I’m trying to find the really right place. Karvel spotting is a discipline.” Like a dog looking for a place to piss, he kept circling. Small and smaller loops, and then he was still. I thought he was going to look for artifacts at his feet, try to find a paintbrush or something, but he just looked back up and finally took in the vista. Garth held out the painting before him one more time, and then sighed. It was windy, and he was not close anymore, but I could hear him.

“ Stock of the Woods! He must have been standing right here. Right here, in this very spot. The Master of Light!” Garth yelled back to me, and more such ramblings. I nodded and forced a smile, and when he was done, I checked my voice mail, and was soon as high as Garth was pacified.

“There was an item listed today in a certain Hertfordshire house’s catalog as a ‘Negro Servant’s Memoir, dated 1837,’ I yelled after I heard the news. Garth was too chilled to even get my meaning. He didn’t understand, but I knew. Just that winter a well-known Africanist intellectual had found a place for himself on several of the major news outlets merely because of his purchase of a previously unknown slave narrative.

“This is the stuff academic names are built on, man. Careers. Careers are made on this kind of thing.” As we walked back to Garth’s car, images of a rogue intellectual career flashed before me, and I pictured a new life for myself, one of glamour and packed lecture halls. All the recent damage repaired.

“I like seeing the original site of the art. It’s like being able to climb in one,” Garth told me. I felt the same way, but it took me a moment to realize he was talking about the print he’d tucked in his coat like it was a sacred scroll.

When we arrived back at my rented house, the Ichabod Crane frame of Oliver Benjamin, book pimp, was on the porch, poking through the rotted mound of my literary history.

“How could you do this?” he said by way of hello. He had a moldy reproduction of the only issue of Fire! in his hand, holding the soggy thing as gently as if it were an original. I gave him a synopsis of the calamity and his response was “But still. You don’t know how to treat your things.”

He kept going. Pacing the travesty, listing off titles and cursing. He wouldn’t shut up. So he knew how to hurt me. I was so depressed at the end of his rant that I let him smoke in my living room, and even still Oliver spent the first minutes inside repeating a catalog of all that I had lost, specifically the volumes he’d found for me. Garth gave him coffee, and finally he relented. Oliver slurped and his Adam’s apple bobbed, and then he pulled his leather portfolio onto his lap and said, “This is going to cost you.” It wasn’t clear if he meant a lot of money or that he might not sell it to me at all, seeing that I was such a disastrous guardian of literary antiquities.