Robert Coover - Pinocchio in Venice

"Speaking of such matters, old friend," muttered Alidoro then, poking around in his thighs, "what happened to your own affair? There's nothing down here but a peehole."

"I don't know, it fell out one day. I didn't notice. It may have got sent out with the laundry."

"El desparŕ xe sempre castrŕ," murmured Melampetta, licking at it speculatively as though sampling an antipasto: "The destitute lose their balls to boot. But not to worry, for as La Volpe said after she sold her tail for a fly swatter: 'Who gives a fig, there's that much less acreage for the planting of whelks and buboes, may I soon be shut of the rest of it, speaking figuratively of course.' "

"You're touching a painful key, Mela, when you bring her up. It was those two old codgers who did him out tonight."

"What — ?! Again?! But wasn't it you, dear Pinocchio, who bit the old Cat's paw off? You must have recognized them!"

"Well, they looked familiar. But then, with my eyes, who doesn't?" For a moment, he felt the abuse of it again, the indignity, and the bile rose in his throat. He felt stupid, outraged, humiliated, frightened, crazed, and embittered all over again and all at the same time. What would they say back at the university if they could see him now, lying here in a shabby boatyard, stripped of all his earthly goods, letting two old mongrels lick his devastated peehole? It infuriated him and shamed him, but what could he do about it, he was powerless. And, besides, it was beginning to feel good. "Anyway, that was in the last century."

"True. One forgets the power of such a life to seem coetaneous and omnifical, speaking in the grand manner, like Dionysius the Pseudo-Areopagite, for example, who once said, or was said to have said, while declaiming upon the angels in much the same highbrow pantological style, bless his gray-green heart, that the reason the little atemporal beasts were sexless was because if they ever started fucking each other eternity itself might find itself in the family way, a superfetation, as he called it in the classical tongue — at which he, whoever he was, was clearly no slouch — a superfetation that could well make twins of the Apocalypse, leaving God biting his own tail, so to speak, if he had one, and if he didn't, well, we're back where we started, like the universe itself in its tedious mechanical turnings, less acreage for buboes and all that." All this, though largely incomprehensible, was quite soothing, especially accompanied as it was by the soft warm strokes of the two tongues, gently bathing his body, poking into this crevice and that, unknotting the tight strings of muscle, swabbing away the foul incrustations, husking him, as it were, desquamating him (ah, the words, the words!), and he felt himself slowly slipping toward what that same Dionysius, so masked, called, if he remembered correctly, "the darkness of unknowing." Whence all truth. "But tell us," Melampetta was whispering in his ear, the one she was licking with a tongue almost eellike now in its subtle acquatics, "tell us about the Blue-Haired Fairy."

And so he did, starting from the beginning ("It all began," he began), when, one terrifying night, running from murderers, he came upon a snow white house set in the deep dark woods and, knocking frantically with feet, fists, and head, aroused a little girl with sea-blue hair and a waxen white face who would have been quite beautiful had she not been completely dead. She couldn't open her eyes, much less the door, so the two assassins caught him and, after shattering a couple of knives on his hardwood torso, hung him from an oak tree, where, after crying for his daddy, he died. "I still have nightmares about it," he told them, succumbing gradually to the rhythm of their lapping tongues. "I was up there for hours, blowing about like a bell-less clapper, till at last my neck broke and my joints locked up and my nose went stiff. And all the while that dead girl was watching me with her eyes closed, don't ask me how I know this, but it's true." Eventually, eyes wide open and grinning like old Maestro Ciliegia on a toot, she staged an elaborate rescue with a bunch of circus animals and some crazy doctors (he has a vivid memory of waking briefly inside an airy coach padded with canary feathers and lined with if whipped cream and custard, and thinking, in his unredeemed puppetish way, that Heaven was a sticky place that made him queasy, and he hoped they'd let him out soon), but why, he wondered, even as he described it for his friends, praising the Fairy for her ingenuity and her amazing remedies ("She brought me back to life again!"), did she wait so long?

Well, of course, she was just a little girl. This was the happy time. She was as capricious as he. They played doctors together, jokes on one another, house. They took rides on her birds and animals. She let him poke his nose in her long blue hair. He showed her how he could kick his own head, front, back, or sideways. She laughed at the wooden knock it made and showed him how she could turn her head all the way around seven times in the same direction without getting a crick in her neck; he managed only three before feeling all twisted up inside, but deliciously dizzy when he unwound. It was the most fun he ever had in his life, not even Toyland or Hollywood came close. She wanted him to stay and be her little brother, she even said she'd fetch his father, which somehow pleased him and displeased him at the same time. But it was too good to last. His trials, as it turned out, had just begun. He was dragged off to Fools' Trap by the Fox and the Cat to bury his money in the Field of Miracles, and then years went by, or what were probably years. He was still a puppet then and didn't know much about time. Except that it had something to do with beginnings and endings, this he found out when, after innumerable misadventures, he finally made his way back to where her cottage had been and found nothing but a tombstone with an inscription saying that the little girl with the azure hair had "died of sorrow on being abandoned by her little brother Pinocchio." "It nearly broke my heart. I tried to tear my wooden hair out. That was before I had real hair, of course. Now that's gone, too. I was so proud of it. Hair made me feel so human. But it all fell out. First, from my head, then from my chest and armpits, and… and on down…" Only on his feet is something still growing, and that probably isn't hair. Nor are they really, at root, his own feet.

The Fairy wasn't dead, of course. She who had taught him never to lie had lied, and not for the first or last time. Yet he accepted that. All part of his personal via crucis as he lightheartedly called it, though never in print. And, in a sense, she had died, for he never saw her as a little girl again. When next they met, here on the Island of the Busy Bees, she was suddenly old enough to be his mother, while he was still just a puny puppet. He didn't understand this. She pretended it was some kind of magic. Maybe it was, but he hated to get left behind. When he recognized her, he knelt and hugged her knees, and she gave him a glimpse of a possible future, more than one: he had to choose. Though his motives might have been mixed (there was something heady about having his nose there between her big tender knees), he chose boyhood, which meant he had to pass his examinations at school. But his classmates, hating him for the square peg he was, lured him to the beach and tried, as they put it, to knock his block off. Someone threw his own arithmetic book at him: it missed and struck down poor Eugenio, and the police came and arrested him for the crime. "That was when I met you, Alidoro. You chased me when I ran away."

"Yeah, we really tore up the landscape! When I was a pup, they trained me by making me chase a stick. I must've got carried away by your smell and lost my compass, nearly lost my life when you took to the water. I forgot I didn't know how to swim. Never did get the hang of it…"