Copyright

Published by HarperCollinsPublishers Ltd

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www.harpercollins.co.uk

First published in Great Britain by HarperCollinsPublishers 2013

Copyright © Lauren Beukes 2013

Cover layout design © HarperCollinsPublishers 2013

Cover lettering © Craig Ward/www.wordsarepictures.co.uk

Cover photograph © Kate Polin/Millennium Images, UK

Lauren Beukes asserts the moral right to be identified as the author of this work.

A catalogue copy of this book is available from the British Library.

This novel is entirely a work of fiction. The names, characters and incidents portrayed in it are the work of the author’s imagination. Any resemblance to actual persons, living or dead, events or localities is entirely coincidental.

All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins.

Source ISBN: 9780007464586

Ebook Edition © August 2013 ISBN: 9780007464630

Version: 2014-07-02

Praise for The Shining Girls

‘A powerful thriller – imaginative, disturbing, complex, tense, compelling reading’

The Times

‘I’m all over it’

Gillian Flynn, author of Gone Girl

‘Clever story, smart prose’

Stephen King

‘Engrossing as it is original, as rewarding as it is challenging – superb. A beautifully layered work of fiction. It becomes so much more, part social history, part sociopath – the whole is greater than the sum of its parts. Take the time to read this, it’s mesmerizing’

Sun

‘Brilliant. It should be the book of the summer. Forget Gone Girl, now it’s all about The Shining Girls’

Observer, ‘Why We’re Watching’

‘Utterly original, beautifully written. This is something special’

Tana French, author of In The Woods

‘Extremely creepy’

Mail on Sunday (Must Reads)

‘Brilliant. A book about the duel of two fabulously-realized characters – The Shining Girls is a finely organized, ingenious triumph’

Independent

‘Disturbing, smart and beautifully written’

Erin Morgenstern, author of The Night Circus

‘This year’s must-read’

Stylist

‘Masterful … Very smart, wholly original, completely kick-ass’

William Gibson

‘A wild, brutal ride through the twentieth century, in the company of one of the sarkiest, most resilient heroines you're likely to meet this year’

Observer

‘A wonderful novel’

Joe Hill, author of Heart-Shaped Box

‘A dark tale, told inventively and full of surprises. Keep the lights on’

Daily Mail

‘Ingenious, imaginative and compulsively readable’

Sunday Mirror

‘A glorious creation. So pleased to read a serial killer thriller that has such intelligence behind it’

Granta

‘A killer of a novel with a brilliant mess-with-your-mind conclusion’

Marie Claire

‘A new kind of thriller. A dark, relentless, time-twisting, page-turning murder story. It shines’

Matt Haig, author of The Humans

‘An idea Stephen King probably wishes he’d thought of … Beukes can certainly shine herself’

Sunday Times

‘A tremendous work of suspense fiction. A mind-melting, heart-pounding mashup that delivers on its promise’

Cory Doctorow

‘Gone Girl has not exactly gone. But The Shining Girls have arrived’

The Times

‘Beukes neatly sidesteps the lazy sensationalism of some purveyors of the crime noir genre, deftly capturing the crucible of raw human emotion where life and death collide. The women she writes about are not victims in the true sense of the word. Each in her own way has railed against the conventions of her time – and Beukes celebrates them all’

Glasgow Herald

‘Strong contender for the role of this summer’s universal beach read – loaded with acrobatic twists and many gasp-worthy moments’

New York Times

‘The premise is pure Stephen King, but Beukes gives it an intricate, lyrical treatment all her own’

Time

‘This snappy thriller has got everyone talking – this summer’s answer to last year’s mega-hit Gone Girl’

New York Post (Book of the Summer)

‘Once you start reading, you will be hard-pressed to put down The Shining Girls’

CNN.com

‘The Shining Girls is one of the best serial killer tales ever. Gorgeously written and seriously disturbing. A must-read’

i09.com

For Matthew

Table of Contents

Title Page

Copyright

Praise for The Shining Girls

Dedication

Harper: 17 July 1974

Harper: 20 November 1931

Kirby: 18 July 1974

Harper: 22 November 1931

Kirby: 9 September 1980

Harper: 22 November 1931

Kirby: 30 July 1984

Harper: 24 November 1931

Kirby: 3 January 1992

Mal: 29 April 1988

Harper: 29 April 1988

Dan: 10 February 1992

Harper: 28 December 1931

Kirby: 2 March 1992

Harper: Any time

Dan: 2 March 1992

Zora: 28 January 1943

Kirby: 13 April 1992

Harper: 4 January 1932

Dan: 9 May 1992

Willie: 15 October 1954

Dan: 1 June 1992

Harper: 26 February 1932

Kirby: 23 March 1989

Dan: 24 July 1992

Kirby: 24 July 1992

Mal: 16 July 1991

Kirby: 22 November 1931

Harper: 22 November 1931

Harper: 20 November 1931

Kirby: 2 August 1992

Dan: 2 August 1992

Harper: 16 October 1954

Kirby: 11 August 1992

Harper: 24 March 1989

Alice: 4 July 1940

Kirby: 27 August 1992

Harper: 10 April 1932

Dan: 11 September 1992

Harper: No Time

Margot: 5 December 1972

Kirby: 19 November 1992

Harper: 16 August 1932

Kirby: 14 January 1993

Harper: 1 May 1993

Catherine: 9 June 1993

Jin-Sook: 23 March 1993

Kirby: 23 March 1993

Harper: 20 August 1932

Alice: 1 December 1951

Harper: 1 December 1951

Kirby: 12 June 1993

Harper: 28 March 1987

Harper: 12 June 1993

Dan: 13 June 1993

Harper: 13 June 1993

Rachel: 13 June 1993

Kirby: 13 June 1993

Dan: 13 June 1993

Harper: 13 June 1993

Kirby: 13 June 1993

Kirby and Harper: 22 November 1931

Dan: 13 June 1993

Kirby and Dan: 13 June 1993

Dan: 3 December 1929

Harper and Kirby: 13 June 1993

Harper: 13 June 1993

Kirby: 13 June 1993

Postscript

Bartek: 3 December 1929

Acknowledgments

Behind the Scenes of The Shining Girls

An Interview with Lauren Beukes

About the Author

Also by Lauren Beukes

About the Publisher

Harper
17 July 1974

He clenches the orange plastic pony in the pocket of his sports coat. It is sweaty in his hand. Mid-summer here, too hot for what he’s wearing. But he has learned to put on a uniform for this purpose; jeans in particular. He takes long strides – a man who walks because he’s got somewhere to be, despite his gimpy foot. Harper Curtis is not a moocher. And time waits for no one. Except when it does.

The girl is sitting cross-legged on the ground, her bare knees white and bony as birds’ skulls and grass-stained. She looks up at the sound of his boots scrunching on the gravel, but only long enough for him to see that her eyes are brown under that tangle of grubby curls, before she dismisses him and goes back to her business.

Harper is disappointed. He had imagined, as he approached, that they might be blue; the color of the lake, deep out, where the shoreline disappears and it feels like you’re in the middle of the ocean. Brown is the color of shrimping, when the mud is all churned up in the shallows and you can’t see shit for shit.

‘What are you doing?’ he says, putting brightness in his voice. He crouches down beside her in the threadbare grass. Really, he’s never seen a child with such crazy hair. Like she got spun round in her own personal dust devil, one that tossed up the assortment of random junk splayed around her. A cluster of rusty tin cans, a broken bicycle wheel tipped on its side, spokes jabbing outwards. Her attention is focused on a chipped teacup, turned upside down, so that the silvered flowers on the lip disappear into the grass. The handle has broken off, leaving two blunt stumps. ‘You having a tea party, sweetheart?’ he tries again.

‘It’s not a tea party,’ she mutters into the petal-shaped collar of her checked shirt. Kids with freckles shouldn’t be so earnest, he thinks. It doesn’t suit them.

‘Well, that’s fine,’ he says, ‘I prefer coffee anyways. May I have a cup, please, ma’am? Black with three sugars, okay?’ He reaches for the chipped porcelain, and the girl yelps and bats his hand away. A deep, angry buzzing comes from underneath the inverted cup.

‘Jesus. What you got in there?’

‘It’s not a tea party! It’s a circus!’

‘That so?’ He turns on his smile, the goofy one that says he doesn’t take himself too seriously, and neither should you. But the back of his hand stings where she smacked him.

She glares at him suspiciously. Not for who he might be, what he might do to her. But because she is irritated that he doesn’t understand. He looks around, more carefully, and recognizes it now: her ramshackle circus. The big top ring marked out with a finger traced in the dirt, a tightrope made from a flattened drinking-straw rigged between two soda cans, the Ferris wheel of the dented bicycle wheel, half propped up against a bush, with a rock to hold it in place and paper people torn out of magazines jammed between the spokes.

It doesn’t escape him that the rock holding it up is the perfect fit for his fist. Or how easily one of those needle spokes would slide right through the girl’s eye like Jell-O. He squeezes hard on the plastic pony in his pocket. The furious buzzing coming from underneath the cup is a vibration he can feel all the way down his vertebrae, tugging at his groin.

The cup jolts and the girl clamps her hands over it.

‘Whoa!’ she laughs, breaking the spell.

‘Whoa, indeed! You got a lion in there?’ He nudges her with his shoulder, and a smile breaks through her scowl, but only a little one. ‘You an animal tamer? You gonna make it jump through flaming hoops?’

She grins, the polka dots of her freckles drawing up into Dutch apple cheeks, revealing bright white teeth. ‘Nah, Rachel says I’m not allowed to play with matches. Not after last time.’ She has one skewed canine, slightly overlapping her incisors. And the smile more than makes up for the brackwater brown eyes, because now he can see the spark behind them. It gives him that falling-away feeling in his chest. And he’s sorry he ever doubted the House. She’s the one. One of the ones. His shining girls.

‘I’m Harper,’ he says, breathless, holding out his hand to shake. She has to switch her grip on the cup to do it.

‘Are you a stranger?’ she says.

‘Not any more, right?’

‘I’m Kirby. Kirby Mazrachi. But I’m gonna change it to Lori Star as soon as I’m old enough.’

‘When you go to Hollywood?’

She draws the cup across the ground towards her, stirring the bug under it to new heights of outrage, and he can see he’s made a mistake.

‘Are you sure you’re not a stranger?’

‘I mean, the circus, right? What is Lori Star going to do? Flying trapeze? Elephant rider? Clown?’ He wiggles his index finger over his top lip. ‘The mustachioed lady?’

To his relief, she giggles. ‘Noooo.’

‘Lion tamer! Knife thrower! Fire-eater!’

‘I’m going to be a tightrope walker. I’ve been practicing. Wanna see?’ She moves to get up.

‘No, wait,’ he says, suddenly desperate. ‘Can I see your lion?’

‘It’s not really a lion.’

‘That’s what you say,’ he prods.

‘Okay, but you gotta be real careful. I don’t want him to fly away.’ She tilts the cup the tiniest fraction. He lays his head down on the ground, squinting to see. The smell of crushed grass and black earth is comforting. Something is moving under the cup. Furry legs, a hint of yellow and black. Antennae probe towards the gap. Kirby gasps and slams the cup down again.

‘That’s one big old bumblebee,’ he says, sitting back on his haunches.

‘I know,’ she says, proud of herself.

‘You got him pretty riled.’

‘I don’t think he wants to be in the circus.’

‘Can I show you something? You’ll have to trust me.’

‘What is it?’

‘You want a tightrope walker?’

‘No, I—’

But he’s already lifted up the cup and scooped the agitated bee into his hands. Pulling off the wings makes the same dull pop sound as plucking the stem off a sour cherry, like the ones he spent a season picking in Rapid City. He’d been up and down the whole goddamn country, chasing after the work like a bitch in heat. Until he found the House.

‘What are you doing?’ she shouts.

‘Now we just need some flypaper to string across the top of two cans. Big old bug like this should be able to pull his feet free, but it’ll be sticky enough to stop him falling. You got some flypaper?’

He sets the bumblebee down on the rim of the cup. It clings to the edge.

‘Why did you do that?’ She hits his arm, a fluster of blows, palms open.

He’s baffled by her reaction. ‘Aren’t we playing circus?’

‘You ruined it! Go away! Go away, go away, go away, go away.’ It becomes a chant, timed with each slap.

‘Hold on. Hold on there,’ he laughs, but she keeps on whacking him. He grabs her hand in his. ‘I mean it. Cut it the fuck out, little lady.’

‘You don’t swear!’ she yells and bursts into tears. This is not going like he planned – as much as he can plan any of these first encounters. He feels tired at the unpredictability of children. This is why he doesn’t like little girls, why he waits for them to grow up. Later, it will be a different story.

‘All right, I’m sorry. Don’t cry, okay? I’ve got something for you. Please don’t cry. Look.’ In desperation, he takes out the orange pony, or tries to. Its head snags on his pocket and he has to yank it free. ‘Here,’ he jabs it at her, willing her to take it. One of the objects that connects everything together. Surely this is why he brought it? He feels only a moment of uncertainty.

‘What is it?’

‘A pony. Can’t you see? Isn’t a pony better than some dumb bumblebee?’

‘It’s not alive.’

‘I know that. Goddammit. Just take it, okay? It’s a present.’

‘I don’t want it,’ she sniffs.

‘Okay, it’s not a present, it’s a deposit. You’re keeping it safe for me. Like at the bank when you give them your money.’ The sun is beating down. It is too hot to be wearing a coat. He is barely able to concentrate. He just wants it to be done. The bumblebee falls off the cup and lies upside down in the grass, its legs cycling in the air.

‘I guess.’

He is feeling calmer already. Everything is as it has to be. ‘Now keep this safe, all right? It’s real important. I’ll come to get it. You understand?’

‘Why?’

‘Because I need it. How old are you?’

‘Six and three-quarters. Almost seven.’

‘That’s great. Really great. Here we go. Round and round, like your Ferris wheel. I’ll see you when you’re all grown-up. Look out for me, okay, sweetheart? I’ll come back for you.’

He stands up, dusting his hands against his leg. He turns and walks briskly across the lot, not looking back, limping only slightly. She watches him cross the road and walk up towards the railroad until he disappears into the tree-line. She looks at the plastic toy, clammy from his hand, and yells after him. ‘Yeah? Well I don’t want your dumb horse!’

She chucks it onto the ground and it bounces once before coming to land beside her bicycle Ferris wheel. Its painted eye stares blankly at the bumblebee, which has righted itself and is dragging itself away over the dirt.

But she goes back for it later. Of course she does.

Harper
20 November 1931

The sand gives way beneath him, not sand at all, but stinking icy mud that squelches into his shoes and soaks through his socks. Harper curses under his breath, not wanting the men to hear. They’re shouting to each other in the darkness: ‘You see him? You got him?’ If the water wasn’t so goddamn cold, he’d risk swimming out to make his escape. But he is already shivering violently from the wind off the lake that nips and worries at him right through his shirt, his coat abandoned behind the speakeasy, covered in that shit-heel’s blood.

He wades his way across the beach, picking a path between the garbage and the rotting lumber, mud sucking at his every step. He hunkers down behind a shack on the water’s edge, assembled out of packing boxes and held together with tar-paper. Lamplight seeps through the cracks and the cardboard patching, making the whole thing glow. He doesn’t know why people build so close to the lake anyways – like they think the worst has already happened and there’s no downhill from here. Not like people shit in the shallows. Not like the water might swell with the rains and wash the whole goddamn stinking Hooverville away. The abode of forgotten men, misfortune saturated deep down into their bones. No one would miss them. Like no one’s going to miss Jimmy fucking Grebe.

He wasn’t expecting Grebe to gush like that. Wouldn’t have come to it if the bastard had fought fair. But he was fat and drunk and desperate. Couldn’t land a punch, so he went for Harper’s balls. Harper had felt the sonofabitch’s thick fingers grabbing at his trousers. Man fights ugly, you fight uglier back. It’s not Harper’s fault the jagged edge of the glass caught an artery. He was aiming for Grebe’s face.

None of it would have happened if that dirty lunger hadn’t coughed up on the cards. Grebe had wiped the bloody gob off with his sleeve, sure, but everyone knew he had consumption, hacking his contagion into his bloody kerchief. Disease and ruin and the cracking nerves of men. It’s the end of America.

Try telling that to ‘Mayor’ Klayton and his bunch of vigilante cocksuckers, all puffed up like they own the place. But there’s no law here. Like there’s no money. No self-respect. He’s seen the signs – and not just the ones that read ‘foreclosed’. Let’s face it, he thinks, America had it coming.

A pale streamer of light sweeps over the beach, lingering on the scars he trailed across the mud. But then the flashlight swings to hunt in another direction, and the door of the shack opens, spilling light out all over the place. A skinny rat of a woman steps out. Her face is drawn and gray in the kerosene glow – like everyone else’s around here – as if the dust storms out there in the country blew away all traces of people’s character along with their crops.

There’s a dark sports coat three sizes too big for her draped over her scrawny shoulders, like a shawl. Heavy wool. It looks warm. He knows that he is going to take it from her even before he realizes that she is blind. Her eyes are vacant. Her breath smells like cabbage and the teeth rotting in her head. She reaches out to touch him. ‘What is it?’ she says. ‘Why are they shouting?’

‘Rabid dog,’ Harper says. ‘They’re chasing it down. You should go back inside, ma’am.’ He could lift the jacket right off her and be gone. But she might scream. She might fight him.

She clutches at his shirt. ‘Wait,’ she says. ‘Is it you? Are you Bartek?’

‘No, ma’am. Not me.’ He tries to pry her fingers off of him. Her voice is rising in an urgent way. The kind to draw attention.

‘You are. You must be. He said you would come.’ She is verging on hysterical. ‘He said he would—’

‘Shhhh, it’s all right,’ Harper says. It is no effort at all to raise his forearm to her throat and push her back against the lean-to with his full weight. Only to quiet her, he tells himself. Hard to scream around a crushed windpipe. Her lips pout and pop. Her eyes bulge. Her gullet heaves in protest. She twists her hands in his shirt as if she’s wringing out laundry, and then her chicken-bone fingers fall away and she sags against the wall. He bends with her, setting her down gently, even as he lifts the coat off her shoulders.

A little boy is staring at him from inside the hovel, his eyes big enough to swallow you whole.

‘What you looking at?’ Harper hisses at the boy, hooking his arms through the sleeves. It’s too big for him, but no matter. Something jangles in the pocket of the coat. Loose change, if he’s lucky. But it will turn out to be much more than that.

‘Get inside. Get your mother some water. She’s poorly.’

The boy stares and then, without changing his expression, opens his mouth and lets out a screeching wail, drawing the goddamn flashlights. Beams lance across the doorway and the fallen woman, but Harper is already running. One of Klayton’s cronies – or maybe it’s the self-appointed mayor himself – shouts, ‘There!’ and the men stampede down towards the beach after him.

He darts through the maze of shacks and tents put up without rhyme or purpose all tumbled on top of each other, with barely space for a pushcart to move between them. Insects have better judgment, he thinks as he veers in the general direction of Randolph Street.

He is not counting on people acting like termites.

He steps on a tarpaulin and falls straight through it into a pit the size of a piano box, but considerably deeper, hacked out of the earth where someone has set up a semblance of a home and simply nailed a cover into the ground across the top of it.

He lands hard, his left heel smacking the side of a wooden pallet bed with a sharp twang like a guitar string snapping. The impact slams him sideways into the edge of a homemade stove that catches him under his ribcage and knocks the breath out of him. It feels like a bullet has torn clean through his ankle, but he didn’t hear a gunshot. He can’t breathe to scream and he’s drowning in the tarp, falling in on top of him.

They find him there, flailing against the canvas and cursing the sonofabitch human driftwood who didn’t have the materials or the skills to build a proper shack. The men assemble at the top of the hidey-hole, malevolent silhouettes behind the glare of their flashlights.

‘You can’t come here and just do what you want,’ Klayton says in his best Sunday preacher voice. Harper can finally breathe again. Every inhalation burns like a stitch in his side. He’s cracked a rib for sure, and he’s done something worse to his foot.

‘You have to respect your neighbor and your neighbor must respect you,’ Klayton continues. Harper’s heard him using this line at the community meetings, talking about how they needed to try and get along with the local businesses across the way – the same ones that sent in the authorities to tack up warning notices on every tent and hovel, advising them that they had seven days to vacate the land.

‘Hard to do respecting when you’re dead,’ Harper laughs, although it’s more of a wheeze and it makes his stomach tighten with pain. He thinks they might be holding shotguns, but that seems unlikely, and it is only when one of the flashlights shifts away from his face that he sees they are armed with pipes and hammers. His gut clenches again.

‘You should turn me over to the law,’ he says, hopefully.

‘Nah,’ Klayton replies. ‘They got no business here.’ He waves his flashlight. ‘Haul him out, boys. Before Chinaman Eng comes back to his hole and finds this d-horner garbage squatting in here.’

And here is another sign, clear as dawn, which is starting to creep over the horizon past the bridge. Before Klayton’s goons can climb down the ten feet to get to him, it starts to rain, slicing drops, cold and bitter. And there is shouting from the other side of the camp. ‘Police! It’s a raid!’

Klayton turns to confer with his men. They sound like monkeys with their jibber-jabber and arm-waving, and then a jet of flame sears through the rain, lighting up the sky and putting paid to their conversation.

‘Hey, you leave that—’ A yell drifts across from Randolph Street. Followed by another. ‘They got kerosene!’ someone yells.

‘What you waiting for?’ Harper says quietly, under the drumming rain and the uproar.

‘You stay right there,’ Klayton jabs his pipe at him as the silhouettes disperse. ‘We’re not done with you.’

Ignoring the rasping sound his ribs make, Harper scoots up on his elbows. He leans forward, grabs hold of the tarp that is still clinging to its nails on one side, and tugs on it, dreading the inevitable. But it holds.

Above, he can distinguish the dictatorial tone of the good mayor’s voice, cutting through the melee, shouting at persons unseen. ‘You got a court order for this? You think you can just come here and burn up people’s homes after we’ve lost everything once already?’

Harper gets a thick fold of the material in his grip and, using the over-turned stove for leverage with his good foot, heaves himself up. His ankle bangs against the dirt wall and a bright flash of pain, clear as God, blinds him. He retches, coughing up only a long stringy amalgam of spit and phlegm tinged with red. He clings to the tarp, blinking hard against the black holes blossoming across his vision, until he can see again.

The shouts are dissipating under the drum of the rain. He is running out of time. He hauls himself up the greasy, wet tarp, hand over fist. He couldn’t have done this even a year ago. But after twelve weeks of driving rivets into the Triboro in New York, he’s strong as the mangy orangutan he witnessed at a county fair, ripping a watermelon in half with its bare hands.

The canvas makes ominous brittle sounds of protest, threatening to tumble him back into this goddamn hole. But it holds and he pulls himself gratefully over the edge, not even caring as he scrapes open his chest on the nails fastening the tarp. Later, examining his wounds in safety, he will note that the gouges make it look like an enthusiastic whore has laid her mark on him.

He lies there, face in the mud, the rain pelting down on him. The shouts have moved away, although the air reeks of smoke, and the light from a half-dozen fires mixes with the gray of the dawn. A fragment of music drifts through the night, carrying from an apartment window, perhaps, with the tenants leaning out to enjoy the spectacle.

Harper crawls on his belly through the mud, lights flaring in his skull from the pain – or maybe they’re real. It is a kind of a rebirth. He graduates from crawling to hobbling when he finds a heavy piece of timber the right height to lean on.

His left foot is useless, dragging behind him. But he keeps going, through the rain and the darkness, away from the burning shantytown.

Everything happens for a reason. It’s because he is forced to leave that he finds the House. It is because he took the coat that he has the key.

Kirby
18 July 1974

It’s that time of the early morning when the dark feels heavy; after the trains have stopped running and the traffic has petered out, but before the birds start singing. A real scorcher of a night. The kind of sticky hot that brings out all the bugs. Moths and flying ants patter against the porch light in an uneven drumbeat. A mosquito whines somewhere near the ceiling.

Kirby is in bed, awake, stroking the pony’s nylon mane and listening to the sounds of the empty house, groaning, like a hungry stomach. ‘Settling,’ Rachel calls it. But Rachel is not here. And it’s late, or early, and Kirby hasn’t had anything to eat since stale cornflakes at long-ago breakfast, and there are sounds that don’t belong to ‘settling’.

Kirby whispers to the pony, ‘It’s an old house. It’s probably just the wind.’ Except that the porch door is on a latch and it shouldn’t bang. The floorboards shouldn’t be creaking as if under the weight of a burglar tiptoeing towards her room, carrying a black sack to stuff her in and carry her away. Or maybe it’s the living doll from the scary TV show she’s not supposed to watch, tick-tacking on little plastic feet.

Kirby throws back the sheet. ‘I’m going to go see, okay?’ she tells the pony, because the thought of waiting for the monster to come to her is unbearable. She tiptoes to the door, which her mother painted with exotic flowers and rambling vines when they moved in four months ago, ready to slam it in the face of whoever (whatever) comes up the stairs.

She stands behind the door as if it’s a shield, straining to hear, picking at the rough texture of the paint. She has already stripped one tiger-lily to the bare wood. Her fingertips are tingling. The quiet rings in her head.

‘Rachel?’ Kirby whispers, too softly for anyone but the pony to hear.

There is a thump, very close, then a bang and the sound of something breaking. ‘Shit!’

‘Rachel?’ Kirby says, louder. Her heart is clattering like an early train.

There is a long pause. Then her mother says, ‘Go back to bed, Kirby, I’m fine.’ Kirby knows she’s not. But at least it’s not Talky Tina, the living killer doll.

She quits picking at the paint and pads across the hallway, sidestepping the broken bits of glass like diamonds between the dead roses with their crinkled leaves and spongy heads in a puddle of stinky vase water. The door has been left ajar for her.

Every new house is older and shabbier than the last one, although Rachel paints the doors and cupboards and sometimes even the floorboards to make it theirs. They choose the pictures together out of Rachel’s big gray art book: tigers or unicorns or saints or brown island girls with flowers in their hair. Kirby uses the paintings as clues to remind herself where they are. This house has the melty clocks on the kitchen cabinet above the stove, which means the refrigerator is on the left and the bathroom is under the stairs. But although the layout of each house changes, and sometimes they have a yard, and sometimes Kirby’s bedroom has a closet and sometimes she is lucky to have shelves, Rachel’s room is the one thing that remains constant.

She thinks of it as a pirate’s treasure cove. (‘Trove’ her mother corrects, but Kirby imagines it as a magic hidden bay, one you can sail into, if you’re lucky, if your map reads right.)

Dresses and scarves are tossed around the room as if by a gypsy pirate princess throwing a tantrum. A collection of costume jewelry is hooked onto the golden curlicues of an oval mirror, the first thing Rachel puts up whenever they move in somewhere new, inevitably whacking her thumb with the hammer. Sometimes they play dress-up, and Rachel drapes every necklace and bracelet on Kirby and calls her ‘my Christmas tree girl’, even though they are Jewish, or half.

There is a colored glass ornament hanging in the window that casts dancing rainbows across the room in the afternoon sun, over the tilted drawing table and whatever illustration Rachel is working on at the time.

When Kirby was a baby and they still lived in the city, Rachel would put the play-pen fencing around her desk, so that Kirby could crawl about the room without disturbing her. She used to do drawings for women’s magazines, but now ‘my style is out of fashion, baby – it’s fickle out there.’ Kirby likes the sound of the word. Fickle-pickle-tickle-fickle. And she likes that she sees her mother’s drawing of the winking waitress, balancing two short stacks dripping with butter, when they walk past Doris’s Pancake House on the way to the corner store.

But the glass ornament is cold and dead now, and the lamp next to the bed has a yellow scarf half-draped over it, which makes the whole room look sickly. Rachel is lying on the bed with a pillow over her face, still fully dressed, with her shoes on and everything. Her chest jerks under her black lace dress like she has the hiccups. Kirby stands in the doorway, willing her mother to notice her. Her head feels swollen with words she doesn’t know how to say.

‘You’re wearing your shoes in bed,’ is what she manages, finally.

Rachel lifts the pillow off her face and looks at her daughter through puffy eyes. Her make-up has left a black smear across the pillow. ‘Sorry, honey,’ she says in her chipper voice. (‘Chipper’ makes Kirby think of chipped teeth, which is what happened to Melanie Ottesen when she fell off the climbing rope. Or cracked glasses that aren’t safe to drink from anymore.)

‘You have to take off your shoes!’

‘I know, honey,’ Rachel sighs. ‘Don’t shout.’ She pries the black-and-tan slingback heels off with her toes and lets them clatter to the floor. She rolls over on to her stomach. ‘Will you scratch my back?’

Kirby climbs onto the bed and sits cross-legged next to her. Her mother’s hair smells like smoke. She traces the curly lace patterns with her fingernails. ‘Why are you crying?’

‘I’m not really crying.’

‘Yes, you are.’

Her mother sighs. ‘It’s just that time of the month.’

‘That’s what you always say,’ Kirby sulks, and then adds as an afterthought, ‘I got a pony.’

‘I can’t afford to buy you a pony.’ Rachel’s voice is dreamy.

‘No, I already got one,’ Kirby says, exasperated. ‘She’s orange. She has butterflies on her butt and brown eyes and gold hair and um, she looks kinda dopey.’

Her mother peeks back at her over her shoulder, thrilled at the prospect. ‘Kirby! Did you steal something?’

‘No! It was a present. I didn’t even want it.’

‘That’s okay then.’ Her mother rubs at her eyes with the heel of her hand, dragging a smudge of mascara across her eyes like a burglar.

‘So I can keep it?’

‘Of course you can. You can do almost anything you want. Especially with presents. Even break them into a million billion pieces.’ Like the vase in the hallway, Kirby thinks.

‘Okay,’ she says, seriously. ‘Your hair smells funny.’

‘Look who’s talking!’ Her mother’s laugh is like a rainbow dancing across a room. ‘When was the last time you washed yours?’

Harper
22 November 1931

The Mercy Hospital does not live up to its name. ‘Can you pay?’ the tired-looking woman in the reception booth demands through a round hole in the glass. ‘Paying patients go to the front of the line.’

‘How long is the wait?’ Harper grunts.

The woman inclines her head towards the triage waiting area. It is standing-room only, apart from the people who are sitting or lying half-collapsed on the floor, too sick or tired or plain goddamn bored to stay on their feet. A few glance up with hope or outrage or some unsustainable mix of the two in their eyes. The others have the same look of resignation he’s seen in farm horses on their last legs, ribs as pronounced as the cracks and furrows in the dead earth they strain the plow against. You shoot a horse like that.

He digs in the pocket of the stolen coat for the crumpled five-dollar bill he found there, together with a safety pin, three dimes, two quarters and a key, worn out in a way that feels familiar. Or maybe he has become accustomed to tarnish.

‘Is this enough for mercy, sweetheart?’ he asks, shoving the bill through the window.

‘Yes.’ She holds his gaze, to tell him that she is not ashamed to charge, even though the very act of doing so says otherwise.

She rings a little bell and a nurse comes to collect him, her practical shoes slapping against the linoleum. E. Kappel it reads on her name-badge. She is pretty, in an ordinary sort of way, with rosy cheeks and carefully ironed cherry-brown curls under her white cap. Apart from her nose, which is turned up too much, so it looks like a snout. Little piggy, he thinks.

‘Come with me,’ she says, irritated that he’s there at all. Already cataloging him as so much more human trash. She turns and strides away so that he has to jolt after her. Each step sends pain shooting up to his hip, like a Chinese rocket, but he is determined to keep up.

Every ward they pass is crammed to capacity, sometimes with two people to a bed, laid head to foot. All the sickness inside spilling out.

Not as bad as the field hospitals, he thinks. Mangled men clustered on blood-stained stretchers among the stink of burns and rotting wounds and shit and vomit and sour fever sweats. The incessant moaning like a terrible choir.

There was that boy from Missouri with his leg blown off, he remembers. He wouldn’t let up screaming, keeping them all awake, until Harper sneaked over, as if to comfort him. What he actually did was slide his bayonet in through the idiot boy’s thigh above the bloody wreckage and neatly flick it up to sever the artery. Just like he’d practiced on the straw dummies in training. Stab and twist. A gut wound will drop a man in his tracks every time. Harper always found it more personal than bullets, getting right up into someone. It made the war bearable.

No chance of that here, he supposes. But there are other ways to get rid of troublesome patients. ‘You should break out the black bottle,’ Harper says, just to rile the chubby nurse. ‘They’d thank you for it.’

She gives a little snort of contempt as she leads him past the doors of the private wards, tidy single-occupant rooms that are mostly vacant. ‘Don’t you tempt me. Quarter of the hospital is acting as a pest-house right now. Typhoid, infection. Poison would be a blessing. But don’t you let the surgeons hear you talking about no black bottle.’

Through an open doorway, he sees a girl lying in a bed surrounded by flowers. She has the look of a film star, even though it’s been over a decade since Charlie Chaplin upped and left Chicago for California and took the whole movie industry with him. Her hair is sweat-plastered in damp blonde ringlets around her face, made paler by the wan winter sunlight struggling through the windows. But as he falters outside, her eyes flutter open. She half sits up and smiles at him radiantly, as if she was expecting him, and he’d be welcome to come sit for a while and talk with her.

Nurse Kappel is having none of it. She grabs him by the elbow and escorts him away. ‘No gawping, now. The last thing that hussy needs is another admirer.’

‘Who is she?’ He looks back.

‘No one. A nudey dancer. Little idiot poisoned herself with radium. It’s her act, she paints herself with it so that she glows in the dark. Don’t worry, she’ll be discharged soon and then you can see as much of her as you like. All of her, way I hear it.’

She ushers him into the doctor’s room, bright white with an antiseptic sting. ‘Now sit here and let’s take a look at what you done to yourself.’

He hops up unsteadily onto the examination table. She screws up her face in concentration as she cuts away the filthy rags he has tied as tight as he could bear in a stirrup under his heel.

‘You’re stupid, you know that?’ The little smile at the corner of her mouth says she knows she can get away with talking to him like this. ‘Waiting to come here. You think this would get better all on its own?’

She’s right. It doesn’t help that he’s been sleeping rough for the last two nights, camped out in a doorway with a cardboard box to sleep on and a stolen coat for a blanket because he can’t go back to his tent, in case Klayton and his stooges are waiting with their pipes and hammers.

The neat silver scissor-blades go snik-snik through the rag binding which has cut white lines into his swollen foot, so that it looks like a trussed ham. Now who’s the little piggy? What’s stupid, he thinks bitterly, is that he came through the war without any permanent damage, and now he’s going to be crippled from falling into some hobo’s hidey-hole.

The doctor blusters into the room, an older man with comfortable padding round his belly and his thick gray hair swept around his ears like a lion’s mane.

‘And what’s your complaint today, sir?’ The question is no less patronizing for the accompanying smile.

‘Well, I ain’t been dancing in glow-in-the-dark paint.’

‘Nor will you have the opportunity, by the looks of it,’ the doctor says, still smiling, as he takes the swollen foot between his hands and flexes it. He ducks deftly, professionally even, when Harper roars in pain and swings at him.

‘Keep that up, sport, if you want to get chucked out on your ear,’ the doctor grins, ‘paying or not.’ This time when he flexes the foot up and down, up and down, Harper grits his teeth and clenches his fists to stop himself from lashing out.

‘Can you pull up your toes on your own?’ he says, watching intently. ‘Oh, good. That’s a good sign. Better than I thought. Excellent. You see here?’ he says to the nurse, pinching the hollow indentation above the heel. Harper groans. ‘That’s where the tendon should connect.’

‘Oh yes,’ the nurse pinches the skin. ‘I can feel it.’

‘What does that mean?’ Harper says.

‘It means you should spend the next few months on your back in hospital, sport, but I’m guessing that’s not an option for you.’

‘Not unless it’s free.’

‘Or you have concerned patrons willing to sponsor your convalescence, like our radium girl.’ The doctor winks. ‘We can put you in a cast, send you off with a crutch. But a ruptured tendon isn’t going to heal itself. You should stay off your feet for at least six weeks. I can recommend a shoe-maker who specializes in medical footwear to raise the heel, which will help it along some.’

‘How am I supposed to do that? I gotta work.’ Harper is pissed at the whine that creeps into his voice.

‘We’re all facing financial difficulties, Mr Harper. Just ask the hospital administrators. I suggest you do what you can.’ He adds, wistfully, ‘I don’t suppose you have syphilis, do you?’

‘No.’

‘Pity. There’s a study starting in Alabama that would have paid for all your medical care if you did. Although you’d have to be a Negro.’

‘I’m not that, either.’

‘Too bad.’ The doctor shrugs.

‘Will I be able to walk?’

‘Oh yes,’ the doctor says. ‘But I wouldn’t count on being able to audition for Mr Gershwin.’

Harper hobbles out of the hospital, his ribs bound, his foot in a cast, his blood full of morphine. He reaches into his pocket to feel how much money he has left. Two dollars and change. But then his fingers brush the jagged teeth of the key and something opens in his head like a receiver. Maybe it’s the drugs. Or maybe it was always waiting for him.

He never noticed before that the streetlights hum, a low frequency that burrows in behind his eyeballs. And even though it is afternoon and the lights are off, they seem to flare as he steps under them. The hum skips ahead to the next light, as if beckoning him. This way. And he’d swear he can hear a crackling music, a faraway voice calling to him like a radio that needs to be tuned in. He follows the path of the humming streetlights, going as fast as he can manage, but the crutch is unwieldy.

He turns down State and it leads him through the West Loop into the canyons of Madison Street, with skyscrapers looming forty stories high on either side. He passes through Skid Row, where two dollars might buy him a bed for a while, but the humming and the lights lead him on, into the Black Belt where the shabby jazz joints and cafés give way to cheap houses stacked on top of each other, with ragged children playing on the street and old men with hand-rolled cigarettes sitting on the steps, watching him balefully.

The street narrows and the buildings crowd in on one another, casting chill shadows over the sidewalk. A woman laughs from one of the upstairs apartments, the sound abrupt and ugly. There are signs everywhere he looks. Broken windows in the tenements, handwritten notices in the empty shop windows below: ‘Closed for business’, ‘Closed until further notice’, and once, just ‘Sorry’.

A briny clamminess comes in from the lake on the wind that cuts through the bleak afternoon and under his coat. As he gets deeper into the warehouse district, the people thin out, and then vanish altogether, and in their absence, the music swells, sweet and plaintive. And now he can make out the tune. ‘Somebody from Somewhere’. And the voice whispers, urgently, Keep on, keep on, Harper Curtis.

The music carries him over the railroad tracks, deep into the West Side and up the stairs of a worker’s lodging house, indistinguishable from the other wooden tenements in the row, shouldering in on each other, with peeling paint and boarded-up bay windows and a notice that reads ‘Condemned by the City of Chicago’ pasted up on the planks that have been nailed across the front doors in Xs. Make your mark for President Hoover right here, you hopeful men. The music is coming from behind the door of 1818. An invitation.

He reaches under the crossed planks and tries the door, but it’s locked. Harper stands on the step, full of the sense of a terrible inevitability. The street is utterly abandoned. The other houses are boarded up or their curtains are drawn tight. He can hear traffic a block over, a hawker selling peanuts. ‘Get ’em hot! Eat ’em on the trot!’, but it sounds dulled, as if coming through blankets wrapped around his head. Whereas the music is a sharp splinter that drives right through his skull: The key.

He sticks his hand in the pocket of the coat, suddenly terrified that he has lost it. He is relieved to find that it is still there. Bronze; printed with the mark Yale & Towne. The lock on the door matches up. Trembling, he slides it home. It catches.

The door swings open into darkness, and for a long, terrible moment, he stands paralyzed by possibilities. And then he ducks under the boards, negotiating his crutch, awkwardly, through the gap, and into the House.

Kirby
9 September 1980

It’s that kind of day, crisp and clear, on the cusp of fall. The trees have mixed feelings about it; leaves showing green and yellow and brown all at the same time. Kirby can tell Rachel is stoned from a block away. Not just by the sweet smell hanging over the house (dead giveaway), but by the agitated way she is pacing the yard, fussing over something laid out in the overgrown grass. Tokyo is leaping and barking around her in excitement. She isn’t supposed to be home. She’s supposed to be away on one of her sojourns or ‘so-johns’ as Kirby used to call it when she was little. Okay, a year ago.

For weeks, she wondered if this So-John guy was her dad, and if Rachel was working up to take her to meet him, when Grace Tucker at school told her that a john was a word for a man who uses a prostitute, and that’s all her mother was. She didn’t know what a prostitute was, but she gave Gracie a blood-nose, and Gracie pulled out a clump of her hair.

Rachel thought it was hysterical, even though Kirby’s scalp was red and sore where the hair was gone. She didn’t mean to laugh, really, ‘but it is very funny.’ Then she’d explained it to Kirby the way she did everything, in a way that didn’t explain anything at all. ‘A prostitute is a woman who uses her body to take advantage of the vanity of men,’ she’d said. ‘And a sojourn is a revitalization of your spirit.’ But it turned out that wasn’t even close. Because a prostitute has sex for money, and a sojourn is a vacation from your real life, which is the last thing Rachel needs. Less vacationing, more real life, Mom.

She whistles for Tokyo. Five short sharp notes, distinctive enough to separate it from the calls everyone else uses for their dogs at the park. He comes bounding over, happy as only a dog can be. ‘Pure-bred mutt’ is how Rachel likes to describe him. Scrappy, with a long snout and patchwork sandy-and-white fur and creamy rings around his eyes. ‘Tokyo’ because when she grows up she’s going to move to Japan and become a famous translator of haiku poetry and drink green tea and collect samurai swords. (‘Well, it’s better than Hiroshima’ is what her mother said.) She’s already started writing her own haiku. This is one:

Rocket ship lift-off

take me far away from here

the stars are waiting

This is another:

She would disappear

folded like origami

into her own dreams.

Rachel applauds enthusiastically whenever she reads her a new one. But Kirby has begun to think she could copy down the wording from the side of the Cocoa Krispies box, and her mother would cheer just as loudly, especially when she’s stoned, which is more and more often these days.

She blames So-John. Or whatever his name is. Rachel won’t tell her. As if she doesn’t hear the car pull up at 3 a.m. or the hissed conversations, unintelligible but fraught, before the door slams and her mother tries to tiptoe in without waking her. As if she doesn’t wonder where their rent money comes from. As if this hasn’t been going on for years.

Rachel has laid out every single one of her paintings – even the big one of Lady Shalott in her tower (Kirby’s favorite, not that she’d admit it), which is normally stowed at the back of the broom cupboard with the other canvases her mother starts, but never quite manages to finish.

‘Are we having a yard sale?’ Kirby asks, even though she knows the question will irritate Rachel.

‘Oh, honey,’ her mother gives her a distracted half-smile, the way she does when she’s disappointed in Kirby, which she seems to be all the time these days. Usually when she says things Rachel insists are too old for her. ‘You’re losing your child-like wonder,’ she’d told her two weeks ago, with a sharpness in her voice like it was the worst thing in the world.

Weirdly, when she gets into real trouble, Rachel doesn’t seem to mind. Not when she gets in fights at school or even when she set fire to Mr Partridge’s mailbox to pay him back for complaining about Tokyo digging up his sweetpeas. Rachel told her off, but Kirby could tell she was delighted. Her mother even put on a big pantomime, the two of them yelling at each other loud enough for that ‘self-righteous windbag next door’ to hear them through the walls, her mother screeching ‘Don’t you realize it’s a federal crime to interfere with the US mail service?’ before they collapsed in giggles, clamping their hands over their mouths.

Rachel points to a miniature painting positioned squarely between her bare feet. Her toenails are painted a bright orange that doesn’t suit her. ‘Do you think this one is too brutal?’ she asks. ‘Too red in tooth and claw?’

Kirby doesn’t know what that means. She struggles to tell her mother’s paintings apart. They’re all pale women with long flowing hair and mournful bug eyes too big for their heads in muddy landscapes of greens and blues and grays. No red at all. Rachel’s art reminds her of what Coach said to her in gym class, when she kept messing up the approach to the vaulting horse. ‘For Pete’s sake, stop trying so hard!’

Kirby hesitates, not sure what to say in case she sets her off. ‘I think it’s just fine.’

‘Oh, but fine isn’t anything!’ Rachel exclaims and grabs her hands and pulls her into a stepping foxtrot over the paintings, twirling her round. ‘Fine is the very definition of mediocrity. It’s what’s polite. It’s what’s socially acceptable. We need to live brighter and deeper than just fine, my darling!’

Kirby squirms out of her grasp and stands looking down at all the beautiful sad girls with their skinny limbs reaching out like praying mantises. ‘Um,’ she says. ‘Do you want me to help you move the paintings back inside?’

‘Oh, honey,’ her mother says with such pity and scorn that Kirby can’t bear it. She runs inside, clattering up the porch stairs, and forgets to tell her about the man with the mousy hair and jeans pulled up too high and a skew nose like a boxer, who was standing in the shade of the sycamore next to Mason’s Filling Station, sipping a bottle of Coke through a straw and watching her. The way he looked at her made Kirby’s stomach flip like when you’re on the tilt-a-whirl, and it feels like someone has scooped out your insides.

When she waved vigorously, over-cheerful at him, like, Hey, mister, I see you staring at me, jerk-wad, he raised one hand in acknowledgement. And kept it up (super creepy) until she turned the corner up Ridgeland Street, skipping her usual shortcut through the alley, hurrying to get out of his sight.

Harper
22 November 1931

It’s like being a boy again, sneaking into the neighboring farmhouses. Sitting at the kitchen table in the quiet house, lying between the cool sheets of someone else’s bed, going through the drawers. Other people’s things tell their secrets.

He could always tell if someone was home; then and all the times he’s broken into abandoned houses since, to scrounge for food or some overlooked trinket to pawn. An empty house feels a certain way. Ripe with absence.

This House is full of expectation that makes the hair on his arms rise. There is someone in here with him. And it is not the dead body lying in the hallway.

The chandelier above the stairs casts a soft glow over dark wooden floors, gleaming with fresh polish. The wallpaper is new, a dark green and cream diamond pattern that even Harper can tell is tasteful. To the left is a bright modern kitchen, straight out of the Sears catalog, with melamine cupboards and a brand-new toaster oven and an icebox and a silver kettle on the stove, all laid out. Waiting for him.

He swings his crutch wide over the blood seeping like a carpet across the floorboards and limps around to get a better look at the dead man. He’s gripping a half-frozen turkey, the gray-pink flesh pimpled and smeared with gore. The fellow is thickset, in a dress shirt with suspenders, gray pants and smart shoes. No coat. His head has been pulped like a melon, but there is enough left to make out jowly cheeks with stubble and bloodshot blue eyes staring out of the mess of his face, wide in shock.

No coat.

Harper limps past the corpse, following the music into the parlor, half-expecting to find the owner, sitting in the upholstered chair in front of the fireplace, the poker he used to bash the man’s head in laid across his lap.

The room is empty. Although the fire is lit. And there is a poker beside the wood rack, stacked full, as if in anticipation of his arrival. The song spills from a gold-and-burgundy gramophone. The label on the record reads ‘Gershwin’. Of course. Through a crack in the curtains, he can see the cheap plywood nailed up over the windows, blocking out the daylight. But why hide this behind boarded-up windows and a condemned sign? To prevent other people finding it.

A crystal decanter filled with a honey-colored liquor has been set out next to a single tumbler on the side table. It’s on top of a lace-doily tablecloth. That will have to go, Harper thinks. And he will have to do something about the body. Bartek, he thinks, recalling the name the blind woman had said before he choked her.

Bartek never belonged here, the voice in his head says. But Harper does. The House has been waiting for him. It called him here for a purpose. The voice in his head is whispering home. And it feels like it, more than the wretched place he grew up or the series of flophouses and shacks he’s moved between all his adult life.

He props his crutch up against the chair and pours himself a glass of liquor from the decanter. The ice clinks as he swirls it. Only half-melted. He takes a slow draft, rolling it round his mouth, letting it burn down his throat. Canadian Club. Finest smuggled import, he toasts the air. It’s been a long time since he had anything to drink that didn’t have the bitter homebrew aftertaste of formaldehyde. It’s a long time since he sat on a chair that had cushioning.

He resists the chair, even though his leg is aching from the walking. Whatever fever propelled him is still burning. There’s more, right this way, sir, like a carnie barker. Step up, don’t miss out. It’s all waiting for you. Keep on, keep on, Harper Curtis.

Harper hauls himself up the steps, hanging on the balustrade that is so polished that he leaves handprints on the wood. Oily ghost impressions – already fading. He has to swing his foot up and round every time, his crutch dragging behind him. He is panting through his teeth at the effort.

He limps along the hallway, past a bathroom with a basin spattered with runnels of blood to match the towel in a soggy twist on the floor beside it, leaking pink across the shining black-and-white tiles. Harper pays no heed to this, nor to the stairs leading from the landing up to the attic, nor the spare room with the bed neatly made up, but the pillow dented.

The door to the main bedroom is closed. Shifting light stripes the floorboards through the gap underneath it. He reaches for the handle, half-expecting it to be locked. But it turns with a click and he nudges the door with the tip of his crutch. It opens onto a room bathed, inexplicably, in the glare of a summer afternoon. The furnishings are paltry. A walnut closet, an ironwork bed.

He squints against the sudden brightness outside and watches it change to thick rolling clouds and silvered dashes of rain, then to a red-streaked sunset, like a cheap zoetrope. But instead of a galloping horse or a girl saucily removing her stockings, it’s whole seasons whirring past. He can’t stand it. He goes to the window to pull the curtains shut, but not before he glimpses the tableau outside.

The houses across the way change. The paint strips away, recolors itself, strips away again through snow and sun and trash tangled with leaves blowing down the street. Windows are broken, boarded over, spruced up with a vase of flowers that turn brown and fall away. The empty lot becomes overgrown, fills over with cement, grass grows through the cracks in wild tufts, rubbish congeals, the rubbish is removed, it comes back, along with aggressive snarls of writing on the walls in vicious colors. A hopscotch grid appears, disappears in the sleeting rain, moves elsewhere, snaking across the cement. A couch rots through seasons and then catches fire.

He yanks the curtains closed, and turns and sees it. Finally. His destiny spelled out in this room.

Every surface has been defaced. There are artifacts mounted on the walls, nailed in or strung up with wire. They seem to jitter in a way that he can feel in the back of his teeth. All connected by lines that have been drawn over again and again, with chalk or ink or a knife tip scraped through the wallpaper. Constellations, the voice in his head says.

There are names scrawled beside them. Jinsuk. Zora. Willy. Kirby. Margo. Julia. Catherine. Alice. Misha. Strange names of women he doesn’t know.

Except that the names are written in Harper’s own handwriting.

It’s enough. The realization. Like a door opening up inside. The fever peaks and something howls through him, full of contempt and wrath and fire. He sees the faces of the shining girls and knows how they must die. The screaming inside his head: Kill her. Stop her.

He covers his face with his hands, dropping the crutch. He reels backwards and falls heavily onto the bed, which groans under his weight. His mouth is dry. His mind is full of blood. He can feel the objects thrumming. He can hear the girls’ names like the chorus of a hymn. The pressure builds inside his skull until it’s unbearable.

Harper takes away his hands and forces himself to open his eyes. He hauls himself to his feet, using the bedpost for balance, and hobbles over to the wall where the objects pulse and flicker, as if in anticipation. He lets them guide him, reaching out his hand. There is one that seems sharper somehow. It nags at him, the way an erection does, with incontrovertible purpose. He has to find it. And the girl who comes with it.

It is as if he has spent his entire life in a drunken blur, but now the veil has been whipped away. It is the moment of pure clarity, like fucking, or the instant he opened up Jimmy Grebe’s throat. Like dancing in irradiated paint.

He picks up a piece of chalk that is lying on the mantel and writes on the wallpaper beside the window, because there is a space for it and it seems he must. He prints ‘Glowgirl’ in his jagged sloping script, over the ghost of the word that is already there.

Kirby
30 July 1984

She could be sleeping. At first glance. If you were squinting into the sun dappled through the leaves. If you thought her top was supposed to be a rusty brown. If you missed the flies thick as midges.

One arm is flung casually above her head, which is tilted fetchingly to one side, as if listening. Her hips are twisted the same way, her legs folded together, bent at the knee. The serenity of the pose belies the gaping wreck of her abdomen.

That carefree arm that makes her look so romantic lying amongst the tiny blue and yellow wildflowers, bears the marks of defensive wounds. The incisions on the middle joint of her fingers, down to the bone, indicate that she probably tried to grab the knife from her attacker. The last two fingers on her right hand are partially severed.

The skin on her forehead is split from the impact of multiple blows by a blunt object, possibly a baseball bat. But equally possibly the handle of an axe or even a heavy tree branch, none of which have been found at the scene.

The chafe marks on her wrists would indicate that her hands were tied, although the restraints have been removed. Wire probably, by the way it has bitten into her skin. Blood has formed a black crust over her face, like a caul. She has been slit sternum to pelvis in an inverted cross, which will lead certain factions among the police to suspect Satanism before they pin it on gangbangers, particularly as her stomach has been removed. It is found nearby, dissected, the contents spread on the grass. Her guts have been strung from the trees like tinsel. They are already dry and gray by the time the cops finally cordon off the area. This indicates that the killer had time. That no one heard her shouting for help. Or that no one responded.

Also entered into evidence:

A white sneaker with a long streak of mud down the side, as if she skidded in the dirt as she was running away and it came off. It was found thirty feet from the body. It matched the one she was wearing, which was spattered with blood.

One ruched vest, spaghetti straps, sliced up the center, formerly white. Bleached denim shorts, stained with blood. Also: urine, feces.

Her book bag containing: one textbook (Fundamental Methods of Mathematical Economics), three pens (two blue, one red), one highlighter (yellow), a grape lipsmacker, mascara, half a packet of gum (Wrigley’s spearmint, three sticks left), a square gold compact (the mirror is cracked, possibly during the attack), a black cassette tape, ‘Janis Joplin – Pearl’ handwritten on the label, the keys to Alpha Phi’s front door, a school diary marked with assignment due dates, an appointment at Planned Parenthood, her friends’ birthdays and various phone numbers that the police are going through one by one. Tucked in between the pages of the diary is a notice for an overdue library book.

The newspapers claim that it is the most brutal attack in the area in fifteen years. The police are pursuing all leads and urgently encourage witnesses to come forward. They have high hopes that the killer will be quickly identified. A murder this ugly will have had a precedent.

Kirby missed the whole thing. She was a little preoccupied at the time by Fred Tucker, Gracie’s older brother by a year and a half, trying to put his penis inside her.

‘It won’t fit,’ he gasps, his thin chest heaving.

‘Well, try harder,’ Kirby hisses.

‘You’re not helping me!’

‘What more do you want me to do?’ she asks, exasperated. She’s wearing a pair of Rachel’s black patent heels, together with a filmy beige-gold slip she’d lifted straight off the rail from Marshall Field’s three days ago, shoving the discarded coat hanger deep into the back of the rack. She’d stripped Mr Partridge’s roses for petals to scatter on the sheets. She’d stolen condoms from her mother’s bedside drawer, so that Fred wouldn’t have to risk the embarrassment of buying them. She’d made sure Rachel wouldn’t be coming home for the afternoon. She’s even been practising making out with the back of her hand. Which was about as effective as tickling yourself. It’s why you need other fingers, other tongues. Only other people can make you feel real.

‘I thought you’d done this before.’ Fred collapses onto his elbows, his weight on top of her. It’s a good kind of weight, even though his hips are bony and his skin is slick with sweat.

‘I just said that so you wouldn’t feel nervous.’ Kirby reaches past him to Rachel’s cigarettes lying on the bedside table.

‘You shouldn’t smoke,’ he says.

‘Yeah? You shouldn’t be having sex with a minor.’

‘You’re sixteen.’

‘Only on the eighth of August.’

‘Jesus,’ he says and climbs off her in a hurry. She watches him fluster around the bedroom, naked, apart from the socks and the condom – his dick still bravely erect and good to go – and takes a long drag on the cigarette. She doesn’t even like cigarettes. But cool is all about having props to hide behind. She has worked out the formula: two parts taking control without making it look like you’re trying to, and three parts pretending it doesn’t matter anyway. And hey, it is no big deal if she loses her virginity today to Fred Tucker or not. (It is a really big deal.)

She admires the lipstick print she has left on the filter, and swallows down the coughing fit that is trying to erupt. ‘Relax, Fred. It’s supposed to be fun,’ she says, playing smooth, when what she wants to say is, It’s okay, I think I love you.

‘Then why do I feel like I’m having a heart attack?’ he says, clutching at his chest. ‘Maybe we should just be friends?’

She feels bad for him. But also for herself. She blinks hard and stubs out the cigarette, three drags in, as if it was the smoke making her eyes water.

‘You want to watch a video?’ she says.

So they do. And they end up fumbling around on the couch, kissing for an hour and a half, while Matthew Broderick saves the world on his computer. They don’t even notice when the tape runs out and the screen turns to bristling static, because his fingers are inside her and his mouth is hot against her skin. And she climbs on top of him and it hurts, which she expected, and it’s nice, which she’d hoped, but it’s not world-changing, and afterwards they kiss a lot and smoke the rest of the cigarette, and he coughs and says: ‘That wasn’t how I thought it would be.’

Neither is being murdered.

The dead girl’s name was Julia Madrigal. She was twenty-one. She was studying at Northwestern. Economics. She liked hiking and hockey, because she was originally from Banff, Canada, and hanging out in the bars along Sheridan Road with her friends, because Evanston was dry.

She kept meaning to sign up to volunteer to read textbook passages for the blind students association’s study tapes, but never quite got round to it, the same way she’d bought a guitar but only mastered one chord. She was running for head of her sorority. She always said she was going to be the first woman CEO of Goldman Sachs. She had plans to have three kids and a big house and a husband who did something interesting and complementary – a surgeon or a broker or something. Not like Sebastian, who was a good-time guy, but not exactly marriage material.

She was too loud, like her dad, especially at parties. Her sense of humor tended to be crass. Her laugh was notorious or legendary, depending on who was telling. You could hear it from the other side of Alpha Phi. She could be annoying. She could be narrow-minded in that got-all-the-answers-to-save-the-world way. But she was the kind of girl you couldn’t keep down. Unless you cut her up and caved in her skull.

Her death will send out shockwaves among everyone she knew, and some people she didn’t.

Her father will never recover. His weight drops away until he becomes a wan parody of the loud and opinionated estate agent who would pick a fight at the barbecue about the game. He loses all interest in selling houses. He tapers off mid-sales pitch, looking at the blank spaces on the wall between the perfect family portraits or worse, at the grouting between the tiles of the en-suite bathroom. He learns to fake it, to clamp the sadness down. At home, he starts cooking. He teaches himself French cuisine. But all food tastes bland to him.

Her mother draws the pain into herself: a monster she keeps caged in her chest that can only be subdued with vodka. She does not eat her husband’s cooking. When they move back to Canada and downsize the house, she relocates into the spare room. Eventually, he stops hiding her bottles. When her liver seizes up twenty years later, he sits next to her in a Winnipeg hospital and strokes her hand and narrates recipes he’s memorized like scientific formula because there is nothing else to say.

Her sister moves as far away as she can, and keeps moving, first across the state, then across the country, then overseas to become an au pair in Portugal. She is not a very good au pair. She doesn’t bond with the children. She is too terrified that something might happen to them.

After three hours of questioning, Sebastian, Julia’s boyfriend of six weeks, has his alibi corroborated by independent witnesses and the grease-stains on his shorts. He was tinkering with the 1974 Indian motorbike he’d been restoring, the garage door open, in full view of the street. Moved by the experience, he takes Julia’s death as a sign that he has been wasting his life studying business science. He joins the anti-apartheid student movement, has sex with anti-apartheid girls. His tragic past clings to him like pheromones that women find impossible to resist. It even has a theme song: Janis Joplin’s ‘Get It While You Can’.

Her best friend lies awake at night feeling guilty because, even through her shock and grief, she has worked out that the statistical significance of Julia’s murder is that she is 88 per cent less likely to be murdered herself.

In another part of town, an eleven-year-old girl who has only read about the case, only ever seen Julia’s valedictorian photograph from her school yearbook, takes out the pain of it – and life in general – very precisely with a boxcutter on the tender skin inside her upper arm, above the line of her T-shirt sleeves, where the cuts will not be seen.

And five years later, it will be Kirby’s turn.

Harper
24 November 1931

He sleeps in the spare room, with the door closed tight against the objects, but they burrow their way into his brain, insistent as flea bites. After what seems like days of fractured fever dreams, he hauls himself out of bed and manages to limp down the stairs.

His head feels as thick as bread soaked in turpentine. The voice is gone, subsumed in that moment of searing clarity. The totems reach out to snag him as he limps past the Room. Not yet, he thinks. He knows what has to be done, but right now his stomach is clenching around the emptiness inside.

The sleek Frigidaire is empty, apart from a bottle of French champagne and a tomato that is slowly going to mulch, just like the body in the hall. It’s turned greenish with the first hints of a high, rotten smell. But the limbs that were stiff as wood two days ago have softened and gone limp. It makes it easier to shift the corpse over to get at the turkey. He doesn’t even have to break any fingers to pry it loose from the dead man’s grip.

He washes the scab of blood off the bird with soap. Then he boils it up with two old potatoes that he finds in a drawer in the kitchen. Mr Bartek obviously did not have a wife.

The only record he can find is the one that is already on the gramophone, so he winds it up and starts it playing the same set of showtunes to keep him company. He eats ravenously, sitting in front of the fire, forgoing cutlery to tear chunks of meat off with his hands. He washes it down with whiskey, filling the tumbler to the brim, not bothering with ice. He is warm and there is food in his gut and the pleasant fuzz of liquor in his head and the gaudy music seems to quiet the objects.

When the crystal decanter is empty, he goes to fetch the champagne and swigs it straight from the bottle, until that’s gone too. He sits sullenly drunk, the picked-apart husk of the bird tossed on the floor beside him, ignoring the ticking of the gramophone, the needle scratching uselessly without a groove, until the urge to take a piss forces him, reluctantly, to get up.

He staggers against the couch on his way to the commode and the clawed feet scrape across the floorboards and catch on the carpet, revealing a corner of battered blue luggage tucked underneath the couch.

He leans down on the armrest and hooks the suitcase out by the handle, trying to haul it up onto the cushions to get a better look. But between the booze and his greasy fingers, it slips and the cheap catch snaps apart, disgorging the contents onto the floor: bundles of money, a scattering of yellow and red Bakelite betting chips and a black ledger, bristling with colored papers.

Harper swears and drops to his knees, his first instinct being to shovel it back in. The bundles are thick as decks of cards: $5, $10, $20, $100 banknotes, bound up with rubber bands, and a set of five $5,000 bills, tucked down the side of the torn lining of the suitcase. It’s more money than he’s ever seen. No wonder someone bashed Bartek’s brains out. But then why didn’t they search for this? Even through the blur of alcohol, he knows this doesn’t make sense.

He examines the banknotes more carefully. They’re arranged by denomination, but separated into variations, all subtly different. It’s the size, he reckons, fingering them. The paper, the color of the print, tiny shifts in the arrangement of the images and the wording about legal tender. It takes him a while to figure out the most peculiar thing. The dates of issue are wrong. Like the view outside the window, he thinks and immediately tries to un-think it. Perhaps this Bartek was a forger, he rationalizes. Or a prop-maker for the theater.

He turns to the colored papers. Betting slips. With dates that skip around from 1929 to 1952. Arlington Racetrack. Hawthorne. Lincoln Fields. Washington Park. Every one a winner. Nothing too outrageous – score too big, too often, and you draw the wrong kind of attention, Harper reckons, especially in Capone’s city.

Each slip has an accompanying entry in the black accounts ledger, the amount and date and source printed in block capitals in a neat hand. All of them are listed as profits, $50 here, $1,200 there. Except one. An address. The house number, 1818, set against a figure written in red: $600. He hunts through the ledger for the corresponding document. The deed of ownership for the House. It is registered to Bartek Krol. April 5, 1930.

Harper sits back on his heels, flicking his thumb over the edge of a bundle of tens. Perhaps he is the madman. Either way, he has found something remarkable. It explains why Mr Bartek was too busy to get real groceries. Too bad his winning streak was cut short. Lucky for Harper. He’s a gambling man himself.

He glances across at the mess in the hallway. He will have to do something about it before it turns to mush. When he returns. It’s an itch, to get outside. To see if he’s right.

He dresses in the clothes he finds hanging in the wardrobe. A pair of black shoes. Workman’s denim. A button-up shirt. Exactly his size. He glances at the wall of objects again, to make sure. The air around the plastic horse seems to twitch and shiver. One of the girl’s names reads more clearly than the rest. Practically glowing. She’ll be waiting for him. Out there.

Downstairs, he stands by the front door, flicking out his right hand with nerves, like a boxer warming up to throw a punch. He has the object in mind. He has triple-checked that he has the key in his pocket. He is ready now, he thinks. He thinks he knows how it works. He will be like Mr Bartek. Conservative. Wily. He won’t go too far.

He lunges for the handle. The door swings open on to a flash of light, sharp as a firecracker in a dark cellar, ripping through the guts of a cat.

And Harper steps in to sometime else.

Kirby
3 January 1992

‘You should get another dog,’ her mother says, sitting on the wall looking out at Lake Michigan and the frosted beach. Her breath condenses in the air in front of her like cartoon speech bubbles. They predicted more snow on the weather report, but the sky isn’t playing.

‘Nah,’ Kirby says, lightly. ‘What’d a dog ever do for me anyway?’ She is idly picking up twigs and breaking them into smaller and smaller pieces until they won’t break any more. Nothing is infinitely reducible. You can split an atom but you can’t vaporize it. Stuff sticks around. It clings to you, even when it’s broken. Like Humpty Dumpty. At some point you have to pick up the pieces. Or walk away. Don’t look back. Fuck the king’s horses.

‘Oh, honey.’ It’s the sigh in Rachel’s voice that she can’t stand and it provokes her to push it further, always further.

‘Hairy, smelly, constantly jumping up to lick your face. Gross!’ Kirby pulls a face. They always end up stuck in the same old loop. Contemptuously familiar, but also comforting in its way.

She tried running for a while, after it happened. Dumped her studies – even though they offered her a sympathetic leave of absence – sold her car, packed up and went. Didn’t get very far. Although California felt as strange and foreign as Japan. Like something out of a TV show, but with the laugh track out of sync. Or she was; too dark and fucked up for San Diego and not fucked up enough, or in the wrong ways, for LA. She should have been tragically brittle, not broken. You have to do the cutting yourself, to let out the pain inside. Getting someone else to slice you up is cheating.

She should have kept moving, gone to Seattle or New York. But she ended up back where she started. Maybe it was all that moving when she was a kid. Maybe family exerts a gravitational pull. Maybe she just needed to return to the scene of the crime.

There was a fluster of attention around the attack. The hospital staff didn’t know where to put all the flowers she received, some of them from total strangers. Although half of those were condolence bouquets. No one expected her to pull through and the newspapers got it wrong.

The first five weeks after were full of rush and people desperate to do things for her. But flowers wilt and so do attention spans. She was moved out of intensive care. Then she was discharged. People got on with their lives and she was expected to do the same, never mind that she couldn’t roll over in bed without waking up from the jagged spike of pain. Or she’d be paralyzed with agony, terrified that she’d torn something when the painkillers suddenly wore off as she was reaching for the shampoo.

The wound got infected. She had to go back in for another three weeks. Her stomach bulged, like she was going to give birth to an alien. ‘Chestburster got lost,’ she joked to the doctor, the newest in a series of specialists. ‘Like in that movie, Alien?’ No one got her jokes.

Along the way, she misplaced her friends. The old ones didn’t know what to say. Whole relationships fell into the fissures of awkward silence. If the horror show of her injuries didn’t stun them into silence, then she could always talk about the complications from the fecal matter that leaked into her intestinal cavity. It shouldn’t have surprised her, the way conversations veered away. People changed the subject, played down their curiosity, thinking they were doing the right thing, when actually what she needed more than anything was to talk. To spill her guts, as it were.

The new friends were tourists, come to gawk. It was careless, she knows, but oh so horribly easy to let things slip. Sometimes all it took was not returning a phone call. With the more persistent ones, she had to stand them up, repeatedly. They would be baffled, angry, hurt. Some left shouty messages, or worse, sad ones, on her answering machine. Eventually she just unplugged it and threw it away. She suspects it was a relief for them in the end. Being her friend was like going to a tropical island for a little fun in the sun, only to be kidnapped by terrorists. Which was something real that she saw a news piece about. She reads a lot about trauma. Survivor’s stories.

Kirby was doing her friends a favor. Sometimes she wishes she had the same options on an exit plan. But she’s stuck in here, a hostage in her head. Can you give yourself Stockholm Syndrome?

‘So how about it, Mom?’ The ice on the lake shifts and cracks musically like windchimes made of broken glass.

‘Oh, honey.’

‘I can pay you back in ten months, max. I figured out a schedule.’

She reaches into her backpack for the folder. She worked up the spreadsheet at a copy shop, in color and with a fancy font that looks like script. Her mother is a designer, after all. Rachel gives it due diligence, reading carefully down the rows as if she’s examining an art portfolio instead of a budget proposal.

‘I’ve paid off most of my credit card from traveling. I’m down to a hundred and fifty a month plus one thousand dollars on my student loan, so it’s totally do-able.’ Her school did not give her a sympathetic leave of absence on her debt. She’s babbling, but she can’t stand the tension. ‘And it’s not that much, really, for a private investigator.’ Normally $75 an hour, but he said he would do it for $300 a day, $1,200 a week. Four grand for the month. She’s budgeted for three months, although the PI says he’ll be able to tell her whether it’s worth pursuing after one. A small price to pay for knowing. For finding the fucker. Especially now that the cops have stopped talking to her. Because apparently it’s not healthy or helpful to take too much interest in your own case.

‘It’s very interesting,’ Rachel says politely as she closes it up and tries to hand it back. But Kirby won’t take it. Her hands are too busy, breaking up sticks. Snap. Her mother sets the folder down on the wall between them. The snow immediately starts soaking into the cardboard.

‘The damp in the house is getting worse,’ Rachel says, closing the subject.

‘That’s your landlord’s problem, Mom.’

‘You know what Buchanan is like,’ she laughs, wryly. ‘He wouldn’t come out if the house was falling down.’

‘Maybe you should try knocking out some walls and see.’ Kirby can’t keep the bitterness out of her voice. It’s an internal barometer of putting up with her mother’s crap.

‘And I’m moving my studio space to the kitchen. There’s more light there. I find I need more light these days. Do you think I have Robles’ disease?’

‘I told you to get rid of that medical book. You can’t self-diagnose, Mom.’

‘It seems unlikely. It’s not like I’ve come in to contact with river parasites. It could be Fuchs’ dystrophy, I suppose.’

‘Or you’re just getting older and you need to deal with it,’ Kirby snaps. But her mother looks so sad and lost that she relents. ‘I could come and help you move it. We could go through the basement, find things to sell. I bet some of that stuff is worth a fortune. That old printmaking kit must be worth two thousand dollars on its own. You’d probably make a heap of cash.

‘You could take a couple of months off. Finally finish Dead Duck.’ Her mom’s work-in-progress is, morbidly, a story of an adventurous duckling who travels the world asking dead things how they came to be dead. Actual sample:

– And how did you die, Mr Coyote?

– Well, Duck, I was hit by a truck.

I wasn’t looking when I crossed the street

Now I’m a snack for hungry crows to eat.

It’s too bad. I’m so sad.

But I’m glad for what I had.

It always ends the same way. Every animal dies in a different gruesome way but has the same answer, until Duck himself dies and reflects that he too is sad, but glad for what he had. It’s the kind of dark pseudo-philosophical whimsy that would probably do very well in children’s publishing. Like that bullshit book about the tree that self-sacrifices and self-sacrifices until it’s so much graffiti-ed rotting wood on a park bench. Kirby always hated that story.

This has nothing to do with what happened to her, according to Rachel. It’s about America and how everyone thinks that death is something you have to fight, which is weird for a Christian country that believes in an afterlife.

She’s just trying to show that it’s a normal process. No matter how you go, the end result is always the same.

That’s what she says. But she started it when Kirby was still in ICU. And then ripped it all up, pages and pages of adorably grisly illustrations, and started again. Over and over with these stories of the cute dead animals, but never finishing it. It’s not like a kid’s picture book even needs to be very long.

‘I take it that’s a no, then?’

‘I just don’t think it’s the best use of your time, honey,’ Rachel pats her hand. ‘Life is for living. Do something useful. Go back to college.’

‘Sure. That’s useful.’

‘Besides,’ Rachel says, her gaze dreamy, looking over the lake. ‘I don’t have the money.’

It’s impossible to push her mother away, Kirby thinks, letting the crumble of sticks fall from her numbed fingers onto the snow. Her default state of being is absent.

Mal
29 April 1988

Malcolm spots the white boy straight away. Not that a lack of melanin is wholly unusual round these parts. Usually they driving, the car barely pausing long enough to make their score. But you get your walk-ups too, from the far-gone fiends with their yellow eyes and chicken skin and hands shaking like old folk through to miss lady lawyer in her expensive suit, coming up from downtown to wait patient with the rest of them every Tuesday and, lately, Saturdays too. The street’s egalitarian that way. But they don’t tend to hang around after.

This man just standing there, right on the steps of them abandoned tenements, looking about like he owns the joint. Maybe he does. Rumors going round that they aiming to gentrify Cabrini, but you’d have to be one crazy motherfucker to try that shit out in Englewood with these rundown shitholes.

Mal doesn’t know why they even bother boarding them up no more. They all been long stripped of any pipe or brass handles or other Victorian whatnot. Broken windows, rotten floors, and whole generations of rat families living on top of each other; granny and gramps and mammy and pappy and baby-boo rat. So only the really hard-up tweakers would try their luck using ’em as a shooting gallery. Those places a wreck. And in this neighborhood, that’s saying something.

Not a realtor, he figures, watching as the man steps down onto the cracked concrete, his shoes scuffing the faded hopscotch grid. Mal has already had his hit, the dope sitting in his guts, slowly turning them to cement. It takes the teeth off his day, so he’s got all the time in the whole world to watch some white man acting weird.

The cracker crosses the lot, skirting the wreck of an old couch, walking under the rusting pole that used to have a basketball hoop attached ’til kids yanked it down. Self-sabotage, that’s what that is. Fucking your own shit up.

Not police neither, way he’s dressed. Which is badly, in floppy dark-brown pants and an old-fashioned sports coat. That crutch under his arm speaks to a sure sign of someone who has gone spiked up in the wrong place and done themselves some damage. Must have traded his hospital cane to the pawn shops already to have ended up with that clunky old thing. Or maybe he didn’t go to hospital at all ’cos he got something to hide. There’s something wack about him.

He’s interesting. A prospect, even. Could be the guy’s hiding out. Ex-mob. Hell, ex-wife! Good place for it. Could be he’s got some cash stashed in one of those old rat nests. Mal peers at the row houses, speculating. He could sniff around while the white boy’s out about his business. Alleviate him of any valuables that might be troubling him. No one the wiser. Probably doing him a favor.

But looking at the houses, trying to figure which one he mighta stepped out of, makes Mal feel strange. Could be the heat rising off the asphalt giving everything the shimmers. Not quite the shakes, but close. He should have known better than to buy product off Toneel Roberts. That boy been dipping, for sure, which means he been cutting too. Mal’s stomach cramps like someone’s got their hand right up in there. A little reminder that he hasn’t eaten in fourteen hours and an indication, oh yes, that the dope’s been cut. Meantime, Mr Prospect is heading down the street, smiling and waving away the corner kids shouting out to him. He gives it up for a bad idea. Least for the time being. Better to wait ’til the white boy comes back and he can check it out properly. Right now, nature calling.

He catches up with him a couple of blocks down. Luck plain and simple. Although it helps that the guy is staring at the TV in the window of the drug store, so hypnotized that Mal is worried he had a seizure or something. Not even aware he’s obstructing people’s way. Maybe it’s some big news. World war fucking three broke out. He sidles up to see, innocent as you please.

But Mr Prospect is watching commercials. One after the other. Creamette’s pasta sauce. Oil of Olay. Michael Jordan eating Wheaties. Like he’s never seen someone eating Wheaties before.

‘You okay, man?’ he says, not willing to lose sight of him again, but not quite steeled up enough to tap him on the shoulder. The guy turns with such a ferocious smile that Mal almost loses his nerve.

‘This is amazing,’ the guy says.

‘Shit, man, you should try Cheerios. But you blocking traffic. Make some room for the people, you know?’ He gently guides him out of the way of a kid on rollerblades barreling down on them. His man stares after him.

‘Dreads on a white boy,’ he agrees, or he thinks he does. ‘Just can’t do it. How’s about that one?’ He pretends to nudge him with his elbow, not making actual contact, to indicate the girl with tits that God himself must have sent down from on high, barging up against each other under her tank top. But the guy barely looks at her.

Mal senses he’s losing him. ‘Not your type, huh? That’s all right, man.’ And then, because the jonesing is already beginning to gnaw at him: ‘Say, you got a dollar to spare?’

The guy seems to see him for the first time. Not like the normal white-man-glance-you-over neither. Like he gets him right to his core. ‘Sure,’ he says and reaches into the inside pocket of his jacket to pull out a bundle of banknotes held together with a rubber band. He peels one off and hands it over, watching him with the intensity of some rookie trying to pass off baking soda as the real thing, putting Mal on his guard even before he looks at the note.

‘You fuckin’ kidding me?’ he scowls at the $5,000 bill. ‘What am I supposed to do with this?’ He has his doubts now about this whole damn enterprise. Cracker is crazy.

‘Is this better?’ he says, and flicks through the bills to hand him a C-note, looking for his reaction. Mal is tempted not to give him the satisfaction, but hell, who to say he won’t give him another if he gets what he’s looking for. Whatever that is.

‘Oh yeah, this’ll do fine.’

‘Is the Hooverville still down by Grant Park?’

‘I don’t even know what you talking about, man. But give me another one of those and I’ll walk you up and down the whole park ’til we find it.’

‘Just tell me how to get there.’

‘Hop on the green line. Take you all the way downtown,’ he says, pointing to the El tracks visible between the buildings.

‘You’ve been a great help,’ the man says. To Mal’s dismay, he tucks the bundle back into his jacket and starts limping away.

‘Hey now, wait up.’ He breaks into a little jog to catch up with him. ‘You from out of town, right? I can be your tour guide. Show you the sights. Get you some pussy. Whatever flavor you like, man. Look out for you, know what I’m saying?’

The guy turns to him, all friendly, like he’s giving him the weather report. ‘Leave off, friend, or I’ll gut you here in the street.’

Not ghetto bluster. Matter of fact. Like tying your shoelaces. Mal stops dead and lets him go. Doesn’t fucking care no more. Crazy cracker. Better off not getting involved.

He watches Mr Prospect limping down the street and shakes his head at the ridiculous fake bill. He’ll keep it as a memento. And maybe he’ll go back to those broke-down houses to have a poke around, while the guy’s gone. His stomach clenches at the thought. Or maybe not. Not while he’s still flush. He’ll treat himself. Blue caps. No more of Toneel’s inferior shit. He might even buy for his boy, Raddison, if he sees him. Why not? He’s feeling generous. He’ll make it last.

Harper
29 April 1988

It is the noise that bothers Harper the most – worse than being huddled in the sucking black mud of the trenches, dreading the high whine that precipitated the next round of artillery fire, the dull thud of distant bombs, tanks grating and rumbling. The future is not as loud as war, but it is relentless with a terrible fury all its own.

The sheer density is unexpected. Houses and buildings and people all crammed on top of each other. And cars. The city has been reshaped around them. There are entire buildings built to park them in, rising layer on layer. They rush past, too fast and too loud. The railroad tracks that brought the whole world to Chicago are quiet, subdued by the roar of the expressway (a word he will only learn later). The churning river of vehicles just keeps coming, from where he can’t imagine.

As he walks, he catches glimpses of the shadow of the old city underneath. Painted signs that have faded. An abandoned house that has turned into an apartment block, also boarded up. An overgrown lot where a warehouse stood. Decay, but also renewal. A cluster of storefronts sprung up where an empty lot used to be.

The shop windows are baffling. The prices are absurd. He wanders into a convenience store and retreats again, disturbed by the white aisles and fluorescent lights and the glut of food in cans and boxes with color photographs that scream the contents. It makes him feel nauseous.

It’s all strange, but not unimaginable. Everything extrapolates. If you can catch a concert hall in a gramophone, you can contain a bioscope in a screen playing in a store window, something so ordinary it doesn’t even attract an audience. But some things are wholly unexpected. He stands entranced by the whirling and flaying brush strips of a car wash.

The people remain the same. Hustlers and shit-heels, like the homeless boy with the bulging eyes who mistook him for an easy mark. He saw him off, but not before he was able to confirm some of Harper’s suppositions about the dates on money or where he is. Or when. He fingers the key in his pocket. His way back. If he wants to go.

He takes the boy’s advice and gets on the Ravenswood El, which is practically the same as in 1931, only faster and more reckless. The train skelters through the corners so that Harper clings to the pole, even sitting down. Mostly, the other passengers avert their eyes. Sometimes they move away from him. Two girls dressed like whores giggle and point. It’s his clothes, he realizes. The others are wearing brighter colors and fabrics that are somehow shinier and tackier, like their lace-up shoes. But when he starts moving across the carriage towards them, their smiles wither and they get off at the next stop, muttering to each other. He has no interest in them anyway.

He ascends the stairs onto the street, his crutch clanging against the metal, drawing a pitying look from a uniformed colored woman who nevertheless does not offer him assistance.

Standing under the metal pylons of the railroad, he sees that the neon of the Loop has intensified ten-fold. Look here, no, here, those flashing lights say. Distraction is the order and the way.

It takes only a minute to figure out how the lights work at the crosswalk. The green man and the red. Signals designed for children. And aren’t all these people exactly that with their toys and noise and haste?

He sees that the city has changed its color, from dirty whites and creams to a hundred shades of brown. Like rust. Like shit. He walks down to the park to see for himself that the Hooverville has indeed gone, leaving no trace.

The view of the city from here is unnerving. The profile of the buildings against the sky is wrong, shining towers so high the clouds swallow them up. Like a vista of hell.

The cars and the crush of people makes him think of woodborer beetles eating their way through a tree. Trees riddled with those wormy scars die. As this whole pestilential place will, collapsing in on itself as the rot sets in. Perhaps he’ll see it fall. Wouldn’t that be something?

But now he has a purpose. The object burns in his head. He knows where to go, as if he has been this way before.

He gets on another train, descending into the bowels of the city. The clattering of the tracks is louder in the tunnels. Artificial lights slice past the windows, shearing people’s faces into fragmented moments.

It leads him, ultimately, to Hyde Park, where the university has created a pocket of pink-faced wealth among the working-class rubes, who are overwhelmingly black. He feels edgy with anticipation.

He gets a coffee from the Greek diner on the corner, black, three sugars. Then he walks up past the residences until he finds a bench to sit on. She’s here, somewhere. As it is meant to be.

He slits his eyes and tilts his face as if he is enjoying the sunshine, so that it doesn’t seem that he is examining the faces of all the girls who pass him. Glossy hair and bright eyes under heavy make-up and fluffy hairstyles. They wear their privilege like it’s something they pull on with their socks in the morning. It blunts them, Harper thinks.

And then he sees her, getting out of a boxy white car with a dent in the door, which has pulled up at the entrance to a residence barely ten feet from his bench. The shock of recognition goes all the way through to his bones. Like love at first sight.

She’s tiny. Chinese or Korean, in mottled blue-and-white jeans with black hair that has been fussed up like cotton candy. She pops the trunk and starts unloading cardboard boxes onto the ground, while her mother laboriously clambers out of the car and comes round to help. But it is obvious, even as she struggles, laughing in exasperation, with a box that is splitting at the bottom under the weight of books, that she is a different species to the empty husks of girls he’s seen. Full of life, that lashes out like a whip.

Harper has never limited his appetites to one particular kind of woman or another. Some men prefer girls with wasp waists or red hair or heavy buttocks you can dig your fingers into, but he has always taken whatever he could get, whenever he could get it, paying for it most of the time. The House demands more. It wants potential – to claim the fire in their eyes and snuff it out. Harper knows how to do that. He will need to buy a knife. Sharp as a bayonet.

He leans back and starts rolling a cigarette, pretending to watch the pigeons fighting the seagulls for a scrap of sandwich yanked from a dustbin, every bird for himself. He doesn’t look at the girl and her mother fussing and fretting as they carry the boxes inside. But he can hear everything, and if he stares down contemplatively at his shoes while he’s rolling, he can see them out the side of his eye.

‘Okay, that’s the last one,’ the girl – Harper’s girl – says, lugging a half-open box out of the back of the car. She spots something inside and reaches in to pull out a doll, shockingly naked, holding it by the ankle. ‘Omma!’

‘What now?’ her mother says.

‘Omma, I told you to drop this off at the Salvation Army. What am I supposed to do with all this junk?’

‘You love that doll,’ her mother reprimands her. ‘You should keep it. For my grandkids. But not yet. You find a nice boy first. A doctor or a lawyer, seeing as you are studying sociopathy.’

‘Sociology, Omma.’

‘And that’s another thing. Going into these bad places. You’re looking for trouble.’

‘You’re overreacting. It’s where people live.’

‘Sure. Bad people, with guns. Why can’t you study opera singers? Or waiters? Or doctors. Good way to meet a nice doctor, I think. Aren’t they interesting enough for your degree? Instead of these housing projects?’

‘Maybe I should study the similarities between Korean mothers and Jewish ones?’ She tangles her fingers absently in the doll’s long blonde hair.

‘Maybe I should slap your face for being rude to the woman who raised you! If your grandmother heard you talking like this …’

‘Sorry, Omma,’ the girl says, sheepish. She examines the doll’s locks twirled around her fingers. ‘Remember that time I tried to dye my Barbie’s hair black?’

‘With shoe polish! We had to throw that one away.’

‘Doesn’t that bother you? The homogeneity of aspiration?’

Her mother waves her hand impatiently. ‘Your big college words. It bothers you so much, you take the kids you working with in the projects black Barbies, then.’

The girl tosses the doll back in the box. ‘That’s not a bad idea, Omma.’

‘But don’t use shoe polish!’

‘Don’t even joke.’ She leans over the box in her arms to kiss the older woman on the cheek. Her mother bats her away, embarrassed by the show of affection.

‘Be good,’ she says, climbing into the car. ‘You study hard. No boys. Unless they’re doctors.’

‘Or lawyers. I got it. Bye, Omma. Thanks for your help.’

The girl waves and waves as the woman drives off, up towards the park, then drops her arm as the car executes a reckless U-turn to come all the way back. Her mother rolls down the window.

‘I nearly forgot,’ she says. ‘Lots of important things. Remember dinner on Friday night. And drink your Hahn-Yahk. And call your grandmother to let her know you’re all moved in. You’ll remember all that, Jin-Sook?’

‘Yes, okay, I got it. Bye, Omma. Seriously. Go. Please.’

She waits for the car to leave. Once it turns the corner, she looks helplessly at the box in her arms and then sets it down next to the trash can before disappearing into the residence.

Jin-Sook. Her name sends a flush of heat through Harper. He could take her now. Strangle her in the hallway. But there are witnesses. And, he knows this deep down, there are rules. Now is not the time.

‘Hey, man,’ a sandy-haired young man says, in a not quite friendly way, standing over him with the casual overconfidence of his size. He’s wearing a T-shirt with a number on it, and shorts that have been cut off at the knee, leaving white fraying threads. ‘You gonna be here all day?’

‘Finishing my cigarette,’ Harper says, dropping his hand to his lap to hide his half-erection.

‘Think you better hurry it up. Campus security don’t like people hanging around.’

‘Free city,’ he says, although he has no idea if that’s true.

‘Yeah? Well don’t be here when I get back.’

‘I’m going.’ Harper takes a long drag, as if to prove it, without moving an inch. It’s enough to placate the young bull. He jerks his head in acknowledgement and strolls off towards the strip of shops, glancing back once, over his shoulder. Harper drops the cigarette to the ground and ambles up the way, as if he’s leaving. But he stops at the trash can where Jin-Sook left the box.

He crouches down beside it and starts pawing through the jumble of toys. It’s why he’s here. He is following a map. All the pieces must be put into place.

He finds the pony with the yellow hair as Jin-Sook (the name sings in his head) emerges from the building, hurrying back to the box, looking guilty.

‘Hey, sorry, um, I changed my mind,’ she starts apologizing, then cocks her head, confused. Up close, he can see that she’s wearing a single earring, a dangly shower of blue and yellow stars on silver chains. The motion makes the stars shiver. ‘That’s my stuff,’ she says, accusing.

‘I know.’ He gives her a mocking little salute as he starts limping away on his crutch. ‘I’ll bring you something else instead.’

He does, but only in 1993, when she is a fully fledged social worker for the Chicago Housing Authority. She will be his second kill. And the police won’t find the gift he leaves her. Or notice the baseball card he takes away.

Dan
10 February 1992

The Chicago Sun-Times’ typeface is ugly. So is the building it sits on, a low-rise eyesore that squats on the bank of the Chicago River on Wabash, surrounded by soaring towers. It is, in fact, a shithole. The desks are all still heavy old metal things from World War II with wells for typewriters that have been plugged with computers. There is aerated ink caked in the air vents from the printing presses that shake the whole building when they run. Some reporters have ink in their veins. The Sun-Times staff have ink in their lungs. Once in a while someone will complain to OSHA.

There’s a pride in the ugliness. Especially in comparison to the Tribune Tower across the way with its neo-Gothic turrets and buttresses, like some cathedral of news. The Sun-Times has an open sprawling office with all the desks butting up against one another, arranged around the city editor. Features and sports are shunted off to the side. It’s messy, it’s noisy. People are shouting over each other and the squawking police radio. There are televisions going and phones ringing and the fax machines bleeping as they churn out incoming stories. The Tribune has cubicles.

The Sun-Times is the working-class paper, the cop’s paper, the garbage collector’s paper. The Tribune is the broadsheet of millionaires and professors and the suburbs. It’s South Side vs. North Side, and never the twain shall meet – until the start of intern season, when the rich college brats with connections descend.

‘Incoming!’ Matt Harrison yells in a sing-song, marching between the desks with the bright-eyed young people following in his wake like baby ducks behind their momma. ‘Warm up the copy machine! Get your messy filing prepped! Have your coffee orders ready!’

Dan Velasquez grunts and slumps down deeper behind his computer, ignoring the little ducklings quack-quacking in excitement at being in a real live newsroom. He shouldn’t even be here. There is no reason for him to come into the office. Ever.

But his editor wants a face-to-face about plans for covering the coming season, before he jets off to Arizona for spring training. Like that’s going to make a difference. Being a Cubs fan is about being an optimist against all odds or rationale. True believer stuff. Maybe he can say that. Get away with a bit of editorializing. He’s been nagging for Harrison to let him write a column instead of gamers all the time. That’s where great writing is: opinion pieces. You can use sports (or, heck, movies) as an allegory for the state of the world. You can add meaningful insight to the cultural discourse. Dan searches himself for meaningful insight. Or at least an opinion. He finds himself lacking.

‘Yo, Velasquez, I’m talking to you,’ Harrison says. ‘You got your coffee order ready?’

‘What?’ He peers over his glasses, new bifocals that confound him as much as the new word processor does. What was wrong with Atex? He liked Atex. Hell, he liked his Olivetti typewriter. And his old fucking glasses.

‘For your intern,’ Harrison makes a ta-da gesture at a girl barely out of kindergarten, surely, with crazy kindergarten hair sticking up all over the place, a multicolored striped scarf looped around her neck with matching fingerless gloves, a black jacket with more zips than is conceivably practical, and worse, an earring in her nose. She irritates him on principle.

‘Oh no. Nuh-uh. I don’t do interns.’

‘She asked for you. By name.’

‘All the more reason not to. Look at her, she doesn’t even like sports.’

‘It’s a real pleasure to meet you,’ says the girl. ‘I’m Kirby.’

‘That’s not relevant to me because I’m never going to talk to you again. I’m not even supposed to be here. Pretend I’m not.’

‘Nice try, Velasquez.’ Harrison winks. ‘She’s all yours. Don’t do anything litigiously offensive.’ He walks away to drop off the other interns with various reporters eminently more qualified and willing to have them.

‘Sadist!’ Dan yells after him and then turns grudgingly to the girl. ‘Great. Welcome. Pull up a chair, I guess. I don’t suppose you happen to have an opinion on the Cubs line-up this year?’

‘Sorry. I don’t really do sports. No offense.’

‘I knew it.’ Velasquez glares at the blinking cursor on his screen. It’s mocking him. At least with paper you could doodle on it or write notes or crumple it up and toss it at your editor’s head. His computer screen is unassailable. So is his editor’s head.

‘I’m much more interested in crime.’

He spins slowly in his wheelie chair to face her. ‘Is that so? Well, I got real bad news for you. I cover baseball.’

‘But you used to be on homicide,’ the girl insists.

‘Yeah, like I used to be able to smoke and drink and eat bacon and not have a fucking stent in my chest. All a direct result of working the homicide beat. You should forget about it. It’s no place for a nice wannabe hardcore punk girl like you.’

‘They don’t offer internship positions on homicide.’

‘For a very good reason. Can you imagine you kids running around a crime scene? Christ!’

‘So you’re the closest I can get.’ She shrugs. ‘Besides. You covered my murder.’

He is thrown, but only for a moment. ‘All right, kid, if you’re serious about covering crime, the first thing you gotta do is get the terminology right. You would have been an “attempted murder”. As in, not successful. Right?’

‘That’s not the way it feels.’

‘Qué cruz.’ He mimes pulling out his hair. Not that he has much left. ‘Remind me again which of Chicago’s very many homicides you’re supposed to be?’

‘Kirby Mazrachi,’ she replies, and it all comes back to him, even as she’s unwinding her scarf to reveal the raw ridge across her throat where the maniac cut her, nicking the carotid, but not severing it, if he recalls the ME’s report.

‘With the dog,’ he says. He’d interviewed the witness, a Cuban fisherman whose hands shook the whole way through the interview, although, Dan thought cynically, he pulled himself together by the time the TV news people got to him.

He described how he saw her stumble out of the woods with blood pulsing from her throat, a loop of gray-pink intestine protruding under the ripped remains of her T-shirt, carrying her dog in her arms. Everyone thought she was going to die for sure. Some of the papers even reported it that way.

‘Huh,’ he says, impressed. ‘So, you want to crack the case? Bring the killer to justice? You want a sneak peek at your files?’

‘No. I want to see the others.’

He leans back, his chair creaking precariously, very impressed. And not a little intrigued.

‘Tell you what, kiddo. You phone Jim Lefebvre for a quote about these rumors that they’re going to fly Bell from the Cubs line-up, and I’ll see what I can do about these others.’

Harper
28 December 1931

Chicago Star

GLOW GIRL CAUGHT IN DEATH’S DANCE

By Edwin Swanson

CHICAGO, IL. – At this writing, the police are scouring the city for the murderer of Miss Jeanette Klara, also known as the Glow Girl. The little French dancer gained a level of notoriety in the city for cavorting unclad behind feathered fans, diaphanous veils, over-sized balloons and other trifles. She was found in the early hours of Sunday morning, gruesomely dispatched in an alleyway at the back of Kansas Joe’s, one of several specialty theaters catering to patrons of dubious moral tastes.

Her untimely death might nonetheless be a mercy, compared to the inevitable alternative of a slow and painful one. Miss Klara was under observation by doctors who suspected that she was a victim of radium poisoning from the powder that lit her up like a firefly, anointed before every feature performance.

‘I am tired of hearing about zee radium girls,’ she said in an interview with the press conducted from her hospital bed last week, cheerfully dismissing the story she’s been regaled with scores of times, of the young women who were poisoned by radioactive substances while painting luminous undark watch dials in a New Jersey factory. Five young women who were destroyed by the irradiation infecting first their blood and then their bones sued US Radium for $1,250,000. They were paid out a settlement of $10,000 each and a $600 yearly pension. But they died, one by one, and there is no record to show that any of them considered that she was well paid for dying.

‘Razz-ber-eeees,’ sniffed Miss Klara, tapping her pearly whites with one red nail. ‘Do my teeth look like zey are falling out to you? I am not dyeeing. I am not even seeck.’

She did cop to getting ‘leetle bleesters’ that would come up on her arms and legs, and told her maid to hurry with her bath after every show, because of the sensation that her skin was ‘on fire’.

But she did not want to talk about ‘such theengs’ when I visited her in her private ward filled with bouquets of winter blooms, apparently from admirers. She’d paid for the best medical care (and, rumors in the ward persisted, some of the bouquets too) with her earnings from shimmying on stage.

Instead she showed me a pair of gossamer butterfly wings she had sewn with sequins and painted with radium as part of a new costume and a new routine she was working on.

To understand her, you must know her species. The ambition of every performer is to originate a specialty, something that is impregnable against the legions of imitators, or at least, that will be deferred to you as being the first of its kind. For Miss Klara, becoming the Glow Girl was a way of rising above the competitive mediocrity that confounds even the most lithe and harmonized of dancers. ‘And now I will be zee Glow Butterfly,’ she said.

She bemoaned the lack of a boyfriend. ‘Zey hear zees stories about ze paint and they theenk I will poison them. You tell zem, please, in your newspaper zat I am only intox-zicating, not poisonous.’

Despite being warned by doctors that the radiation had penetrated her blood and her bones and that she might even lose a leg, the petite provocateur who once performed at Folies Bergère in Paris and (somewhat more clothed) at the Windmill in London before coming to take America by storm, said she would ‘keep danceeng until the day I die’.

Her words proved miserably prophetic. The Glow Girl capered her last on Saturday night at Kansas Joe’s, returning for one encore. The last anyone saw of the unfortunate girl was when she blew her traditional farewell kiss to Ben Staples, the club’s bouncer, who guarded the back door against overly enthusiastic fans.

Her body was found in the early hours of Sunday morning by a machinist, Tammy Hirst, on her way home after the night shift, who said she was attracted by a strange glow in the alleyway. On seeing the mutilated corpse of the little dancer, still wearing her paint under her coat, Miss Hirst fled to the nearest police precinct, where she tearfully reported the body’s location.

There were plenty of witnesses who saw him at the bar that night. But Harper is not surprised at the fickleness of people. They were largely high society folk slumming it for the night. They had a bored off-duty cop with them, earning a little on the side to play minder, show them the sights, give them a taste of sin and debauchery in the Black and Tan belt. Funny how that didn’t make the papers.

It was easy for him to be unobtrusive in that crowd, but he left the crutch outside. He’d found it was a good prop. People’s eyes slid away from it. They underestimated him. But inside the bar, it would have been a detail to hang your memory on.

He stood at the back, nursing what passed for gin under the Volstead Act, served in a porcelain teacup so the bar could claim innocence in a raid.

The rich folk clustered around the stage, thrilled to be rubbing shoulders with the hoi polloi, as long as they didn’t rub too close, or not without express permission. That’s what the cop was for. They were whooping and hollering for the show to start already and only got more aggressive when, instead of Miss Jeanette Klara – Radiant Wonder Of The Night, Brightest Star In The Firmament, Luminous Mistress Of Delight, This Week Only, a small Chinese girl in modest embroidered silk pajamas stepped out from the wings and sat down, cross-legged on the edge of the stage, behind a wood and wire instrument. But when the lights dimmed, even the most drunk and boisterous of the fancy folk hushed up in anticipation.

The girl started plucking the strings of the instrument, creating a twanging oriental melody, sinister in its strangeness. A shadow slipped out among the coils of white fabric artfully arranged on the stage, dressed top-to-toe in black like an Arab. Her eyes glinted once briefly, catching the light from outside as a late arrival was grudgingly allowed entry by the thickset doorman. Cool and feral as an animal’s eyes caught in the headlights, Harper thought, like when he and Everett used to drive to Yankton before dawn to pick up farm supplies in the Red Baby.

Half the audience didn’t even realize anyone was there, until, cued by some undetectable shift in the music, the Glow Girl slid off one long glove, revealing an incandescent disembodied arm. The onlookers gasped and one woman near the front screamed in shrill delight, startling the cop, who craned his neck to see if there had been any impropriety.

The arm unfurled, the hand at the end twisting and turning in a sensual dance all its own. It teased its way around the black sack, exposing, briefly, a girlish shoulder, a curve of belly, a flash of painted lips, firefly bright. Then it moved to tug off the other glove and throw it into the crowd. Now there were two glowing arms, exposed from the elbow down, sensually contorting, beckoning the audience: Come closer. They obeyed, like children, clustering around the stage, jostling for the best view and tossing the glove up into the air, passing it hand-to-hand, like a party favor. It landed near Harper’s feet – a wrinkled thing, with radium paint streaks showing like innards.

‘Hey, now, no souvenirs,’ the huge doorman said, snatching it out of his hands. ‘Give it here. That’s Miss Klara’s property.’

On stage, the hands crept up to the veiled hood and unclasped it, letting loose a tumble of curls and revealing a sharp little face with a bow mouth and giant blue eyes under fluttering lashes, tipped with paint so they glowed too. A pretty decapitated head floating eerily above the stage.

Miss Klara rolled her hips, twisting her arms above her head, waiting for the suspense of a dip in the melody and the sharp clang of the cymbals she held between her fingers before she removed another piece of clothing, like a butterfly shrugging out of the folds of a black cocoon. But the movement reminded him more of a snake wriggling out of its skin.

She wore dainty wings underneath, and a costume beaded with insect-like segments. She fluttered her fingers and winked her big eyes, dropping into a contorted pose among the coils of fabric like a dying moth. When she re-emerged, she had slipped her arms into sleeves in the gauze and was swirling it around her. Above the bar, a projector flickered to life, casting the blurry silhouettes of butterflies on the gauzy cloth. Jeanette transformed into a swooping, diving creature among a whirlwind of illusory insects. It made him think of plague and infestation. He fingered the folding knife in his pocket.

‘Zank you! Zank you!’ she said at the end of it, in her little girl voice, standing on stage wearing only the paint and a pair of high heels, her arms crossed over her breasts, as if they hadn’t already seen all there was to see. She blew the audience a grateful kiss, in the process revealing her pink nipples to roaring approval. She widened her eyes and gave a coquettish giggle. She quickly covered up again, playing at modesty, and skipped off stage, kicking up her heels. She returned a moment later and wheeled round the stage, her arms held up high and wide in triumph, chin raised, eyes glittering, demanding that they look at her, take their fill.

All it cost him was a penny’s worth of caramels, the box slightly battered from being under his coat all night. The doorman was distracted, dealing with a society lady who was vomiting copiously on the front steps, while her husband and his friends jeered.

He was waiting for her when she emerged from the back door of the club, dragging her suitcase of props. She was hunched against the cold in a thick coat buttoned up over the spangled costume, her face streaked with sweat through the glow paint which she had only made a cursory attempt to wipe off. The light of it cast her features into sharp relief, hollowing out her cheekbones. She looked fraught and exhausted, with none of the verve she’d had on stage, and for a moment Harper doubted himself. But then she saw the treat he’d brought her and a brittle hungriness lit her up. She’d never been more naked, Harper thought.

‘For me?’ she said, so charmed that she forgot the French accent. She recovered quickly, glossing over the broad Boston vowels. ‘Iz zat not so sweet? Did you zee ze show? Did you like eet?’

‘It wasn’t to my taste,’ he replied, just to see the disappointment flicker before the pain and surprise took over.

It was no great thing to break her. And if she screamed – he wasn’t sure because the world had narrowed to this, like looking through the lens of a peepshow – no one came running to see.

Afterwards, when he bent to wipe his knife on her coat, his hands shaking with excitement, he noticed that tiny blisters had already formed on the soft skin under her eyes and around her mouth, her wrists and thighs. Remember this, he told himself through the buzzing in his head. All the details. Everything.

He left the money, the pathetic ream of her takings, all in one- and two-dollar bills, but he took the butterfly wings, wrapped in a chemise, before limping away to retrieve his crutch where he had stashed it behind the trash cans.

Back at the House, he showered upstairs for a long time, washing his hands again and again until they were pink and raw, afraid of the contamination. He left the coat soaking in the bathtub, grateful that it was dark enough for the blood not to show.

Then he went to hang the wings on the bedpost. Where the wings were already hanging on the bedpost.

Signs and symbols. Like the flashing green man that gives you permission to cross the street.

No time but the present.

Kirby
2 March 1992

The axles of corruption are greased with donut glaze. Or that’s what it costs Kirby to get access to files she really doesn’t have any good excuse to be looking at.

She’s already exhausted the microfiche at the Chicago Library, ratcheting the machine’s whirring shutter through twenty years’ worth of newspapers, all the spools individually boxed and cataloged in drawers.

But the Sun-Times archive library goes back deeper and is staffed by people with lateral skills for finding information that borders on the arcane. Marissa, with her cat’s-eye glasses and swishy skirts and secret fondness for the Grateful Dead, Donna, who avoids eye contact at all cost, and Anwar Chetty, also known as Chet, who has stringy dark hair flopping over his face, a silver bird’s-skull ring that covers half his hand, a wardrobe built on shades of black and a comic book always close at hand.

They’re all misfits, but she gets on best with Chet, because he is so utterly unsuited to his aspirations. He is short and slightly tubby and his Indian complexion is never going to be the fishbelly white of his chosen pop-culture tribe. She can’t help wondering how tough the gay goth scene must be.

‘This isn’t sports.’ Chet points out the obvious, lolling with both elbows on the counter.

‘Yeah, but donuts …’ Kirby says, flipping the box and turning it to face him. ‘And Dan said I could.’

‘Whatever,’ he says, picking one out. ‘I’m doing it for the challenge. Don’t tell Marissa I took the chocolate.’

He goes into the back and returns a few minutes later with clippings in brown envelopes. ‘As requested. All of Dan’s stories. The every-single-femicide-that-involved-a-stabbing-in-the-last-thirty-years is gonna take me a little longer.’

‘I’ll wait,’ Kirby says.

‘As in it’s going to take me a few days. It’s a big ask. But I pulled the most obvious stuff. Here.’

‘Thanks, Chet.’ She shoves the donut box towards him and he helps himself to another. Due tribute. She takes the envelopes and disappears into one of the meeting-rooms. There’s nothing scheduled on the whiteboard by the door, so she should have some privacy to go through her haul. And she does for half an hour, until Harrison walks in and finds her perched cross-legged in the middle of the desk, the clippings spread out around her in all directions.

‘Hey there,’ the editor says, unfazed. ‘Feet off the table, intern. Hate to break it to you, but your man Dan’s not in today.’

‘I know,’ she says. ‘He asked me to come in and look something up for him.’

‘He’s got you doing actual research? That’s not what interns are for.’

‘I thought I could scrape the mold off of these files and use it in the coffee machine. Can’t taste worse than the stuff they have in the cafeteria.’

‘Welcome to the glamorous world of print journalism. So what’s the old blowhard got you digging up?’ He glances over the files and envelopes spiraling around her. ‘Denny’s Waitress Found Dead’, ‘Girl Witnesses Mother’s Stabbing’, ‘Gang Link to Co-Ed Killing’, ‘Grisly Find in Harbor’ …

‘Little morbid, don’t you think?’ He frowns. ‘Not exactly your beat. Unless they’re playing baseball very differently to how I remember.’

Kirby doesn’t flinch. ‘It’s linked to a piece on how sport is a useful outlet for youths in the projects who might otherwise turn to drugs and gangsterism.’

‘Uh-huh,’ Harrison says. ‘And some of Dan’s old stuff too, I see.’ He taps the story on ‘Cop Shooting Cover-up’.

That does make her squirm a little. Dan probably wasn’t counting on her digging up the details on the story of how he made his name mud with the cops. Turns out the police don’t like it when you report on one of their own who accidentally discharges his weapon into a hooker’s face while coked up to the eyeballs. Chet said the officer got early retirement. Dan got his tires slashed every time he parked at the precinct. Kirby is happy to discover she’s not the only one with the ability to alienate the whole of the Chicago PD.

‘It wasn’t this that finished him, you know.’ Harrison sits down on the table next to her, his previous injunction forgotten. ‘Or even the torture story.’

‘Chet didn’t give me anything on that.’

‘That’s because he never filed it. Got three months into investigating it in 1988. Heavy stuff. Murder suspects making pitch-perfect confessions, only they’re coming out of this one particular Violent Crimes interrogation room with electric-shock burns on their genitals. Reportedly. Which, by the way, is the most important word in a journalist’s vocabulary.’

‘I’ll remember that.’

‘There’s a long tradition of roughing up suspects a little. The cops are under pressure to get results. And they’re scumbags anyway, is the attitude. Must be guilty of something. It seems like the Department is going to turn a blind eye. But Dan keeps at it, trying to get more than “reportedly”. And hey, what do you know? He’s making inroads, got a good cop willing to talk about it, on the record and everything. And then his phone starts ringing late at night. First it’s silence. Which most people would understand. But Dan’s stubborn. He needs to be told to back off. When that doesn’t work, they move to death threats. Not him, though, his wife.’

‘I didn’t know he was married.’

‘Well, he’s not any more. It had nothing to do with the phone calls. Reportedly. Dan doesn’t want to let it go, but it’s not only him they’ve been threatening. One of the suspects who says he was burned and beaten changes his mind. He was high, he says now. Dan’s cop buddy doesn’t just have a wife, he’s got kids too and he can’t handle the thought of something happening to them. All the doors are slamming in Dan’s face and we can’t run a story without credible sources. He doesn’t want to drop it, but there’s no other choice. Then his wife leaves him anyway and he has that heart thing. Stress. Disappointment. I tried to reassign him after he came out of hospital, but he wanted to stay on the corpse count. Funnily, enough, I think you were the last straw.’

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