Authority (Southern Reach, #2)(77)
And he still wouldn’t know what to do about Whitby. And he would still miss the biologist. And he might still not know what was going on in Area X.
The drunk man came up and shook him out of his thoughts with a slap on his back. “You look like I know you. You look kinda familiar. What’s your name, pardner?”
“Rat Poison,” Control said.
The truth was, if the man who looked like the high school quarterback had responded by turning into something monstrous and torn him out into the night, part of Control wouldn’t have minded because he would have been closer to the truth about Area X, and even if the truth was a f*cking maw, a fanged maw that stank like a cave full of putrefying corpses, that was still closer than he was now.
00X
When Control left the house on Tuesday morning, the director’s beetle-phone lay on his welcome mat. It had returned to him. Looking down at it, hand on the half-open front door, he could not help seeing it as a sign … but a sign of what?
Chorry jumped past him and into the bushes while Control squatted down to get a closer look. Days and nights out in the yard hadn’t helped it much. The grotesquery of the thing … some animal had gnawed at the casing and it was smeared with dirt and grass stains. Now it looked more like something alive than it had before. It looked like something that had gone exploring or burrowing and come back to report in.
Under the phone, thankfully, was a note from the landlord. In a quivering scrawl she had written, “The lawn man found this yesterday. Please dispose of phones in the garbage if you are done with them.”
He tossed it into the bushes.
* * *
In the morning light, during that ever-longer walk through the doors and down the corridor to his office, Control’s recollection of Whitby on the rack, stuffed into a shelf, the disturbing art on the wall, took on a slightly changed, more forgivable texture: a long-term disintegration whose discovery had urgency to him personally but for the Southern Reach was just one symptom of many seeking ways to take Whitby out of the “sinister” file and place him under “needs our help.”
Still, in his office, he wrestled with what to do about Whitby—did the man fall under his jurisdiction or Grace’s? Would she be resistant, slough it off, say something like “Oh, that Whitby”? Maybe together, he and Grace would go up into Whitby’s secret room and have a good laugh about the grotesqueries to be found there, and then jointly paint it all white again. Then they’d go have lunch with Cheney and Hsyu and play board games and share their mutual love of water polo. Hsyu would say, as if he’d already disagreed with her, “We shouldn’t take the meaning of words for granted!” and he would shout back, “You mean a word like border?” and she would reply, “Yes, that’s exactly what I mean! You get it! You understand!” Followed by an impromptu square dance, dissolving into a chaos of thousands of glowing green ferns and black glittering mayflies gusting across their path.
Or not.
* * *
With a snarl of frustration, Control put aside the question of Whitby and buried himself again in the director’s notes, kept Grace’s intel about the director’s focus in mind while trying to divine from those dried entrails more than they might actually contain. From Whitby, he wanted for the moment only distance and time so that there would be no hand reaching out to him.
He returned to the lighthouse, based on what Grace had told him. What was the purpose of a lighthouse? To warn of danger, to guide coastal vessels, and to provide landfall for ships. What did it mean to the Southern Reach, to the director?
Among the layers in the locked drawer, the most prominent concerned the lighthouse, and that included pages he had confirmed with Grace came from an investigation that was inextricably tied to the history of the island to the north. That island had had numerous names, as if none would stick, until now it was simply known as Island X at the Southern Reach, although some called it “Island Y,” as in “Why are we bothering to research this?”
What did fascinate—even resonate—was the fact that the beacon in the lighthouse on the coast had originally been placed in a lighthouse built on Island X. But shipping lanes had shifted and no one needed a lighthouse that helped ships navigate the shallows. The old lighthouse fell into ruin, but its eye had been removed long before.
As Grace had noted, the beacon interested the director the most: a first-order lens that constituted not just a remarkable engineering feat but also a work of art. More than two thousand separate lenses and prisms had been mounted inside a brass framework. The light from at first a lamp and then a lightbulb was reflected and refracted by the lenses and prisms to be cast seaward.
The entire apparatus could be disassembled and shipped in sections. The “light characteristics” could be manipulated in almost every conceivable way. Bent, straightened, sent bouncing off surfaces in a recursive loop so that it never reached the outside. Sent sideways. Sent down onto the spiraling steps leading up to the top. Beamed into outer space. Slanted past the open trapdoor, where lay so many journal accounts from so many expeditions.
An alarming note that Control dismissed because he had no room left in his brain for harmful speculation, x-ed out and crumpled on the back of a ticket for a local Bleakersville production of some atrocity called Hamlet Unbound: “More journals exist than accounted for by expedition members.” He hadn’t seen anywhere a report on the number of journals, no count on that.