The Living Dead 2 (The Living Dead, #2)(111)
Professor Mason is on the campus radio again, this time with an update from the CDC. They’re finally willing to admit that the zombie plague is real. Details are given, but the gunshots from inside drown them out. The smell of the swamp. The smell of blood and gunpowder. The smell of death.
My grandfather’s hand throwing the rock. The sound of the rock hitting the water. “Always remember that Nature can be cruel.”
“I never forgot,” I whisper, and open the door.
The campus stretches out in front of me, majestic in its stillness, the smell of swamp water and the dead holding sway over everything. The door swings shut behind me, the latch engaging with a click. No going back. There is never any going back for those who walk into the swamp alone. This is cleaner. This is the end as it was meant to be—for dinosaurs, for humans, for us all.
The rock fits easily in my hand, sized precisely to the span of my fingers. I look up at the speaker that broadcasts Professor Mason’s update, the masking sound that confuses the reality of my presence. Let the survivors cling to their petty hopes. I choose my window with care, making certain not to select one that shelters the living. I pull back my arm, remembering my grandfather’s face, my brother’s voice on the phone when his wife was bitten, the golden eyes of alligators in the Everglades. My aim is true; the sound of shattering glass is alien here. All I need to do is wait.
I close my eyes, and spread my hands, and I am eight years old. I am safe beside my grandfather, and the smell of the swamp is strong and green and sweet. The sound of water running in my memory is enough to block the sound of footsteps, the sound of distant moaning on the wind. I am eight years old in Florida, I am twenty-three in California, and I am temporary. Nature can be cruel, but the alligators, the Everglades, and the dead are eternal.
We Now Pause For
Station Identification
By Gary A. Braunbeck
Gary Braunbeck’s most recent novels are Far Dark Fields and Coffin County. Other novels include Prodigal Blues, Mr. Hands, Keepers, and In the Midnight Museum. The sixth novel in his Cedar Hill Cycle, A Cracked and Broken Path, is forthcoming. Braunbeck is a prolific author of short fiction as well, with publications in numerous anthologies, such as Midnight Premiere, The Earth Strikes Back, Tombs, and The Year’s Best Fantasy and Horror, and in magazines, such as Cemetery Dance, Eldritch Tales, and Not One of Us. The third installment of his collected “Cedar Hill” stories will be published in the first half of 2011 by Earthling Publications. Braunbeck is a five-time Bram Stoker Award-winner, including once for the story that follows.
In ancient times, bards and storytellers would speak face to face to their audiences. They could gauge the mood and reactions of the crowd and adjust their entertainments accordingly. And of course, they always knew exactly how many people were listening. Artists who perform live—stage actors, stand-up comedians, street performers—still have this (sometimes dubious) luxury, but artists directly addressing a live audience is becoming increasingly rare. Most modern entertainment consists of distributed reproductions—books, blogs, movies, TV, and, of course, radio (and its new media equivalent, podcasting). With these sorts of entertainments it can be very difficult for artists to judge exactly how large their audience actually is, especially smaller artists and outfits who don’t have the benefit of Nielsen ratings and the like. The publishing industry is notoriously lacking in data about their audience, and many small-time radio hosts speak into the microphone without any real idea of how many people are tuning in. (This is one reason why it never hurts to blog about or email your favorite lesser-known artists; they probably get less positive feedback than you might imagine, and would probably appreciate the attention.)
Most entertainers today, even if they fear that nobody is listening, can be confident that anyone who is listening is, at the very least, alive. The determined radio host who stars in our next entertainment—which brings new meaning to the phrase “dead air”—doesn’t have that luxury.
“…three-fourteen a.m. here at WGAB—we gab, folks, that’s why it’s called talk radio. So if there’s anyone listening at this god-awful hour, tonight’s topic is the same one as this morning, this afternoon, and earlier this evening…in fact, it’s the same topic the whole world’s had for the last thirteen days, if anyone’s been counting: Our Loved Ones; Why Have They Come Back from the Dead and What the Fuck Do They Want?
“Interesting to say ‘f*ck’ on the air without having to worry that the station manager, the FCC, and however many hundreds of outraged local citizens are going to come banging on the door, torches in hand, screaming for my balls on a platter. And to tell you the truth, after being holed-up in this booth for five straight days, it feels good, so for your listening enjoyment, I’m going to say it again. Fuck! And while we’re at it, here’s an earful of golden oldies for you—shit, piss, f*ck, cunt, cocksucker, motherf*cker, and tits. Thank you George Carlin…assuming you’re still alive out there…assuming anyone’s still alive out there.
“Look at that, the seven biggies and not one light on the phone is blinking. So much for my loyal listeners. Jesus, c’mon people, there’s got to be somebody left out there—a goddamn plane flew over here not an hour ago! I know the things don’t fly themselves—okay, okay, there’s that whole ‘automatic pilot’ feature but the thing is, you’ve got to have a pilot to get the thing in the air, so I know there’s at least one airplane pilot still alive out there and if there’s an airplane pilot then maybe there’s somebody else who’s stuck here on the ground like I am! This is the cellular age, people! Somebody out there has got to have a f*cking cell phone!