Shriek: An Afterword

Meanwhile, everything Duncan had told me about his underground adventures began to recede into the distance as “real life” took over again, for both of us. A retreat of sorts, you could call it—me from what Duncan had said, Duncan from what he had done. Perhaps he needed time to absorb what had happened to him. Perhaps he had been exhausted by what he had seen, and he couldn’t physically undertake another journey so soon. Whatever the reason, he would become, in a sense, a religious man, while I would take a different path entirely. {I never became any more or less religious than I’d always been, or do you mean this as a joke? What I became was more aware of the world, the texture and feel of it, the way it changed from day to day, minute to minute, and me with it. And I did continue with my work, although I don’t blame you for not noticing.}

If I gave Duncan’s life less attention in those years after the starfish, it was because my fortunes waxed unexpectedly. Martin Lake—an arrogant, distant prick of a man—rose to prominence through my gallery, his haunted haunting paintings soon a fixture next to the telephones in the living rooms of the city’s wealthiest patrons of the arts. {And who can say, in the long run, which was the worthier work—Lake’s bizarre melancholia or the telephone’s febrile ring.}

My gallery sparked a nameless, shapeless, and unique art revolution that soon became labeled {pinned like one of Sirin’s butterflies} “the New Art.” The New Art emphasized the mystical and transformative through unconventional perspective, hidden figures, strange juxtapositions of color. {It would be most accurate to say that the New Art opened up to include Martin within its ranks, and that he devoured it whole.}

As soon as I saw the change in Lake’s art—he had been, at best, uninspired before whatever sparked his metamorphosis—I sought out anything similar, including the work of several of Lake’s friends. Within months, I had a monopoly on the New Art. Raffe, Mandible, Smart, Davidson—they all displayed their art with me. Eventually, I had to buy the shop next door as an annex, just to have enough space for everyone to come see my art openings.

I had begun to experience what Duncan had known briefly after the publication of his first book: fame. And I hadn’t even had to create anything—all I had had to do was exploit Lake’s success, and build on it. {You’re too modest. You made some brilliant decisions during that time. You were like one of the Kalif’s generals, only on the battlefield of art. Nothing escaped your attention, until much later. I admired that.}

Suddenly, the local papers asked for my opinion on a variety of topics, only a few of which I knew anything about, although this did not stop me from commenting.

I have some of the clippings right here. In the Ambergris Weekly, they wrote, “The Gallery of Hidden Fascinations lives up to its name. Janice Shriek has assembled a group of topnotch new artists, any one of whom might be the next Lake.” The Ambergris Daily Broadsheet, which Duncan and I would one day work for, noted, “Janice Shriek continues to build a dynasty of artists who are determining the direction of the New Art in Ambergris.” The clippings are a bit faded, but still readable, still a source of pleasure. {As well they should be—you worked hard for your success.} I can remember a time when I kept such clippings in a jacket pocket. I’d pull them out and make sure they still said what I thought they had said, that I hadn’t imagined it.

However, the New Art soon became about something other than artistic expression. A kind of tunnel vision set in whereby a painting was either New Art or Not New Art. Those works identified as Not New Art were dismissed as unimportant or somehow of lesser ambition. I admit to participating in this mindset, although for the ethically pure reason that I wanted my gallery to make money. So I would do my best to label whatever I had hanging there as “New Art,” from the most experimental mixing of media to the most hackneyed scene of houseboats floating idyllically down the River Moth.

“That’s an ironic New Art statement,” I would say of the hackneyed houseboats, mentally genuflecting before the latest potential customer. “In the context of New Art, this painting serves as a condemnation of itself in the strongest possible terms.”

I have to say, I loved the sheer randomness of it all—there is nothing more liberating than playing an illogical game where only you understand all of the rules.

My gallery grew fat on Lake’s leavings, even after he left me, while Ambergris continued to prosper even as it headed ever deeper into complete moral and physical collapse or exhaustion. As the city’s fate, so my own—and it took so little time. This is what, looking back, I marvel at—that I could discover so many new appetites, vices, and affectations in so short a time. Four years? Maybe five? Before beginning the inevitable plummet. These things never last—you ride them, you live inside of them, and then, almost without warning, you are flung to the side, spent, used up. {Although you must admit that, in this case, you flung yourself to the side.}

Most nights, I would be at a party until close to dawn. If not a party, then permanent residency at the Café of the Ruby-Throated Calf, drinking. I wore the same clothes for three or four days, no longer able to distinguish between dawn and dusk. It was one continuous swirling spangle of people and places in which to revel in my fame ever more religiously.

I met many influential or soon-to-be-influential people during that time {unsurprising, as you were one of those people, Janice}, Sirin being a prime example.

My first memory of Sirin, our enigmatic future editor, has me slouched in a chair at the café and feeling someone slide into the chair next to me. When I opened my eyes, a slender, dark-haired man sat there. He held his head at a slight angle. He smelled of a musky cologne. His mouth formed a perpetual half-smile, his eyes bright, penetrating, and reflectionless. The man I saw reminded me of old tales about people who could shape-change into cats. He looked like a rather smug, perhaps mischievous, feline. {He was the most exasperating, talented, maddening genius I’ve ever met. My initial reaction to meeting him was to want to simultaneously punch him, hug him, shake his hand, and throw him down a dark well. Instead, I generally stayed clear of him and let Janice serve as my intermediary, as she saw mostly his charming side.}

“Janice Shriek,” he said. It was not a question.

“Yes?”

“Sirin,” he said. He handed me a card.

Still struggling with context {with alcohol, you mean}, I looked down. The card gave his address at Hoegbotton & Sons, on Albumuth Boulevard.