Word Processor of the Gods

Richard turned off the word processor and went outside. The driveway was empty. The group's lead guitarist, Norm somebody, drove a monstrous and somehow sinister old LTD station wagon in which the group carried their equipment to their infrequent gigs. It was not parked in the driveway now Perhaps it was somewhere in the world, tooling down some highway or parked in the parking lot of some greasy hamburger hangout, and Norm was also somewhere in the world, as was Davey, the bassist, whose eyes were frighteningly blank and who wore a safety pin dangling from one earlobe, as was the drummer, who had no front teeth. They were somewhere in the world, somewhere, but not here, because Seth wasn't here, Seth had never been here.

Seth had been DELETED.

"I have no son," Richard muttered. How many times had he read that melodramatic phrase in bad novels? A hundred? Two hundred? It had never rung true to him. But here it was true. Now it was true. Oh yes.

The wind gusted, and Richard was suddenly seized by a vicious stomach cramp that doubled him over, gasping. He passed explosive wind.

When the cramps passed, he walked into the house.

The first thing he noticed was that Seth's ratty tennis shoes -- he had four pairs of them and refused to throw any of them out -- were gone from the front hall. He went to the stairway banister and ran his thumb over a section of it. At age ten (old enough to know better, but Lina had refused to allow Richard to lay a hand on the boy in spite of that), Seth had carved his initials deeply into the wood of that banister, wood which Richard had labored over for almost one whole summer. He had sanded and filled and revarmshed, but the ghost of those initials had remained. They were gone now.

Upstairs Seth's room. It was neat and clean and unlived-in, dry and devoid of personality. It might as well have had a sign on the doorknob reading guest room

Downstairs. And it was here that Richard lingered the longest. The snarls of wire were gone; the amplifiers and microphones were gone; the litter of tape recorder parts that Seth was always going to "fix up" were gone (he did not have Jon's hands or concentration). Instead the room bore the deep (if not particularly pleasant) stamp of Lina's personality -- heavy, florid furniture and saccharin velvet tapestries (one depicting a Last Supper at which Christ looked like Wayne Newton, another showing deer against a sunset Alaskan sky-line), a glaring rug as bright as arterial blood. There was no longer the faintest sense that a boy named Seth Hagstrom had once inhabited this room. This room, or any of the other rooms in the house.

Richard was still standing at the foot of the stairs and looking around when he heard a car pull into the driveway.

Lina, he thought, and felt a surge of almost frantic guilt. It's Lina, back from bingo, and what's she going to say when she sees that Seth is gone? What... what...

Murderer! he heard her screaming. You murdered my boy!

But he hadn't murdered Seth.

"I DELETED him," he muttered, and went upstairs to meet her in the kitchen.

Lina was fatter.

He had sent a woman off to bingo who weighed a hundred and eighty pounds or so. The woman who came back in weighed at least three hundred, perhaps more; she had to twist slightly sideways to get in through the back door. Elephantine hips and thighs rippled in tidal motions beneath polyester slacks the color of overripe green olives. Her skin, merely sallow three hours ago, was now sickly and pale. Although he was no doctor, Richard thought he cold read serious liver damage or incipient heart disease in that skin. Her heavy-lidded eyes regarded Richard with a steady, even contempt.

She was carrying the frozen corpse of a huge turkey in one of her flabby hands. It twisted and turned within its cellophane wrapper like the body of a bizarre suicide.

"What are you staring at, Richard?" she asked.

You, Lina. I'm staring at you. Because this is how you turned out in a world where we had no children. This is how you turned out in a world where there was no object for your love -- poisoned as your love might be. This is how Lina looks in a world where everything comes in and nothing at all goes out. You, Lina. That's what I'm staring at. You.

"That bird, Lina," he managed finally. "That's one of the biggest damn turkeys I've ever seen."

"Well don't just stand there looking at it, idiot! Help me with it!"

He took the turkey and put it on the counter, feeling its waves of cheerless cold. It sounded like a block of wood.