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Johnny Holler and Sally Rue water the mounts, a bowl of blood or a gascan full of coaldust, either way, hardly matters which gets which. They’re each glowing so bright they can’t even look at each other, silver and gold as the moon and the sun, before the moon went black and the sun went white.
And me? Well, I hide. Gilly taught me good and I go down under the bar at the Gnaw Hollow Saloon when the Loan Officer comes striding into town with contracts in his belt. Everyone understands and consents to the action at hand, no arguments once the
outcome is clear, yes, yes? Speak up, too late to be shy, what are the agreed-upon weapons? Guns, Blood, Poison, Time. Game, Set, Match. Sign on the dotted line, witnessed by Mr. Holler and Ms. Rue, and get me a bourbon, will you Johnny? That’s a good boy.
They walk it off. Their seconds open long blackwood cases and in them are the Chinese pistols, the long bone gun. There’s no sound in Burnt Corn but dust holding its breath. The clock tower bongs out the end of everything. I have time to be afraid before the first shot. I have time to consider I haven’t a notion about what I’ll do when its over. What I’m for. And then the New York’s femur-barrel blows its warm welcome, and a violet venomous ropy dripping something roars out and catches Miss Sally Rue in the glowing golden eyeball and puts her out as fast as hiccuping. Advantage New York.
It goes like a battle goes. Boomboomquiet. Clickbanghush. Los Angeles fires with both pistols, and a thousand sparrows stream out into a patch of starry night floating between them with the day just as fine as paint all around it. New York opens her mouth, wider, wider, until her jaw hits the dust and she can swallow the birds in one hitching breath. But one brown songbird, dragging six stars out of the nighthole behind it, claws through Johnny Holler’s chest and burns out his heart. One-one.
It’s like that, when Wizards fight. Half the time it looks like fighting and half the time it looks like theater, like an awful old puppet show, the paint peeling on the marionettes and the backdrop peeling, but the strings go jerking on. It’s happening and I can’t do anything, the bottles burst above me and the glass rain in my hair drifts infinitely slow, caught in a slow burp of time New York let sour up out of her palm. I squeeze my eyes; the Loan Officer gets a stream of liquid light to the eye and goes down heavy. The light goes dim in the sky like a picture house at intermission. Time to find your seats. The real show’s about to begin.
And Then
It’s over.
The glass hits my scalp. I taste scotch and blood and old, old wine.
There’s a hand on mine in the dark. I don’t know if it’s New York or Los Angeles. I guess it’s the Groom, whoever that turned out to be. I think about Gilly Spur and the daisies. I think about Nevada and her kisses. I think about Blue Bob, about Ashen and Cutter and the smell of the wind through Burnt Corn Ranch. I can hear my beau breathing; I can smell the magic on somebody’s breath. There ain’t nothing in the world but the world, running funny, running down, winding up, busting its springs and looking for its repair manual.
It’s black. Burnt Corn is gone and so is Gnaw Hollow. There’s a veil of glass and dripping booze over my eyes, and the Groom lifts it up. I know when she kisses me it’s the Wizard of New York, and when she kisses me she swallows me whole like she swallowed the sparrows. I’m a seed, I’m a wedded ring. I see the insides of her, and they are vast.
You need two. If you’re going to start over. You need a seed and a dark place.
Everything happens at once.
Mouse Koan
I.
In the beginning of everything
I mean the real beginning
the only show in town
was a super-condensed blue-luminous ball
of everything
that would ever be
including your mother
and the 1984 Olympics in Los Angeles
and the heat-death of prime time television
a pink-white spangle-froth
of deconstructed stars
burst
into the eight million gods of this world.
Some of them were social creatures
some misanthropes, hiding out in the asteroid belt
