Sunday, November 8, 2020

Congratulations!



To Clancy Weeks, for “State of Grace” in the current issue of Analog. Longtime friends and fans of Stupefying Stories will remember his cover story, “Zombie Like Me,” in Stupefying Stories 20 (January 2018), which yes, you can still buy!

Observant readers will also notice the names M. Bennardo and Gregor Hartmann in the table of contents of the same issue of Analog. M. Bennardo contributed “No Onions” to Stupefying Stories 6 and “Avocado Rutabaga Aubergine” to Stupefying Stories 11, both of which are (sadly) now out of print, while Gregor Hartmann contributed “Notion of Notions” to SHOWCASE in 2016, and you can read that story right here

That’s what Stupefying Stories is all about, folks. If you read what we publish now, you’ll be reading the authors that everyone else will be publishing a few years from now.  

Schedule Update


When I did the Mythaxis Review interview a few weeks ago, I obviously had no frickin’ clue that Otogu the Insatiable, Devourer of Days, was about to drop an enormous cowflop on me. 

In that interview I said we were planning to release Stupefying Stories #23 on November 9. Due to subsequent disruptions of an external nature we are not going to make that date. Instead, we’re now targeting #23 for release on November 16 and pushing to pull it in to November 15.

On the bright side, now that I suddenly have lots more free time on my hands we are moving ahead with plans to release issue #24 on December 1st and #25 on January 1st. In addition, we have several chapbook projects that we’ll be releasing in the coming weeks and months. I’m particularly excited about PRIVATEERS OF MARS by Matthew Castleman and SECOND TO LAST STOP by Evan Dicken. 

Thanks for your support and patience.

~brb

Saturday, November 7, 2020

The State of the Loon: 11/07/2020



The reason for the insane pressure at work and all the multiple deadlines stacked on deadlines these past three months, which consumed so many of my nights and weekends and even forced me to cut a vacation short after two days up at the cabin (I'm happy about that, I can tell you), finally became apparent this past Monday, when the company announced a divisional re-org and cut my department in half. I, being the oldest, most experienced, and most expensive employee in the department was the first to be cut, of course.
 
I don't mind. Looking back on 40 years in the computer industry as a whole and the past 20 years here, all I see is a long litany of times I short-changed my family for the benefit of the company: recitals and plays missed, nights and weekends worked, vacations not taken or cut short, or worse, taken but while schlepping along a laptop and a wi-fi hotspot, because I was on call for last-minute work to make the deadline for some now long-forgottten software release.
 
I won't miss that at all. 
 
The severance package wasn't great, but it's good enough for me to consider this my invitation to retire. As of today I have a lot more time to work on Stupefying Stories and Rampant Loon Press, so that's what I'm doing -- just as soon as I finish breakfast. If you've been waiting for me to reply to an email message, thanks for your patience. I have the time to do that now and will be getting back to you shortly. 

Upward and onward.
~brb

Friday, November 6, 2020

Upgrading Me


I became a cyborg a month ago. It’s not nearly as cool as science fiction promised me it would be.

Nonetheless, it became medically necessary. As we age, different biological subsystems wear out at different rates. At first you adapt, improvise, adjust your behavior, and look for workarounds. Eventually you get to the point where the only thing left to do is to replace the failing part, either with its direct biological equivalent via transplant or with its cybernetic functional equivalent.

Since they are not yet able to 3D-print new internal organs, this means I now have a small sensor module implanted in my right upper arm. 

Actually, the full kit is a two-part system. There’s the sensor, which is surprisingly unobtrusive, and then there’s the readout device, which is about the size of my old Samsung flip-phone. I’ve taken to calling it my R2 unit, as it communicates with me in a language of beeps, buzzes, and squawks. 

There’s the happy noise it makes when everything is proceeding as it should. The alarming noise it makes when my biological indicators are going wrong in one direction; the direction that’s easily corrected. The really alarming noise it makes when my indicators are going wrong in the other direction; the direction that can put me into a coma or kill me. The downright angry noise it makes (and keeps making) whenever I’m not paying sufficient attention to it: I’m never supposed to be more than 20 feet away from my R2 unit, at least not for more than 15 minutes. Then there’s the plaintive little noise it makes when it’s getting hungry and needs to be plugged into a USB port to suckle electricity.

At least it doesn’t talk to me in words. That’s probably coming in the next upgrade. 

The USB port is the most interesting part of the system. Once plugged into an active computer, it goes out to the Internet and downloads a remarkable torrent of data to my doctor’s system, and presumably to my medical insurance provider as well. I guess this means I’m now officially part of the Internet of Things. 

Seems fitting, don’t you think?

~brb

Thursday, November 5, 2020

Introducing Bruce Bethke™ 2.0


Another week, another batch of queries, all along the lines of, “Are you the Bruce Bethke?” 

I’m never sure how to answer that. The snark is strong in me. It can be hard to resist the temptation. 

“That depends. Are you here with a royalty check or a search warrant?”

What they usually mean, of course, is “Are you the Bruce Bethke who wrote the short story ‘Cyberpunk’ back in—” and then they provide a date that’s somewhere within a reasonable range of the truth.

So the short answer is, yes, I am.

The more complete answer is that I wrote the story in the early spring of 1980, and it spent the next couple of months bouncing back and forth between me and the editorial offices of Asimov’s. At first they liked it, but asked for a rewrite of the ending on the grounds that Asimov’s readers would never go for a story that ended with the punk winning. That, and then there was that whole business with electronic banking; that all had to be changed. They told me they’d spoken with a Real Banking Expert, who assured them that electronic banking was only ephemeral and every electronic transaction had to be backed up with an actual physical paper trail within 24 hours or else it would be backed out.

[“Oh really?” said the Time Traveler from the early 21st century, as he logged into his bank account to make sure his payroll direct deposit had cleared, checked his paperless statements to see which bills were due, queued up a few credit card payments while he was waiting for the barista to put his order together, and then bonked his phone on the reader to pay for his extra dark roast grande and morning glory muffin.]

Eventually Asimov’s decided they couldn’t use the story after all and sent it back with a decisive rejection. Thereafter it bounced around the offices of all the other SF/F magazines then in business—Analog, Omni, Fantasy & Science Fiction, a few more whose names I can’t remember and don’t feel like looking up right now—before ending up at Amazing, where it was accepted in the summer of 1982 and finally published in the fall of 1983. Amazing’s practice at the time was to put magazines out on the newsstands two months before the cover date, so while the official publication date is November 1983, that’s more like the “sell by” date on a carton of milk.

And when you consider that the story had been circulating around the industry and in front of one SF/F editor or another pretty much constantly from mid-1980 forward... 



I write all this now because this is often the second question that comes up, as soon as I admit that Yea, I Am Him Who Thou Doth Seek. People then want me to talk at length about the exact and precise provenance of the story, what my influences were when I conceived the idea, and exactly what I was trying to say when I wrote it—usually, it turns out, because they’re writing either a term paper or a thesis on the subject. Frankly, answering those sorts of questions got old a very long time ago, and for a long time the sobriquet of “the guy who wrote Cyberpunk” felt an awful lot like a dead albatross hanging around my neck.

But...

Things change. Every ten years or so I seem to need to reinvent myself, and it’s once again time to do so. Hence, Bruce Bethke™ 2.0. (Actually, I think we’ve reached at least 5.0, but 2.0 gets the concept.) He’s that cartoon character in the upper right corner. I can’t promise to be him 24x7, but I can perform the part upon request.

There is just one thing I ask of you in return. 

Stupefying Stories was never supposed to be about me. It was never supposed to be about an agenda. Stupefying Stories is about good storytelling, pure and simple, and about using the attention that people seem to want to pay to me, because of some stories I wrote back in the 1980s and 1990s, to get them to pay attention to newer and younger writers who are writing great new stories right now.

When I first began my career as a writer, I had the good fortune to learn from a lot of really good people who took the time and trouble to believe in me and help me along. Most of them are dead or retired now, so I can’t pay them back for their kindness and support, but I can pay it forward.

Stupefying Stories is me, paying it forward.

So right here and now, I will offer you a deal. Yes, I am the Bruce Bethke. I am the guy who wrote “Cyberpunk.” And I will be happy to engage on the topic and answer all of your questions as best as my time permits. All I ask of you in return is that you read Stupefying Stories, and pay some attention to the writers whose careers I think deserve a boost.

Sound fair enough to you? Good. Then let’s begin the conversation:

“Hi, I’m the Bruce Bethke™. What would you like to talk about?”

 



In science fiction circles Bruce Bethke is best known either for his 1980 short story, “Cyberpunk,” his 1995 Philip K. Dick Award-winning novel, Headcrash, or lately as the editor and publisher of Stupefying Stories. What very few people in the SF world have known about him until recently is that he actually began his career in the music industry, as a member of the design team that developed the MIDI interface and Finale music notation engine (among other things), but spent most of his career in supercomputer software R&D, doing work that was absolutely fascinating to do but almost impossible to explain to anyone not already fluent in Old High Unix and well-grounded in massively parallel processor architectures, Fourier transformations, and computational fluid dynamics.

Now retired, he runs Rampant Loon Press and Stupefying Stories purely for the sheer love of genre fiction and the short story form. He can be reached either through comments left here, by email through his web site at brucebethke.com, or via facebook.com/bruce.bethke 



 


Wednesday, November 4, 2020

Talking Shop: MacGyver, Mood Congruence, and Building Good Characters • by Eric Dontigney


So, I was reading about MacGyver (the 1980s incarnation) the other day because that’s the kind of thing you do if you’re thinking about Swiss Army Knives, you’re American, and you remember anything about 80’s pop culture. One of the things they mention in the article is that he displays something called mood congruence. The basic explanation of mood congruence is this: a person’s (or for our purposes, a character’s) emotional state shows consistency with the broader situation. For example, MacGyver gets sad when faced with a personal loss.

It seemed like a trite sort of observation at first blush. I mean, obviously, characters’ emotions should reflect the situation they are in within the bounds of their roles. Except, it’s not so obvious. In fact, characters in books, films, and TV shows routinely fail to show emotional congruence. It’s especially bad among “heroes.” How often do we see heroes blithely waltz through absolutely lethal situations with a pithy comment on their lips? How often do we see these characters shrug off the horror of some tragedy with no ill effect?

Don’t get me, wrong. A little gallows humor is a perfectly acceptable coping strategy for characters…in the moment. Compartmentalization is a perfectly acceptable coping strategy for characters…in the moment. Yet, these coping strategies presuppose some emotional awareness on the part of the characters. Without that emotional awareness, you’ve just got an emotional zombie pantomiming the actions of a hero.

The more I thought about it, the more I realized how important something like mood congruence is to building good characters. Now, novelists have it a lot easier than people making movies or TV shows. It takes an uncommonly skilled actor or actress to convey that inner awareness and inner turmoil without recourse to clumsy dialogue or even clumsier narration/voiceover work. As novelists, we can explore that ground with relative ease. The real question is why so many of us don’t. It’s pretty common to find protagonists with inner monologues as blasé about pain, suffering, and tragedy as their exterior posturings project.

I’m not advocating that every author must plumb the depths of their characters’ emotional states. That would get tedious, especially in action-driven genre fiction. What I am suggesting is that having characters exhibit a bit more mood congruence, if only in their internal musings, would create better characters. A good character is one that the reader can relate to on some level. We all cheer for Superman because he’s superhuman and accomplishes superhuman feats. But, in the end, he’s not especially relatable. We admire Batman because we can understand and relate to him on some level. Most of us have felt fury at some injustice. We can think to ourselves:

“If I had billions of dollars, I might have gone that way.”

We love MacGyver because he’s a direct reflection of us. He might be smarter than most of us, but that’s it. He’s not made superhuman by solar radiation or afforded the force multiplication of billion-dollar technology. He’s a smart guy who feels the things we expect we’d feel in the same situations. Then, he pushes through those feelings as best as he can to get the job done. When it’s over, though, he’s affected by what he’s seen. He doesn’t shrug it all off like nothing happened. It’s that mood congruence that lets us invest in him in ways that we never can with those emotional zombie “heroes.”

Sunday, November 1, 2020

Speaking of the Mythaxis Review interview

What was meant as a one-line throwaway joke about The Adventures of Mindy the Vampire Shagger has proven surprisingly resonant. Actually, we have great plans for dear Mindy. Therefore, let’s establish this right up front:

Mindy the Vampire ShaggerTM is a trademark of Rampant Loon Media LLC. 

 

Yet another example of our having to act all corporationy. Sigh. 

Speaking of data...


I did an interview with Mythaxis Review last week.
 

Apparently the response to it has been way beyond their expectations. I don’t have current numbers, but the most recent numbers I do have show that it’s had nearly 1,400 views, in four days.

More surprising to me was finding the interview being quoted and cited on other web sites. I am unused to this level of attention, or rather, unused to having people take me seriously. 

If you haven’t read the interview, here’s what seems to be the money quote. The question was about supercomputers, AI, and nightmare scenarios. I’ll skip the tech talk about massively parallel processor architectures, interconnects, and computational fluid dynamics, and go right to the nightmare:

“...for me, the most frightening possibilities are those that involve the misuse by unscrupulous politicians and or corporations of the kinds of insights and inferences than can be drawn from such extensive data mining. The things that are being done right now, and that will be coming online in the few years, should scare the Hell out of any civil libertarian.”

In response to a follow-up question, I elaborated. Actually, this is the slightly further elaboration, that I sent too late to make their publishing deadline.

“What we’re talking about here is a field generally called “big data.” It’s the science of extracting presumably meaningful information from the enormous amount of data that’s being collected—well, everywhere, all the time. “Big data” tries to take information from disparate sources—structured and unstructured databases, credit bureaus, utility records, social media behavior, consumption patterns, “the cloud,” pretty much everything—mashes it together, looks for coherences and correlations, and then tries to turn it into meaningful and actionable intelligence—for who? To do what with it? Those are the questions.

“For just a small example: do you really want an AI bot to report to your medical clinic—or worse, to make medical treatment decisions—based on your credit card and cell phone dutifully reporting exactly when and for how long you were in the pub and exactly what you ate and drank? Or how about having it phone the Police, if you pay for a round of pints for your mates and then get into the driver’s seat of your car?

“That’s coming. In the future you will live your life constantly surrounded by a cloud of tiny AI gadflies, all tormenting you without pause or mercy, because it’s for your own good.

“And that’s the optimistic view. As a fellow from a government agency whose name or even acronym I am forbidden to say out-loud told me, “Go ahead and imagine that you have privacy, if it makes you feel better.” ”

Yeah. Cyberpunk Revisited, indeed. 

Anyway, the magazine is called Mythaxis Review. It’s new, it’s fresh, it’s bold, and it’s definitely worth paying attention to what they’re doing. Check it out.

   

THE MIDNIGHT GROUND: after-action report

The final numbers are in. During the course of yesterday’s 24-hour free e-book promo 1,713 copies of THE MIDNIGHT GROUND were downloaded and 4,000 KENP (Kindle Edition Normalized Pages) were read. The KENP number tracks the Kindle Unlimited subscribers who don't “buy” the book but rather read it out of the KU library. The book ended up being a Top 10 bestseller in a couple of categories but I don't think it hit #1 in any of them.

Here’s hoping some of those readers post reviews on Amazon or Goodreads. I’m already getting feedback from kind comments and positive reviews posted on other websites, but it’s the number of ratings posted on Amazon that engages Amazon’s automatic push-selling algorithms. The magic number is 50.

For reference, I believe this is a one-day one-title one-author record for us. The Campbellian Anthologies moved more copies faster, but those books were massive multi-author collections that nearly killed our business with Death By Administrative Overhead. (They did kill our original web server with bandwidth overload. That was fun. And expensive.)

As for the KENP: we haven’t seen these kinds of numbers since Henry Vogel’s THE FUGITIVE HEIR series was burning up the charts. This to me is the more meaningful number. It’s nice when people download your e-books, but the KENP proves people are reading them.

Much valuable data was collected from this experiment. I look forward to applying the lessons learned.

~brb

Saturday, October 31, 2020

Free e-book, today only!

 

Today only—because it's Halloween, of course, and we can't give away candy—we're giving away Eric Dontigney's paranormal mystery novel, THE MIDNIGHT GROUND, absolutely free. If you like John Constantine or Harry Dresden, you'll love THE MIDNIGHT GROUND.
 
Share the link! Tell your friends!
 

"A broken hero, a cursed town, and impossible odds, along with top-notch world-building and gripping prose. Eric Dontigney knocks it out of the park, and I can't wait to see where he goes with this series."

- Julie Frost, author of PACK DYNAMICS

Friday, August 21, 2020

Opinion: Learning from Now - On Using Current Events in Your Fiction • by Eric Dontigney

 

Photo by Adam Nieścioruk on Unsplash
As a semi-regular participant in writers’ conversations on social media forums, there has been a lot of talk lately about whether or not to incorporate the Coronavirus Pandemic into novels and short stories. As a general rule, I’ve discouraged this idea. It’s not because pandemics necessarily make for bad fiction. Pandemics often form the core or background of post-apocalyptic or dystopian fiction.

What makes those pandemics work, however, is that they’re usually vague or based on a historical precedent. You can say that a mutated flu virus or Ebola virus or smallpox virus wiped out 90% of the human population and most people won’t blink an eye. Why? Because we know that those viruses killed a whole lot of people in the past. So, it’s not a stretch to think that a mutated version would lead to mass death on a global scale.

The Coronavirus is a different beast. Yes, it has killed a lot of people. Around 760,000 have died from it globally at the time of writing. While that is a chilling number of deaths, the 1918 influenza pandemic killed an estimated 50 million people globally. Yet, the 2.5% mortality rate of the 1918 influenza pandemic is lower than the current 5% mortality rate of the Coronavirus pandemic. (For an interesting look at why mortality rate calculations vary so widely during a pandemic, check out this article from the World Health Organization).

The 2014-2016 Ebola epidemic death tolls aren’t as dramatic at around 11,300, but the overall mortality rate was a staggering 40% overall. Mix into consideration the especially grisly manner of death and it’s not hard to see why people consider it so frightening. Smallpox, which plagued humanity since time immemorial, had a mortality rate of around 30% with that rate going up dramatically for children. An estimated 2 million people died from it in 1967 alone before immunization all but eradicated smallpox by around 1980.

So, what makes the Coronavirus a bad candidate for inclusion in contemporary novels? For one, it’s not over yet. Including an ongoing pandemic in your fiction is a great way to render your fiction dated and/or inaccurate. Take a quick look back at fiction from the 80s. It’s peppered with novels and short stories featuring AIDS stand-ins that brought the world low with their death tolls. While AIDS is serious, the lack of information available at the time renders most of that fiction borderline silly. After all, the main solution to that particular apocalypse is having safe sex during random hookups.

Another thing that makes the Coronavirus a poor choice is that it doesn’t scare people the same way other historical pandemics have scared people (even if it rightly should). Those 80s AIDS stories worked because the virus frightened people. The Coronavirus doesn’t even scare people enough to make everyone wear a mask in public. So, unless your whole novel is about isolation and ennui, the Coronavirus doesn’t pack a great emotional punch. Plus, most writers lack the in-depth knowledge about virology and epidemiology to write well about an ongoing pandemic. This isn’t to say that you can’t cherry-pick some useful general information to include in current or future novels.

You can use the US government response to the pandemic as the basis for how a fictional, science-hostile administration fumbles the ball in response to a pandemic. You can use the responses of other nations as the basis/comparison for how to handle a pandemic well. You can use the sometimes hostile US public response to any kind of preventative measures as the basis for how education or, more critically, gutting education funding creates a populace of people wholly incompetent to face a pandemic. You can drill down even further into this one and explore how not giving people a solid science education undermines their ability to even function as adults in the contemporary world. You can use what’s happening now as the basis for exploring the global financial implications of a pandemic. After all, predictions for the global cost of the pandemic range from $3.7 trillion (in a best case scenario) to $87 trillion (in a worst case scenario).

You should use information you glean about governments, economies, societies, and education in relation to a pandemic as fodder for your work. You shouldn’t be basing anything around the Coronavirus Pandemic specifically. The fear response is too nebulous or non-existent, so there isn’t a good emotional hook. It’s ongoing, which means anything you write now could be wrong in two weeks and probably will be wrong in two years. As Bruce Bethke often advocates, you should extrapolate from what you see now and build fiction around that extrapolation.

________________________________________________

Eric Dontigney is the author of the Samuel Branch urban fantasy series and the short story collection, Contingency Jones: The Complete Season One.  Raised in Western New York, he currently resides near Dayton, OH. You can find him haunting obscure sections of libraries, in Chinese restaurants or occasionally at ericdontigney.com.

Eric’s last appearance in our pages was “Lenses,” in Stupefying Stories #21, and his paranormal mystery novel from Rampant Loon Press, The Midnight Ground


________________________________________________

 

Thursday, July 30, 2020

Today's Free Sci-Fi Story Idea



RIPPED FROM THE HEADLINES!
The USDA and agriculture officials across the U.S. have issued warnings about unsolicited shipments of foreign seeds and advised people not to plant them. Officials are concerned the mystery seeds, which appear to have originated in China, could be invasive plant species.
My first thought was, “Didn’t Frank Herbert use something like this in The White Plague? Terrorists spreading their bio-engineered killer disease by spraying the spores on currency, then mailing the cash to people selected at random? Being free money, people couldn’t resist the temptation to open the envelopes and handle the bills?’

But then I had a better thought:
What if these packages of mystery seeds aren’t really being sent from China? What if they’re being sent out by aliens, who are here to “terraform” the Earth to be more suitable for their species? What if this is all part of a brilliantly insidious plan to use social engineering to co-opt humans into helping carry out their evil plan?!   
Over to you...

~brb

Sunday, July 26, 2020

SHOWCASE: “Sunday Dinner with la Famiglia (and Nonno’s Brain)” • by Franco Amati

Art by Justine Backes


Sunday dinner with the family was a little different this week.
We all sat around a dumpy-ass table in the middle of the nursing home. From where I was sitting, I could see a big bowl of pasta. My younger sister Gina was across from me, and next to her was the big jar with Grandpa’s brain in it. We called him Nonno, and he didn’t say much these days. A few of his usual phrases once in a while, but that was it.

The jar was filled with this blueish fluid, and there were all these sensors and wires coming out of Nonno’s lumpy old sponge. Attached to the cart that held the jar was a mounted rig with a large mechanical arm that Nonno could control if he wanted to.

“Whattatheycallit again? A vath?” Gina asked.

“A vat, honey,” Mom said.

Gina was a little bit of a moron. She also just had a kid. Her son, Baby Nico, was sitting on the other side of her in his high chair. Next to him was my mom, who was periodically feeding him spoonfuls of smushed spaghetti. I was on the other side of my Mom. My dad was next to me, and next to my dad was my grandma, Nonno’s wife, who will probably be getting her own vat real soon.

Technically, she’s Nonna, but for some reason we just call her Grandma. She had her fifth stroke last month on her ninetieth birthday. She’s practically catatonic most of the time, but if she gets riled up she has these uncontrollable outbursts where she gets violent, and you can’t understand a word she’s saying. When they put her in the vat, I wonder if she’ll act the way she does now or if the doctors can fix her brain up a little so she can act the way she used to.

“Hey Tone,” Mom said to me, “maybe you can get an internship here and help out with all the brains or somethin’.”

“Ma, I graduated college six years ago. They don’t let you do internships if you’re outa school already.” My mom doesn’t know anything. She’s never had a job in her life, and she’s got no clue what it’s like to try to get a career going.

“Okay, well then just volunteer or somethin’ to build your resume. You never know, honey. Gotta make connections is all. It’s all about who you know.”

She’s ridiculous. She goes on the same spiel every time we’re in public. Soon when the doctor guy comes over here, she’s gonna try to get him to talk to me about his career path. She’ll be like, “Hey doctor so and so, how could my Tony here get into the brain-jarring business? You guys are real miracle workers here. Extending people’s lives like that. I want my Tony doin’ somethin’ worthwhile like that.”

Out of nowhere a garbled computerized voice blasted through Nonno’s speaker. “Eyya, Happy New Year!”

“It’s not New Year’s, Pop. It’s the middle of July,” Dad said.

Then Gina said, “Hey, I always wondered. How do they get the computer voice to sound all Italian like that?”

“Nonno’s brain is being kept alive in a jar, and you’re worried about how they get his voice to sound Italian? Sheesh,” I said, “you’re so dumb.”

“Guys, behave,” Dad said. “Don’t be mean to each other, or no allowance this week.” He was wearing his traditional white and blue Sunday polo shirt with white pleated khaki shorts, which were pretty much the only pants he wore throughout the summer when he wasn’t working. And he had these stupid rimless glasses that he got like twenty years ago that he thinks still look good because, you know, without the rims no one can tell he’s wearing glasses.

“Hey can someone pass the sauce?” I asked.

“You mean gravy,” Mom said.

“No, I mean sauce. That’s what everyone in the freakin’ world calls it.”

“Well in Italy and South Jersey we call it gravy.”

“I’m pretty sure no one in Italy has ever called it gravy.”

Then Dad chimed in, “I dunno why you gotta always bring up the same shit all the time. Can’t you just respect your mother and call it what the family calls it? When you’re not with the family, call it whatever the hell you want. But when you’re with us, you call things like we do.”

Then outa nowhere Nonno spoke again: “Mincia, questo è stoonad!”

The volume of the speaker scared Baby Nico, so he spilled his juice. Gina completely ignored it because she was laughing so hard at what Nonno said. “Ohmygod Tony. See even Nonno thinks you’re a freakin’ idiot!”

I wasn’t gonna dignify it with a response, but then Dad defended me by saying, “He didn’t call Anthony an idiot. He called him a stoonad.”

“Same thing.”

“No. A stoonad is someone who can’t pay attention that good. Your brother’s not an idiot. He just gets distracted sometimes is all.”

I couldn’t believe this. I needed a break from these people. So I excused myself and got up to go to the bathroom.

The place was a weird kind of nursing home. It was sort of set up like a hospital, but since all the residents were reliant on expensive-as-hell technology to stay alive, the place looked more like a science lab. Even the cafeteria had rows and rows of hardware lined up everywhere, up against the walls, under the tables, on the ceilings. Even in the age of wireless, this place was somehow wrapped in a never-ending rainbow of extension cords. I guess brains require a lot of upkeep.

Honestly, I don’t get why so many people wanted to live this way. I could never. There’s no way any of these people are even remotely happy floating in fluid with only one robotic arm to do stuff with. The hand on it doesn’t even have the right number of fingers. Nonno’s probably so pissed he can’t give anyone the middle finger like he used to.

On my way to the bathroom I walked by a few of the residents’ rooms. I didn’t get why they had beds. Floating brains didn’t need to sleep. But then I walked passed another room, and I saw why. There was a sad, middle-aged woman curled up on the bed trying her best to spoon with her loved one’s vat. I guess it can be pretty hard to let go.

The bathroom was at the end of the hall. There was one urinal, and it was overflowing. So I had to use one of the stalls. When I got out to wash my hands, I noticed at the end of the room there was a vat just sitting there. I didn’t even hear it roll in. I pumped the pink soap onto my hands and tried to ignore it. But I couldn’t. It was just parked there, right in front of the full-length mirror, not moving at all. Does it even recognize itself? Jesus Christ. Creepy as hell. I rinsed my hands and got the heck outa there.

When I rejoined my family, it looked like they had stopped eating.

“What the hell, Tony—did you fall in? Get over here. We forgot to say the prayer,” Mom said. “Now sit down. We were waiting for you to get back this whole time.”

“Jeez, you coulda prayed without me.”

“Let’s go. Everyone hold hands. Gina, take Nonno’s arm.”

“Ew, no. I don’t wanna. It’s got hospital germs on it.”

In unison: “Bless us, oh Lord, for these thy gifts, which we are about to receive, from thy bounty, through Christ, Our Lord, Amen.”

“I think I heard Nonno yawning during the prayer,” I said.

“Don’t make fun of Nonno. You’ll be like that too one day,” Dad said.

“No I won’t. I’m gonna be cremated.”

Mom, in her angry tone, “No you’re not. When your heart stops beating, you’re either goin’ right in the jar like Nonno or you’re goin’ in the mausoleum with Zia Carmelina and her cats. This way Saint Jude and Mary and all the other saints can watch over your spirit.”

I changed the topic. “Um, is Grandma okay? She looks kinda spacey right now.”

“She’s fine, she just needs to eat. Honey, make sure she gets some spaghetti down.”

“I don’t think Grandma even knows that it’s her husband in there. Every now and then she glances at the jar, and she gets this brief look of disgust,” I said.

“What are you talkin’ about?” Mom said, “She always looked at him like that.”

“I think she’s just getting hypnotized from all the bubbles in Nonno’s jar. Look at her,” Gina said.

“Stop it. Your grandma can’t get hypnotized. Remember when we took her to that psychic doctor to try to cure her seizures?”

Dad groaned, “What a waste of money.”

Dad was always talking about money and work. He was cheap as hell with everything. Probably because he was dropping a fortune to keep Nonno here.

Dad, looking right at Mom,“You shouldn’t trust anyone with your money unless you can see your reflection in the glass frame of their diploma hanging on the wall behind them. That’s what I always say.”

Then Gina said, “Not true Dad. Tony’s got a diploma hangin’ up all shiny in our house, and he’s still unemployed. How old are you now, Tone, thirty-two? And you still live at home with mommy and daddy.”

“Leave him alone, Gina,” Mom said. “He helps out more than you do. Isn’t that right, baby?” Then she kissed me on the cheek.

“That’s right, Ma. And at least I finished school. How long has it been since you started beauty school, huh? What’s this like the fourth time you’re gonna take that final test?”

“Uhh, third actually. And for your information, the average person does take multiple times to pass the practical.”

“The average dumb person.”

“Son, listen. What you need to do is find a good-paying trade, and just work until you retire. That’s all there is to it. Look at me. I got a family, a house, and everything I need.”

Mom adds, “Pshh, and a ton of debt! Oh, when is it that you’re gonna retire already? You’ll be sixty-six next month.”

“Amore, look at this body,” Dad said, flexing his bicep. “Does this look like the body of a man ready to retire?”

“Dad, why is Nonno Francesco in there anyway? Was it his choice?” I asked.

“He’s in there so that when they have the technology to transfer his memories to a robot, then he’ll be all set. When I was a kid, your grandpa told me one time, while he was reading me a story, that he was going to live forever. I believed him. And now we’re lucky we live in a time where we can make his dream come true.”

“But doesn’t it cost a lot of money to keep him here?”

“We’re not discussing this right now, Tony. Not in front of your grandparents. Don’t worry about it. You let your father worry about the money.”

Don’t worry about it, don’t worry about it. That’s what he always said when he wanted to avoid controversial topics.

Dad’s voice was sounding kind of angry. It was upsetting the baby. Nico was getting restless and started crying. Mom and Gina tried to calm him down by giving him a meatball. But Nico started flailing and went full-on temper tantrum. He grabbed the meatball out of Gina’s hand and threw it wayyyy up into the air. We all gasped.

The meatball was headed right towards Nonno’s vat.

Dad, in a quick motion, leaped out of his chair onto the table to try to catch the meatball before it landed in the vat. But in doing so he knocked over the pitcher of wine, and it landed right on Grandma’s lap, drenching her completely. Her white blouse was now covered in purple, and she started to flip out. Meanwhile the meatball splashed right into the vat and sank all the way down to the bottom, settling just under Nonno’s cerebellum.

Grandma unleashed a torrent of obscenities, a tirade of nonsensical Italian gibberish.

“Oh my gawd! The meatball is touching Nonno!” Mom shouted. “Please, someone help!”

For a second it looked like Dad was gonna stick his hand right in the vat to pull out the meatball. But one of the staff members came running to help. Another staff member went to help Grandma with her blouse, trying to pat her down with a towel. But Grandma fought back, throwing weak, old-lady punches and spewing more Italian venom in the aid’s face.

“Sir, please don’t put your hand in there!” a tall man said. “I’m Dr. Wilcox, head of Neural Gerontology. Please do not do that. The liquid will severely irritate your skin. The meatball is fine in there. Leave it alone. It’s not going to do anything harmful to your grandfather’s cortex.”

“What do you mean it’s not going to do anything harmful? It’s practically touching his brain stem. That can’t be good,” Dad shouted.

“It’s not ideal. But the brain itself doesn’t have sensory receptors. He can’t actually feel the meatball touching him. And that liquid can preserve anything. You can seriously just leave it in there forever and nothing will happen.”

“Oh no, I don’t want my father to have to live with a meatball next to him like that. It’s embarrassing.”

“I mean, we can do a complete replacement of the liquid. But it’s very expensive. Really, it’s only necessary from a cosmetic standpoint. If it bothers you that much, we can remove the meatball. But I doubt you father’s insurance will cover the unnecessary fluid replacement. But, like I said, if you’re willing to pay, we can take care of it.”

Then, as they were talking, I heard a creak and a clank behind us. It was coming from Nonno’s arm. He was moving his arm!

The doctor started to realize what was happening. So he called in his staff to intervene. “Hey, can one of the techs get in there and turn off that arm?”

That’s when dad stepped in.“You stop it right there. I don’t want any of you smart-asses touching my father. That is his arm. He moves it of his own free will. You have no right to turn off his arm.”

Dad knew what was about to happen. That Nonno was gonna reach into his own jar and pull out the damn meatball himself. That’s Nonno for you. When enough was enough, he’d always take it upon himself to do what he needed to do. It was good to see there was still some of that left in him.

So we all just watched Nonno raise his enormous arm and reach down into his jar. Some more of the juice spilled out as the hand became submerged.

We all looked at each other like yeah! Right on, Nonno! But then, something else happened. Nonno didn’t go for the meatball. Instead, he used his metal claw to clench his own brain, and he whooshed it right out of the fluid. The blue stuff splashed everywhere. We all got out of the way, worried the liquid would touch us. The arm stuck straight up in the air, brain trembling like jello, goo pouring down, with the still-attached wires glistening under the fluorescent lights. Then Nonno tossed himself right on to the table. The brain bounced once and knocked over the bowl of tomato sauce. Red splattered everywhere. The table was covered in grey matter and marinara.

“Folks! Everyone stop what they’re doing!” Dr. Wilcox said. “We can salvage your grandfather’s brain. But you all have to leave immediately. Nurse, please call security to escort them. Get this family out of here right now! And you,” he pointed to one of the orderlies, “clean up all this sauce!”

We grabbed our things and headed for the exit. We were all pretty much speechless. Except for Mom. She walked right up to the doctor and said, “It’s gravy.”

 



Franco Amati is a speculative fiction writer from New York. His educational background is in cognitive science. His fiction has appeared in The Colored Lens, Northern Speculative, Utopia Science Fiction, and other places. You can find more of his work at francoamatiwrites.com