Shriek: An Afterword Read Free

by wide-brimmed gray felt hats that, like the hooded tops of their namesakes, covered them to the neck. Their necks were the only exposed part of them—incredibly long, pale necks; at rest, they did indeed resemble mushrooms.
    Of the Silence, we had heard even less—a whisper among the adults, a sense that we should not ask about it. Even in Stockton, so far from what had happened—separated by both time and geography—there seemed to be a fear that, somehow, the event might be resurrected by the most casual of comments. No, I discovered Silence much later—only learned during my brief attendance at the Hoegbotton School for Advanced Studies, for example, that the annotations in Ambergrisian history books {A.S. and B.S.} stood for After Silence and Before Silence. Of Samuel Tonsure’s journal, so inextricably linked to the Silence, I heard not even a whisper until Duncan educated me. {I may have given you the most personalized and eccentric education on the Silence in the history of Ambergris!}
    We did not learn much about any of this from Mom. For a good portion of our youth in Ambergris, rare was the day that she rose before noon. Sometimes we barely saw her. She had so many rooms to hide in in that house. Her internal clock, her rhythms, became nocturnal and erratic. She continued to paint, but sometimes we would return home to find that instead of a canvas she had painted the wall of an unused room in a welter of dissonant colors. Until the basement began to flood with river water every time it rained, she loved to sit down there in the damp and read by an old oil lamp we’d brought with us from Morrow, an heirloom dating back to the time of the pirate whalers. {When she was there, Janice and I would sometimes join her. We’d pull up chairs and listen to the whispering gasp of the river water as it tried to get in through the floorboards, and we’d read our books or do our homework. Mom rarely said anything, but there was something about being together in the same room that felt comfortable. I think she enjoyed it, too, but I don’t know for sure.}
    I do remember that in our mother’s absence one of my aunts tried to help orient us to the city, telling us, “There’s a Religious Quarter, a Merchant Quarter, and an old Bureaucratic Quarter, and then there are places you don’t go no matter what. Stay out of them.” Faced with such vague warnings, we had to discover Ambergris in those early days by exploring for ourselves or asking our classmates.
    The move to Ambergris changed my relationship with Duncan. Before the move, Duncan had been the annoying shadow, the imitator who always had to do what I was already doing. When I started a rock collection at the age of eight, inspired by the exposed granite on the hillside near our house in Stockton, Duncan started one, too, even though he didn’t understand why. No matter how I shooed him away, Duncan had to follow me up the hill. A cautious distance away from my irritated mumblings, he would squat in his wobbly way and run his hand through the pebbles, looking for the shiniest ones. Over time, he would squinch closer and closer, waddling like a duck, until before I knew it we were looking for stones together and my collection became our collection.
    When I became entranced by the children’s stories of mammalogist Roger Mandible, Duncan not only stole the books from my room but colored in them and scrawled his name, handwriting as neat as a drunken sailor’s, across many of the pages.
    By the time I’d reached the age of fourteen or fifteen, I’d realized he copied me because he loved me and looked up to me. {I didn’t look up to you for long—you stopped growing after you turned fourteen, I believe.}
    But by then the death of our father and the move to Ambergris had transformed me into something more than Duncan’s sister. There was something in the connection Dad and Mom had that had energized them both—that had made them both more than they had been