Operation Shoestring (The Lizard, Part 03)

Excerpt from the novel Cryptonomicon icon-external-link-12x12 icon-search-12x12 by Neal Stephenson icon-external-link-12x12 icon-search-12x12

     Bobby Shaftoe has become a connoisseur of nightmares. Like a fighter pilot ejecting from a burning plane, he has just been catapulted out of an old nightmare, and into a brand-new, even better one. It is creepy and understated; no giant lizards here.
     It begins with heat on his face. When you take enough fuel to push a fifty-thousand-ton ship across the Pacific Ocean at twenty-five knots, and put it all in one tank and the Nips fly over and torch it all in a few seconds, while you stand close enough to see the triumphant grins on the pilots’ faces, then you can feel the heat on your face in this way.
     Bobby Shaftoe opens his eyes, expecting that, in so doing, he is raising the curtain on a corker of a nightmare, probably the final moments of Torpedo Bombers at Two O-Clock! (his all-time favorite) or the surprise beginning of Strafed by Yellow Men XVII.
     But the sound track to this nightmare does not seem to be running. It is as quiet as an ambush. He is sitting up in a hospital bed surrounded by a firing squad of hot klieg lights that make it difficult to see anything else. Shaftoe blinks and focuses on an eddy of cigarette smoke hanging in the air, like spilled fuel oil in a tropical cove. It sure smells good.
     A young man is sitting near his bed. All that Shaftoe can see of this man is an asymmetrical halo where the lights glance from the petroleum glaze on his pompadour. And the red coal of his cigarette. As he looks more carefully he can make out the silhouette of a military uniform. Not a Marine uniform. Lieutenant’s bars gleam on his shoulders, light shining through double doors.
     “Would you like another cigarette?” the lieutenant says. His voice is hoarse but weirdly gentle.
     Shaftoe looks down at his own hand and sees the terminal half-inch of a Lucky Strike wedged between his fingers.
     “Ask me a tough one,” he manages to say. His own voice is deep and slurred, like a gramophone winding down.
     The butt is swapped for a new one. Shaftoe raises it to his lips. There are bandages on that arm, and underneath them, he can feel grievous wounds trying to inflict pain. But something is blocking the signals.
     Ah, the morphine. It can’t be too bad of a nightmare if it comes with morphine, can it?
     “You ready?” the voice says. God damn it, that voice is familiar.
     “Sir, ask me a tough one, sir!” Shaftoe says.
     “You already said that.”
     “Sir, if you ask a Marine if he wants another cigarette, or if he’s ready, the answer is always the same, sir!”
     “That’s the spirit,” the voice says. “Roll film.”
     A clicking noise starts up in the outer darkness beyond the klieg light firmament. “Rolling,” says a voice.
     Something big descends towards Shaftoe. He flattens himself into the bed, because it looks exactly like the sinister eggs laid in midair by Nip dive-bombers. But then it stops and just hovers there.
     “Sound,” says another voice.
     Shaftoe looks harder and sees that it is not a bomb but a large bullet-shaped microphone on the end of a boom.
     The lieutenant with the pompadour leans forward now, instinctively seeking the light, like a traveler on a cold winter’s night.
     It is that guy from the movies. What’s-his-name. Oh, yeah!
     Ronald Reagan has a stack of three-by-five cards in his lap. He skids up a new one: “What advice do you, as the youngest American fighting man ever to win both the Navy Cross and the Silver Star, have for any young Marines on their way to Guadalcanal?”
     Shaftoe doesn’t have to think very long. The memories are still fresh as last night’s eleventh nightmare: ten plucky Nips in Suicide Charge!
     “Just kill the one with the sword first.”
     “Ah,” Reagan says, raising his waxed and penciled eyebrows, and cocking his pompadour in Shaftoe’s direction. “Smarrrt—you target them because they’re the officers, right?”
     “No, fuckhead!” Shaftoe yells. “You kill ’em because they’ve got fucking swords! You ever had anyone running at you waving a fucking sword?
     Reagan backs down. He’s scared now, sweating off some of his makeup, even though a cool breeze is coming in off the bay and through the window.
     Reagan wants to turn tail and head back down to Hollywood and nail a starlet fast. But he’s stuck here in Oakland, interviewing the war hero. He flips through his stack of cards, rejects about twenty in a row. Shaftoe’s in no hurry, he’s going to be flat on his back in this hospital bed for approximately the rest of his life. He incinerates half of that cigarette with one long breath, holds it, blows out a smoke ring.
     When they fought at night, the big guns on the warships made rings of incandescent gas. Not fat doughnuts but long skinny ones that twisted around like lariats. Shaftoe’s body is saturated with morphine. His eyelids avalanche down over his eyes, blessing those orbs that are burning and swollen from the film lights and the smoke of the cigarettes. He and his platoon are racing an incoming tide, trying to get around a headland. They are Marine Raiders and they have been chasing a particular unit of Nips across Guadalcanal for two weeks, whittling them down. As long as they’re in the neighborhood, they’ve been ordered to make their way to a certain point on the headland from which they ought to be able to lob mortar rounds against the incoming Tokyo Express. It is a somewhat harebrained and reckless tactic, but they don’t call this Operation Shoestring for nothing; it is all wacky improvisation from the get-go. They are behind schedule because this paltry handful of Nips has been really tenacious, setting ambushes behind every fallen log, taking potshots at them every time they come around one of the headlands….
     Something clammy hits him on the forehead: it is the makeup artist taking a swipe at him. Shaftoe finds himself back in the nightmare within which the lizard nightmare was nested.
     “Did I tell you about the lizard?” Shaftoe says.
     “Several times,” his interrogator says. “This’ll just take another minute.” Ronald Reagan squeezes a fresh three-by-five card between thumb and forefinger, fastening onto something a little less emotional: “What did you and your buddies do in the evenings, when the day’s fighting was done?”
     “Pile up dead Nips with a bulldozer,” Shaftoe says, “and set fire to ’em. Then go down to the beach with a jar of hooch and watch our ships get torpedoed.”
     Reagan grimaces. “Cut!” he says, quietly but commanding. The clicking noise of the film camera stops.
     “How’d I do?” Bobby Shaftoe says as they are squeegeeing the Maybelline off his face, and the men are packing up their equipment. The klieg lights have been turned off, clear northern California light streams in through the windows. The whole scene looks almost real, as if it weren’t a nightmare at all.
     “You did great,” Lieutenant Reagan says, without looking him in the eye. “A real morale booster.” He lights a cigarette. “You can go back to sleep now.”
     “Haw!” Shaftoe says. “I been asleep the whole time. Haven’t I?”

Grandma Shaftoe’s Raisin Bread (The Lizard, Part 02)

Excerpt from the novel Cryptonomicon icon-external-link-12x12 icon-search-12x12 by Neal Stephenson icon-external-link-12x12 icon-search-12x12

     The Marine Raiders’ bodies are no longer pressurized with blood and breath. The weight of their gear flattens them into the sand. The accelerating surf has already begun to shovel silt over them; comet trails of blood fade back into the ocean, red carpets for any sharks who may be browsing the coastline. Only one of them is a giant lizard, but all have the same general shape: fat in the middle and tailing off at the ends, streamlined by the waves.
     A little convoy of Nip boats is moving down the slot, towing barges loaded with supplies packed into steel drums. Shaftoe and his platoon ought to be lobbing mortars at them right now. When the American planes show up and begin to kick the shit out of them, the Nips will throw the drums overboard and run away, and hope that some of them will wash ashore on Guadalcanal.
     The war is over for Bobby Shaftoe, and hardly for the first or last time. He trudges among the platoon. Waves hit him in the knees, then spread into magic carpets of foam and vegetable matter that skim along the beach so that his footing appears to glide out from under him. He keeps twisting around for no reason and falling on his ass.
     Finally he reaches the corpsman’s corpse, and divests it of anything with a red cross on it. He turns his back on the Nip convoy and looks up a long glacis toward the tideline. It might as well be Mt. Everest as seen from a low base camp. Shaftoe decides to tackle the challenge on hands an knees. Every so often, a big wave spanks him on the ass, rushes up between his legs orgasmically and washes his face. It feels good and also keeps him from pitching forward and falling asleep below the high-tide mark.
     The next couple of days are a handful of dirty, faded black-and-white snapshots, shuffled and dealt over and over again: the beach under water, positions of corpses marked by standing waves. The beach empty. The beach under water again. The beach strewn with black lumps, like a slice of Grandma Shaftoe’s raisin bread. A morphine bottle half-buried in the sand. Small, dark people, mostly naked, moving along the beach at low tide and looting the corpses.
     Hey, wait a sec! Shaftoe is on his feet somehow, clutching his Springfield. The jungle doesn’t want to let go of him; creepers have actually grown over his limbs in the time he has lain there. As he emerges, dragging foilage behind him like a float in a ticker-tape parade, the sun floods over him like warm syrup of ipecac. He can see the ground headed his way. He spins as he falls—momentarily glimpsing a big man with a rifle—and then his face is pressed into the cool sand. The surf roars in his skull: a nice standing ovation from a studio audience of angels, who having all died themselves, know a good death when they see one.

Something Red Flickers (The Lizard, Part 01)

Excerpt from the novel Cryptonomicon icon-external-link-12x12 icon-search-12x12 by Neal Stephenson icon-external-link-12x12 icon-search-12x12

     The rest of the platoon may or may not be dead; he thinks he can still hear some of them crying out, but it’s hard to tell between the pounding of the incoming surf and the relentless patter of the machine gun. Then he realizes that some of them must be alive or else the Nips would not continue to fire their gun.
     Shaftoe knows that he is closer to the gun than any of his buddies. He is the only one who has a chance.
     It is at this point that Shaftoe makes his Big Decision. It is surprisingly easy—but then, really stupid decisions are always the easiest.
     He crawls along the log to the point that is closest to the machine gun. Then he draws a few deep breaths in a row, rises to a crouch, and vaults over the log! He has a clear view of the cave entrance now, the comet-shaped muzzle flash of the machine gun tesselated by the black grid of the net that they put up to reject incoming grenades. It is all remarkably clear. He looks back over the beach and sees motionless corpses.
     Suddenly he realizes they are still firing the gun, not because any of his buddies are alive, but to use up all of their excess ammunition so that they will not have to pack it out. Shaftoe is a grunt, and understands.
     Then the muzzle swings abruptly towards him—he has been sighted. He is in the clear, totally exposed. He can dive into the jungle foliage, bu they will sweep it with fire until he is dead. Bobby Shaftoe plants his feet, aims his .45 into the cave, and begins pulling the trigger. The barrel of the machine gun is pointing at him now.
     But it does not fire.
     His .45 clicks. It’s empty. Everything is silent except for the surf, and for the screaming. Shaftoe holsters his .45 and pulls out his revolver.
     The voice that is doing the screaming is unfamiliar. It’s not one of Shaftoe’s buddies.
     A Nipponese Imperial Marine bolts from the mouth of the cave, up above the level of Shaftoe’s head. The pupil of Shaftoe’s right eye, the sights of his revolver, and this Nip are all arranged briefly along the same line for a moment, during which Shaftoe pullso the trigger a couple of times and almost certainly scores a hit.
     The Imperial Marine gets caught in the netting and plunges to the ground in front of him.
     A second Nip dives out of the cave a moment later, grunting incoherently, apparently speechless with horror. He lands wrong and breaks one of his leg bones; Shaftoe can hear it snap. He begins running towards the surf anyway, hobbling grotesquely on the bad leg. He completely ignores Shaftoe. There is terrible bleeding from his neck and shoulder, and loose chunks of flesh flopping around as he runs.
     Bobby Shaftoe holsters his revolver. He ought to shoulder his rifle and plug the guy, but he is too confused to do anything for the moment.
     Something red flickers in the mouth of the cave. He glances up that way and sees nothing clear enough to register against the deafening visual noise of the jungle.
     Then he sees the flash of red again, and it disappears again. It was shaped like a sharpened Y. It was shaped like the forked tongue of a reptile.
     Then a moving slab of living jungle explodes from the mouth of the cave and crashes into the foliage below. The tops of the plants shake and topple as it moves.
     It is out, free and clear, on the beach. It is low to the ground, moving on all fours. It pauses for a moment and flicks its tongue towards the Imperial Marine who is now hobbling into the Pacific Ocean some fifty feet distant.
     Sand erupts into the air, like smoke from the burning tires of a drag racer, and the lizard is rocketing across the beach. It covers the distance to the Imperial Marine in one, two, three seconds, takes him in the backs of his knees, takes him down hard into the surf. Then the lizard is dragging the dead Nip back up onto the land. It stretches him out there among the dead Americans, walks around him a couple of times, flicking its tongue, and finally starts to eat him.

A Culture Medium for a Medium Culture

Excerpt from the novel Snow Crash icon-external-link-12x12 icon-search-12x12 by Neal Stephenson icon-external-link-12x12 icon-search-12x12

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     The house is sort of a medernist castle with a high turret on one end. Da5id and Hiro and the rest of the hackers used to go up there with a case of beer and a hibachi and just spend a whole night, eating jumbo shrimp and crab legs and oysters and washing them down with beer. Now it’s deserted, of course, just the hibachi, which is rusted and almost buried in gray ash, like an archaeological relic. Hiro has pinched one of Da5id’s beers from the fridge, and he sits up here for a while, in what used to be his favorite place, drinking his beer slowly, like he used to, reading stories in the lights.
     The old central neighborhoods are packed in tight below an eternal, organic haze. In other cities, you breathe industrial contaminants, but in L.A., you breathe amino acids. The hazy sprawl is ringed and netted with glowing lines, like hot wires in a toaster. At the outlet of the canyon, it comes close enough that the light sharpens and breaks up into the stars, arches, glowing letters. Streams of red and white corpuscles throb down highways to the fuzzy logic of intelligent traffic lights. Farther away, spreading across the basin, a million sprightly logos smear into solid arcs, like geometric points merging into curves. To either side of the franchise ghettos, the loglo dwindles across a few shallow layers of development and into a surrounding dimness that is burst here and there by the blaze of a security spotlight in someone’s backyard.
     The franchise and the virus work on the same principle: what thrives in one place will thrive in another. You just have to find a sufficiently virulent business plan, condense it into a three-ring binder—its DNA—xerox it, and embed it in the fertile lining of a well-traveled highway, preferably one with a left-turn lane. Then the growth will expand until it runs up against its property lines.
     In olden times, you’d wander down to Mom’s Cafe for a bite to eat and a cup of joe, and you would feel right at home. It worked just fine if you never left your hometown. But if you went to the next town over, everyone would look up and stare at you when you came in the door, and the Blue Plate Special would be something you didn’t recognize. If you did enough traveling, you’d never feel at home anywhere.
     But when a businessman from New Jersey goes to Dubuque, he knows he can walk into a McDonald’s and no one will stare at him. He can order without having to look at the menu, and the food will always taste the same. McDonald’s is Home, condensed into a three-ring binder and xeroxed. “No surprises” is the motto of the franchise ghetto, its Good Housekeeping seal, subliminally blazoned on every sign and logo that make up the curves and grids of light that outline the Basin.
     The people of America, who live in the world’s most surprising and terrible country, take comfort in that motto. Follow the loglo outward, to where the growth is enfolded into the valleys and the canyons, and you find the land of the refugees. They have fled from the true America, the America of atomic bombs, scalpings, hip-hop, chaos theory, cement overshoes, snake handlers, spree killers, space walks, buffalo jumps, drive-bys, cruise missiles, Sherman’s March, gridlock, motorcycle gangs, and bungee jumping. They have parallel-parked their bimbo boxes in identical computer-designed Burbclave street patterns and secreted themselves in symmetrical sheetrock shitholes with vinyl floors and ill-fitting woodwork and no sidewalks, vast house farms out in the loglo wilderness, a culture medium for a medium culture.
     The only ones left in the city are street people, feeding off debris; immigrants, thrown out like shrapnel from the destruction of the Asian powers; young bohos; and the technomedia priesthood of Mr. Lee’s Greater Hong Kong. Young smart people like Da5id and Hiro, who take the risk of living in the city because they like stimulation and they know they can handle it.