——
I met Sylvia Newman some hours after her death. Louis had told me about the woman—went on in some detail about their affair—but to the best of my knowledge, I’d never set eyes on her before.
Needled by annoyance, I went to his house that morning to pick up the documents his wife had failed to messenger me before leaving for Miami, and upon finding the alarm system deactivated, decided to search the house for signs of burglary. Upstairs, I was met by the sight of Mickey Rossini sitting upright with seven holes in his body. Manny “Tap” Tappert lay on his back with two holes in his chest and a startled expression on his face. But the worst sight awaited me in Louis’s den. In the center of the room was a shifting mass that resembled a loose congregation of mealworms writhing excitedly, and next to this grotesque display was a skinless corpse.
Even partially clad in a black jacket and slacks, it seemed too small, too delicate to have been the remains of an adult. Eyes whiter than paper lay nestled in a field of deep red. Here and there, ridges of white bone showed through the crimson tissue of muscle and ligament. My stomach clenched, wondering who could perform such an atrocity on another human being and wondering what a victim might do to deserve such a desecration.
While I was absorbed by the grotesquerie, what I thought was a hood dropped over my head, startling me back, but my reflexes were no match for Sylvia. She must have been waiting on the ceiling, descending upon me as I stood rapt by the repulsive scene. Her face stretched over mine, and the thorny teeth ringing her skin bit into the back of my head like fingernails working their way into an orange rind. As the skin pulled across my brow and chin and those thorns tore their way in, her memories began flooding me, drowning my own thoughts with scenes from this woman’s life:
Sylvia Newman strolls along the boulevard.
Sylvia believes her lover is joking, except that he isn’t.
Sylvia is dead but alive in her skin, which she feels ripping like fabric, peeling in a single sheet from her muscles and bones.
A thousand such scenes play simultaneously in my mind. Amid this torrent of information I was lost: I was Sylvia.
Overwhelmed, I ceased what little struggles I’d engaged in and resigned myself to this mental infestation, viewing the torments and triumphs and carnal excesses that had molded Sylvia Newman. The skin of her neck stretched tightly around my throat, restricting my breath, and the tiny bones punctured the nape of my neck and scraped across my spine, and more information flooded in, so dense it cascaded through my head like photographs printed on raindrops.
When this downpour ceased, I remained standing in Louis Towne’s study. My clothes had been removed and Sylvia busied herself, stretching and wrapping and securing her flesh over mine. Her skin buckled my knees, and we stumbled forward and I grasped the drape for support, but fell nonetheless. The curtain rod snapped under my weight, bringing the window treatment down in a wave. We scurried back on my hands and knees, and then, with great effort, we regained our footing and stood, only to be startled by the sight greeting us.
With night as a backdrop, the window had become a perfect mirror. Sylvia’s face, still thick with makeup, had fused to mine; her full red lips formed a grotesque O around my own mouth. Her breasts sagged emptily against the skin of her stomach, which shined from such tension it looked as though it might rip at any moment, and the tip of my penis showed through the labial lips between her legs. It was this last that so enthralled me. Sylvia must have sensed my fascination because the skin there began to ripple and pull, caressing the head of my cock until it began to grow, and soon a library of erotic images—Towne fucking her and Rossini fucking her and Tocci and a dozen others—crowded my awestruck mind.
The rippling and pulling intensified. The reflection of this unnatural intercourse filled my eyes as I watched her skin creep along my shaft and then drag backward revealing the entirety of my erection. Soon I became aware of another sensation—I felt what Sylvia felt, an intense tingling in the lips of skin that eagerly stroked my cock. She willed my hands to her nipples, forced them to squeeze and pinch, dragging the empty sacks of her breasts away from our body. Sparks of pleasure shot like dry lightning through a desert, alighting the tissues and skipping off to some equally sensitive destination. The act repulsed me, and it excited me. Climax burst on us so quickly I cried out, or she did.
After, we stood breathless, staring at ourselves in the window. She spoke to me, moving my lips and forcing air from my lungs through the vocal cords and over my tongue.
“We’re very good together,” she said. “We can accomplish so much.”
I asked her what it was she hoped to accomplish, and she showed me the face of a bucktoothed man named Toady. His expression was tense and hateful. He drew back his fist and punched us in the cheek, and Sylvia’s loathing of the cretin became mine.
“There are others,” she said. “So many others. All we need are the icons.”
“And each other,” I said.
“Of course.”
——
We stand at the window, observing the crude bumps and tightly stretched planes of skin, and we whisper back and forth—plans and dreams and longings so deep we have never spoken them aloud to another soul. The words spill quietly from my lips and I observe their formation in the pane, and in one heart-stopping moment we fall silent.
I find us so beautiful I can’t speak another word.
——
Lee Thomas is the Lambda Literary Award– and Bram Stoker Award–winning author of the novels Stained, Damage, and The Dust of Wonderland, and the short-story collection In the Closet, under the Bed. In addition to numerous magazines, his short fiction has appeared in the anthologies Darkness on the Edge, Dead Set, Horror Library Volume 4, and Inferno, among others. Current and forthcoming titles include the novellas The Black Sun Set, Crisis, and Focus (cowritten with Nate Southard). His latest novel, The German, was released by Lethe Press in April 2011.
Tom Piccirilli
—
I woke up at four a.m. to a whistling, icy draft and found a teenage girl downstairs feeding my goldfish, Cecil. She’d been at it for a while. The box of fish food was empty, Cecil was dead, and she was scratching at her temple with an S&W popgun .22.
October rain slid against the living-room windows and brown, wet leaves clung thickly to the bottom of the open front door. There was a rusted key in the lock and an overturned rock at the foot of the porch steps. I hadn’t known about the hiding spot. I shut the door.
Emily Wright didn’t glance up.
I knew who she was even though I hadn’t seen her in six years. The chubby little girl had turned a delicate sixteen, with the pale and inviting face of a freshly sculpted young woman. Her once-vibrant blue eyes had grown smoky and muted. Seams around her mouth added a kind of evocative maturity that was already provocative. Men would consider her sexy as hell until she hit maybe twenty-five, and then she’d be downgraded to bruised fruit. By the time she was thirty the neighbors would be saying she hadn’t aged well.