The trails, too: a dark stillness of the pine trees and thick underbrush mottled by a strangled light. The memory of being disoriented and lost in a thunderstorm at the age of six, of emerging from that forest not knowing where you were—brought out of you by the cautious quiet way the expedition leader noted looming clouds, as if they presaged something more than a need to find shelter.
After the storm, in the startling revelation of open space and sunlight, you’d encountered a huge alligator blocking the narrow path, with water on both sides. You’d taken a running start and jumped over it. Never told your mother about the exhilaration, the way you had in mid-leap dared a glance down to see that yellow eye, that dark vertical pupil, appraise you, take you in like Area X had taken in the first expedition, and then you were over and past, running for a long time out of sheer joy, sheer adrenaline, like you’d conquered the world.
The running on the screen toward the end is away from something, not toward something, and the screams later not of triumph but of defeat—tired screams, as of weariness at fighting against something that would not properly show itself. In your more cynical moments you thought of them as perfunctory screams: an organism that knows there is no point in fighting back, the body capitulating and the mind letting it. They were not lost as you were lost that day; they had no cottage by the sea to return to, no mother pacing on the deck, worried out of her mind, grateful for your sudden grimy, soaked appearance.
Something on your face must have retained the memory of your joy because she didn’t punish you, just got you in dry clothes and fed you, and asked no questions.
Bypassing the route to base camp, you head for the topographical anomaly with the urgency of a ticking clock driving you. The knowledge—never discussed with Whitby—that the longer you stay, the longer you seem to linger, the greater the opportunity for disaster. That alligator eye staring up at you, with more awareness behind its piercing gaze than you remember. Someone off-camera on the second day of the first expedition saying, “I want to go home,” and Lowry, goofing around, so confident, saying, “What do ya mean? This is our home now. We’ve got everything here. Everything we need. Right?”
Nowhere is this sense of urgency more intense than while passing through the swampy forest that lies a mile or two from the border, where the woods meet a dank black-water gutter. The place where you most often saw evidence of bears and heard things rustling in the darkness of the tree cover.
Whitby’s often silent, and when he speaks his questions and concerns do nothing to alleviate the pressure of that gloom, the sense of intent eternal and everlasting that occupies this stretch of land, that predates Area X. The still, standing water, the oppressive blackness of a sky in which the blue peers down through the trees at startling intervals, only to be taken away again, and only ever seeming to come to you from a thousand miles off anyway. Is this the clearing where three men died during the fifth expedition? Does that pond hold the bodies of men and women from the first eighth? Sometimes, immersed in these overlays, Whitby’s pale whispering form is a jolting shock to you, inseparable from these echoes of prior last days.
Eventually, though, you cross into a more optimistic landscape, one in which you can adapt, reconcile past and present into one vision. Here, a wider path separates the continuing dank swamp forest from open ground, allows you a horizon of a few tall pines scattered among the wild grass and palmetto circles. The lean of that forest means that the darkness ends at an angle casting half the trail in a slanted shade.
There are other borders within Area X, other gauntlets, and you have passed through one to get to the topographical anomaly.
Once there, you know immediately the tower isn’t made of stone—and so does Whitby. Does he wish now, his expression unreadable, that you had put him through conditioning, that he’d been given all the training Central could bestow, not your half measures, your shoddy hypnotism?
The tower is breathing. There is no ambiguity about it: The flesh of the circular top of the anomaly rises and falls with the regular rhythm of a person deep in sleep. No one mentioned this aspect in the reports; you aren’t prepared for it, but how easily you acclimate, give yourself up to it, can already imagine descending even as a part of you is floating, ascending to look down on the foolishness of this decision.
Will it wake up while you’re inside it?
The opening leading into darkness resembles a maw more than a passageway, the underbrush around it pushed back, squashed in a rough framing circle, as if some now-absent serpent had once curled around it in a protective mode. The stairs form a curling snarl of crooked teeth, the air expelled smelling of thick rot.
“I can’t go down there,” Whitby says, in such a final way that he must be thinking that in the descent he would no longer be Whitby. The hollows of his face, even in that vibrant, late-summer light, make him look haunted by a memory he hasn’t had yet.
“Then I’ll go,” you offer—down into the gullet of the beast. Others have, if rarely, and come back, so why not you? Wearing a breathing mask, just to be safe.
There is a dazed panic and coiled restraint behind your every movement that will come out later through the flesh, the bone. Months from now you will wake sore and bruised, as if your body cannot forget what happened, and this is the only way it can express the trauma.
Inside, it’s different than in the fragmentary reports brought back by other expeditions. The living tissue curling down the wall is almost inert, the feeble wanderings of the tendrils that form the words so slow you think for a moment it’s all necrotic tissue. Nor are the words a vibrant green as reported but a searing blue, almost the color of a flame on a stove top. The word dormant comes to mind, and with it a wild hope: that everything beneath you will be inert, normal, even if at the outer boundary of what that word means.
You keep to the middle, do not touch either wall, try to ignore the shuddering breath of the tower. You don’t read the words because you have long seen that as a kind of trap, a way to become distracted … and still the sense that whatever will disorient and destabilize lies below you, deciding whether to be seen or remain unseen—around a corner, beyond the horizon, and with each new empty reveal, each curve of the steps lit by the blue flames of dead words, toward an unknown become shy, you are wound ever tighter, even though there is nothing to be seen. The hell of that, the hell of nothing at all, which feels as if you are reliving every moment of your life at the Southern Reach—descending for no reason, for nothing, to find nothing. No answers, no solution, no end in sight, the words on the wall not getting fresher but darker, seeming to wink out as you come upon them … until, finally, you glimpse a light far, far below—so far below it’s like a glowing flower in a hole at the bottom of the sea, a glimmering, elusive light that through some magician’s trick also hovers right in front of your face, giving you the illusion that you can reach out and touch it if you only can find the courage to extend your hand.
But that’s not what makes your legs ropy, a rush of blood surging through your brain.
A figure sits hunched along the side of the left-hand wall, staring down the steps.
A figure with head bowed, turned away from you.
A prickling engulfs your head under your mask, a kind of smooth, seamless insertion of a million cold, painless needles, ever so subtle, ever so invisible, so that you can pretend it is just a spreading heat against your skin, a taut feeling across the sides of your nose, around your eyes, the quiet soft entry of needles into a pincushion, the return of something always meant to be there.
You tell yourself this is no less or more real than bowling at Chipper’s, than the hippo with the red paint under the skin, than living in Bleakersville, working at the Southern Reach. That this moment is the same as every other moment, that it makes no difference to the atoms, to the air, to the creature whose walls breathe all around you. That you gave up the right to call anything