Resist Page 38

  Eleven.

  But this will not happen. Apollo is in position. He reaches out with his mighty arm and strips the ball from the green jersey before he can throw it.

  Ten.

  Apollo runs as fast as he can with the ball, so fast that every atom of his body feels as if it is igniting. He looks for an open teammate, for he is no ball hog, our Apollo, but there are no teammates to be found between himself and the hoop. So he runs alone. He is lightning. There are green jersey players in his way, but he spins and jukes around them before they can react, as if they are sloths suspended in aspic. Do his feet even touch the floor? Is it the shoes?

  He’s on fire.

  Three.

  He leaps high into the air and dunks the ball so hard that the backboard shatters into a thousand glittering shards of victory. The buzzer goes off just as he hits the ground. The final score is 100-99, red jerseys. Apollo Triumphant is leapt upon by his teammates. Hugs and pats on the back are distributed freely and with great relish. The crowd erupts into wild celebration. Apollo, Apollo, they chant.

  Patrick, the captain of the opposing team, approaches Apollo as confetti falls from above. There is a sour look on the man’s face, an expression of constipated rage at its most pure. He balls his fingers into a fist and raises it level with Apollo’s midsection. It rears back and trembles as an arrow notched in a bow, ready to be fired.

  “Good job, bro,” he says.

  “You too,” says Apollo.

  They bump fists. It is so dope.

  A small child limps onto the basketball court. He smiles so hard that it must be painful for his face. Apollo kneels and gives him a high-five, then a low-five, then a deep hug.

  “You did it, Apollo,” says the child.

  “No. We did it,” says Apollo. “They’ll never be able to demolish the youth center now.”

  “My new mommy and daddy said they could never have adopted me without your help.”

  Apollo puts a finger to his own lips. “Shhhhh.”

  “I love you, Apollo,” says the child, its face wet with tears. “You’re the best man alive.”

  Apollo drives home with his trophy and game ball in the back seat of his sports car, a candy apple convertible that gleams like justice. He blasts Rick Ross a positive, socially conscious rap song about working hard and pulling up one’s pants on his stereo. The road is his tonight. There are no other cars to be seen, no other people for miles. For all his successes as balla par excellence, Apollo still appreciates the beauty and quiet of the country.

  Suddenly, a sonorous roar pours out from the edge of the sky, so powerful that it shakes the car. Before Apollo can react, a yellow-silver-blue ball of fire shoots across the sky and explodes on the horizon, for a moment blotting out the darkness with pure white light before retreating into smoke and darkness. Apollo jams his foot on the pedal proceeds in the direction of the mysterious explosion while obeying all traffic laws and keeping his vehicle within the legal speed limits.

  “Holy shit Golly,” he says.

  Apollo finds a field strewn with flaming debris, shattered crystals, and shards of brightly colored metals. He hops out of his car to take a closer look. Based on his astro-engineering courses, which he gets top marks in, he surmises that these materials could have only come from some kind of spaceship. He is fascinated, to say the least.

  He hears movement from under a sheet of opaque glass. He pushes it away and sees that there is a woman lying prone underneath. At least, Apollo thinks she is a woman. She is shaped like a woman, but her skin is blue, and she has gills, and she has a second mouth on her forehead. Woman or not, she is beautiful, with delicate, alien features and C-cup breasts.

  “Oh my God,” says Apollo. He kneels down next to the alien woman and cradles her in his arms. “Are you okay?”

  She sputters. “… Listen . . . ship . . . crashed . . . There isn’t much . . . time . . . You must stop . . . Lord Tklox . . . He is coming to . . . answer the . . . Omega Question . . . He will stop at nothing . . . please . . . stop him . . . Save . . . civilization . . . Leave me …”

  Apollo notices a growing purple stain on the woman’s diaphanous yellow robes. Based on his Theoretical Xenobiology class, he hypothesizes that this is blood. He shakes his head at her, unwilling to accept the false choice she has presented him with. “I’ll do whatever I can to stop him, but first I have to help you.”

  She reaches up to gently stroke his hand with her three-fingered hand. “… So kind . . . I . . . chose well …”

  With his incredible basketballer’s strength, it is nothing for Apollo to lift the woman. He may as well be carrying a large sack of feathers. He places her in the passenger seat of his car and gets back on the road lickety-split.

  “You’ll be okay. I just need some supplies.”

  He stops at the nearest gas station. He races around inside to get what he needs: bandages, ice, sports drink, needle, thread, protein bar. With these items in hand, he rushes toward the register, which is next to the exit. He is stopped by a man in a police uniform. The man in the police uniform asks him about his car.

  “It’s mine,” Apollo says.

  The man in the police uniform does not believe Apollo.

  “You have to come help me! There’s a woman in trouble!”

  The man in the police uniform does not believe Apollo and is concerned that he is shouting.

  “This is ridiculous! Sorry sir. I am sure you are just doing your job. Let me show you my ID and insurance information so we can clear all of this up,” says Apollo.

  Apollo goes to fish his wallet from his pocket. His naked hostility, volatile tone, and the act of reaching for what very well could be a weapon are clear signs of aggressive intent, and the man in the police uniform has no choice but to withdraw his own weapon and fire several shots. Apollo is struck first in the stomach, then the shoulder. He does not immediately die. Instead, he spends several moments on the floor of the convenience store, struggling to breathe as his consciousness fades into nothing. Then, he dies.

  WHAT THE FUCK is happening? Seriously. Where is this dude coming from? I haven’t written that many stories, but I really don’t think that’s how these things are supposed to go. The way I was taught, you establish character and setting, introduce conflict, develop themes, then end on an emotional climax. That’s it. Nobody said anything about killers popping up out of nowhere. Not in this genre, anyway.

  So hear me out. I think we may be dealing some kind of metafictional entity, a living concept, an ideo-linguistic infection. I don’t know how he got in here, but he should be easy enough to deal with. I think we just need to reason with him. He’s probably a nice guy. Just doing his job, trying to keep the story safe. He was probably genuinely afraid that Apollo was reaching for a gun. You never know with people these days. Life is scary.

  Besides, that story wasn’t working either. That Apollo was a big phony, totally unbelievable. Guys like that went out of style with Flash Gordon and bell-bottoms. It’s not just about liking the protagonist. You have to be able to relate to them, right? I think that’s how it works. That’s what everybody says, anyway. To be honest, I don’t really get the whole “relatability” thing. Isn’t the point of reading to subsume one’s own experience for the experience of another, to crawl out of one’s body and into a stranger’s thoughts? Why would you want to read about someone just like you? Stories are windows, not mirrors. Everybody’s human. Shouldn’t that make them relatable enough? I don’t know. I don’t have a lot of experience with this kind of thing. I thought smoking was a weird thing to do, too, but then I tried smoking and was addicted forever. Maybe I’ve just never come across a good mirror.

  So let’s do a child. Everybody loves children, and everybody was one. Plus, it’s really easy to make them super-relatable. Just throw some social anxiety disorder and a pair of glasses on some little fucking weirdo and boom: you got a movie deal. It’ll be a coming-of-age hero’s journey sort of thing, adolescence viewed thro
ugh a gossamer haze of nostalgia.

  BULLY BRAWL: AN APOLLO KIDD ADVENTURE

  THIS IS 1995. A group of young people sit on the stoop of a decaying brownstone just off the L. The topic is television. Some show or another. Who can remember? Broadcast television in the year 1995 is terrible all around, hugs and catchphrases and phantasmal laughter suspended in analog fuzz. Is Full House on in 1995? Is Urkel? They don’t know how bad they have it. Naomi leads the conversation. A skinny, toothy girl with a voice like a preacher. You can almost hear the organ chords rumbling in your chest whenever she opens her mouth. She jokes about what she would do if her own hypothetical future husband were to comically declare himself the man of the house, with the punchlines mainly revolving around the speed and vigor with which she would slap the black off him. She is sort of funny, but only because the television shows she is describing are not.

  Apollo does not make any jokes. He is sort of funny himself (people laugh at him, at least), but he does not know how to make funny words happen. He is mostly quiet, only chiming in with the factual, offering airtimes and channels and dropping the names of actors when they get stuck on the tips of tongues. Six or seven of them are gathered, and Apollo believes himself to definitely be the or-seventh. He is wearing a t-shirt with a superhero on it. Not Superman. Superman gear can be forgiven as a harmless eccentricity if you’re otherwise down. But Apollo’s rocking some kind of deep-cut clown in a neon gimp suit on his chest. Remember, this is 1995, and this man is thirteen years old. Unforgivable. He’s not just the or-seventh, he is the physical manifestation of all the or-seventhness that has ever existed in the world.

  The new girl is sitting next to him. She might have been the or-seventh were she not new. Check that sweater. Yellow? Polyester? Sequin pineapples? In this heat? Worse than unforgivable. But who knows what lies under it? A butterfly? A swan? Any and all manner of transformative symbology could be hiding, waiting, growing. There’s still hope for her. She may be four-eyed and flat-butted and double-handed and generally Oreoish, but there is hope. She can at least drop into the conversation sometimes, in the empty spaces after the punchlines. She has that power. For instance, after Naomi does a long routine on what she would do if she ever found a wallet lying on the sidewalk like on TV (in brief: cop that shit), the new girl says something about losing her own money and getting punished harshly by her mother. It is not a funny thing to say, but memories of belts and switches and tears are still fresh in their adolescent minds, and it is comforting to laugh it out. Apollo laughs the hardest, and he does not know why.

  The sun is gone. Just a little light left. The new girl can’t go home alone. Not in the almost-dark. This is 1995, not 1948. Apollo volunteers to walk with her.

  “He like you,” says Marcus, Naomi’s not-quite-but-basically-boyfriend, by way of explaining why Apollo is the best one for the job.

  Apollo denies this so fervently that he has to go through with it, lest she think he truly hates her. The walk is quiet for the first few blocks. Apollo is not a big talker, and the new girl has been here for two weeks, and no one, except maybe the ultragregarious Naomi, has had a real conversation with her. Still, Apollo finds himself feeling strangely comfortable. Maybe it is the sweater. Perhaps the fact that it should be embarrassing her is preventing him from being embarrassed himself. Perhaps it is the sartorial equivalent of imagining one’s audience naked. Perhaps she’s just sort of great.

  Apollo stops short just before they reach the corner. He holds out his arm so that the girl will stop, too. There’s danger up ahead. A gang of street toughs. Six of them. One of those multicultural, gender-integrated ‘90s gangs, a Benetton ad with knives. Red jackets, gold sneakers. One of them has a boombox. KRS-ONE maybe? Early KRS-ONE. Stuff about listening to people’s guns as they shoot you with them. Their victim is an old, gray-haired man. His hands are up. There is a briefcase at his feet. The gangsters taunt him stereotypically.

  “Give us ya money, pops!”

  “Don’t make me cut you!”

  “Nice and easy!”

  “Don’t be a hero!”

  “I need to regulate!”

  Apollo takes a slow step back. He means for Shayla to step with him, but she does not. He pulls on her arm, but she is still. She has a look on her face like she wants to fight motherfuckers. This is the most frightening expression that can appear on a human face.

  “We have to go,” he says.

  “No,” she says. “We have to help him.”

  “C’mon.”

  He pulls on her arm again, hard this time, but she slips his grasp. She runs at the gang, leaps into the air, and tackles the nearest one. The gangsters are surprised at first, to see this little girl brazenly attacking one of their own, but they quickly pull her off him and throw her to the ground.

  “What’s your malfunction?!” one of them screeches.

  The girl stands and pulls out, seemingly from nowhere, a fantastic-looking gun object that in no way resembles a gun or any other real-life weapon. “Stand down, jerks.”

  “Oh dag! She got a gun object that in no way resembles a gun or any other real-life weapon! Kick rocks, guys!”

  The gangsters run off into the night. Apollo runs over to the girl.

  “What’s going on? What’s that thing?”

  “Don’t worry about it. Forget you saw anything,” says the girl.

  “Exactly,” says the old man. He begins to laugh, first a low, soft chuckle, then an increasingly maniacal cackle that echoes in the night. “You have fallen for my trap, Princess Amarillia! I knew you could not resist helping a stranger in need.”

  The girl gasps. “Lord Tklox!”

  “What?” says Apollo.

  Smiling, the old man reaches up and grabs his face, pulling it off to reveal pale skin, elegant features, and hair the color of starlight. His body begins to bulge and swell as he grows larger, eventually doubling in height. He laughs as a shining sword appears in his hands.

  “Run!” shouts the girl.

  “What is happening?!”

  “No time to explain. Take this.” She hands him her fantastic-looking gun object that in no way resembles a gun or any other real-life weapon. “I’ll hold him off with my Venusian jiu-jitsu. Just go! Don’t stop. Please. Don’t stop. Just run. Don’t let him get you like he got the others.”

  The girl takes a martial arts stance and nods. Apollo does not need further explanations. He runs in the opposite direction. He runs as fast as he can, until his lungs burn and he cannot feel his legs. Stopping to catch his breath, he holds the gun object that in no way resembles a gun or any other real-life weapon up to the light. He does not even know how to use it, how it could possibly help him in this strange battle.

  So wrapped up in thought, Apollo does not even see the man in the police uniform. He does not hear him telling him to drop his weapon. He only hears the gun go bang. Later, his body is found by his mother, who cries and cries and cries.

  DID YOU EVER read “Lost in the Funhouse”? I just re-read it as research on solving metafictional problems. Not super helpful. We get it; fiction is made up. Cool story, bro. But you know the flashback to the kids playing Niggers and Masters? Is that a real thing? Or is it just a sadomasochistic parody of Cowboys and Indians? I can’t find any information on it online, but I’m sure somebody somewhere has played it. If something as cruel as Cowboys and Indians exists, why not Niggers and Masters? There is no way a game like that is only theoretical. It’s too rich, too delicious. The role of Master is an obvious power fantasy, presenting one with the authority to command and punish as an adult might, without any of the responsibility. The role of Nigger is just a different kind of power fantasy, power expressed as counterfactual. In playing the Nigger, one can experience subjugation on one’s own terms. There is no real danger, no real pain. You can leave at any time, go home and watch cartoons and forget about it. Or you can indulge fully, giving oneself up to the game, allowing oneself to experience a beautiful simulacrum of suffer
ing. It is perfect pretend. There are probably worse ways of spending a suburban afternoon, and there is something slightly sublime about it, baby’s first ego death. Sure, it’s profoundly offensive, but who’s going to stop you? But whatever. I’m probably reading too much into it. It’s probably a made-up, postmodern joke. When I was a kid, we just played Cops and Robbers, and it was fine.

  Anyway, that was a digression. I admit that it’s difficult to defend the actions of certain uniformed narrative devices, but I’m sure there were good reasons for them. After all, there were gangsters with actual knives in that one, and Apollo was holding something that maybe sort of looked like a weapon in the dark. How are we supposed to tell the good ones from the bad ones? Can you tell the difference? I don’t think so. Besides, this was to be expected. Children’s literature is sad as fuck. It’s all about dead moms and dead dogs and cancer and loneliness. You can’t expect everyone to come out alive from that. But you know what isn’t sad? Fucking superheroes.

  GO GO JUSTICE GANG! FT. APOLLO YOUNG

  OH NO.

  Downtown Clash City has been beset by a hypnagogic Leviathan, a terrifying kludge of symbology and violence, an impossible horror from beyond the ontological wasteland. Citizens flee, police stand by impotently, soldiers fire from tanks and helicopters without success, their bullets finding no purchase, their fear finding no relief.

  It is a bubblegum machine gone horribly, horribly awry, a clear plastic sphere with a red body and a bellhopian cap, except there is a tree growing inside it, and also it is a several hundred feet tall. The tree is maybe a willow or a dying spruce or something like that. It is definitely a sad tree, the kind of tree that grows on the edges of graveyards in children’s books or in the tattoos of young people with too many feelings, when not growing on the inside of giant animated bubblegum machines.