IN . . .
GO . . .
IN.
G
O IN.
G
O IN.
Go in.
Alright. OK. I'll go in. I'll tidy up my house and post my letter and stand in front of that edifice, squinting at the now-opaque glass that keeps its secrets, and I will go in.
I don't really believe you're in there, Jake, if you're reading this. I don't really believe that any longer. I know that can't be so. But I can't leave it alone. I can leave no stone unturned.
I'm so fucking lonely.
I'll climb those exquisite stairs, if I get that far. I'll cross the grand corridors, wind through tunnels into the great vast hall that I believe will be glowing very bright. If I get that far.
Could be that I'll find you. I'll find something, something will find me.
I won't be coming home, I'm sure.
I'll go in. The city doesn't need me around while it winds down. I was going to catalogue its secrets, but that was for my benefit, not the city's, and this is just as good.
I'll go in.
See you soon, I hope, Jake. I hope.
All my love,
FOUNDATION
Y
ou watch the man who comes and speaks to buildings. He circles the houses, looking up from the sidewalks, from the concrete gardens, looking down at the supports that go into the earth. He enters every room, taps windows and wiggles ill-fitted panes, he prods at plaster, hauls into attics. In the basements he listens to supports, and all the time he whispers.
The buildings whisper back, he says. He works in brownstones, in tenements, banks and warehouses across the city. They tell him where their faultlines run. When he's done he tells you why the crack is spreading, why the wall is damp, where erosion is, what the cost will be to fix it or to let it rot. He is never wrong.
Is he a surveyor? A structural engineer? He has no framed certificates but a thick portfolio of references, a ten-year reputation. There are cuttings about him from across America. They have called him the house-whisperer. He has been a phenomenon for years.
When he speaks he wears a large and firm smile. He has to push his words past it so they come out misshapen and terse. He fights not to raise his voice over the sounds he knows you cannot hear.
“Yeah no problem but that supporting wall's powdering,” he says. If you watch him close you will see that he peeps quickly at the earth, again and again, at the building's sunken base. When he goes below, into the cellar, he is nervy. He talks more quickly. The building speaks loudest to him down there, and when he comes up again he is sweating below his smile.
When he drives he looks to either side of the road with tremendous and unending shock, taking in all the foundations. Past building sites he stares at the earthmovers. He watches their trundling motion as if they are some carnivore.
Every night he dreams he is where air curdles his lungs and the sky is a toxic slurry of black and black-red clouds that the earth vomits and the ground is baked to powder and lost boys wonder and slough off flesh in clots and do not see him or each other though they pass close by howling without words or in a language of collapsing jargon, acronyms and shorthands that once meant something and now are the grunts of pigs.
He lives in a small house in the edges of the city, where once he started to build an extra room, till the foundations screamed too loud. A decade later there is only a hole through striae of earth, past pipes, a pit, waiting for walls. He will not fill it. He stopped digging when a dark, thick and staining liquid welled up from below his suburban plot, clinging to his spade, cloying, unseen by any but him. The foundation spoke to him then.
In his dream he hears the foundation speak to him in its multiple voice, its muttering. And when at last he sees it, the foundation in the tight-packed hot earth, he wakes retching and it takes moments before he knows he is in his bed, in his home, and that the foundation is still speaking.
âwe stay
âwe are hungry
Each morning he kisses good-bye the photograph of his family. They left years ago, frightened by him. He sets his face while the foundation tells him secrets.
In a midcity apartment block the residents want to know about the crack through two of their floors. The man measures it and presses his ear to the wall. He hears echoes of voices from below, travelling, rising through the building's bones. When he cannot put it off anymore, he descends to the basement.
The walls are grey and wet-stained, painted with a little graffiti. The foundation is speaking clearly to him. It tells him it is hungry and hollow. Its voice is the voice of many, in time, desiccated.
He sees the foundation. He sees through the concrete floor and the earth to where girders are embedded and past them to the foundation.
A stock of dead men. An underpinning, a structure of entangled bodies and their parts, pushed tight, packed together and become architecture, their bones broken to make them fit, wedged in contorted repose, burnt skins and the tatters of their clothes pressed as if against glass at the limits of their cut, running below the building's walls, six feet deep below the ground, a perfect runnel full of humans poured like concrete and bracing the stays and the walls.
The foundation looks at him with all its eyes, and the men speak in time.
âwe cannot breathe
There is no panic in their voices, nothing but the hopeless patience of the dead.
âwe cannot breathe and we shore you up and we eat only sand
He whispers to them so no one else can hear.
“Listen,” he says. They eye him through the earth. “Tell me,” he says. “Tell me about the wall. It's built on you. It's weighing down on you. Tell me how it feels.”
âit is heavy, they say, and we eat only sand, but at last the man coaxes the dead out of their solipsism for a few moments and they look up, and close their eyes, all in time, and hum, and tell him, it is old, this wall built on us, and there is rot halfway up its flank and there is a break that will spread and the sides will settle.
The foundation tells him everything about the wall and for a moment the man's eyes widen, but then he understands that no, there is no danger. Untreated, this wall will only slump and make the house more ugly. Nothing will collapse. Hearing that he relaxes and stands, and backs away from the foundation which watches him go.
“You don't have to worry about it,” he tells the residents' committee. “Maybe just fix it up, smooth it down, that's all you have to do.”
And in a suburban mall there is nothing to stop expansion onto waste ground, and in the character house the stairs are beyond repair, and the clocktower has been built using substandard bolts, and the apartment's ceiling needs damp-proofing. The buried wall of dead tells him all these things.
Every home is built on them. It is all one foundation, that underpins his city. Every wall weighs down upon the corpses that whisper to him with the same voice, the same faces, ripped-up cloth and long-dried blood and bodies torn up and their components used to fill gaps between bodies, limbs and heads stowed tidily between men bloated by gas and spilling dust from their cavities, the whole and partial dead concatenated.
Every house in every street. He listens to the buildings, to the foundation that unites them.
In his dream he tramps through land that swallows his feet. Missing men shuffle in endless, anxious circles and he passes them by. Syrupy-thick liquid laps at him from just below the dust. He hears the foundation. He turns and there is the foundation. It is taller. It has breached the ground. A wall of dead-men bricks as high as his thighs, its edges and its top quite smooth. It is embedded with thousands of eyes and mouths that work as he approaches, spilling rheum and skin and sand.
âwe do not end, we are hungry and hot and alone
Something is being built upon the foundation.
There have been years of petty construction, the small schemes of developers, the eagerness of people to improve their homes. Doggedly he makes the foundation tell him. Where there is no problem he passes that on, or where there is a small concern. Where problems are so great that building will be halted early on he tells that, too.
It is nearly a decade that he has been listening to buildings. It is a long time till he finds what he has been looking for.
The block is several storeys high, built thirty years before from shoddy concrete and cheap steel by contractors and politicians who got rich on the deficiencies. The fossils of such corruption are everywhere. Mostly their foundering is gradual, doors sticking, elevators failing, subsidence, over years. Listening to the foundation, the man knows something here is different.
He grows alarmed. His breath is short. He murmurs to the buried wall of dead, begging them to be sure.
The foundation is in swamplandâthe dead men can feel the ooze rising. The basement walls are crumbling. The supports are veined, infinitesimally, with water. It will not be long. The building will fall.
“Are you sure?” he whispers again, and the foundation looks at him with its countless dust-thick and haemorrhaged eyes and says yes. Trembling, he stands and turns to the caretaker, the housing manager.
“These old things,” he says. “They ain't pretty, and they weren't well built, and yeah you're going to get damp, but you've got nothing to worry about. No problem. These walls are solid.”
He slaps the pillar beside him and feels vibrations through to the water below it, through the honeycomb of its eroded base, into the foundation where the dead men mutter.
In the nightmare he kneels before the wall of torn-up flesh. It is chest-high now. The foundation is growing. It is nothing without a wall, a temple.
He wakes crying and stumbles into his basement. The foundation whispers to him and it is above the ground now; it stretches into his walls.
The man has weeks to wait. The foundation grows. It is slow, but it grows. It grows up into the walls and down, too, extending into the earth, spreading its base, underpinning more and more.
Three months after he visited the high-rise he sees it on the local news. It looks like someone who has suffered a stroke; its side is slack, tremulous. Its southern corner has slumped and sandwiched on itself, opening up its flesh to forlorn half-rooms that teeter at the edge of the air. Men and women are hauled out on stretchers.
Figures flutter across the screen. Many dead. Six are children. The man turns the volume up to drown out the whispers of the foundation. He begins to cry and then is sobbing. He hugs himself, croons his sadness; he holds his face in his hands.
“This is what you wanted,” he says. “I paid you back. Please, leave me alone. It's done.”
In the basement he lies down and weeps on the earth, the foundation beneath him. It looks up from its random gargoyle poses. It blinks dust out of its dead eyes and watches. Its stare burns him.
“There's something for you to eat,” he whispers. “God, please. It's done, it's done. Leave me alone. You have something to eat. I've paid it back. I've given you something.”
In the smogged dream he keeps walking and hears the static calls of lost and lonely comrades. The foundation stretches out across flattened dunes. It whispers in its choked voice as it has since that first day.
He helped build the foundation. A long way away. Between two foreign countries, while borders were in chaos. He had come through. First Infantry (Mechanized). In the last days of February, ten years ago. The conscripted opposition, hunkered down in trenches in the desert, their tools poking out through wire, sounding off and firing.
The man and his brigade came. They patted down the components vigorously, mixed up the cement with a half-hour pounding, howitzers and rockets commingling grit and everything else stacked in the sunken gutters of men like pestles and mortars, pasting everything into a good thick red base. The tanks came with their toylike motion, gunstalks rotating but silent. They did their job with other means. Plows mounted at their fronts, they traced along the lines dug in the dirt. With humdrum efficiency they shunted the hot sand into the trenches, pouring it over the contents, the mulch and ragged soup and the men who ran and tried to fire or to surrender or to scream until the desert dust gushed in and encased them and did its job, funnelling into them so their sounds were choked and they became frantic, then sluggish and still, packed the thousands down together with their friends and the segments of their friends, in their holes and miles of dugout lines.
Behind the tanks with their tractor-attachments M2 Bradleys straddled the lines of newly piled-up sand where protrusions showed the construction unfinished, the arms and legs of men beneath, some still twitching like insects. The Bradleys hosed the building site with their 7.62 mms, making sure to shove down all the material at the top, anything that might get out, making it patted down.
And then he had come behind, with the ACEs. Armored Combat Earthmovers, dozers with the last of the small-arms pinging against their skins. He had finished off the job. With his scoop, he had smoothed everything away. All the untidy detritus of the building work, the sticks and bits of wood, the sand-clogged rifles like sticks, the arms and legs like sticks, the sand-blasted heads that had tumbled slowly with the motion of the earth and now protruded. He flattened all the projections from the ground, smeared them across the dirt and smeared more dirt across them to tidy them away.
On the 25th of February in 1991, he had helped build the foundation. And as he looked out across the spread-out, flattened acres, the desert made neat, wiped clean for those hours, he had heard dreadful sounds. He had seen suddenly and terribly through the hot and red-set sand and earth to the dead, in their orderly trenches that angled like walls, and intersected and fanned out, that stretched for miles, like the plans not of a house or a palace but a city. He had seen the men made into mortar, and he had seen them looking at him.
The foundation stretched below everything. It spoke to him. It would not be quiet. In his dream or out.
He thought he would leave it behind him in the desert, in that unnatural flat zone. He thought the whispering would dissipate across the thousands of miles. He had come home. And then his dream had started. His purgatory of well fires and bloody sky and dunes, where his dead comrades were lost, made feral by loneliness. The others, the foundation, the other dead, were thousands strong. They were endless.
âmorning of goodness, they whispered to him in their baked dead voices. morning of light
âpraise be to god
âyou built us so
âwe are hot and alone. we are hungry. we eat only sand. we are full of it. we are full but hungry. we eat only sand
He had heard them nightly and tried to forget them, tried to forget what he had seen. But then he dug a pit in his yard, to put down a foundation for his house, and he had found one waiting. His wife had heard him screaming, had run out to see him scrabbling in the hole, bloodying his fingers to get out. Dig deep enough, he told her later, though she did not understand, it's there already.