126
" IT’S NOT THAT my seventy-two-year-old father-in-law is actually going deaf, it’s that he’s a, in my former mother-in-law’s words, “lazy-ass listener.” I say “former” for her because she passed three years ago, kind of right on schedule as far as I’m concerned, but my wife Sheila’s still kind of torn up…not so much about her mom being gone, her insides chewed up, bubbling up red down her chin, as that the two of them never made up proper before she went. Which, again: nothing all that surprising, this is the way things go about 99 percent of the time between moms and daughters, as far as I can tell. Either way, the result of all this is that, with his wife gone, Sheila’s dad’s been kind of letting their apartment go to hell. Crusty dishes tottering on every flat surface, newspapers and engineering journals stacking up into fire hazard after fire hazard, the whole place an ashtray, pretty much. So, to pick up her dead mom’s slack—though it’s also her two brothers’ slack if you ask me—Sheila commits to cleaning her dad’s place up one Sunday. I offer to help, of course, it’s what you do when you’re married, when you’re shouldering burdens together, when it’s a team effort, and then it turns out that the best way I can help out is by ushering her father out of the apartment for the afternoon. "
― Ellen Datlow , Final Cuts: New Tales of Hollywood Horror and Other Spectacles
127
" In that moment, Henry knows that Paul wouldn’t change a thing if he could. He would still ask Henry to watch the tape, no matter how many times the scenario replayed. This death, among every other he’s witnessed, is too big to hold alone. He needs to share the burden with someone, and that someone couldn’t be Maddy. Because that kind of death spreads like rot, corrupting everything it touches, like it corrupted Henry and Paul’s film, their past, their shared dream. Henry understands. If Paul shared that pain with Maddy, it would become the only thing he would see anytime he looked at her, and the only thing he could do to save himself would be to let her go. And Maddy isn’t someone Paul is willing to let go. "
― Ellen Datlow , Final Cuts: New Tales of Hollywood Horror and Other Spectacles
128
" frigid waters of a diving hole blown through the sea ice. Until I saw this, I’d never considered evolution in quite such terrifying terms. He speaks of the hideous ways to die in this deceptively tranquil aquatic world, if you were small enough. He tells of worms with mandibles designed to rend flesh. He describes becoming ensnared in the tendrils of predatory blobs, and how you would exhaust yourself as you struggled to escape, until the creature drew you in and began breaking you down into compliant, digestible bits. It’s a horrible and violent place to be, to live, to grow, your existence defined as something else’s food. It is, the biologist observes, a world that developed eons earlier than human beings. "
― Ellen Datlow , Final Cuts: New Tales of Hollywood Horror and Other Spectacles
133
" out between us, when we’d given it a try one tentative time, after I, too, learned what it was like for a marriage to implode. Lydia had been empathetic and understanding, and knew how to make great popcorn and buy ice cream and pour shots of tequila, and for sure she had a god-tier movie collection. It could’ve been a rom-com from the eighties: geeky late bloomer grows up and finally gets his chance with the dream girl who was out of his league when they met, because she was nine years his senior. By the time we took our short-lived tumble, the age gap didn’t seem nearly as prominent, but the dynamic still wasn’t quite right, and maybe never could be. There was no shaking free of the worry over what Lydia saw when she looked at me. She would always remember the bruises, the confessions. She would always remember how back then my dad kept insisting he was only trying to knock the fag out of me, and I’d thank him someday. She would always remember why I got into schlocky videos in the first place: I thought if he came through and saw I was watching something with lots of boobs, he’d leave me alone. Only it didn’t work that way. The world is full of carnivores intent on devouring their young, and if one rationale gets invalidated, they find another. "
― Ellen Datlow , Final Cuts: New Tales of Hollywood Horror and Other Spectacles
136
" At first, Maddy sends a card every Christmas, and Henry and Paul exchange emails on their respective birthdays. But Henry knew, even on the day he packed up the last of his belongings to drive to the other coast, when he said see you later to Paul, he was really saying goodbye. Paul chose, and Henry consented to his choice. Maybe Paul’s relationship with Maddy could have survived the weight of his pain, but sharing his burden with Maddy wasn’t a risk Paul was willing to take. Henry is the one to drop their email chain, “forgetting” to reply to Paul’s wishes of happy birthday. When Paul’s birthday rolls around, Henry “forgets” again. It’s a mercy—not for him, but for their friendship. Henry can’t bear to watch something else die slowly, rotting from within, struggling for one last breath to stay alive. Perhaps it isn’t fair, but Henry imagines he hears Paul’s sigh of relief across the miles, imagines the lines of tension in his shoulders finally slackening as he lets the last bit of the burden of the woman’s death go. "
― Ellen Datlow , Final Cuts: New Tales of Hollywood Horror and Other Spectacles