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Dexter Palmer Books

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“There was a graduate student in my cohort, this guy I dated, who told me he came to realize that doing physics is like this: there's a concrete wall twenty feet thick, and you're on one side, and on the other side is everything worth knowing. And all you have is a spoon. So you just have to take a spoon and start scraping at the wall: no other way. He works in a bookstore now. But I think of it this way. There is a jigsaw puzzle. It's infinitely large, with no edges or corners to help you out. We have to put it together: it's our duty. We will never finish, but we have to find our satisfactions where we can: when we place two pieces together that suggest we may have found the place where the sky touches the sea, or when we discover a piece that is beautiful in and of itself, that has an unusual color or a glimpse of an unexpected pattern. And the pieces that do not join together also tell you something. If there are very few eureka moments, then at least there are a thousand little failures, that point the way toward a hundred little joys.”

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“His father's last word, which Sean had never told anyone, not even his mother, hadn't been goodbye: it had been hello. He hadn't died; he'd been set free from the constraints of history and flesh. And while the fathers of other children could only be the people they were, and were forced to live the lives they'd made for themselves, the Philip Steiner of his son's daydreams was all the possible versions of himself that Sean could imagine. He was always near, always ready to listen, always offering solace. He was all the possible fathers. He was a dragonslayer and a titan of industry; he was a cunning detective and a grizzled gunfighter; he was an astronaut and a priest and a jailer of thieves. He lived in the shadows, and he filled his son's world with light.”

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“The thing that's hard about it—the thing that makes it so hard when the person you love has been taken from you, not by something evil you could have seen coming but by random, pure chance—is that you find yourself suddenly living through a history other than the one you expected to live, through no fault of your own. I feel . . . it's hard to describe, but I feel weirdly outside of time. Ever since the accident I've had these moments when I felt like a visiting guest in this world, not a permanent resident. Like sometimes I look in a mirror and I feel like I can almost see through the version of me on the other side of the glass. And sometimes I feel like I can see the history I used to be in more clearly than the history I'm in now—the real history is one where Philip and Sean and I are all together, being a family and doing whatever family things people do, and this one's like . . . like a fake version of events that I've been yanked into, where everything's gone wrong.”

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“She is mad, and I am sane. To speak to her, even the first word, would be an acknowledgement and an acceptance of her madness, and from there I would have no choice but to follow her down the hole until both of us would be here alone in this ship among the clouds, endlessly circling the earth, our needs carefully ministered to by mechanical men, howling ourselves hoarse and counting off the ticks of the clock before the moon falls out of the sky.”

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“The machines of this place are failing, and the woman and I are here all alone. The perpetual motion engine, as brilliant and beautiful as it is, is running down—nothing lasts forever. But before this little world falls out of the sky there still might be time enough for redemption. There is still time for me to say the words that I should have had the courage to say at the beginning. There is still time, perhaps, for one more miracle. Hello, Miranda.”

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“And as Sean climbs into bed and closes his eyes, Mother comes, riding astride a lion the size of a house, blowing a clarion from a horn made out of a hollowed-out elephant's tusk. Her eyes have a faint crimson glow from the lasers that are mounted behind her irises, ready to fire at will. 'I touched a prince's chest today and made his heart stop,' she says. 'I'll do it again if I have to: they'll see what happens if anyone gets in my way. Good night, my son. Remember that I will always keep you safe; that I am always everywhere and always here.' 'Good night, Mom,' Sean says, and falls asleep. And Mother recedes, wise and beautiful and strong, a genius and a hero, a punisher of thieves and a slayer of wicked men, to watch over her son in all her different versions.”

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“He would talk, and I would talk, and he would talk, and each of our words sounded out the deepest secret depths inside us. There are some forms of love that words can do no justice to. There are some scars that can't be seen. Perfection is in itself an imperfection. He had flaws. He was sick. He needed help. Is not everyone sick, at one time or another? That was part of his beauty, his sickness. If he had not been sick, he would not have been beautiful, in the way that consumptives are, burning themselves up in brilliant flashes of light . . . I don't expect you to be able to understand. Love is strong enough to resurrect the dead. I don't like the word scar, because it implies intent and blame. A soul as powerful as his had to burn. I have never known a love like this. You don't know. I would have done anything at all for him. You don't know. It feels so goddamn good to be needed, to have someone tell you that he has a gaping hole in him whose shape is made to fit you . . . I saw that he was burning a piece of art on me, a signature on my psyche because it filled the hole in his own, and he wanted to make me his.”

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“Soft hearts provide poor harbor; tin hearts can better stand against time and bad weather, thin and hollow as they are. So you pray to change from flesh to metal, and the dying Author of the world hears your plea and performs his final miracle. He lays His hand on you and then He vanishes. And what mortal man can undo that? What human on this earth has the power to change a tin man back to flesh?”

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“I am going to tell a story now, and though I've made a life out of writing words, this is the first time I have told a story. There are no new stories in the world anymore, and no more storytellers. There is nothing left but the fragments of phrases that signalled their telling: once upon a time; why; and then; the end. But these phrases have lost their meanings through endless repetition, like everything else in this modern, mechanical age. And this machine age has no room for stories. These days we seek our pleasures out in single moments cast in amber, as if we have no desire to connect the future to the past. Stories? We have no time for them; we have no patience.”

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“For with each bite he tasted not just the irresistible sweetness of the dessert, but the deliciously agonizing negative flavor of all the imagined foodstuffs that he could have bought with that nickel instead—a turkey leg the size of his forearm, or a milkshake with a pair of deep red strawberries floating on its surface. The single relinquished nickel sat in the custard seller's till, its gold transmuted back to lead.”

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“This had been happening more and more often: the two of us come upon each other by accident in the early hours of the morning and take solace in each others' company, weathering out the peril of being awake at this time of night, when thoughts that are neatly ordered or justly murdered during the day come loose from their moorings and out of their graves, to tie themselves to each other in new and dangerous ways.”

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“The constant clamor of the booths and barkers served as an exhausting reminder that he had to choose a fate, and that no matter which fate he chose he could be certain that it would not be the best, that in other timelines rendered inaccessible with each spent coin, other versions of himself would be having more fun, or winning golden ribbons, or becoming taller. The thought was unbearable.”

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“Rebecca approached the causality violation chamber (too grand a name for such a faulty thing), placed her hand against its door, and closed her eyes, much as Philip had during its christening years ago. There was no response from the machine; no prophecy; no apology; no advice. It did not relay the news from other, brighter timelines. It did not tell her what would have transpired had she returned from yesterday's shopping trip a few hours later, or had she turned the steering wheel left instead of right two years ago, or had she not taken that first drink, or had she turned down any one of the thousands of drinks that had followed, or had she chosen not to respond to Philip's insistent and perhaps deliberately oblivious messages during the early days of their online courtship, or had her parents or her grandparents, or her great-grandparents never met. The machine's obstinate silence was all it had to offer; the message of that silence was that she had made her choices in life, and her choices had made her in return.”

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“First, the idea of the multiverse is essentially the fantasy of preserving perfect information. One of the hard things to deal with in life is the fact that you destroy potential information whenever you make a decision. You could even say that's essentially what regret is: a profound problem of incomplete information. If you select one thing on a diner's menu, you can't know what it would have been like to taste other things on it, right then, right there. When you marry one person, you give up the possibility of knowing what it would have been like to have married any number of others. But if the multiverse exists, you can at least imagine there's another version of you who's eating that other thing you thought about ordering, or who's married to that other man you only went on two dates with. Even if you'll never see all the information for yourself, at least you'll be able to tell yourself that it's there. 'The second reason the multiverse seems like such a neat idea is that it gives human beings just an incredible amount of agency, which they can exercise with the least effort. Why, Carson here created an entire alternate universe when he ordered hash browns on the side of his French toast instead of bacon—' 'Ah, I should have gotten bacon, how could I forget,' Carson said, and attempted to hail the waitress. 'But the history of science shows that any theory that covertly panders to the human ego like that, that puts humans at the center of things, is very likely to be found out wrong, given enough time. So, just for the sake of argument, let's assume that there's just this one universe, and we're stuck with it. What happens to our time traveler then?”

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“But I can tell you this: that I am deeply proud of Rebecca. That she made a split-second decision to save the life of her son, turning the wheel of her vehicle so that her side of it would be impacted by an oncoming car instead of his. She gave her life in the exercise of the greatest gift that God grants us—the ability to change the trajectory of history.”

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“I shouldn't tell you this, but I've been having these weird dreams like every single night for three weeks now where I'm being contacted. Not by ghosts, exactly, but people from other histories, where things turned out differently than they did here. And they're all envious. And they all say: You are so lucky. You live in the best of all possible worlds. And you don't even know it.”

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“It is always at this time, just before he slips into unconsciousness, when the voice comes to him: not as loud and snide and insistent as it once was, but still there, still hounding him from behind, still trying to drive him stumbling forward. Is this the best you can do? Tonight, for the first time in many, many years, Philip chooses not to ignore it: he answers. It is. It really is. Then say it, and shout down the darkness. 'It is," Philip whispers between clenched teeth as Alicia mumbles and stirs in her slumber. 'It is!”

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“She hadn't gone back in time. The idea was silly. Or had she? Had she knocked on the door of her home to see a younger version of herself answer; had there been a mutual shock of recognition (as the younger Rebecca realized that, yes, her husband's work was due to be a success, that he was not wasting his time chasing rainbows and tilting at windmills); had she slipped her arm into that of her past self (feeling a slight electric tingle as skin touched skin and a taste in her mouth as if she'd touched a nine-volt battery to her tongue) and said, We need to to talk? Had she sat in a coffee shop, conversing with a woman who everyone assumed was related to her in some way—Oh my god you two are so cute, you're mother and daughter but you look like sisters? Had she made some kind of idle remark overheard by a man on his way to spend two weeks' vacation in North Dakota; had that comment convinced that man to settle there permanently instead, and to contact those who had political sympathies similar to his own? Had that unknown man begun the slow process of taking over the state by placing his allies in the local governments if he could? Had that strategy failed, leaving brute force as a regrettable last resort?”

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“Her voice never stops: even when I sleep, it is a shining silver thread running through most of my dreams and all my nightmares, whispering, beseeching, threatening: One word from you is all I want. Just speak one word, and we'll begin. Name, rank, and serial number, perhaps the misquoted lyrics from a popular song: anything will do. From there we'll move with slow cautious steps to gentle verbal sparring, twice-told tales, descriptions of the scarred and darkest places of our old and worn-out souls. I'll love you back; I'll tell you secrets—”

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“It seems strange and inaccurate, when writing of what oneself once was, to speak of oneself as 'I,' especially when I find it difficult to own up to some of the actions performed by the people I once was . . . the only way to make sense of our existences is to set the stories of our lives down on paper, to try to make one tale that shows how the twentieth century turned Harold Winslow into Harold Winslow into Harold Winslow into me.”

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“The device,' Philip said. 'What are you going to do with it?' 'I know how this sounds. But you'll have to trust us. We'll take possession of it. We're going to dismantle it; when we do so, the wormhole will close, making this the final version of history we live through. Then we're going to box up the device and forget about it. Lose it somewhere; burn the records. It'll end up in a warehouse right next to the Ark of Covenant.”

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“People from the military have been inside that thing. If I went back in time, I wouldn't necessarily be thinking geopolitically, but maybe they would. That has to be half the reason why they're funding us in the first place. Maybe there were earlier versions of history where Republicans didn't vote to pulp all those Andrew Jackson twenties and replace them with bills that had portraits of Reagan. Maybe in the first version of post-Point Zero history, insurgents in North and South Dakota didn't attempt to secede; maybe we weren't fighting enemies both here and in the Middle East. Or maybe there was a full-on civil war going on in the United States and the current state of affairs is an improvement. We don't know. We can't know. And we can't know the extent to which any of us, sitting here at this table, is responsible.”

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“Soon our culture's oldest dreams will be made real. Even the thought of sending a kind of flying craft to the moon is no longer nothing more than a child's fantasy. At this moment in the cities below us, the first mechanical men are being constructed that will have the capability to pilot the ship on its maiden voyage. But no one has asked if this dream we've had for so long will lose its value once it's realized. What will happen when those mechanical men step out of their ship and onto the surface of this moon, which has served humanity for thousands of years as our principal icon of love and madness? When they touch their hands to the ground and perform their relentless analyses and find no measurable miracles, but a dead gray world of rocks and dust? When they discover that it was the strength of millions of boyhood daydreams that kept the moon aloft, and that without them that murdered world will fall, spiraling slowly down and crashing into the open sea?”

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“And this,' Astrid says, gesturing at a wiry gentleman wearing eyeglasses and a houndstooth suit in need of pressing, standing a little distance away from the rest of the group, looking slightly uncomfortable, 'is Dexter Palmer, and he's a—what?' 'I,' says Dexter Palmer. 'Um.' 'He's a novelist,' Astrid brays, and Harold looks at Dexter, at his right arm rubbing his threadbare left elbow. Harold sees the oaken trunk in the corner of Dexter's filthy downtown loft with an enormous padlock on it, sees the tens of thousands of pages of handwritten manuscript that fill it. He sees the stub of the tallow candle on Dexter's rickety wooden desk, purchased for a dollar-fifty at a rummage sale. He sees the short leg of the desk propped up with a seven-hundred page study of phrenology, printed during the age of miracles. He sees Dexter's eyes going bad by candlelight, a whole diopter lost with each late night. 'Zounds, I am working on my masterpiece,' Dexter Palmer yells hoarsely, disturbing the neighbors. He slings a cup half-full of tepid chamomile tea at the wall, where it shatters. 'Dexter's writing a novel,' Astrid says brightly. After a few minutes of introductory cross-talk, the group of five splits into separate conversations: Harold talks with his sister and Charmaine, while Marlon ends up with Dexter. To Harold, Marlon looks cornered—Harold can't hear what Dexter's saying, but whatever he's talking about, he's clearly going on about it at length and in fine detail. Maybe Marlon is getting to hear all about the novel. Every once in a while Marlon will look at Harold and theatrically roll his eyes and sigh, but Dexter, who's frantically gesticulating, wrapped up in whatever he's chattering about, doesn't notice.”

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“And yet Rebecca felt that it was hard to tell whether the secret algorithms of Big Data did not so much reveal you to yourself as they tried to dictate to you what you were to be. To accept that the machines knew you better than you knew yourself involved a kind of silent assent: you liked the things Big Data told you you were likely to like, and you loved the people it said you were likely to love. To believe entirely in the data entailed a slight diminishment of the self, small but crucial and, perhaps, irreversible.”

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