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The Uninvited: A Haunting and Supernatural Literary Mystery Inspired by True Events

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Jack Vale

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“When lunchtime comes, as always, I run to Library 1.2. I run my fingers along the edges of the books and follow the path to the romance section, looking for the seventeenth book in the ninth row of the third shelf. This is my routine and I adore every moment of it. One of the pages of the book is different from the rest; it was glued in to replace the original page, which had been torn out. On the patched page, I find my favorite passage from the story. I sit on the floor and read. “How’s the patient?” he asked Derby. “Dead to the world.” “But not actually dead.” “No.” “How nice—to feel nothing, and still get full credit for being alive.” I close the book and think of my best friend. How I wish he were here to see everything we achieved together. So he could see how our mission changed the lives of hundreds of thousands of people. I wanted to see the look of joy in his eyes as we admired together the demolition of the Wall. Of all the wishes, I wanted to talk to him about rhymes and metrics, sonnets and quatrains, about all the things I’ve been learning at school. Sometimes, the longing hits so hard that I feel as if part of me died with him. As if part of my soul went with Mário, because I’ve never felt complete, whole, again. I feel broken, old scrap. I know Mário wanted to bring change to Redentor, but there are times when I feel it wasn’t worth it. I know it’s selfish, but I would trade all this sea of smiles on strangers’ faces to have a life by my friend’s side. I know he sacrificed himself for the good of all, but I allow myself to be a little selfish. Just a little. Two of the few things I asked for after my participation in the revolution were Firstborn's box and Mário’s chip. At first, many came to me, trying to convince me to engage in political struggle, to be a poster boy, but my mother didn’t allow it. He’s going to school, she said. His mission is over. Now, he’s going to be a child. I like that my mother protects me from the adult world. And all I want is to be a normal boy and live my days peacefully. I no longer want to be involved in shootouts, explosions, and revolutions, of that I’m sure. But she’s wrong about one thing: my mission is not over yet. It all began with Mário by my side, and it will only end with him by my side again. Every night, before sleeping, I fiddle and tinker with the insides of that computer, just waiting to see that red light turn on and the sides of the lenses spin in processing. So far, all I’ve gotten are some light shocks. Even old Jeremias has already said the chip is completely broken, beyond repair. I refuse to give up. – Today’s the day – I say to myself as I unscrew the computer. I replace the old wiring with new ones, clean the processor and run the chip through an advanced recovery system. I work for two hours hunched over the table. I plug the machine in and press the button. Nothing. Zero. Absolutely nothing. I sigh. I don’t let discouragement or despair take hold of me. Tomorrow, I will continue. And if tomorrow the red light doesn’t turn on, I’ll try the day after tomorrow. And after that, and after that, and after that. I will work until there’s no more tomorrow. “Everything works out in the end. If it’s not right, it’s because it’s not the end yet.” It was a robot who liked poetry who taught me: That's how life works.”

RomanceGriefEmotionalGayBrazilReflectiveSad EndingBrazilianIan FraserMari O
Author:Ian Fraser
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“Dying / Is an art, like everything else," wrote Plath, whose lifelong flirtation with death went too far one fateful February morning. And art is nothing if not subjective. In the same vein, when I think of Virginia Woolf, it is not merely as a helpless participant in the morbid fascination that has sprung up around these two writers--but of the windows of time of their deaths. The time it took Woolf to fill her pockets with rocks. The selection of those rocks. When does a suicide begin? When do we start counting? At the riverbank or in the river? In the kitchen the night before or the next morning? Rilke warned the "we must learn to die: That is all of life. To prepare gradually the masterpiece of a proud and supreme death, of a death where chance plays no part, of a well-made, beatific, and enthusiastic death of the kind the saints knew to shape." That's nice. But it's hard to throw something like that together at the last minute. What gruesome work suicide makes of grief! Sometimes I conflate blame and action, sometimes I separate them as if in a moral centrifuge, sometimes I think it doesn't matter either way.”

DeathLossGriefSuicide
Book:Grief Is for People
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