Song of Susannah

But you will,Susa

She grasped it tightly and began turning it slowly counter-clockwise. A pain went through her head and she grimaced. Another momentarily constricted her throat, as if she’d gotten a fishbone stuck in there, but then both pains cleared. To her right an entire bank of lights flashed on, most of them amber, a few bright red.

“WARNING,” said a voice that sounded eerily like that of Blaine the Mono. “THIS OPERATION MAY EXCEED SAFETY PARAMETERS.”

No shit, Sherlock,Susa

“WARNING,” said the mechanical voice. “WHAT YOU’RE DOING IS DANGEROUS, SUSANNAH OF NEW YORK. HEAR ME I BEG. IT’S NOT NICE TO FOOL MOTHER NATURE.”

One of Roland’s proverbs occurred to her: You do whatyou need to, and I’ll do whatI need to, and we’ll see who gets the goose. She wasn’t sure what it meant, but it seemed to fit this situation, so she repeated it aloud as she slowly but steadily turned the LABOR FORCE dial past 4, to 3…

She meant to turn the dial all the way back to 1, but the pain which ripped through her head when the absurd thing passed 2 was so huge—sosickening —that she dropped her hand.

For a moment the pain continued—intensified, even—and she thought it would kill her. Mia would topple off the bench where she was sitting, and both of them would be dead before their shared body hit the concrete in front of the turtle sculpture. Tomorrow or the next day, her remains would take a quick trip to Potter’s Field. And what would go on the death certificate? Stroke? Heart attack? Or maybe that old standby of the medical man in a hurry, natural causes?

But the pain subsided and she was still alive when it did. She sat in front of the console with the two ridiculous dials and the toggle-switch, taking deep breaths and wiping the sweat from her cheeks with both hands. Boy-howdy, when it came to visualization technique, she had to be the champ of the world.

This is more than visualization—you know that, right?

She supposed she did. Something had changed her—had changed all of them. Jake had gotten the touch, which was a kind of telepathy. Eddie had grown (was still growing) into some sort of ability to create powerful, talismanic objects—one of them had already served to open a door between two worlds. And she?

I…see. That’s all. Except if I see it hard enough, it starts to be real. The way Detta Walker got to be real.

All over this version of the Dogan, amber lights were glowing. Even as she looked, some turned red. Beneath her feet—special guest feet, she thought them—the floor trembled and thrummed. Enough of this and cracks would start to appear in its elderly surface. Cracks that would widen and deepen. Ladies and gentlemen, welcome to the House of Usher.

Susa

One thing occurred to her.

Susa

On the control panel directly behind the microphone was a semicircular, tri-colored readout with the words SUSANNAH-MIO printed below it. A needle was moving out of the green and into the yellow. Beyond the yellow segment the dial turned red, and a single word was printed in black: DANGER.

Susa

“Eddie,” she said. She felt a little foolish, but went on, anyway. “Eddie, if you hear me, I’m okay, at least for the time being. I’m with Mia, in New York. It’s June first of 1999, and I’m going to try and help her have the baby. I don’t see any other choice. If nothing else, I have to be rid of it myself. Eddie, you take care of yourself. I…” Her eyes welled with tears. “I love you, sugar. So much.”

The tears spilled down her cheeks. She started to wipe them away and then stopped herself. Didn’t she have a right to cry for her man? As much right as any other woman?

She waited for a response, knowing she could make one if she wanted to and resisting the urge. This wasn’t a situation where talking to herself in Eddie’s voice would do any good.

Suddenly her vision doubled in front of her eyes. She saw the Dogan for the unreal shade that it was. Beyond its walls were not the deserty wastelands on the east side of the Whye but Second Avenue with its rushing traffic.

Mia had opened her eyes. She was feeling fine again—thanks to me, honeybunch, thanks to me—and was ready to move on.

Susa

A black woman (who still thought of herself as a Negro woman) was sitting on a bench in New York City in the spring of ’99. A black woman with her traveling bags—her gu

Mia stood up. Susa

What did you do that for?Mia asked, surprised.

I don’t know, I don’t have a clue. But let’s us palaver a little. Why don’t you start by telling me where you want to go?

I need a telefung. Someone will call.

Telephone, Susa

The response to this was wordless, a swell of smiling contempt. It made Susa

All right,she said,but even if nobody bothers you about the blood, where are you going to store your goods? Then another question occurred to her, one that probably should have come to her right away.

Mia, how do you even know what a telephone is? And don’t tell me they have em where you came from, either.

No response. Only a kind of watchful silence. But she had wiped the smile off the bitch’s face; she’d done that much.

You have friends, don’t you? Or at least you think they’re friends. Folks you’ve been talking to behind my back. Folks that’ll help you. Or so you think.

Areyougoing to help me or not? Back to that. And angry. But beneath the anger, what? Fright? Probably that was too strong, at least for now. But worry, certainly.How long have I—have we—got before the labor starts up again?

Susa