No, it’s not one of the beasts attacking me. But it sure looks like one, doesn’t it? This is actually a picture of the guy who developed my film for me. I traded him my camera because I can’t find film for it anyways. He and I sort of set up this shot because we thought it’d be funny. He could mimic one of the monsters really well, just sort of huff up and get all tense and bug-eyed.
Smart guy, too. Haven’t found anyone that knew how to develop pictures until him. He even had the chemicals. Some of them came out sort of weird, but what can you do? No matter what happens now, even if I twitch out and become one of them, I have my pictures, I have my memories.
Even if they are fragments, I don’t care. I can’t make a story out of my life, it’s never worked out that way. I just remember things as a collection of moments, you have to fill in the rest. That’s maybe why I got so upset the other night. The way people tell stories, it’s dishonest. They stretch those moments together, they put a framework that’s not there.
These pictures are my life, at least at that time. Like memories, only fragments. Impressions, really.
Like memories, incomplete. Twenty-three snapshots from a roll of twenty-four. Like the rest of my life, those pictures came out odd.
Some nights, when I feel the cold breezes come off the Pacific, I stare up at the sky and the thousands of stars I never knew existed, wondering how I’ll document these memories of mine: the sunsets over the sea, the valleys of redwoods that feel like sacred groves. The trees that are starting to grow through suburban homes. The people I’ve met, both good and bad. The scars on their faces, the calluses on their hands. Is it right to live life knowing every detail will die?
I’ve never been good at endings either, to tell you the truth. I mess them up all over the place. May could tell you that. She used to tell me that my stories were all jokes without punch lines. I never did figure out what she meant by that. I bet Kyoko’d say I was bad at endings, too. And Bradley, and Karen in her own way. So you might have to help me:
Breathe in, keep breathing. Shut your eyes, then open them again. Take a good look around you, then back at me. Try to remember every little detail, no matter how unimportant. Freeze this split second in time.
It’s important, this moment. Every stupid detail about it. It’s you and me, unwilling to forget we’re alive.
The Mexican Bus
By Walter Greatshell
Walter Greatshell is the author of the novels Xombies: Apocalypse Blues and Xombies: Apocalypticon. A non-zombie novel, Mad Skillz, is forthcoming. On his website, waltergreatshell.com, Greatshell says that the last real job he had was as a graveyard-shift nuclear-submarine technician, and before that he was the general manager of the Avon Cinema, a Providence, Rhode Island, landmark. In addition to writing, he currently dabbles in freelance illustration, numerous examples of which are available on his website.
In 1957 Jack Kerouac published On the Road, a lightly fictionalized memoir of his road trips crisscrossing the U.S. and Mexico. The novel was written single-spaced and without paragraph breaks on a 120-foot long roll of tracing paper that Kerouac called “the scroll.” (It originally used the real names of Kerouac’s friends and acquaintances, including the free-spirited ex-con Neal Cassady and the poet Allen Ginsberg, but their names were changed in the published manuscript, at the publisher’s insistence, to Dean Moriarty and Carlo Marx.) The book has been massively popular, influencing artists from Bob Dylan to Jim Morrison to Hunter S. Thompson, most obviously in the latter’s 1972 road novel Fear and Loathing in Las Vegas.
On the Road also seems to have exerted an influence on our next author, who writes, “This story is an offshoot of my Xombies storyline. It’s about a young guy, a college dropout, who is bumming around Mexico and has the extreme misfortune of being caught in the middle of a zombie-type epidemic—what I call the Sadie Hawkins Day Massacre. Almost every woman in the world simultaneously turns blue and goes berserk.” He adds, “I actually was a college dropout, because once I discovered hitchhiking I was done with school. I have all these notebooks of stuff I wrote while on the road, hundreds of pages of obsessive beatnik musings that I hoped might come in handy someday. Who knew it would be for a zombie story?”
Tres Estrellas de Oro. Three gold stars on a green medallion, possibly signifying the Holy Trinity—or perhaps nothing at all. It didn’t matter; what was important was that his two years of high school Spanish were not completely wasted. He was not just a college dropout with little money, no prospects, and all his remaining possessions stuffed into a rain-soaked dufflebag, but a romantic figure: a bohemian man of the world. What did he need with Aristotle and Copernicus?