"In the chaos, everything was mixed together," he says. "There were too many people, and so the people were all mixed up with the dirt." The pail comes back, sloshing, and is set down in the circle of light. He adds a handful of earth, stirs it with a stick. "There," he says. "Chaos. You can't drink it ..."
"No!" A chorus.
"You can't eat it ..."
"No, you can't eat it!" Laughter.
"You can't swim in it, you can't stand on it ..."
"No! No!" They love this bit.
"The people in the chaos were full of chaos themselves, and the chaos made them do bad things. They were killing other people all the time. And they were eating up all the Children of Oryx, against the wishes of Oryx and Crake. Every day they were eating them up. They were killing them and killing them, and eating them and eating them. They ate them even when they weren't hungry."
Gasping here, widened eyes: it's always a dramatic moment. Such wickedness! He continues: "And Oryx had only one desire - she wanted the people to be happy, and to be at peace, and to stop eating up her children. But the people couldn't be happy, because of the chaos. And then Oryx said to Crake, Let us get rid of the chaos. And so Crake took the chaos, and he poured it away." Snowman demonstrates, sloshing the water off to the side, then turns the pail upside down. "There. Empty. And this is how Crake did the Great Rearrangement and made the Great Emptiness. He cleared away the dirt, he cleared room ..."
"For his children! For the Children of Crake!"
"Right. And for ..."
"And for the Children of Oryx, as well!"
"Right," says Snowman. Is there no end to his shameless inventions? He feels like crying.
"Crake made the Great Emptiness ...," say the men.
"For us! For us!" say the women. It's becoming a liturgy. "Oh, good, kind Crake!"
Their adulation of Crake enrages Snowman, though this adulation has been his own doing. The Crake they're praising is his fabrication, a fabrication not unmixed with spite: Crake was against the notion of God, or of gods of any kind, and would surely be disgusted by the spectacle of his own gradual deification.
If he were here. But he's not here, and it's galling for Snowman to listen to all this misplaced sucking up. Why don't they glorify Snowman instead? Good, kind Snowman, who deserves glorification more - much more - because who got them out, who got them here, who's been watching over them all this time? Well, sort of watching. It sure as hell wasn't Crake. Why can't Snowman revise the mythology? Thank me, not him! Lick my ego instead!
But for now his bitterness must be swallowed. "Yes," he says. "Good, kind Crake." He twists his mouth into what he hopes is a gracious and benevolent smile.
At first he'd improvised, but now they're demanding dogma: he would deviate from orthodoxy at his peril. He might not lose his life - these people aren't violent or given to bloodthirsty acts of retribution, or not so far - but he'd lose his audience. They'd turn their backs on him, they'd wander away. He is Crake's prophet now, whether he likes it or not; and the prophet of Oryx as well. That, or nothing. And he couldn't stand to be nothing, to know himself to be nothing. He needs to be listened to, he needs to be heard. He needs at least the illusion of being understood.
"Oh Snowman, tell us about when Crake was born," says one of the women. This is a new request. He isn't ready for it, though he should have expected it: children are of great interest to these women. Careful, he tells himself. Once he provides a mother and a birth scene and an infant Crake for them, they'll want the details. They'll want to know when Crake cut his first tooth and spoke his first word and ate his first root, and other such banalities.
"Crake was never born," says Snowman. "He came down out of the sky, like thunder. Now go away please, I'm tired." He'll add to this fable later. Maybe he'll endow Crake with horns, and wings of fire, and allow him a tail for good measure.
Bottle
~
After the Children of Crake have filed away, taking their torches with them, Snowman clambers up his tree and tries to sleep. All around him are noises: the slurping of the waves, insect chirpings and whirrings, bird whistles, amphibious croaks, the rustling of leaves. His ears deceive him: he thinks he can hear a jazz horn, and under that a rhythmic drumming, as if from a muffled nightclub. From somewhere farther along the shore comes a booming, bellowing sound: now what? He can't think of any animal that makes such a noise. Perhaps it's a crocodile, escaped from a defunct Cuban handbag farm and working its way north along the shore. That would be bad news for the kids in swimming. He listens again, but the sound doesn't recur.
There's a distant, peaceful murmur from the village: human voices. If you can call them human. As long as they don't start singing. Their singing is unlike anything he ever heard in his vanished life: it's beyond the human level, or below it. As if crystals are singing; but not that, either. More like ferns unscrolling - something old, carboniferous, but at the same time newborn, fragrant, verdant. It reduces him, forces too many unwanted emotions upon him. He feels excluded, as if from a party to which he will never be invited. All he'd have to do is step forward into the firelight and there'd be a ring of suddenly blank faces turned towards him. Silence would fall, as in tragic plays of long ago when the doomed protagonist made an entrance, enveloped in his cloak of contagious bad news. On some non-conscious level Snowman must serve as a reminder to these people, and not a pleasant one: he's what they may have been once. I'm your past, he might intone. I'm your ancestor, come from the land of the dead.
Now I'm lost, I can't get back, I'm stranded here, I'm all alone. Let me in!
Oh Snowman, how may we be of help to you? The mild smiles, the polite surprise, the puzzled goodwill.
Forget it, he would say. There's no way they can help him, not really.
There's a chilly breeze blowing; the sheet is damp; he shivers. If only this place had a thermostat. Maybe he could figure out some way of building a little fire, up here in his tree.
"Go to sleep," he orders himself. With no result. After a long session of tossing, turning, and scratching, he climbs back down to seek out the Scotch bottle in his cache. There's enough starlight so he can get his bearings, more or less. He's made this trip many times in the past: for the first month and a half, after he was fairly sure it was safe to relax his vigilance, he got pissed out of his mind every night. This was not a wise or mature thing for him to have done, granted, but of what use are wisdom and maturity to him now?
So every night had been party night, party of one. Or every night he'd had the makings, whenever he'd been able to locate another stash of alcohol in the abandoned pleebland buildings within reach. He'd scoured the nearby bars first, then the restaurants, then the houses and trailers. He'd done cough medicine, shaving lotion, rubbing alcohol; out behind the tree he's accumulated an impressive dump of empty bottles. Once in a while he'd come across a stash of weed and he'd done that too, though often enough it was mouldy; still, he might manage to get a buzz out of it. Or he might find some pills. No coke or crack or heroin - that would have been used up early, stuffed into veins and noses in one last burst of carpe diem; anything for a vacation from reality, under the circumstances. There'd been empty BlyssPluss containers everywhere, all you'd need for a non-stop orgy. The revellers hadn't managed to get through all the booze, though often enough on his hunting and gathering trips he's discovered that others had been there before him and there was nothing left but broken glass. There must have been riotous behaviour of all sorts imaginable, until finally there had been no one left to keep it up.