Snowman in his tattered sheet sits hunched at the edge of the trees, where grass and vetch and sea grapes merge into sand. Now that it's cooler he feels less dejected. Also, he's hungry. There's something to be said for hunger: at least it lets you know you're still alive.
A breeze riffles the leaves overhead; insects rasp and trill; red light from the setting sun hits the tower blocks in the water, illuminating an unbroken pane here and there, as if a scattering of lamps has been turned on. Several of the buildings once held roof gardens, and now they're top-heavy with overgrown shrubbery. Hundreds of birds are streaming across the sky towards them, roostward bound. Ibis? Herons? The black ones are cormorants, he knows that for sure. They settle down into the darkening foliage, croaking and squabbling. If he ever needs guano he'll know where to find it.
Across the clearing to the south comes a rabbit, hopping, listening, pausing to nibble at the grass with its gigantic teeth, It glows in the dusk, a greenish glow filched from the iridicytes of a deep-sea jellyfish in some long-ago experiment. In the half-light the rabbit looks soft and almost translucent, like a piece of Turkish Delight; as if you could suck off its fur like sugar. Even in Snowman's boyhood there were luminous green rabbits, thouhg they weren't this big and they hadn't yet slipped their cages and bred with the wild population and become a nuisance.
This one has no fear of him, though it fills him with carnivorous desires; he longs to whack it with a rock, tear it apart with his bare hands, then cram it into his mouth, fur and all. But rabbits belong to the Children of Oryx and are sacred to Oryx herself, and it would be a bad idea to offend the women.
It's his own fault. He must have been stupefied with drink when he was laying down the laws. He should have made rabbits edible, by himself at any rate, but he can't change that now. He can almost hear Oryx, laughing at him with indulgent, faintly malicious delight.
The Children of Oryx, the Children of Crake. He'd had to think of something. Get your story straight, keep it simple, don't falter: this used to be the expert advice given by lawyers to criminals in the dock. Crake made the bones of the Children of Crake out of the coral on the beach, and then he made their flesh out of a mango. But the Children of Oryx hatched out of an egg, a giant egg laid by Oryx herself. Actually she laid two eggs: one full of animals and birds and fish, and the other one full of words. But the egg full of words hatched first, and the Children of Crake had already been created by then, and they'd eaten up all the words because they were hungry, and so there were no words left over when the second egg hatched out. And that is why the animals can't talk.
Internal consistency is best. Snowman learned this earlier in his life, when lying had posed more of challenge for him. Now even when he's caught in a minor contradiction he can make it stick, because these people trust him. He's the only one left who'd known Crake face to face, so he can lay claim to the inside track. Above his head flies the invisible banner of Crakedom, of Crakiness, of Crakehood, hallowing all he does.
The first star appears. "Star light, star bright," he says. Some grade-school teacher. Big-bum Sally. Now close your eyes right up tight. Tighter! Really tight! There! See the wishing star? Now we will all wish for the thing we want the very, very most of all in the whole wide world. But shhh--don't tell anyone, or the wish won't come true!
Snowman screws his eyes shut, pushes his fists into them, clenches his entire face. There's the wishing star all right: it's blue. "I wish I may, I wish I might," he says. "Have the wish I wish to tonight."
Fat chance.
"Oh Snowman, why are you talking to no one?" says a voice. Snowman opens his eyes: three of the older children are standing just out of reach, regarding him with interest. They must have crept up on him in the dark.
"I'm talking to Crake," he says.
"But you talk to Crake through your shiny thing! Is it broken?"
Snowman lifts his left arm, holds out his watch. "This is for listening to Crake Talking to him is different."
"Why are you talking to him about stars? What are you telling to Crake, oh Snowman?"
What indeed? thinks Snowman. When dealing with indigenous peoples, says the book in his head--a more modern book this time, late twentieth century, the voice a confident female's--you must attempt to respect their traditions and confine your explanations to simple concepts that can be understood within the contexts of their belief systems. Some earnest aid worker in a khaki jungle outfit, with netting under the arms and a hundred pockets. Condescending self-righteous cow, thinks she's got all the answers. He'd know girls like that at college. If she were here she'd need a whole new take on indigenous.
"I was telling him," says Snowman, "that you ask too many questions." He holds his watch to his ear. "And he's telling me that if you don't stop doing that, you'll be toast."
"Please, oh Snowman, what is toast?"
Another error, Snowman thinks. He should avoid arcane metaphors. "Toast," he says, "is something very, very bad. It's so bad I can't even describe it. Now it's your bedtime. Go away."
"What is toast?" says Snowman to himself, once they've run off. Toast is when you take a piece of bread--What is bread? Bread is when you take some flour--What is flour? We'll skip that part, it's too complicated. Bread is something you can eat, made from a ground-up plant and shaped like a stone. You cook it... Please, why do you cook it? Why don't you just eat the plant? Never mind that part--Pay attention. You cook it, and then you cut it into slices, and you put a slice into a toaster, which is a metal box that heats up with electricity--What is electricity? Don't worry about that. While the slice is in the toaster, you get out the butter--butter is a yellow grease, made form the mammary glands of--skip the butter. So, the toaster turns the slice of bread black on both sides with smoke coming out, and then this "toaster" shoots the slice up into the air, and it falls onto the floor...
"Forget it," says Snowman. "Let's try again." Toast was a pointless invention from the Dark Ages. Toast was an implement of torture that caused all those subjected to it to regurgitate in verbal form the sins and crimes of their past lives. Toast was a ritual item devoured by fetishists in the belief that it would enhance their kinetic and sexual powers. Toast cannot be explained by any rational means.
Toast is me.
I am toast.
Oryx and Crake, Margaret Atwood
