The Evolution of Bruno Littlemore by Benjamin Hale Read Free Book Online

reason Milton wrote in fetters when he wrote of Angels & God, and at liberty when of Devils & Hell, is because he was a true Poet and of the Devil’s party without knowing it. Well, I too am a true poet, but unlike Milton and more like Satan, I know it! And also like Satan, I made myself with words. I wrote myself into the world. With my own hand I reached into the cunt of the cosmos and dragged myself kicking and screaming out—HELLO, WORLD. HELLO, YOU BASTARDS. HERE I AM. IT’S ME, BRUNO, THE BOURGEOIS APE.
    (And also like Satan, I’m a beautiful loser.)
    It is impossible, however, to write a poem, or anything for thatmatter, about an unfallen Adam and Eve, because I cannot imagine them as having language. In Paradise there is nothing to say. Eden was sacrificed not for the pleasure of a fruit, but for the pleasure of the word. Now we have shame and pain and knowledge of death and whatnot, but at least we can talk about it. And talk and talk and talk! And maybe—I think—maybe it was even worth the trade. Sometimes the things of this world are less beautiful than their shadows. What is poetry but the shadowplay of consciousness?
    But wait, Gwen—wait! I have just recalled that there is another important memory of my mother, buried somewhere deep in the bedrock of my brain, which resurfaces sometimes in my dreams: an extremely vague memory of accompanying my mother to the laboratory. Look: the clouds of forgetfulness are pulling apart! What lies behind them? Shine forth, my memory, show us the truth. Was it the same laboratory where I would later be experimented on? No, it couldn’t be. It didn’t look the same. It was a different room. The lighting was different. I remember a strong yellow tint to the room. Was it the floor? The tiles must have been yellow. I was an infant; I was probably in a position to observe the floor more closely than other aspects of the room. How did I get there? How old am I? Look at me!—you could almost fit me in the palm of your hand, I must be only a month or two old. There are others there with us, humans, scientists—as always, scientists…. They’re not in the same room with us, though. They’re crowded together just outside a glass wall. We can see them, and we can hear them through holes in the glass. They’re speaking to my mother. She isn’t even curious about what they’re saying. But I am. I remember my urgent curiosity, I remember listening to the burbling waves of vocalization streaming from the mouths of the humans. Their faces are all indistinct in my memory. Mostly I’m looking at their legs. Their pants, the workaday shoes they wear to the lab, the flapping tails of their thinwhite coats. There is a strange sort of machine in the room—
that
I recall clearly. A computer—that’s what it must have been. There is a kind of platform with a padded surface in front of the computer, where my mother sits and attempts to manipulate the machine. There is a screen in it, and a long plastic tube coming out of the side of it that spits treats into a shallow plastic tray bolted to the bottom of the computer screen. To me it is a fascinating, alien curiosity, a thing of signs and wonders. Certain images appear and disappear on the screen, weird hieroglyphic emblems throbbing with artificial light. My mother clumsily touches the things that appear on the screen, and sometimes a computerized female voice utters some magic word in response, and then sometimes the symbols touched will disappear, and sometimes a peanut encased in a colorful shell of hard chocolate rolls happily through the narrow plastic tube in the side of the machine and lands
click-rattle
in the plastic tray, and my mother greedily snatches it from the tray and inserts the sweet little reward into her cheeks, and commences immediately to touch the screen again, hoping for another. She never gave me any of her food rewards. To my mother it must have simply been some glowing totemic god-in-a-box that chose to