The room began to burn around them and the oldest of them said, So what are the prevailing themes of the work. So far, I mean. If it’s not too early in the story.
The other three looked to the flames spreading quickly about them, orange and yellow and red pulsing light and heat. Billowing flames upon the wide raftered ceiling and floor and white walls. They sat in silence and studied the force of the flames and then they dropped their heads into the text, scanning mindlessly, listening to the fire snap and lick carnally at their world. They tried to remember what the oldest one had just said and couldn’t and then what.
I know it’s early, she said. But surely we can identify at least one thematic element.
The flames carried a truth of their own, a rogue life force born of circadian breath and sustained by thought, thrust outward to the realm of awareness, attacking each of their senses and spreading violence and destruction and misunderstanding. Regeneration. Someone cleared their throat and the flames grew larger and doubled in heat, smoke whirling mad cyclonic threats about their heads.
Violence, said the second one. Violence is a theme, I think. He had to shout to be heard over the growl and whine of the spreading fire.
Well, um, he said, trying not to focus on the dancing fire but the topic at hand, the discussion. Not just overtly, he said, With the brutal beating at the beginning of part one and the shooting there at the end of part two. But also the implicit violence. The interaction between characters. There’s violence in the language, the dialogue, even without being profane. Especially without being profane. The author has chosen to create a dialogue of what seems to be constant agitation between parties.
Hmm, yes. Interesting.
And darkness. Darkness also seems to be a prevailing theme, I think, though I’m not quite sure how yet.
I was thinking of that too, said the third one, flames lapping at her legs. Her face was wet with sweat, hair matted to her forehead in knotted clumps. There’s obviously something complicated going on here with the use of light and dark, she said, Illumination and shadow. It’s like a dichotomy, like the author is using light and darkness to set up some kind of dichotomy.
Between what. Give us an example.
And the entire room was burning now, flames affronting physical and metaphysical laws alike and consisting not of individual bodies of flames but of one churning mechanism roaring godlike and ferocious and the people of the room watched transfixed with the glittering vortex tattooed onto their dark pooling irises amid the sounds of crashing wood and stone and screaming steel.
Well, for instance, said the third one. The narrator’s not really explaining anything he sees on the highway other than what’s revealed in the Cadillac’s lights. It’s almost like nothing really exists on the Highway Six unless it’s bathed in light.
Okay, yes. I see. Hmm. Interesting, yes.
It’s about revelation. I think. And the highway itself is very intriguing, said the second one. The highway itself is a character. There’s something very strange and fabular going on here, I think. I hope we’ll encounter more as the story progresses.
Well the story is named after the highway, said the oldest one. So I imagine the narrator will get around to enlightening us before long.
The ceiling crashed down around them, sparks and flames shooting up into a black void, deep chaotic vibrato and a loud hiss of smoke and pressure being sucked upward into the hole.
I think it’s too early for theme, shouted the fourth one, the skin of his arms bubbling in the heat. His hair was on fire, his eyes glowing red and orange with swirling rings of white. But symbol, he shouted. There are symbols galore. The Cadillac is a symbol, I think. It’s a transporter, a protector. I mean, the only time we haven’t seen what’s happening are the times when our narrator is in the car, driving. We don’t get to know his thoughts, his doubts. This is when the world slows down enough for him to think, to assess his world and situation, and we’re not even there.
Yes, but if this is a coincidence or on purpose, we don’t know.
Everything in literature is on purpose.
This narrator, anger rules his world, said the fourth one, and then his body was swallowed in heat and glow, liquid flame of autonomy, his former body impossible to distinguish from the rest of the throbbing blaze.
We’re not even real, the oldest one said, and then nobody said anything, they all sat watching the blaze reach its howling culmination of size and depth and menace and they listened to its biblical crash and wail and they felt the heat abate as the walls fell away into black, total black surrounding them above and below and layers upon layers of dark nothing through to the very core of the universe and they all were able to breathe and all was so very silent as to hear one’s heart beating somewhere in the heaving cocoon of their chests, so very human and fragile.
Part two seemed to have a small meditation on police, or being a policeman, or the perception people have of policemen. Or something. This was the second one speaking again. She had her head in the text, a lone finger probing a page in repose, back and forth, back and forth, her eyes following the finger’s march through words and phrases and thoughts and messages both innocuous and incendiary. Trying to recapture a message or image burned forever into her mind with the power that only the written word possesses. Silence engulfed them. Playground of gods, landscape of the cosmos. Black on blackest. Infinite clarity.
What type of police officer is this narrator, the first one asked.
A complicated one, said the third one.
No, I mean a good cop or a bad cop.
He’s obviously a bad cop.
I think he’s a good cop, said the second one.
Maybe he’s a conflicted cop, said the Author.
You can’t do that, said the oldest one. It’s against the rules. Or something.
The interpreters interpret, said the Author. They do this because they cannot create. The creators just create. They do this because this is what they do.
Someone tell him we’re not discussing theory.
So you write for readers, then?
Who said that, said someone.
What are you trying to do, what are you trying to prove.
Who’s that speaking, who just spoke right then.
Why don’t you ask the creator, the Author said.