Station Eleven

The Symphony had been resting in New Petoskey for a week and a half so far, and François had interviewed almost all of them. August had told him about walking away from his empty house in Massachusetts with his violin, falling in with a cult for three years before he walked away again and stumbled across the Symphony. Viola had a harrowing story about riding a bicycle west out of the burnt-out ruins of a Connecticut suburb, aged fifteen, harboring vague notions of California but set upon by passersby long before she got there, grievously harmed, joining up with other half-feral teenagers in a marauding gang and then slipping away from them, walking alone for a hundred miles, whispering French to herself because all the horror in her life had transpired in English and she thought switching languages might save her, wandering into a town through which the Symphony passed five years later. The third cello had buried his parents after both died in the absence of insulin, and then spent four years holed up in the safety and boredom of their remote cottage on Michigan’s Upper Peninsula, set out finally because he feared he’d lose his mind if he didn’t find another human being to talk to, also because you can eat only so much venison before you’d give your right arm to eat almost anything else, made his way south and east and over the Mackinac Bridge ten years before the bridge’s center section collapsed, lived on the outskirts of the close-knit band of fishermen in Mackinaw City until the Symphony passed through. When it came down to it, François had realized, all of the Symphony’s stories were the same, in two variations. Everyone else died, I walked, I found the Symphony. Or, I was very young when it happened, I was born after it happened, I have no memories or few memories of any other way of living, and I have been walking all my life.

“Now tell me yours,” she said. “What do you think about?”

“When I think of how the world’s changed, you mean?”

“Yes.”

“My apartment in Paris.” François had been on vacation in Michigan when air travel had ceased. When he closed his eyes, he could still see the intricate moldings of his parlor ceiling, the high white doors leading out to the balcony, the wood floors and books. “Why do you think of killing?”

“You never had to hurt anyone in the old world, did you?”

“Of course not. I was a copywriter.”

“A what?”

“Advertising.” He hadn’t thought about it in a long time. “You know, billboards and such. Copywriters wrote the words on them.”

She nodded, and her gaze drifted away from him. The library was François’s favorite place in his present life. He had accumulated a sizable collection over the years. Books, magazines, a glass case of pre-collapse newspapers. It had only recently occurred to him to start a newspaper of his own, and thus far the project had been invigorating. Kirsten was looking at the improvised printing press, massive in the shadows at the back of the room.

“How did you get that scar on your face?” he asked.

She shrugged. “I’ve actually no idea. It happened during that year I don’t remember.”

“Your brother never told you, before he died?”

“He said it was better if I didn’t remember. I took his word for it.”

“What was he like, your brother?”

“He was sad,” she said. “He remembered everything.”

“You’ve never told me what happened to him.”

“The kind of stupid death that never would’ve happened in the old world. He stepped on a nail and died of infection.” She glanced up at the window, at the failing light. “I should go,” she said, “it’s almost sunset.” She stood, and the handles of the knives in her belt glinted in the half-light. This wire of a woman, polite but lethal, who walked armed with knives through all the days of her life. He’d heard stories from other Symphony members about her knife-throwing abilities. She was supposedly able to hit the center of targets blindfolded.

“I thought tonight was just the musicians.” Reluctant as always to see her go.

“It is, but I told my friends I’d come.”

“Thank you for the interview.” He was walking her to the door.

“You’re welcome.”

“If you don’t mind me asking, why didn’t you want that last part recorded? It isn’t the first time I’ve heard confessions of this nature.”

“I know,” she said. “Almost everyone in the Symphony … but look, I collect celebrity-gossip clippings.”

“Celebrity gossip …?”

“Just about that one actor, Arthur Leander. Because of my collection, the clippings, I understand something about permanent records.”

“And it isn’t something you want to be remembered for.”

“Exactly,” she said. “Are you coming to the performance?”