What Makes You Die by Tom Piccirilli
What Makes You Die by Tom Piccirilli (Apex Publications Book) is a novella and an impressive riff on an old idea. Being a guy from the last century who’s read an incredible number of words over the decades, I’m reminded of the Galloway Gallegher stories by Henry Kuttner writing as Lewis Padget. This hero (using the word somewhat ironically) was an alcoholic. While insensible, he became a phenomenal inventor except, with his subconscious in command, he would surface from the latest bender with no clear recollection of the last few days. This produces much hilarity in an old-fashioned kind of way as our hungover hero is forced to try and work out exactly what he’d invented while drunk. To say this is challenging is to indicate the level of potential amusement as he faces some entirely incomprehensible solutions to the unknown problems he solved while drunk. Well that was life during the 1940s when, by modern standards, mere alcohol was the boring norm. Coming up to date, our technology has given us a remarkable array of liquids, gases and solids with which we can adjust our moods and blot out conscious thought.
So here comes our protagonist Tommy Pic (not in any way an autobiographical version of our author, of course). He’s one of the Hollywood screenwriters who’s had his moment of lucid success but is now back in the bipolar, alcohol-fueled manic depression which is his more usual state of mind. The fact he’s not self-disciplined means he frequently neglects to take his meds, so he’s not unused to waking up in a psych ward wearing restraints. On this occasion, he awakes to a Gallegher moment. It seems while he was enjoying one of his psychotic moments, he dashed off [part of] a screenplay — appropriately bearing the title What Makes You Die. He has no recollection of sending the opening portion to his agent, Monty Stobbs, but according to this reliable specimen of humanity, it’s one of the best things he’s seen in at least the last thirty minutes. He wants the rest of the script on his desk yesterday and is promising big bucks if the quality continues at the same level. There’s just the one problem. Tommy has absolutely no idea where the rest of the script now resides and no recollection of writing what was sent, so he cannot attempt to complete it. Worse when Monty Stobbs gives him a copy and he tries to read it, he gets an attack of hysterical blindness. After his tortured peepers finally manage to absorb one of Monty’s marginal notes, a fierce migraine descends like a wolf on the fold, and he has to resort to the nearest bar. With alcohol fueling his eyes, he reads one more note which, like the first, is totally bizarre.
Since this is a first-person narrative, we’re firmly inside the head of an unreliable narrator, a fact that’s immediately obvious because he calmly admits to seeing and talking with dead people, starting off with his dead father who’s by his bed when he wakes. So here’s the question of the day. Through films like Being John Malkovich (1999), we’re used to the idea of literally spending a little time inside someone’s head (for these purposes, I’m ignoring the more excessive Inception (2010)). What would it be like to spend a little time looking through the eyes of a crazy screenwriter? Since he’s prone to major episodes of depression and has attempted surgery on his stomach to remove the Komodo dragon called Gideon (not a suicide attempt, you understand), this whole trip could be a real downer. Yet, surprisingly, it turns out sporadically humorous and, in reaffirming family values of love and loyalty, quite affecting. Some of the set-piece descriptions of life in the world of film, television and theatre are genuinely amusing. There’s some fierce irony in Trudy’s relationship with Monty Stobbs, and in any live show, Bango the Clown would most likely be strung up and/or shot by an audience provoked to anger. Gideon the dragon is interesting because he leaves Post-it notes around for our hero to find, and then there’s Eva when she’s not dancing naked around a ritual sacrifice in the back room of the Weird Sisters store.
In this situation, the man’s solution to the problem is to try to get back into the same frame of mind when he wrote the first section of the script. That means some heavy drinking except his subconscious prefers not to co-operate. When it comes to the weekend and he only has a few hours left to produce a complete script, he goes to a party at Eva’s home. She tries psychoanalysis in a witchy style. And then there’s the missing Kathy Lark. And I did notice the character’s full name is Trudy Galloway. That’s just a coincidence, of course. Putting all this together, What Makes You Die is rather pleasing. Although the ending is perhaps a little like many Hollywood scripts which insist of a positive outcome, I enjoyed it.
A copy of this book was sent to me for review.