She was a kind old lady with thinning white hair and the most beautiful fingers—long and smooth as if they belonged to a graceful young giantess.
I took two spoonfuls of ice cream in a row, and, because my desire had tightened my throat and I couldn't swallow, their cold burned my tongue.
The Empire of Ice Cream
by Jeffrey Ford

Are you familiar with the scent of extinguished birthday candles? For me, their aroma is superceded by a sound like the drawing of a bow across the bass string of a violin. This note carries all of the melancholic joy I have been told the scent engenders—the loss of another year, the promise of accrued wisdom. Likewise, the notes of an acoustic guitar appear before my eyes as a golden rain, falling from a height just above my head only to vanish at the level of my solar plexus. There is a certain imported Swiss cheese I am fond of that is all triangles, whereas the feel of silk against my fingers rests on my tongue with the flavor and consistency of lemon meringue. These perceptions are not merely thoughts, but concrete physical experiences. Depending upon how you see it, I, like approximately nine out of every million individuals, am either cursed or blessed with a condition known as synesthesia.

It has only recently come to light that the process of synesthesia takes place in the hippocampus, part of the ancient limbic system where remembered perceptions—triggered in diverse geographical regions of the brain as the result of an external stimulus—come together. It is believed that everyone, at a point somewhere below consciousness, experiences this coinciding of sensory association, yet in most it is filtered out, and only a single sense is given predominance in one's waking world. For we lucky few, the filter is broken or perfected, and what is usually subconscious becomes conscious. Perhaps, at some distant point in history, our early ancestors were completely synesthetic, and touched, heard, smelled, tasted, and saw all at once—each specific incident mixing sensoric memory along with the perceived sense without affording precedence to the findings of one of the five portals through which "reality" invades us. The scientific explanations, as far as I can follow them, seem to make sense now, but when I was young and told my parents about the whisper of vinyl, the stench of purple, the spinning blue gyres of the church bell, they feared I was defective and that my mind was brimming with hallucinations like an abandoned house choked with ghosts.

As an only child, I wasn't afforded the luxury of being anomalous. My parents were well on in years—my mother nearly forty, my father already forty-five—when I arrived after a long parade of failed pregnancies. The fact that, at age five, I heard what I described as an angel crying whenever I touched velvet would never be allowed to stand, but was seen as an illness to be cured by whatever methods were available. Money was no object in the pursuit of perfect normalcy. And so my younger years were a torment of hours spent in the waiting rooms of psychologists, psychiatrists and therapists. I can't find words to describe the depths of medical quackery I was subjected to by a veritable army of so-called professionals who diagnosed me with everything from schizophrenia to bipolar depression to low IQ caused by muddled potty training. Being a child, I was completely honest with them about what I experienced, and this, my first mistake, resulted in blood tests, brain scans, special diets and the forced consumption of a demon's pharmacopoeia of mind-deadening drugs that diminished my will but not the vanilla scent of slanting golden sunlight on late autumn afternoons.

My only-child status, along with the added complication of my "condition," as they called it, led my parents to perceive me as fragile. For this reason, I was kept fairly isolated from other children. Part of it, I'm sure, had to do with the way my abnormal perceptions and utterances would reflect upon my mother and father, for they were the type of people who could not bear to be thought of as having been responsible for the production of defective goods. I was tutored at home by my mother instead of being allowed to attend school. She was actually a fine teacher, having a Ph.D. in History and a firm grasp of classical literature. My father, an actuary, taught me Math, and in this subject I proved to be an unquestionable failure until I reached college age. Although x=y might have been a suitable metaphor for the phenomenon of synesthesia, it made no sense on paper. The number 8, by the way, reeks of withered flowers.

What I was good at was music. Every Thursday at 3:00 in the afternoon, Mrs. Brithnic would arrive at the house to give me a piano lesson. She was a kind old lady with thinning white hair and the most beautiful fingers—long and smooth as if they belonged to a graceful young giantess. Although something less than a virtuoso at the keys, she was a veritable genius at teaching me to allow myself to enjoy the sounds I produced. Enjoy them I did, and when I wasn't being dragged hither and yon in the pursuit of losing my affliction, home base for me was the piano bench. In my imposed isolation from the world, music became a window of escape I crawled through as often as possible.

When I'd play, I could see the notes before me like a fireworks display of colors and shapes. By my twelfth year, I was writing my own compositions, and my notation on the pages accompanying the notes of a piece referred to the visual displays that coincided with them. In actuality, when I played, I was really painting—in mid-air, before my eyes—great abstract works in the tradition of Kandinsky. Many times, I planned a composition on a blank piece of paper using the crayon set of 64 colors I'd had since early childhood. The only difficulty in this was with colors like magenta and cobalt blue, which I perceive primarily as tastes, and so would have to write them down in pencil as licorice and tapioca on my colorfully scribbled drawing where they would appear in the music.

My punishment for having excelled at the piano was to lose my only real friend, Mrs. Brithnic. I remember distinctly the day my mother let her go. She calmly nodded, smiling, understanding that I had already surpassed her abilities. Still, though I knew this was the case, I cried when she hugged me good-bye. When her face was next to mine, she whispered into my ear, "Seeing is believing," and in that moment, I knew that she had completely understood my plight. Her lilac perfume, the sound of one nearly inaudible B-flat played by an oboe, still hung about me as I watched her walk down the path and out of my life for good.

I believe it was the loss of Mrs. Brithnic that made me rebel. I became desultory and despondent. Then one day, soon after my thirteenth birthday, instead of obeying my mother, who had just told me to finish reading a textbook chapter while she showered, I went to her pocketbook, took five dollars and left the house. As I walked along beneath the sunlight and blue sky, the world around me seemed brimming with life. What I wanted more than anything else was to meet other young people my own age. I remembered an ice-cream shop in town where, when passing by in the car returning from whatever doctor's office we had been to, there always seemed to be kids hanging around. I headed directly for that spot while wondering if my mother would catch up to me before I made it. When I pictured her drying her hair, I broke into a run.

Upon reaching the row of stores that contained The Empire of Ice Cream, I was out of breath as much from the sheer exhilaration of freedom as from the half-mile sprint. Peering through the glass of the front door was like looking through a portal into an exotic other world. Here were young people, my age, gathered in groups at tables, talking, laughing, eating ice cream—not by night, after dinner—but in the middle of broad daylight. I opened the door and plunged in. The magic of the place seemed to brush by me on its way out as I entered, for the conversation instantly died away. I stood in the momentary silence as all heads turned to stare at me.

"Hello," I said, smiling, and raised my hand in greeting, but I was too late. They had already turned away, the conversation resumed, as if they had merely afforded a grudging glimpse to see the door open and close at the behest of the wind. I was paralyzed by my inability to make an impression, the realization that finding friends was going to take some real work.

"What'll it be?" said a large man behind the counter.

I broke from my trance and stepped up to order. Before me, beneath a bubble dome of glass, lay the Empire of Ice Cream. I'd never seen so much of the stuff in so many colors and incarnations—with nuts and fruit, cookie and candy bits, mystical swirls the sight of which sounded to me like a distant siren. There were deep vats of it set in neat rows totaling thirty flavors. My diet had never allowed for the consumption of confections or desserts of any type, and rare were the times I had so much as a thimbleful of vanilla ice cream after dinner. Certain doctors had told my parents that my eating these treats might seriously exacerbate my condition. With this in mind, I ordered a large bowl of coffee ice cream. My choice of coffee stemmed from the fact that that beverage was another item on the list of things I should never taste.

After paying, I took my bowl and spoon and found a seat in the corner of the place from which I could survey all the other tables. I admit that I had some trepidations about digging right in, since I'd been warned against it for so long by so many adults. Instead, I scanned the shop, watching the other kids talking, trying to overhear snatches of conversation. I made eye contact with a boy my own age two tables away. I smiled and waved to him. He saw me and then leaned over and whispered something to the other fellows he was with. All four of them turned, looked at me, and then broke into laughter. It was a certainty they were making fun of me, but I basked in the victory of merely being noticed. With this, I took a large spoonful of ice cream and put it in my mouth.

There is an attendant phenomenon of the synesthetic experience I've yet to mention. Of course I had no term for it at this point in my life, but when one is in the throes of the remarkable transference of senses, it is accompanied by a feeling of "epiphany," a "eureka" of contentment that researchers of the anomalous condition would later term noetic, borrowing from William James. That first taste of coffee ice cream elicited a deeper noetic response than I'd ever before felt, and along with it came the appearance of a girl. She coalesced out of thin air and stood before me, obscuring my sight of the group that was still laughing. Never before had I seen through tasting, hearing, touching, smelling, something other than simple abstract shapes and colors.

She was turned somewhat to the side and hunched over, wearing a plaid skirt and a white blouse. Her hair was the same dark brown as my own, but long and gathered in the back with a green rubber band. There was a sudden shaking of her hand, and it became clear to me that she was putting out a match. Smoke swirled away from her. I could see now that she had been lighting a cigarette. I got the impression that she was wary of being caught in the act of smoking. When she turned her head sharply to look back over her shoulder, I dropped the spoon on the table. Her look instantly enchanted me.

As the ice cream melted away down my throat, she began to vanish, and I quickly lifted the spoon to restoke my vision, but it never reached my lips. She suddenly went out like a light when I felt something land softly upon my left shoulder. I heard the incomprehensible murmur of recrimination, and knew it as my mother's touch. She had found me. A great wave of laughter accompanied my removal from The Empire of Ice Cream. Later I would remember the incident with embarrassment, but for the moment, even as I spoke words of apology to my mother, I could think only of what I'd seen.

The ice-cream incident—followed hard by the discovery of the cigar box of pills I hid in my closet, all of the medication that I'd supposedly swallowed for the past six months—led my parents to believe that heaped upon my condition was now a tendency toward delinquency that would grow, if unchecked, in geometrical proportion with the passing of years. It was decided that I should see yet another specialist to deal with my behavior, a therapist my father had read about who would prompt me to talk my willfulness into submission. I was informed of this in a solemn meeting with my parents. What else was there to do but acquiesce? I knew that my mother and father wanted, in their pedestrian way, what they believed was best for me. Whenever the situation would infuriate me, I'd go to the piano and play, sometimes for three or four hours at a time.

Dr. Stullin's office was in a ramshackle Victorian house on the other side of town. My father accompanied me on the first visit, and, when he pulled up in front of the sorry old structure, he checked the address at least twice to make sure we'd come to the right place. The doctor, a round little man with a white beard and glasses with small circular lenses, met us at the front door. Why he laughed when we shook hands at the introductions, I hadn't a clue, but he was altogether jolly, like a pint-size Santa Claus dressed in a wrinkled brown suit one size too small. He swept out his arm to usher me into his house, but when my father tried to enter, the doctor held up his hand and said, "You will return in one hour and five minutes."

My father gave some weak protest and said that he thought he might be needed to help discuss my history to this point. Here the doctor's demeanor instantly changed. He became serious, official, almost commanding.

"I'm being paid to treat the boy. You'll have to find your own therapist."

My father was obviously at a loss. He looked as if he was about to object, but the doctor said, "One hour and five minutes." Following me inside, he quickly shut the door behind him.

As he led me through a series of unkempt rooms lined with crammed bookshelves, and one in which piles of paper covered the tops of tables and desks, he said, laughing, "Parents: so essential, yet sometimes like something you've stepped in and cannot get off your shoe. What else is there but to love them?"

We wound up in a room at the back of the house made from a skeleton of thin steel girders and paneled with glass panes. The sunlight poured in, and surrounding us, at the edges of the place, also hanging from some of the girders, were green plants. There was a small table on which sat a teapot and two cups and saucers. As I took the seat he motioned for me to sit in, I looked out through the glass and saw that the backyard was one large, magnificent garden, blooming with all manner of colorful flowers.

After he poured me a cup of tea, the questioning began. I'd had it in my mind to be as recalcitrant as possible, but there was something in the manner in which he had put my father off that I admired about him. Also, he was unlike other therapists I'd been to, who would listen to my answers with complete reservation of emotion or response. When he asked why I was here, and I told him it was because I'd escaped in order to go to the ice-cream shop, he scowled and said, "Patently ridiculous." I was unsure if he meant me or my mother's response to what I'd done. I told him about playing the piano, and he smiled warmly and nodded. "That's a good thing," he said.

After he asked me about my daily routine and my home life, he sat back and said, "So, what's the problem? Your father has told me that you hallucinate. Can you explain?"

No matter how ingratiating he'd been, I had already decided that I would no longer divulge any of my perceptions to anyone. Then he did something unexpected.

"Do you mind?" he asked as he took out a pack of cigarettes.

Before I could shake my head no, he had one out of the pack and lit. Something about this, perhaps because I'd never seen a doctor smoke in front of a patient before, perhaps because it reminded me of the girl who had appeared before me in the ice-cream shop, weakened my resolve to say nothing. When he flicked his ashes into his half-empty teacup, I started talking. I told him about the taste of silk, the various corresponding colors for the notes of the piano, the nauseating stench of purple.

I laid the whole thing out for him and then sat back in my chair, now somewhat regretting my weakness, for he was smiling, and the smoke was leaking out of the corners of his mouth. He exhaled, and in that cloud came the word that would validate me, define me and haunt me for the rest of my life—synesthesia.

By the time I left Stullin's office that day, I was a new person. The doctor spoke to my father and explained the phenomenon to him. He cited historical cases and gave him the same general overview of the neurological workings of the condition. He also added that most synesthetes don't experience the condition in such a variety of senses as I did, although it was not unheard of. My father nodded every now and then but was obviously perplexed at the fact that my long-suffered condition had, in an instant, vanished.

"There's nothing wrong with the boy," said Stullin, "except for the fact that he is, in a way, exceptional. Think of it as a gift, an original way of sensing the world. These perceptions are as real for him as are your own to you."

Stullin's term for my condition was like a magic incantation from a fairy tale, for through its power I was released from the spell of my parents' control. In fact, their reaction to it was to almost completely relinquish interest in me, as if after all of their intensive care I'd been found out to be an imposter now unworthy of their attention. When it became clear that I would have the ability to go about my life as any normal child might, I relished the concept of freedom. The sad fact was, though, that I didn't know how to. I lacked all experience at being part of society. My uncertainty made me shy, and my first year in public school was a disaster. What I wanted was a friend my own age, and this goal continued to elude me until I was well out of high school and in college. My desperation to connect made me ultimately nervous, causing me to act and speak without reserve. This was the early 1960s, and if anything was important in high school social circles at the time, it was remaining cool. I was the furthest thing from cool you might imagine.

For protection, I retreated into my music and spent hours working out compositions with my crayons and pens, trying to corral the sounds and resultant visual pyrotechnics, odors and tastes into cohesive scores. All along, I continued practicing and improving my abilities at the keyboard, but I had no desire to become a performer. Quite a few of my teachers through the years had it in their minds that they could shape me into a brilliant concert pianist. I would not allow it, and when they insisted, I'd drop them and move on. Nothing frightened me more than the thought of sitting in front of a crowd of onlookers. The weight of judgment lurking behind even one set of those imagined eyes was too much for me to bear. I'd stayed on with Stullin, visiting once a month, and no matter his persistent proclamations as to my relative normalcy, it was impossible for me, after years of my parents' insisting otherwise, to erase the fact that I was, in my own mind, a freak.

My greatest pleasure away from the piano at this time was to take the train into the nearby city and attend concerts given by the local orchestra or small chamber groups that would perform in more intimate venues. Rock and roll was all the rage, but my training at the piano and the fact that calm solitude as opposed to raucous socializing was the expected milieu of the symphony drew me in the direction of classical music. It was a relief that most of those who attended the concerts I did were adults who paid no attention to my presence. From the performances I witnessed, from the stereo I goaded my parents into buying for me, and my own reading, I , with few of the normal distractions of the typical teenager, gathered an immense knowledge of my field.

My hero was J. S. Bach. It was from his works that I came to understand mathematics … and, through a greater understanding of math, came to a greater understanding of Bach—the golden ratio, the rise of complexity through the reiteration of simple elements, the presence of the cosmic in the common. Whereas others simply heard his work, I could also feel it, taste it, smell it, visualize it, and in doing so was certain I was witnessing the process by which all of Nature had moved from a single cell to a virulent, diverse forest. Perhaps part of my admiration for the good cantor of Leipzig was his genius with counterpoint, a practice where two or more distinct melodic lines delicately join at certain points to form a singularly cohesive listening experience. I saw in this technique an analogy to my desire that some day my own unique personality might join with that of another's and form a friendship. Soon after hearing the fugue pieces that are part of The Well-Tempered Clavier, I decided I wanted to become a composer.

Of course, during these years, both dreadful for my being a laughingstock in school and delightful for their musical revelations, I couldn't forget the image of the girl who momentarily appeared before me during my escape to The Empire of Ice Cream. The minute that Dr. Stullin pronounced me sane, I made plans to return and attempt to conjure her again. The irony of the situation was that just that single first taste of coffee ice cream had ended up making me ill, either because I'd been sheltered from rich desserts my whole life or because my system actually was inherently delicate. Once my freedom came, I found I didn't have the stomach for all of those gastronomic luxuries I had at one time so desired. Still, I was willing to chance the stomachache in order to rediscover her.

On my second trip to The Empire, after taking a heaping spoonful of coffee ice cream and experiencing again that deep noetic response, she appeared as before, her image forming in the empty space between me and the front window of the shop. This time she seemed to be sitting at the end of a couch situated in a living room or parlor, reading a book. Only her immediate surroundings, within a foot or two of her body, were clear to me. As my eyes moved away from her central figure, the rest of the couch, and the table beside her, holding a lamp, became increasingly ghostlike; images from the parking lot outside the shop window showed through. At the edges of the phenomenon, there was nothing but the merest wrinkling of the atmosphere. She turned the page, and I was drawn back to her. I quickly fed myself another bit of ice cream and marveled at her beauty. Her hair was down, and I could see that it came well past her shoulders. Bright green eyes, a small, perfect nose, smooth skin, and full lips that silently moved with each word of the text she was scanning. She was wearing some kind of very sheer, powder blue pajama top, and I could see the presence of her breasts beneath it.

I took two spoonfuls of ice cream in a row, and, because my desire had tightened my throat and I couldn't swallow, their cold burned my tongue. In the time it took for the mouthful of ice cream to melt and trickle down my throat, I simply watched her chest subtly heave with each breath, her lips move, and I was enchanted. The last thing I noticed before she disappeared was the odd title of the book she was reading—The Centrifugal Rickshaw Dancer. I'd have taken another spoonful, but a massive headache had blossomed behind my eyes, and I could feel my stomach beginning to revolt against the ice cream. I got up and quickly left the shop. Out in the open air, I walked for over an hour, trying to clear my head of the pain while at the same time trying to retain her image in my memory. I stopped three times along my meandering course, positive I was going to vomit, but I never did.

My resistance to the physical side effects of the ice cream never improved, but I returned to the shop again and again, like a binge drinker to the bottle, hangover be damned, whenever I was feeling most alone. Granted, there was something of a voyeuristic thrill underlying the whole thing, especially when the ice cream would bring her to me in various states of undress—in the shower, in her bedroom. But you must believe me when I say that there was much more to it than that. I wanted to know everything about her. I studied her as assiduously as I did The Goldberg Variations or Schoenberg's serialism. She was, in many ways, an even more intriguing mystery, and the process of investigation was like constructing a jigsaw puzzle, reconfiguring a blasted mosaic.

I learned that her name was Anna. I saw it written on one of her sketch pads. Yes, she was an artist, and I believe had great aspirations in this direction, as I did in music. I spent so many spoonfuls of coffee ice cream, initiated so many headaches, just watching her draw. She never lifted a paintbrush or pastel, but was tied to the simple tools of pencil and paper. I never witnessed her using a model or photograph as a guide. Instead, she would place the sketch pad flat on a table and hunker over it. The tip of her tongue would show itself from the right corner of her lips when she was in deepest concentration. Every so often, she'd take a drag on a cigarette that burned in an ashtray to her left. The results of her work, the few times I was lucky enough to catch a glimpse, were astonishing. Sometimes she was obviously drawing from life, the portraits of people whom she must've known. At other times she'd conjure strange creatures or mandalalike designs of exotic blossoms. The shading was incredible, giving weight and depth to her creations. All of this from the tip of a graphite pencil one might use to work a calculation or jot a memo. If I did not adore her, I might've envied her innate talent.

To an ancillary degree, I was able to catch brief glimpses of her surroundings, and this was fascinating for the fact that she seemed to move through a complete, separate world of her own, some kind of other reality that was very much like ours. I'd garnered enough to know that she lived in a large old house with many rooms, the windows covered with long drapes to block out the light. Her work area was chaotic, stacks of her drawings covering the tops of tables and pushed to the sides of her desk. A black-and-white cat was always prowling in and out of the tableau. She was very fond of flowers and often worked in some sun-drenched park or garden, creating painstaking portraits of amaryllis or pansies, and although the rain would be falling outside my own window, there the skies were bottomless blue.

Although over the course of years I'd told Stullin much about myself, revealed my ambitions and most secret desires, I had never mentioned Anna. It was only after I graduated high school and was set to go off to study at Gelsbeth Conservatory in the nearby city that I decided to reveal her existence to him. The doctor had been a good friend to me, albeit a remunerated one, and was always most congenial and understanding when I'd give vent to my frustrations. He persistently argued the optimistic viewpoint for me when all was as inky black as the aroma of my father's aftershave. My time with him never resulted in a palpable difference in my ability to attract friends or feel more comfortable in public, but I enjoyed his company. At the same time, I was somewhat relieved to be severing all ties to my troubled past and escaping my childhood once and for all. I was willing to jettison Stullin's partial good to be rid of the rest.

We sat in the small sunroom at the back of his house, and he was questioning me about what interests I would pursue in my forthcoming classes. He had a good working knowledge of classical music and had told me at one of our earliest meetings that he'd studied the piano when he was younger. He had a weakness for the Romantics, but I didn't hold it against him. Somewhere in the midst of our discussion I simply blurted out the details of my experiences with coffee ice cream and the resultant appearances of Anna. He was obviously taken aback. He leaned forward in his chair and slowly went through the procedure of lighting a cigarette.

"You know," he said, releasing a cascade of smoke, the aroma of which always manifested itself for me in the faint sound of a mosquito, "that is quite unusual. I don't believe there has ever been a case of a synesthetic vision achieving a figurative resemblance. They are always abstract. Shapes, colors, yes, but never an image of an object, not to mention a person."

"I know it's the synesthesia," I said. "I can feel it. The exact same experience as when I summon colors from my keyboard."

"And you say she always appears in relation to your eating ice cream?" he asked, squinting.

"Coffee ice cream," I said.

This made him laugh briefly, but his smile soon diminished, and he brought his free hand up to stroke his beard. I knew this action to be a sign of his concern. "What you are describing to me would be, considering the current medical literature, a hallucination."

I shrugged.

"Still," he went on, "the fact that it is always related to your tasting the ice cream, and that you can identify an associated noetic feeling, I'd have to agree with you that it seems related to your condition."

"I knew it was unusual," I said. "I was afraid to mention it."

"No, no, it's good that you did. The only thing troubling me about it is that I am too aware of your desire to connect with another person your age. To be honest, it has all of the earmarks of a wish fulfillment that points back to a kind of hallucination. Look, you don't need this distraction now. You're beginning your life, you are moving on, and there is every indication that you'll be successful in your art. When the other students at the Conservatory understand your abilities, you'll make friends, believe me. It won't be like high school. Chasing this insubstantial image could impede your progress. Let it go."

And so, not without a large measure of regret, I did. To an extent, Stullin was right about Gelsbeth. It wasn't like high school, and I did make the acquaintance of quite a few like-minded people with whom I could at least connect on the subject of music. I wasn't the only odd fish in that pond, believe me. To be a young person with an overriding interest in Bach or Mozart or Scriabin was its own eccentricity for those times. The place was extremely competitive, and I took the challenge. My fledgling musical compositions were greeted with great interest by the faculty, and I garnered a degree of notoriety when one day a fellow student discovered me composing a chamber piece for violins and cello using my set of crayons. I would always work in my corresponding synesthetic colors and then transpose the work, scoring it in normal musical notation.

The years flew by, and I believe they were the most rewarding of my entire life. I rarely went home to visit, save on holidays when the school was closed, even though it was only a brief train ride from the city. The professors were excellent but unforgiving of laziness and error. It wasn't a labor for me to meet their expectations. For the first time in my life, I felt what it meant to play, an activity I'd never experienced in childhood. The immersion in great music, the intricate analysis of its soul, kept me constantly engaged, filled with a sense of wonder.

Then, in my last year, I became eligible to participate in a competition for composers. There was a large cash prize, and the winner's work would be performed at a concert in the city's symphony hall by a well-known musician. The difficulty of being a composer was always the near-impossibility of getting one's work performed by competent musicians in a public venue. The opportunity presented by the competition was one I couldn't let slip away. More important than the money or the accolades would be a kind of recognition that would bring me to the attention of potential patrons who might commission a work. I knew that it was time to finally compose the fugue I'd had in mind for so many years. The utter complexity of the form, I believed, would be the best way to showcase all of my talents.

When it came time to begin the composition of the fugue, I took the money I'd made tutoring young musicians on the weekends and put it toward renting a beach house out on Varion Island for two weeks. In the summers the place was a bustling tourist spot for the wealthy, with a small central town that could be termed quaint. In those months, I wouldn't have been able to touch the price of the lowliest dwelling for a single day's rent. It was the heart of winter, though, when I took a leave from the school, along with crayons, books, a small tape player, and fled by way of bus and cab to my secret getaway.

The house I came to wasn't one of the grand wooden mansions on stilts that lined the road along the causeway, but instead a small bungalow, much like a concrete bunker. It was painted an off-putting yellow that tasted to me for all the world like cauliflower. It sat atop a small rise, and its front window faced the ocean, giving me a sublime view of the dunes and beach. What's more, it was within walking distance of the tiny village. There was sufficient heat, a telephone, a television, a kitchen with all the appliances, and I instantly felt as at home there as I had anywhere in my life. The island itself was deserted. On my first day, I walked down to the ocean and along the shore the mile and a half to the eastern point and then back by way of the main road, passing empty houses, and I saw no one. I'd been told over the phone by the realtor that the diner in town and a small shop that sold cigarettes and newspapers stayed open through the winter. Thankfully, she was right, for without the diner, I would have starved.

The setting of the little bungalow was deliciously melancholic, and for my sensibilities that meant conducive to work. I could hear the distant breaking of waves and, above that, the winter wind blowing sand against the window glass, but these were not distractions. Instead, they were the components of a silence that invited one to dream wide awake, to let the imagination open, and so I dove into the work straightaway. On the first afternoon, I began recording in my notebook my overall plan for the fugue. I'd decided that it would have only two voices. Of course, some had been composed with as many as eight, but I did not want to be ostentatious. Showing reserve is as important a trait of technical mastery as is that of complexity.

I already had the melodic line of the subject, which had been a cast off from another project I'd worked on earlier in the year. Even though I decided it was not right for the earlier piece, I couldn't forget it and kept revising it here and there, playing it over and over. In the structure of a fugue, one posits the melodic line or subject, and then there is an answer (counterpoint), a reiteration of that line with differing degrees of variation, so that what the listener hears is like a dialogue (or a voice and its echo) of increasing complexity. After each of the voices has entered the piece, there is an episode that leads to the reentry of the voices and given answers, now in different keys. I had planned to use a technique called stretto, in which the answers, as they are introduced, overlap somewhat the original subject lines. This allows for a weaving of the voices so as to create an intricate tapestry of sound.

All this would be difficult to compose but nothing outlandishly original. It was my design, though, to impress the judges by trying something new. Once the fugue had reached its greatest state of complication, I wanted the piece to slowly, almost logically at first, but then without rhyme or meter, crumble into chaos. At the very end, from that chaotic cacophony, there would emerge one note, drawn out to great length, which would eventually diminish into nothing.

For the first week, the work went well. I took a little time off every morning and evening for a walk on the beach. At night I would go to the diner and then return to the bungalow to listen to Bach's Art of the Fugue or Toccata and Fugue in D minor, some Brahms, Haydn, Mozart, and then pieces from the inception of the form by composers like Sweelinck and Froberger. I employed the crayons on a large piece of good drawing paper, and although to anyone else it would not look like musical notation, I knew exactly how it would sound when I viewed it. Somewhere after the first week, though, I started to slow down, and by Saturday night my work came to a grinding halt. What I'd begun with such a clear sense of direction had me trapped. I was lost in my own complexity. The truth was, I was exhausted and could no longer pick apart the threads of the piece—the subject, the answer, the counter-subject snarled like a ball of yarn.

I was thoroughly weary and knew I needed rest, but even though I went to bed and closed my eyes, I couldn't sleep. All day Sunday, I sat in a chair and surveyed the beach through the front window. I was too tired to work but too frustrated about not working to sleep. That evening, after having done nothing all day, I stumbled down to the diner and took my usual seat. The place was empty save for one old man sitting in the far corner, reading a book while eating his dinner. This solitary character looked somewhat like Stullin for his white beard, and at first glance, had I not known better, I could've sworn the book he was reading was The Centrifugal Rickshaw Dancer. I didn't want to get close enough to find out for fear he might strike up a conversation.

The waitress came and took my order. When she was finished writing on her pad, she said, "You look exhausted tonight."

I nodded.

"You need to sleep," she said.

"I have work to do," I told her.

"Well, then, let me bring you some coffee."

I laughed. "You know, I've never had a cup of coffee in my life," I said.

"Impossible," she said. "It looks to me like tonight might be a good time to start."

"I'll give it a try," I told her, and this seemed to make her happy.

While I ate, I glanced through my notebook and tried to reestablish for myself the architecture of the fugue. As always, when I looked at my notes, everything was crystal clear, but when it came time to continue on the score, every potential further step seemed the wrong way to go. Somewhere in the midst of my musing, I pushed my plate away and drew toward me the cup and saucer. My usual drink was tea, and I'd forgotten I had changed my order. I took a sip, and the dark, bitter taste of black coffee startled me. I looked up, and there was Anna, staring at me, having just lowered a cup away from her lips. In her eyes I saw a glint of recognition, as if she were actually seeing me, and I'm sure she saw the same in mine.

I whispered, "I see you."

She smiled. "I see you too," she said.

I would have been less surprised if a dog had spoken to me. Sitting dumbfounded, I reached slowly out toward where she seemed to sit across from me in the booth. As my hand approached, she leaned back away from it.

"I've been watching you for years," she said.

"The coffee?" I said.

She nodded. "You are a synesthete, am I right?"

"Yes," I said. "But you're a figment of my imagination, a product of a neurological anomaly."

Here she laughed out loud. "No," she said, "you are."

After our initial exchange, neither of us spoke. I was in a mild state of shock, I believe. "This can't be," I kept repeating in my mind, but there she was, and I could hear her breathing. Her image appeared even sharper than it had previously under the influence of the coffee ice cream. And now, with the taste that elicited her presence uncompromised by cream and sugar and the cold, she remained without dissipating for a good few minutes before beginning to mist at the edges and I had to take another sip to sharpen the focus. When I brought my cup up to drink, she also did at the same exact time, as if she were a reflection, as if I were her reflection, and we both smiled.

"I can't speak to you where I am. They'll think I've lost my mind," I whispered.

"I'm in the same situation," she said.

"Give me a half hour and then have another cup of coffee, and I'll be able to speak to you in private."

She nodded in agreement and watched as I called for the check.

By the time the waitress arrived at my booth, Anna had dissolved into a vague cloud, like the exhalation of a smoker. It didn't matter, as I knew she couldn't be seen by anyone else. As my bill was being tallied, I ordered three cups of coffee to go.

"That coffee is something, isn't it?" said the waitress. "I swear by it. Amazing you've never had any up to this point. My blood is three-quarters coffee, I drink so much of it," she said.

"Wonderful stuff," I agreed.

Wonderful it was, for it had awakened my senses, and I walked through the freezing, windy night, carrying in a box my containers of elixir, with all the joy of a child leaving school on Friday afternoon. The absurdity of the whole affair didn't escape me, and I laughed out loud remembering my whispered plan to wait a half hour and then drink another cup. The conspiratorial nature of it excited me, and I realized for the first time since seeing her that Anna had matured and grown more beautiful in the years I had forsaken her.

Back at the bungalow, I put the first of the large Styrofoam containers into the microwave in the kitchen and heated it for no more than thirty seconds. I began to worry that perhaps in Anna's existence time was altogether different and a half hour for me might be two or three or a day for her. The instant the bell sounded on the appliance, I took the cup out, seated myself at the small kitchen table and drank a long draught of the dark potion. Before I could put the cup down, she was there, sitting in the seat opposite me.

"I know your name is Anna," I said to her. "I saw it on one of your drawing pads."

She flipped her hair behind her ear on the left side and asked, "What's yours?"

"William," I said. Then I told her about the coffee ice cream and the first time I encountered her image.

"I remember," she said, "when I was a child of nine, I snuck a sip of my father's coffee he had left in the living room, and I saw you sitting at a piano. I thought you were a ghost. I ran to get my mother to show her, but when I returned you'd vanished. She thought little of it since the synesthesia was always prompting me to describe things that made no sense to her."

"When did you realize it was the coffee?" I asked.

"Oh, some time later. I again was given a taste of it at breakfast one morning, and there you were, sitting at our dining room table, looking rather forlorn. It took every ounce of restraint not to blurt out that you were there. Then it started to make sense to me. After that, I would try to see you as much as possible. You were often very sad when you were younger. I know that."

The look on her face, one of true concern for me, almost brought tears to my eyes. She was a witness to my life. I hadn't been as alone as I had always thought.

"You're a terrific artist," I said.

She smiled. "I'm great with a pencil, but my professors are demanding a piece in color. That's what I'm working on now."

Intermittently in the conversation we'd stop and take sips of coffee to keep the connection vital. As it turned out, she too had escaped her normal routine and taken a place in order to work on a project for her final portfolio review. We discovered all manner of synchronicities between our lives. She admitted to me that she'd also been a loner as a child and that her parents had a hard time dealing with her synesthetic condition. As she put it, "Until we discovered the reality of it, I think they thought I was crazy." She laughed, but I could tell by the look in her eyes how deeply it had affected her.

"Have you ever told anyone about me?" I asked.

"Only my therapist," she said. "I was relieved when he told me he'd heard of rare cases like mine."

This revelation brought me up short, for Stullin had told me he had never encountered anything of the sort in the literature. The implications of this inconsistency momentarily reminded me that she was not real, but I quickly shoved the notion from my thoughts and continued the conversation.

That night, by parsing out the coffee I had, and she doing the same, we stayed together until two in the morning, telling each other about our lives, our creative ideas, our dreams for the future. We found that our synesthetic experiences were similar and that our sense impressions were often transposed with the same results. For instance, for both her and me, the aroma of new-mown grass was circular and the sound of a car horn tasted of citrus. She told me that her father was an amateur musician who loved the piano and classical music. In the middle of my recounting for her the intricacies of the fugue I was planning, she suddenly looked up from her cup and said, "Oh no, I'm out of coffee." I looked down at my own cup and realized I'd just taken the last sip.

"Tomorrow at noon," she said as her image weakened.

"Yes," I yelled, afraid she wouldn't hear me.

Then she became a phantom, a miasma, a notion, and I was left staring at the wall of the kitchen. With her gone, I could not sit still for long. All the coffee I'd drunk was coursing through me, and because my frail system had never before known the stimulant, my hands literally shook from it. I knew sleep was out of the question, so after walking around the small rooms of the bungalow for an hour, I sat down to my fugue to see what I could do.

Immediately, I picked up the trail of where I had been headed before Saturday's mental block had set in. Everything was piercingly clear to me, and I could hear the music I was noting in various colors as if there were a tape of the piece I was creating playing as I created it. I worked like a demon, quickly, unerringly, and the ease with which the answers to the musical problems presented themselves gave me great confidence and made my decisions ingenious. Finally, around eight in the morning (I hadn't noticed the sunrise), the coffee took its toll on me, and I became violently ill. The stomach pains, the headache, were excruciating. At ten, I vomited, and that relieved the symptoms somewhat. At eleven A.M., I was at the diner, buying another four cups of coffee.

The waitress tried to interest me in breakfast, but I said I wasn't hungry. She told me I didn't look well, and I tried to laugh off her concern. When she pressed the matter, I made some surly comment to her that I can't now remember, and she understood I was interested in nothing but the coffee. I took my hoard and went directly to the beach. The temperature was milder that day, and the fresh air cleared my head. I sat in the shelter of a deep hollow amidst the dunes to block the wind, drank, and watched Anna at work, wherever she was, on her project—a large, colorful abstract drawing. After spying on her for a few minutes, I realized that the composition of the piece, its arrangement of color, presented itself to me as the melodic line of Symphony no. 8 in B Minor, by Franz Schubert. This amused me at first, to think that my own musical knowledge was inherent in the existence of her world, that my imagination was its essence. What was also interesting was that such a minor interest of mine, Schubert, should manifest itself. I supposed that any aspect of my life, no matter how minor, was fodder for this imaginative process. It struck me just as quickly, though, that I didn't want this to be so. I wanted her to be apart from me, her own separate entity, for without that, what would her friendship mean? I physically shook my head to rid myself of the idea. When at noon she appeared next to me in my nest among the dunes, I'd already managed to forget this worm in the apple.

We spent the morning together talking and laughing, strolling along the edge of the ocean, climbing on the rocks at the point. When the coffee ran low around three, we returned to the diner for me to get more. I asked them to make me two whole pots and just pour them into large, plastic take-out containers. The waitress said nothing but shook her head. In the time I was on my errand, Anna, in her own world, brewed another vat of it.

We met up back at my bungalow, and as evening came on, we took out our respective projects and worked together, across from each other at the kitchen table. In her presence, my musical imagination was on fire, and she admitted to me that she saw for the first time the overarching structure of her drawing and where she was headed with it. At one point, I became so immersed in the work, I reached out and picked up what I thought would be one of my crayons but instead turned out to be a violet pastel. I didn't own pastels, Anna did.

"Look," I said to her, and at that moment felt a wave of dizziness pass over me. A headache was beginning behind my eyes.

She lifted her gaze from her work and saw me holding the violet stick. We both sat quietly, in awe of its implications. Slowly, she put her hand out across the table toward me. I dropped the pastel and reached toward her. Our hands met, and I swear I could feel her fingers entangled with mine.

"What does this mean, William?" she said with a note of fear in her voice and let go of me.

As I stood up, I lost my balance and needed to support myself by clutching the back of the chair. She also stood, and as I approached her, she backed away. "No, this isn't right," she said.

"Don't worry," I whispered. "It's me." I took two wobbly steps and drew so close to her I could smell her perfume. She cringed but did not try to get away. I put my arms around her and attempted to kiss her.

"No," she cried. Then I felt the force of both her hands against my chest, and I stumbled backward onto the floor. "I don't want this. It's not real," she said and began to hurriedly gather her things.

"Wait, I'm sorry," I said. I tried to scrabble to my feet, and that's when the sum total of my lack of sleep, the gallons of caffeine, the fraying of my nerves, came together like the twining voices in a fugue and struck me in the head as if I had been kicked by a horse. My body was shaking, my vision grew hazy, and I could feel myself phasing in and out of consciousness. I managed to watch Anna turn and walk away as if passing through the living room. Somehow I got to my feet and followed her, using the furniture as support. The last thing I remember was flinging open the front door of the small house and screaming her name.

I was found the next morning, lying on the beach, unconscious. It was the old man with the white beard from the diner, who, on his daily early-morning beachcombing expedition, came across me. The police were summoned. An ambulance was called. I came to in a hospital bed the next day, the warm sun, smelling of antique rose, streaming through a window onto me.

They kept me at the small shore hospital two days for psychological observation. A psychiatrist visited me, and I managed to convince him that I'd been working too hard on a project for school. Apparently the waitress at the diner had told the police that I'd been consuming ridiculous amounts of coffee and going without sleep. Word of this had gotten back to the doctor who attended to me. When I told him it was the first time I had tried coffee and that I'd gotten carried away, he warned me to stay off it, telling me they found me in a puddle of my own vomit. "It obviously disagrees with your system. You could've choked to death when you passed out." I thanked him for his advice and promised him I'd stay well away from it in the future.

In the days I was at the hospital, I tried to process what had happened with Anna. Obviously, my bold advance had frightened her. It crossed my mind that it might be better to leave her alone in the future. The very fact that I was sure I'd made physical contact with her was, in retrospect, unsettling. I wondered if perhaps Stullin was right, and what I perceived to be a result of synesthesia was actually a psychotic hallucination. I left it an open issue in my mind as to whether I would seek her out again. One more meeting might be called for, I thought, at least to simply apologize for my mawkish behavior.

I asked the nurse if my things from the beach house had been brought to the hospital, and she told me they had. I spent the entirety of my last day there dressed and waiting to get the okay for my release. That afternoon, they brought me my belongings. I went carefully through everything, but it became obvious to me that my crayon score for the fugue was missing. Everything else was accounted for, but there was no large sheet of drawing paper. I asked the nurse, who was very kind, actually reminding me somewhat of Mrs. Brithnic, to double-check and see if everything had been brought to me. She did and told me there was nothing else. I called the Varion Island police on the pretense of thanking them and asked if they had seen the drawing. My fugue had vanished. I knew a grave depression would descend upon me soon due to its disappearance, but for the moment I was numb and slightly pleased to merely be alive.

I decided to return to my parents' house for a few days and rest up before returning to the conservatory in order to continue my studies. In the bus station near the hospital, while I was waiting, I went to the small newspaper stand in order to get a pack of gum and a paper with which to pass the time. As I perused the candy rack, my sight lighted upon something that made me feel the way Eve must have when she first saw the apple, for there was a bag of Thompson's Coffee-Flavored Hard Candy. The moment I read the words on the bag, I reached for them. There was a spark in my solar plexus, and my palms grew damp. No Caffeine the package read, and I was hard-pressed to believe my good fortune. I looked nervously over my shoulder while purchasing three bags of them, and when, on the bus, I tore a bag open, I did so with such violence, a handful of them scattered across the seat and into the aisle.

I arrived by cab at my parent's house and had to let myself in. Their car was gone, and I supposed they were out for the day. I hadn't seen them in some months and almost missed their presence. When night descended and they didn't return, I thought it odd but surmised they were on one of the short vacations they often took. It didn't matter. I sat at my old home base on the piano bench and sucked on coffee-flavored hard candies until I grew too weary to sit up. Then I got into my childhood bed, turned to face the wall as I always had when I was little, and fell asleep.

The next day, after breakfast, I resumed my vigil that had begun on the long bus trip home. By that afternoon my suspicions as to what had become of my fugue were confirmed. The candy did not bring as clear a view of Anna as did the ice cream, let alone the black coffee, but it was focused enough for me to follow her through her day. I was there when she submitted my crayon score as her art project for the end-of-the-semester review. How she was able to appropriate it, I have no idea. It defied logic. In the fleeting glimpses I got of the work, I tried to piece together how I'd gone about weaving the subjects and their answers. The second I would see it, the music would begin to sound for me, but I never got a good-enough look at it to sort out the complex structure of the piece. The two things I was certain of were that the fugue had been completed right up to the point where it was supposed to fall into chaos, and that Anna did quite well with her review because of it.

By late afternoon, I'd come to the end of my Thompson's candies and had but one left. Holding it in my hand, I decided it would be the last time I would conjure a vision of Anna. I came to the conclusion that her theft of my work had cancelled out my untoward advance, and we were now even, so to speak. I would leave her behind as I had before, but this time for good. With my decision made, I opened the last of the hard confections and placed it on my tongue. That dark, amber taste slowly spread through my mouth, and, as it did, a cloudy image formed and crystallized into focus. She had the cup to her mouth, and her eyes widened as she saw me seeing her.

"William," she said. "I was hoping to see you one more time."

"I'm sure," I said, trying to seem diffident, but just hearing her voice made me weak.

"Are you feeling better?" she asked. "I saw what happened to you. I was with you on the beach all that long night but could not reach you."

"My fugue," I said. "You took it."

She smiled. "It's not yours. Let's not kid ourselves; you know you are merely a projection of my synesthetic process."

"Who is a projection of whose?" I asked.

"You're nothing more than my muse," she said.

I wanted to contradict her, but I didn't have the meanness to subvert her belief in her own reality. Of course, I could have brought up the fact that she was told that figurative synesthesia was a known version of the disease. This was obviously not true. Also, there was the fact that her failed drawing, the one she'd abandoned for mine, was based on Schubert's Eighth, a product of my own knowledge working through her. How could I convince her she wasn't real? She must've seen the doubt in my eyes, because she became defensive in her attitude. "I'll not see you again," she said. "My therapist has given me a pill he says will eradicate my synesthesia. We have that here, in the true reality. It's already begun to work. I no longer hear my cigarette smoke as the sound of a faucet dripping. Green no longer tastes of lemon. The ring of the telephone doesn't feel like burlap."

This pill was the final piece of evidence. A pill to cure synesthesia? "You may be harming yourself," I said, "by taking that drug. If you cut yourself off from me, you may cease to exist. Perhaps we are meant to be together." I felt a certain panic at the idea that she would lose her special perception, and I would lose the only friend I had ever had who understood my true nature.

"Dr. Stullin says it will not harm me, and I will be like everyone else. Good-bye, William," she said and pushed the coffee cup away from her.

"Stullin," I said. "What do you mean, Stullin?"

"My therapist," she said, and although I could still see her before me, I could tell I had vanished from her view. As I continued to watch, she lowered her face into her hands and appeared to be crying. Then my candy turned from the thinnest sliver into nothing but saliva, and I swallowed. A few seconds more, and she was completely gone.

It was three in the afternoon when I put my coat on and started across town to Stullin's place. I had a million questions, and foremost was whether or not he treated a young woman named Anna. My thoughts were so taken by my last conversation with her that when I arrived in front of the doctor's walkway, I realized I had not noticed the sun go down. It was as if I had walked in my sleep and awakened at his address. The street was completely empty of people or cars, reminding me of Varion Island. I took the steps up to his front door and knocked. It was dark inside except for a light on the second floor, but the door was slightly ajar, which I thought odd, given it was the middle of the winter. Normally, I would have turned around and gone home after my third attempt to get his attention, but there was too much I needed to discuss.

I stepped inside, closing the door behind me. "Dr. Stullin," I called. There was no answer. "Doctor?" I tried again and then made my way through the foyer to the room where the tables were stacked with paper. In the meager light coming in through the window, I found a lamp and turned it on. I continued to call out as I went from room to room, turning on lights, heading for the sunroom at the back of the place where we always had our meetings. When I reached that room, I stepped inside, and my foot came down on something alive. There was a sudden screech that nearly made my heart stop, and then I saw the black-and-white cat, whose tail I had trod upon, race off into another room.

It was something of a comfort to be again in that plant-filled room. The sight of it brought back memories of it as the single safe place in the world when I was younger. Oddly enough, there was a cigarette going in the ashtray on the table between the two chairs that faced each other. Lying next to it, opened to the middle and turned down on its pages, was a copy of The Centrifugal Rickshaw Dancer. I'd have preferred to see a ghost to that book. The sight of it chilled me. I sat down in my old seat and watched the smoke from the cigarette twirl up toward the glass panes. Almost instantly, a great weariness seized me, and I closed my eyes.

That was days ago. When I found the next morning I could not open the doors to leave, that I could not even break the glass in order to crawl out, it became clear to me what was happening. At first I was frantic, but then a certain calm descended upon me, and I learned to accept my fate. Those stacks of paper in that room on the way to the sunroom—each sheet held a beautiful pencil drawing. I explored the upstairs, and there, on the second floor, found a piano and the sheet music for Bach's Grosse Fugue. There was a black-and-white photograph of Mrs. Brithnic in the upstairs hallway and one of my parents standing with Anna as a child.

That hallway, those rooms, are gone, vanished. Another room has disappeared each day I have been trapped here. I sit in Stullin's chair now, in the only room still remaining (this one will be gone before tonight), and compose this tale—in a way, my fugue. The black-and-white cat sits across from me, having fled from the dissipation of the house as it closes in around us. Outside, the garden, the trees, the sky, have all lost their color and now appear as if rendered in graphite—wonderfully shaded to give them an appearance of weight and depth. So too with the room around us: the floor, the glass panels, the chairs, the plants, even the cat's tail and my shoes and legs have lost their life and become the shaded grey of a sketch. I imagine Anna will soon be free of her condition. As for me, who always believed himself to be unwanted, unloved, misunderstood, I will surpass being a mere artist and become instead a work of art that will endure. The cat meows loudly, and I feel the sound as a hand upon my shoulder.

The End

I wouldn't normally cite resource material for a story, but in the writing of "The Empire of Ice Cream" I was dealing with concepts I was not readily very familiar with. For information on the condition of synesthesia, I turned to The Man Who Tasted Shapes, by Richard E. Cytowic. The Art of Fugue, by Alfred Mann, was a great help in understanding the history and architecture of this unusual musical form. I first came across the condition of figurative synesthesia in Thackery T. Lambshead's Guide to Eccentric and Discredited Diseases.

For an essay about The Empire of Ice Cream click here.

© 2003 Jeffrey Ford and SCIFI.COM.