The Divided Line: Vero [Part 1]

It began slowly—the plague, the greed, the riots. Revolutionaries rose up behind symbols, murals, and songs, while the masses were fed machinery and religion. In the wake of the destruction, politicians deemed art a dangerous thing—a worthless thing—and the masses agreed. They took away the paint, the books, and the instruments. But they could not wholly silence the artists. These are the stories they left behind. 


The living room’s rusted lamp swayed, squeaking with the rattle of a passing truck.

Vero checked the time.

Thirty minutes.

He’d be late if he didn’t leave soon.

Isaiah sat on a throne of pillows in front of an electric heater, sweat beading on his brow, a controller held fast between small, clammy hands. The colors of the game flashed across his face. It was his favorite of the ones their parents had left behind when they’d died. An old game of monsters and gods. 

Vero turned the heater toward the rest of the room. “You’ll overheat the console,” he said, and the boy looked up, muttering a quick apology.

Vero mussed his brother’s hair. “I’m heading out. Make sure you sleep soon, yeah? The monsters will be there tomorrow.”

“You’re leaving?”

“Only for a bit. There’s a train.” 

Isaiah scrambled to his feet. “Are you going to paint it? Take me with you! I’ve been practicing!” 

He had. He’d used Vero’s near empty cans on the walls of their bedroom—a natural talent. “No Isaiah,” he said. “This one isn’t safe.” 

Isaiah sank back into his pillow throne and huffed. “It’s never safe anymore.” 

Vero grabbed the duffle bag by the door. “Next time,” he promised. 

Isaiah wasn’t satisfied with the compromise, but he resigned himself back to the game to fight what monsters he could, and Vero stepped out into the damp night. 

Pale orange light flickered in the alley; it illuminated the peeling posters of the boarded-up theater’s last show. Somewhere distant, the grieving wail of a saxophone echoed. Vero’s steps plodded a rhythm to match.

He climbed a towering staircase which led up and through an abandoned brutalist construct, trailing beneath stone walls that bore the weight of the chromium city above. 

This city had a habit of building atop its ruins, never truly burying them. Plants grew through cracked concrete, resilient.

Vero reached the top, paused to catch his breath.

A train roared by, and the skyscrapers trembled. 

illustration of a masculine human in a hooded jacket and gas mask with backpack on peering at red eye symbol on a brick wall

The Visionaries symbol

Illustration by Ethan Lee

Someone had painted a red symbol on the street corner. It had no name yet. Only the mutterings of a distant dream. The symbol was an eye with a line split down its center, a partial arrow shape at its bottom. The Visionaries. Vero followed its direction down a trash-ridden alley where a black car waited, its back door propped open expectantly. 

Ivy perched on the hood, a cigarette held loosely between two fingers, smoke billowing from her lips. “You’re late,” she said, snuffing out the remains. 

“You would be too if you had to climb those stairs.” He shoved his bag in the back seat and clambered in. Music bumped from the speakers, and Ezra rapped his fingers against the steering wheel to the beat. He’d rigged up the radio, silenced its ads and propagandas, and fed it music from an old, jailbroken device. 

Ivy slipped into the passenger seat and closed the door.

The engine sputtered to life, and the car lurched forward, setting out into the vacant street. Vero watched the streetlights pass, one after the other. A torn banner hung swinging from one of the lamp posts. White cloth with black scrawled letters. 

One word: Obey.

The train yard was ten minutes away, tucked against the edge of the city. Skyscrapers loomed over its every side, blocking out the lights of the city. A solitary floodlight bore down on the last train, set to depart in a few hours. It carried boxes of books from the once-library. Aged and irrelevant, they’d been named for the incinerators. City officials had put condensed and censored copies online for easy viewing and the illusion of access.

Ezra slowed the car to a stop and rolled down his window. An armed guard approached, and there was a swift transfer of money from one palm to the other, then the guard pulled open the gate. “Forty minutes,” he said, glancing down the line of vehicles that’d come, their headlights glaring in Ezra’s rearview mirror. 

“Forty minutes,” Ezra confirmed. They drove through and parked near the track.

Vero took a deep breath.


**Note: This is the first installment of an original serial called The Divided Line. Installments will be published biweekly.

Calista Robbins

(she/her) Calista Robbins has always been enraptured with storytelling in all the forms it takes. As a novelist, a dancer, a lighting designer, a theater critic, and a concept creator, she set out into the world after graduating from the Dance Production program at UNLV to find stories in the people and places she came across, and to bring them to center stage.

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