Origin Story
Nobody really knows where Penelope Polter’oid came from. Not even Penelope herself, though she swears she remembers something—a flicker, a face, a noise like a thousand shutters clicking at once. But then she’ll shake her head, push her crooked glasses up her nose, and mutter:
“I see… but it’s a little fuzzy.”
A line I’ve heard from her a hundred times.
She’s part ghost, part gadget, and wholly inconvenient. A spirit with terrible eyesight, crammed somehow into the shell of my Polaroid Go Gen 3, a machine that was itself already pretending to be something from another time. The camera had just come out of its box—plastic still smooth, that factory-clean smell still clinging to it—when Penelope appeared. Or maybe she had always been there, tucked away like a stowaway memory.
She’s a shy one, mostly. Shy in a child-like way. Which begs the question, is she the ghost of a child? She hides when people are around, pretending to be nothing more than buttons and film and glass. But the moment you look away, she sticks her tongue out—her favorite trick. Her tongue, of course, is a strip of glossy photo paper, curling out and flapping in the air like a rude little flag. By the time you turn back, the picture’s already developing, and she’s giggling to herself in a voice so fast it’s almost a squeak.
Penelope claims she doesn’t remember being human, though sometimes she’ll say things that don’t belong to a machine. A half-sentence about a swing set. A whisper about the smell of gasoline. Once, she mentioned the taste of strawberries, then grew quiet for three whole days, sulking in her lens. I asked if she was ever alive, or if she’d been manufactured this way—ghost fused with gadget. She just laughed and said, “Both? Neither? Depends on the exposure.”
Her personality is a jumble. Childlike wonder mixed with impatience. She wants to capture everything, and fast. Squirrels on the porch, a pair of mismatched socks, the last crust of a sandwich. But she also grows restless when pictures take too long to show themselves, huffing and stamping inside the camera body like a child banging her fists on a table.
The photographs themselves are… peculiar. Some come out normal. Others, not so much. Once I tried to take a picture of the garden, but instead the photo showed a woman’s shadow in a wide-brimmed hat, standing where no one had been. Another time, I took a shot of my living room and the couch appeared twice, like the world had hiccupped. When I asked Penelope about it, she shrugged (as much as a haunted camera can shrug). “Maybe that’s what the world looks like to me,” she said. “I see… but it’s a little fuzzy.”
Sometimes I wonder if she’s showing me her memories instead of mine. Maybe the blurry images are her version of dreams. Maybe, deep down, she does remember, and this is the only way she can tell me.
But I’ve learned not to push her. Penelope doesn’t like being cornered. She’ll go silent for days if you pry too hard. And when she goes silent, the pictures come out blank. Just white. Empty. Like she’s teaching me patience in her own backwards way.
Still, for all her quirks, I’ve grown fond of her. She keeps me company. She makes the world strange and bright, even when the photos don’t quite line up. A haunted Polaroid isn’t the worst roommate to have.
Besides, it’s not every day you meet someone who can see the world blurry, stick out her tongue, and make a memory permanent—all at once.
And maybe that’s enough of an origin story for her. Some things are meant to stay fuzzy.