Published 2017
All rights reserved
TABLE OF CONTENTS
WE'RE CIVILIZED!, by Mark Clifton & Alex Apostolides
WITH THESE HANDS, by C.M. Kornbluth
WHERE THERE'S HOPE, by Jerome Bixby
WEAK ON SQUARE ROOTS, by Russell Burton
VIGORISH, by Walter Bupp
THE MEMORY OF MARS, by Raymond Jones
THE MATHEMATICIANS, by Arthur Feldman
THE INVADERS, by Murray Leinster
THE GREAT NEBRASKA SEA, by Allan Danzig
THE DAY TIME STOPPED MOVING, by Bradner Buckner
I AM A NUCLEUS, by Stephen Barr
GUN FOR HIRE, by Mack Reynolds
THE GRAVEYARD OF SPACE, by Milton Lesser
THE GREAT DROUGHT, by Sterner Meek
HANDYMAN, by Frank Banta
NAUDSONCE, by H. Beam Piper
THE FEELING, by Roger Dee
MY FAIR PLANET, by Evelyn E. Smith
FRIEND ISLAND, by Francis Stevens
THE CARNIVORE, by G.A. Morris
A GIFT FROM EARTH, by Manly Banister
LET THERE BE LIGHT, by Horace Fyfe
RIYA’S FOUNDLING, by Algis Budrys
SPACE STATION 1, by Frank Long
BULLET WITH HIS NAME, by Fritz Leiber
I’M A STRANGER HERE MYSELF, by Mack Reynolds
THE AMBASSADOR, by Sam Merwin, Jr.
GONE FISHING, by James Schmitz
JUNIOR, by Robert Abernathy
HALL OF MIRRORS, by Frederic Brown
GRAVEYARD OF DREAMS, by H. Beam Piper
OPERATION HAYSTACK, by Frank Herbert
The females and children worked among the lichen growth, picking off the fattest, ripest leaves for their food and moisture, completing their arc of the circle of symbiosis.
The males worked at the surface of the canals, or in open excavations. Their wide, mutated hands chipped into the rock-hard clay, opening a channel which was to be filled with sand and then sealed off with clay on all sides and surface. That water might seep through the sand without evaporation, without loss, from the poles to the equator of Mars—seep unimpeded, so that moisture might reach the lichen plants of everyone, so that none might thirst or hunger.
The seepage must flow. Not even buried in the dim racial memory had there ever been one who took more than his share, for this would be like the fingers of one hand stealing blood from the fingers of the other.
Among the Mars race there were many words for contentment, kinship of each to all. There were words to express the ecstasy of watching the eternal stars, by night and by day, through the thin blackish atmosphere. There were words to express the joy of opening slitted nostrils to breathe deeply in those protected places where the blowing sands did not swirl, of opening folds of rubbery skin to catch the weak rays of the distant Sun.
But there were no words for "mine" as separate from "yours." And there was no urge to cry out, "Why am I here? What is the purpose of it all?"
Each had his purpose, serene, unquestioning. Each repaired or extended the seepage canals so that others, unborn, might know the same joys and ecstasies as they. The work was in itself a part of the total joy, and they resisted it no more than healthy lungs resist clear, cool air.
So far back that even the concept of beginnings had been forgotten, the interwoven fabric of their symbiotic interdependence seeped through their lives as naturally as the precious water seeped through the canal sands. As far back as that, they had achieved civilization.
Their kind of civilization.
Captain Griswold maintained an impassive face. (Let that, too, be a part of the legend.) Without expression, he looked through the screen at the red land flashing below the ship. But unconsciously he squared his shoulders, breathed deeply, enjoying the virile pull of his uniform over his expanding chest. Resolutely he pushed aside the vision of countless generations of school children, yet to come, repeating the lesson dutifully to their teachers.
"Captain Thomas H. Griswold took possession of Mars, June 14, 2018."
No, he must not allow any mood of vanity to spoil his own memories of this moment. It was beside the point that his name would rank with the great names of all times. Still, the history of the moment could not be denied.
Lieutenant Atkinson's voice broke through his preoccupation, and saved him the immodest thought of wondering if perhaps his cap visor might not be worn a little more rakishly to one side. He must father a custom, something distinctive of those who had been to Mars—
"Another canal, sir."
Below them, a straight line of gray-green stretched to the horizon, contrasting sharply with the red ferrous oxide of the landscape. An entire planet of ferrous oxide—iron—steel for the already starving technology of the Western Alliance. The captain felt a momentary irritation that even this narrow swath displaced the precious iron ore.
Obviously these canals served no purpose. His ship had circled the planet at its equator, and again from pole to pole. Canals everywhere, but nothing else. Enough time and fuel had been wasted. They must land. Obviously there was no intelligent life. But the history of the moment must not be marred by any haste. There must be no question within the books yet to be written. There must be no accredited voice of criticism raised.
"My compliments to Mr. Berkeley," he said harshly to Lt. Atkinson, "and would he kindly step to the control room?" He paused and added dryly, "At his convenience."
Mister Berkeley, indeed. What was it they called the civilian—an ethnologist? A fellow who was supposed to be an authority on races, civilizations, mores and customs of groups. Well, the man was excess baggage. There would be no races to contact here. A good thing, too. These civilian experts with their theories—show them a tooth and they'll dream up a monster. Show them a fingernail paring and they'll deduce a civilization from it. Nonsense!
"You wanted to see me, Captain?" The voice was young, quiet, controlled.
Without haste, Captain Griswold turned and faced Berkeley. Not only a theorist, but a young theorist. These super-bright young men with their sharp blue eyes. A lot of learning and no knowledge. A lot of wisdom and no common sense. He carefully controlled his voice, concealing his lack of respect for the civilian.
"Well, Mr. Berkeley, we have quartered the globe. We have seen no evidence of civilization."
"You discount the canals, Captain?" Berkeley asked, as if more from curiosity than refutation.
"I must discount them," the captain answered decisively. "Over all the planet we have seen no buildings, not even ruins, no evidence at all that intelligence exists here."
"I consider straight lines, running half the length of a world, to be evidence of something, sir." It was a flat statement, given without emphasis.
Arguments! Arguments! Little men who have to inflate themselves into a stature of importance—destroy the sacred history of the moment. But quietly now. There must be no memory of petty conflict.
"Where are their buildings, Mr. Berkeley?" he asked with patient tolerance. "Where are their factories? The smoke from their factories? The highways? The transportation facilities? Where are the airplanes? Even this thin air would support a fast jet. I do not require they have spaceships, Mr. Berkeley, to concede them intelligence. I do not require they be the equal of Man. I also have some scientific training. And my training tells me I cannot recognize the existence of something where there is no evidence at all."
"The canals," Berkeley answered. His voice also was controlled, for he, too, knew the history of this moment. But his concern was not for his own name in the history books. He knew only too well what its writers did to individuals for the sake of expediency. His concern was that this moment never be one of deep shame for Man. "Perhaps they have no buildings, no factory smoke, because they don't need them. Perhaps they don't have highways because they don't want to go anywhere. Perhaps their concept of living is completely unlike ours."
Griswold shrugged his shoulders. "We speak an entirely different language, Mr. Berkeley."
"I'm afraid you're right, Captain," Berkeley sighed. "And it might be a tragic thing that we do. Remember, European man spoke a different language from that of the American Indian, the Mayan, Polynesian, African, Indonesian—" He broke off as if the list were endless. "I ask only that we don't hasten into the same errors all over again."
"We can't hover here above the surface forever," Griswold said irritably. "We have quartered the globe. The other experts are anxious to land, so they can get to their work. We have made a search for your civilization and we have not found it."
"I withdraw all objections to landing, Captain. You are entirely correct. We must land."
The intercom on the wall squawked into life.
"Observation to Control. Observation to Control. Network of canals forming a junction ahead."
"Prepare for landing, Lieutenant Atkinson," Griswold commanded sharply. "At the junction." He turned and watched the screen. "There, Mr. Berkeley, dead ahead. A dozen—at least a dozen of your canals joining at one spot. Surely, if there were a civilization at all, you would find it at such a spot." Slowly and carefully, he constructed the pages of history. "I do not wish the implication ever to arise that this ship's commander, or any of its personnel, failed to cooperate in every way with the scientific authorities aboard."
"I know that, Captain," Berkeley answered. "And I agree. The junction, then."
The sigh of servo-mechanism, the flare of intolerably hot blue flame, and the ship stood motionless above the junction of canals. Ponderously, slowly, she settled; held aloft by the pillars of flame beneath her, directly above the junction, fusing the sand in the canals to glass, exploding their walls with steam. Within their warm and protected burrows beside the canals, slitted nostrils closed, iris of eyes contracted, fluted layers of skin opened and pulled tight, and opened again convulsively in the reflexes of death.
There was a slight jar only as the ship settled to the ground, bathed in the mushrooming flame.
"A good landing, Lieutenant," Captain Griswold complimented. "A good landing, indeed."
His head came up and he watched the screen to see the landscape reappear through the dust and steam.
"Prepare to disembark in approximately six hours, Lieutenant. The heat should have subsided sufficiently by then. The ship's officers, the civ—er—scientific party, a complement of men. I will lead the way. You, Lieutenant, will carry the flag and the necessary appurtenances to the ceremony. We will hold it without delay."
Berkeley was watching the screen also. He wondered what the effect of the landing heat would be on the canals. He wondered why it had been considered necessary to land squarely on the junction; why Man always, as if instinctively, does the most destructive thing he can.
He shrugged it away. Wherever they landed might have been the wrong place.
Farther along the canals, where the heat had not reached, the Mars race began to emerge from their protecting burrows. They had seen the meteor hurtling downward, and it was part of their conditioning to seek their burrows when any threatening phenomenon occurred.
Flaming meteors had fallen before, but never in the interlocked racial mind was there memory of one which had fallen directly on a canal junction. Within the fabric of their instinct, they sensed the fused sand, the broken clay walls, the water boiling through the broken walls, wasted. They sensed the waters on the other side of the barrier seeping onward, leaving sand unfilled. Within the nerves of their own bodies they felt the anticipated pangs of tendril roots searching down into the sand for water, and not finding it.
The urgency came upon them, all within the region, to remove this meteor; restore the canals as soon as the heat would permit. They began to gather, circling the meteor, circling the scorched ground around it. The urgency of getting at it before there was too much water lost drove them in upon the hot ground.
The unaccustomed heat held them back. They milled uncertainly, in increasing numbers, around the meteor.
Since Captain Griswold had not asked him to leave the control room during landing operations, Berkeley still stood and watched the screen. At the first appearance of the Mars race emerging from the soil, he exclaimed in great excitement:
"There they are! There they are, Captain!"
Griswold came over and stood beside him, watching the screen. His eyes widened.
"Horrible," he muttered in revulsion. The gorge arose in his throat and stopped his speech for a moment. But history took possession of him again. "I suppose we will get accustomed to their appearance in time," he conceded.
"They're the builders, Captain. Wonderful!" Berkeley exulted. "Those shovel-shaped forelimbs—they're the builders!"
"Perhaps," Griswold agreed. "But in the way a mole or gopher—still, if they were intelligent enough to be trained for mining operations—but then you certainly cannot call these things intelligent, Mr. Berkeley."
"How do we know, Captain?"
But the Captain was looking about vainly for buildings, for factory smoke, for highways.
"Lieutenant Atkinson!" he called.
"Yes, sir."
"Send an immediate order throughout the ship. The Mars things are not to be molested." He glanced at Berkeley as he gave the order, and then glanced away. "Double the complement of men on the landing party and see that they are fully armed." Then back to Berkeley, "A good leader guards against every contingency. But there will be no indiscriminate slaughter. You may be assured of that. I am as anxious as you that Man—"
"Thank you, Captain," Berkeley answered. "And the planting of the flag? The taking possession?"
"Well, now, Mr. Berkeley, what shall we do, now that we have seen some—things? Go away? Leave an entire planet of iron ore to be claimed later by Eastern Alliance? The enemy is not far behind us in their technology, Mr. Berkeley."
He warmed to his theme, his head came up, his shoulders back.
"Suppose these things are intelligent. Suppose they do have feelings of one kind or another. What would happen to them if the Eastern Alliance laid claim to this planet? Under us, at least, they will have protection. We will set aside reservations where they may live in peace. Obviously they live in burrows in the ground; I see no buildings. Their total food supply must be these miserable plants. What a miserable existence they have now!
"We will change that. We will provide them with adequate food, the food to fill their empty stomachs—if they have stomachs. We will clothe their repulsive nakedness. If they have enough sense to learn, we will give them the pride of self-employment in our mines and factories. We would be less than human, Mr. Berkeley, if we did not acknowledge our duty."
The light of noble intention shone in his face. He was swept away with his own eloquence.
"If," he finished, "we take care of the duty, the destiny will take care of itself!"
That was very good. He hoped they would have the grace to quote him on that. It was a fine summing up of his entire character.
Berkeley smiled a rueful smile. There was no stopping it. It was not a matter of not planting the flag, not taking possession. The captain was right. If not the Western Alliance, then certainly the Eastern Alliance. His quarrel was not with the captain nor with the duty, but with the destiny. The issue was not to be decided now. It had already been decided—decided when the first apeman had crept into the tree nest of another and stolen his mate.
Man takes. Whether it be by barbaric rapine, or reluctant acceptance of duty through carefully contrived diplomacy, Man takes.
Berkeley turned and made his way out of the control room.
Outside, the soil shifted in its contortions of cooling. The wind whispered dryly over the red landscape, sending up little swirls of dust, eternally shifting it from one place to another. The soil was less hot, and as it cooled, the Mars race pressed inward. Theirs was the urgency to get at this meteor as quickly as possible, remove it, start the water flowing once more.
"Observation reports ground cool enough for landing!" The magic words seemed to sing into the control cabin.
"Summon all landing party," Captain Griswold commanded immediately.
The signal bells rang throughout the ship. The bell in the supercargo cabin rang also. With the other scientists, Berkeley dressed in his protecting suit, fitted the clear glassite oxygen helmet over his head, fastened it. Together with the rest, he stood at the designated airlock to await the captain's coming.
And the captain did not keep them waiting. At precisely the right moment, with only a flicker of a side glance at the photographic equipment, the captain strode ahead of his officers to the airlock. The sealing doors of the corridor behind them closed, shutting off the entire party, making the corridor itself into a great airlock.
There was a long sigh, and the great beams of the locks moved ponderously against their weight. There was the rush of air from the corridor as the heavier pressure rushed out through the opening locks, to equalize with the thin air of Mars. With the air rushed outward fungus spores, virus, microbes; most of them to perish under the alien conditions, but some to survive—and thrive.
The red light above the lock was blinking on-off-on-off. The officers, the scientists, the armed men, watched the light intently. It blinked off for the last time. The locks were open. The great ramp settled to the ground.
In ordered, military file, the captain at their head, the landing party passed down the corridor, through the locks, out upon the ramp beneath the blue-black sky; and down to the red soil. Captain Griswold was the first man to set foot on Mars, June 14, 2018. The photographers were second.
Now the Mars race was moving closer to the ship, but the ground was still too hot for their unprotected feet. The pressing need for removing the meteor possessed them. The movement of the men disembarking from the ship was to them no more than another unintelligible aspect of this incredible meteor.
The sound of a bugle pierced the thin air, picked up by the loudspeaker from the ship, reverberating through their helmets. The landing party formed a semi-circle at the foot of the ramp.
Captain Griswold, his face as rigidly set as the marble statuary of him to follow, reached out and took the flag from Lieutenant Atkinson. He planted it firmly, without false motion, in the framework one of the men had set upon the baked ground to receive it.
He pointed to the north, the south, the east, the west. He brought his hands together, palms downward, arms fully out-stretched in front of him. He spread his arms wide open and down, then back together and up; completing a circle which encompassed all the planet. He held out his right hand and received the scroll from Lieutenant Atkinson.
With a decisive gesture, not quite theatrical, he unfurled the scroll. He read in a voice firm enough to impress all posterity:
"By virtue of authority invested in me from the Supreme Council of the Western Alliance, the only true representatives of Earth and Man, I take possession of all this planet in the name of our President, the Supreme Council, the Western Alliance, Earth, and in the name of God."
The ground was cool enough now that their feet might bear it. The pain was great, but it was lost in the greater pain of feeling the killing obstruction the great meteor had brought to their canals. The Mars race began to press inward, inexorably.
It was in the anticlimactic moment, following the possession ceremony, when men milled around in uncertainty, that Lt. Atkinson saw the Mars race had come closer and were still moving.
"The monsters!" he exclaimed in horror. "They're attacking!"
Berkeley looked, and from the little gestures of movement out of his long training he deduced their true motive.
"Not against us!" he cried. "The ship."
Perhaps his words were more unfortunate than his silence might have been; for the ship was of greater concern to Captain Griswold than his own person.
"Halt!" Griswold shouted toward the approaching Mars race. "Halt or I'll fire!"
The Mars race paid no heed. Slowly they came forward, each step on the hot ground a torture, but a pain which could be borne. The greater torture, the one they could not bear, was the ache to press against this meteor, push it away, that they might dig the juncture clean again. As a man whose breath is stopped fights frantically for air, concerned with nothing else, so they felt the desperation of drying sands.
They came on.
"For the last time," Griswold shouted, "halt!" He made a motion with his hands, as if to push them back, as if to convey his meaning by signs. Involuntarily, then, his eyes sought those of Berkeley. A look of pleading, helplessness. Berkeley met the glance and read the anxiety there, the tragic unwillingness of the man to arouse posterity's rage or contempt.
It was a brief glance only from both men and it was over. Captain Griswold's head came up; his shoulders straightened in the face of the oncoming monsters. They were close now, and coming closer. As always, the experts were free with their advice when it was not needed. When the chips were down, they could do no more than smirk and shrug a helpless shoulder.
He gave the command, and now there was no uncertainty.
"Fire!"
The celebration was being held in the Great Stadium, the largest, most costly structure that Man had ever built. It was a fitting structure for the more important football games; and used on occasion, if they could be fitted in without upsetting the schedule, for State affairs. Now the stadium was filled to capacity, its floor churned by the careless feet of the thousands upon thousands who had managed to obtain an entrance.
From the quarter-mile-high tiers of seats, from the floor of the stadium, the shouts welled up, washing over the platform at the North end.
"Griswold! Griswold!"
It was not yet time for history to assess the justice of the massacre.
The President raised his hand. The battery of video cameras picked up each move.
"Our hopes, our fears, our hearts, our prayers rode through every space-dark, star-flecked mile with these glorious pioneers." He turned then to the captain. "For the people of Earth, Admiral Griswold, this medal. A new medal for a Guider of Destiny, Maker of Empire, Son of Man!"
The voice faltered, stopped.
The crowd on the floor of the stadium was pressing outward from the center, screaming in pain and terror. At the moment when the people should be quiet, rapt in reverence, they were emptying the floor of the stadium. But not willingly. They were being pressed back and out, as a great weight pushes its way through water. Those who could move outward no farther were crushed where they stood.
And then the ship appeared.
Hazy of outline, shimmering with impossible angles, seen by its glinting fire of light rather than by its solid form, as if its reality were in some other dimension and this only a projection, the ship appeared.
The President's hand reached out and gripped Griswold's shoulder as he leaned back and back, trying to determine its vast height. A silence then clutched the crowd—a terrified silence.
A full minute passed. Even on the platform, where all the pioneers of Mars were assembled with Earth's dignitaries, even there the people cowered back away from this unseeable, unknowable horror.
But one man leaned forward instead, frantically studying the shimmering outline of the ship. One man—Berkeley.
With the training of the ethnologist, a man who really can deduce an entire civilization from mystifying data, he recognized the tremendous import.
At the end of that minute, without warning, a group of figures hovered in the air near the floor of the stadium.
Quickly, Berkeley's eyes assessed their form, their color, the increasing solidity of the humanoids. There are some movements, some gestures, common to all things of intelligence—the pause, the resolution, the lift of pride.
"No!" he screamed and started forward. "Oh, no! We're civilized. We're intelligent!" He was pulled back, as in his terror he tried to leap from the platform to get at the humanoids.
Held there, unable to move, he read the meaning of the actions of the group hovering near the ship. One flashed a shining tentacle around, as if to point to the stadium, the pitifully small spaceship on display, the crowds of people.
The leader manifestly ignored him. He flowed forward a pace, his ovoid head held high in pride and arrogance. He pointed a tentacle toward the south end of the stadium, and a pillar of leaping flame arose; fed with no fuel, never to cease its fire, the symbol of possession.
He pointed his tentacles to the north, the south, the east, the west. He motioned with his tentacles, as if to encircle all of Earth.
He unfurled a scroll and began to read.
I
Halvorsen waited in the Chancery office while Monsignor Reedy disposed of three persons who had preceded him. He was a little dizzy with hunger and noticed only vaguely that the prelate's secretary was beckoning to him. He started to his feet when the secretary pointedly opened the door to Monsignor Reedy's inner office and stood waiting beside it.
The artist crossed the floor, forgetting that he had leaned his portfolio against his chair, remembered at the door and went back for it, flushing. The secretary looked patient.
"Thanks," Halvorsen murmured to him as the door closed.
There was something wrong with the prelate's manner.
"I've brought the designs for the Stations, Padre," he said, opening the portfolio on the desk.
"Bad news, Roald," said the monsignor. "I know how you've been looking forward to the commission—"
"Somebody else get it?" asked the artist faintly, leaning against the desk. "I thought his eminence definitely decided I had the—"
"It's not that," said the monsignor. "But the Sacred Congregation of Rites this week made a pronouncement on images of devotion. Stereopantograph is to be licit within a diocese at the discretion of the bishop. And his eminence—"
"S.P.G.—slimy imitations," protested Halvorsen. "Real as a plastic eye. No texture. No guts. You know that, Padre!" he said accusingly.
"I'm sorry, Roald," said the monsignor. "Your work is better than we'll get from a stereopantograph—to my eyes, at least. But there are other considerations."
"Money!" spat the artist.
"Yes, money," the prelate admitted. "His eminence wants to see the St. Xavier U. building program through before he dies. Is that a mortal sin? And there are our schools, our charities, our Venus mission. S.P.G. will mean a considerable saving on procurement and maintenance of devotional images. Even if I could, I would not disagree with his eminence on adopting it as a matter of diocesan policy."
The prelate's eyes fell on the detailed drawings of the Stations of the Cross and lingered.
"Your St. Veronica," he said abstractedly. "Very fine. It suggests one of Caravaggio's care-worn saints to me. I would have liked to see her in the bronze."
"So would I," said Halvorsen hoarsely. "Keep the drawings, Padre." He started for the door.
"But I can't—"
"That's all right."
The artist walked past the secretary blindly and out of the Chancery into Fifth Avenue's spring sunlight. He hoped Monsignor Reedy was enjoying the drawings and was ashamed of himself and sorry for Halvorsen. And he was glad he didn't have to carry the heavy portfolio any more. Everything seemed so heavy lately—chisels, hammer, wooden palette. Maybe the padre would send him something and pretend it was for expenses or an advance, as he had in the past.
Halvorsen's feet carried him up the Avenue. No, there wouldn't be any advances any more. The last steady trickle of income had just been dried up, by an announcement in Osservatore Romano. Religious conservatism had carried the church as far as it would go in its ancient role of art patron.
When all Europe was writing on the wonderful new vellum, the church stuck to good old papyrus. When all Europe was writing on the wonderful new paper, the church stuck to good old vellum. When all architects and municipal monument committees and portrait bust clients were patronizing the stereopantograph, the church stuck to good old expensive sculpture. But not any more.
He was passing an S.P.G. salon now, where one of his Tuesday night pupils worked: one of the few men in the classes. Mostly they consisted of lazy, moody, irritable girls. Halvorsen, surprised at himself, entered the salon, walking between asthenic semi-nude stereos executed in transparent plastic that made the skin of his neck and shoulders prickle with gooseflesh.
Slime! he thought. How can they—
"May I help—oh, hello, Roald. What brings you here?"
He knew suddenly what had brought him there. "Could you make a little advance on next month's tuition, Lewis? I'm strapped." He took a nervous look around the chamber of horrors, avoiding the man's condescending face.
"I guess so, Roald. Would ten dollars be any help? That'll carry us through to the 25th, right?"
"Fine, right, sure," he said, while he was being unwillingly towed around the place.
"I know you don't think much of S.P.G., but it's quiet now, so this is a good chance to see how we work. I don't say it's Art with a capital A, but you've got to admit it's an art, something people like at a price they can afford to pay. Here's where we sit them. Then you run out the feelers to the reference points on the face. You know what they are?"
He heard himself say dryly: "I know what they are. The Egyptian sculptors used them when they carved statues of the pharaohs."
"Yes? I never knew that. There's nothing new under the Sun, is there? But this is the heart of the S.P.G." The youngster proudly swung open the door of an electronic device in the wall of the portrait booth. Tubes winked sullenly at Halvorsen.
"The esthetikon?" he asked indifferently. He did not feel indifferent, but it would be absurd to show anger, no matter how much he felt it, against a mindless aggregation of circuits that could calculate layouts, criticize and correct pictures for a desired effect—and that had put the artist of design out of a job.
"Yes. The lenses take sixteen profiles, you know, and we set the esthetikon for whatever we want—cute, rugged, sexy, spiritual, brainy, or a combination. It fairs curves from profile to profile to give us just what we want, distorts the profiles themselves within limits if it has to, and there's your portrait stored in the memory tank waiting to be taped. You set your ratio for any enlargement or reduction you want and play it back. I wish we were reproducing today; it's fascinating to watch. You just pour in your cold-set plastic, the nozzles ooze out a core and start crawling over to scan—a drop here, a worm there, and it begins to take shape.
"We mostly do portrait busts here, the Avenue trade, but Wilgus, the foreman, used to work in a monument shop in Brooklyn. He did that heroic-size war memorial on the East River Drive—hired Garda Bouchette, the TV girl, for the central figure. And what a figure! He told me he set the esthetikon plates for three-quarter sexy, one-quarter spiritual. Here's something interesting—standing figurine of Orin Ryerson, the banker. He ordered twelve. Figurines are coming in. The girls like them because they can show their shapes. You'd be surprised at some of the poses they want to try—"
Somehow, Halvorsen got out with the ten dollars, walked to Sixth Avenue and sat down hard in a cheap restaurant. He had coffee and dozed a little, waking with a guilty start at a racket across the street. There was a building going up. For a while he watched the great machines pour walls and floors, the workmen rolling here and there on their little chariots to weld on a wall panel, stripe on an electric circuit of conductive ink, or spray plastic finish over the "wired" wall, all without leaving the saddles of their little mechanical chariots.
Halvorsen felt more determined. He bought a paper from a vending machine by the restaurant door, drew another cup of coffee and turned to the help-wanted ads.
The tricky trade-school ads urged him to learn construction work and make big money. Be a plumbing-machine setup man. Be a house-wiring machine tender. Be a servotruck driver. Be a lumber-stacker operator. Learn pouring-machine maintenance.
Make big money!
A sort of panic overcame him. He ran to the phone booth and dialed a Passaic number. He heard the ring-ring-ring and strained to hear old Mr. Krehbeil's stumping footsteps growing louder as he neared the phone, even though he knew he would hear nothing until the receiver was picked up.
Ring—ring—ring. "Hello?" grunted the old man's voice, and his face appeared on the little screen. "Hello, Mr. Halvorsen. What can I do for you?"
Halvorsen was tongue-tied. He couldn't possibly say: I just wanted to see if you were still there. I was afraid you weren't there any more. He choked and improvised: "Hello, Mr. Krehbeil. It's about the banister on the stairs in my place. I noticed it's pretty shaky. Could you come over sometime and fix it for me?"
Krehbeil peered suspiciously out of the screen. "I could do that," he said slowly. "I don't have much work nowadays. But you can carpenter as good as me, Mr. Halvorsen, and frankly you're very slow pay and I like cabinet work better. I'm not a young man and climbing around on ladders takes it out of me. If you can't find anybody else, I'll take the work, but I got to have some of the money first, just for the materials. It isn't easy to get good wood any more."
"All right," said Halvorsen. "Thanks, Mr. Krehbeil. I'll call you if I can't get anybody else."
He hung up and went back to his table and newspaper. His face was burning with anger at the old man's reluctance and his own foolish panic. Krehbeil didn't realize they were both in the same leaky boat. Krehbeil, who didn't get a job in a month, still thought with senile pride that he was a journeyman carpenter and cabinetmaker who could make his solid way anywhere with his tool-box and his skill, and that he could afford to look down on anything as disreputable as an artist—even an artist who could carpenter as well as he did himself.
Labuerre had made Halvorsen learn carpentry, and Labuerre had been right. You build a scaffold so you can sculp up high, not so it will collapse and you break a leg. You build your platforms so they hold the rock steady, not so it wobbles and chatters at every blow of the chisel. You build your armatures so they hold the plasticine you slam onto them.
But the help-wanted ads wanted no builders of scaffolds, platforms and armatures. The factories were calling for setup men and maintenance men for the production and assembly machines.
From upstate, General Vegetables had sent a recruiting team for farm help—harvest setup and maintenance men, a few openings for experienced operators of tank-caulking machinery. Under "office and professional" the demand was heavy for computer men, for girls who could run the I.B.M. Letteriter, esp. familiar sales and collections corresp., for office machinery maintenance and repair men. A job printing house wanted an esthetikon operator for letterhead layouts and the like. A.T. & T. wanted trainees to earn while learning telephone maintenance. A direct-mail advertising outfit wanted an artist—no, they wanted a sales-executive who could scrawl picture-ideas that would be subjected to the criticism and correction of the esthetikon.
Halvorsen leafed tiredly through the rest of the paper. He knew he wouldn't get a job, and if he did he wouldn't hold it. He knew it was a terrible thing to admit to yourself that you might starve to death because you were bored by anything except art, but he admitted it.
It had happened often enough in the past—artists undergoing preposterous hardships, not, as people thought, because they were devoted to art, but because nothing else was interesting. If there were only some impressive, sonorous word that summed up the aching, oppressive futility that overcame him when he tried to get out of art—only there wasn't.
He thought he could tell which of the photos in the tabloid had been corrected by the esthetikon.
There was a shot of Jink Bitsy, who was to star in a remake of Peter Pan. Her ears had been made to look not pointed but pointy, her upper lip had been lengthened a trifle, her nose had been pugged a little and tilted quite a lot, her freckles were cuter than cute, her brows were innocently arched, and her lower lip and eyes were nothing less than pornography.
There was a shot, apparently uncorrected, of the last Venus ship coming in at La Guardia and the average-looking explorers grinning. Caption: "Austin Malone and crew smile relief on safe arrival. Malone says Venus colonies need men, machines. See story p. 2."
Petulantly, Halvorsen threw the paper under the table and walked out. What had space travel to do with him? Vacations on the Moon and expeditions to Venus and Mars were part of the deadly encroachment on his livelihood and no more.
II
He took the subway to Passaic and walked down a long-still traffic beltway to his studio, almost the only building alive in the slums near the rusting railroad freightyard.
A sign that had once said "F. Labuerre, Sculptor—Portraits and Architectural Commissions" now said "Roald Halvorsen; Art Classes—Reasonable Fees." It was a grimy two-story frame building with a shopfront in which were mounted some of his students' charcoal figure studies and oil still-lifes. He lived upstairs, taught downstairs front, and did his own work downstairs, back behind dirty, ceiling-high drapes.
Going in, he noticed that he had forgotten to lock the door again. He slammed it bitterly. At the noise, somebody called from behind the drapes: "Who's that?"
"Halvorsen!" he yelled in a sudden fury. "I live here. I own this place. Come out of there! What do you want?"
There was a fumbling at the drapes and a girl stepped between them, shrinking from their dirt.
"Your door was open," she said firmly, "and it's a shop. I've just been here a couple of minutes. I came to ask about classes, but I don't think I'm interested if you're this bad-tempered."
A pupil. Pupils were never to be abused, especially not now.
"I'm terribly sorry," he said. "I had a trying day in the city." Now turn it on. "I wouldn't tell everybody a terrible secret like this, but I've lost a commission. You understand? I thought so. Anybody who'd traipse out here to my dingy abode would be simpatica. Won't you sit down? No, not there—humor an artist and sit over there. The warm background of that still-life brings out your color—quite good color. Have you ever been painted? You've a very interesting face, you know. Some day I'd like to—but you mentioned classes.
"We have figure classes, male and female models alternating, on Tuesday nights. For that I have to be very stern and ask you to sign up for an entire course of twelve lessons at sixty dollars. It's the models' fees—they're exorbitant. Saturday afternoons we have still-life classes for beginners in oils. That's only two dollars a class, but you might sign up for a series of six and pay ten dollars in advance, which saves you two whole dollars. I also give private instructions to a few talented amateurs."
The price was open on that one—whatever the traffic would bear. It had been a year since he'd had a private pupil and she'd taken only six lessons at five dollars an hour.
"The still-life sounds interesting," said the girl, holding her head self-consciously the way they all did when he gave them the patter. It was a good head, carried well up. The muscles clung close, not yet slacked into geotropic loops and lumps. The line of youth is heliotropic, he confusedly thought. "I saw some interesting things back there. Was that your own work?"
She rose, obviously with the expectation of being taken into the studio. Her body was one of those long-lined, small-breasted, coltish jobs that the pre-Raphaelites loved to draw.
"Well—" said Halvorsen. A deliberate show of reluctance and then a bright smile of confidence. "You'll understand," he said positively and drew aside the curtains.
"What a curious place!" She wandered about, inspecting the drums of plaster, clay and plasticene, the racks of tools, the stands, the stones, the chisels, the forge, the kiln, the lumber, the glaze bench.
"I like this," she said determinedly, picking up a figure a half-meter tall, a Venus he had cast in bronze while studying under Labuerre some years ago. "How much is it?"
An honest answer would scare her off, and there was no chance in the world that she'd buy. "I hardly ever put my things up for sale," he told her lightly. "That was just a little study. I do work on commission only nowadays."
Her eyes flicked about the dingy room, seeming to take in its scaling plaster and warped floor and see through the wall to the abandoned slum in which it was set. There was amusement in her glance.
I am not being honest, she thinks. She thinks that is funny. Very well, I will be honest. "Six hundred dollars," he said flatly.
The girl set the figurine on its stand with a rap and said, half angry and half amused: "I don't understand it. That's more than a month's pay for me. I could get an S.P.G. statuette just as pretty as this for ten dollars. Who do you artists think you are, anyway?"
Halvorsen debated with himself about what he could say in reply:
An S.P.G. operator spends a week learning his skill and I spend a lifetime learning mine.
An S.P.G. operator makes a mechanical copy of a human form distorted by formulae mechanically arrived at from psychotests of population samples. I take full responsibility for my work; it is mine, though I use what I see fit from Egypt, Greece, Rome, the Middle Ages, the Renaissance, the Augustan and Romantic and Modern Eras.
An S.P.G. operator works in soft, homogeneous plastic; I work in bronze that is more complicated than you dream, that is cast and acid-dipped today so it will slowly take on rich and subtle coloring many years from today.
An S.P.G. operator could not make an Orpheus Fountain—
He mumbled, "Orpheus," and keeled over.
Halvorsen awoke in his bed on the second floor of the building. His fingers and toes buzzed electrically and he felt very clear-headed. The girl and a man, unmistakably a doctor, were watching him.
"You don't seem to belong to any Medical Plans, Halvorsen," the doctor said irritably. "There weren't any cards on you at all. No Red, no Blue, no Green, no Brown."
"I used to be on the Green Plan, but I let it lapse," the artist said defensively.
"And look what happened!"
"Stop nagging him!" the girl said. "I'll pay you your fee."
"It's supposed to come through a Plan," the doctor fretted.
"We won't tell anybody," the girl promised. "Here's five dollars. Just stop nagging him."
"Malnutrition," said the doctor. "Normally I'd send him to a hospital, but I don't see how I could manage it. He isn't on any Plan at all. Look, I'll take the money and leave some vitamins. That's what he needs—vitamins. And food."
"I'll see that he eats," the girl said, and the doctor left.
"How long since you've had anything?" she asked Halvorsen.
"I had some coffee today," he answered, thinking back. "I'd been working on detail drawings for a commission and it fell through. I told you that. It was a shock."
"I'm Lucretia Grumman," she said, and went out.
He dozed until she came back with an armful of groceries.
"It's hard to get around down here," she complained.
"It was Labuerre's studio," he told her defiantly. "He left it to me when he died. Things weren't so rundown in his time. I studied under him; he was one of the last. He had a joke—'They don't really want my stuff, but they're ashamed to let me starve.' He warned me that they wouldn't be ashamed to let me starve, but I insisted and he took me in."
Halvorsen drank some milk and ate some bread. He thought of the change from the ten dollars in his pocket and decided not to mention it. Then he remembered that the doctor had gone through his pockets.
"I can pay you for this," he said. "It's very kind of you, but you mustn't think I'm penniless. I've just been too preoccupied to take care of myself."
"Sure," said the girl. "But we can call this an advance. I want to sign up for some classes."
"Be happy to have you."
"Am I bothering you?" asked the girl. "You said something odd when you fainted—'Orpheus.'"
"Did I say that? I must have been thinking of Milles' Orpheus Fountain in Copenhagen. I've seen photos, but I've never been there."
"Germany? But there's nothing left of Germany."
"Copenhagen's in Denmark. There's quite a lot of Denmark left. It was only on the fringes. Heavily radiated, but still there."
"I want to travel, too," she said. "I work at La Guardia and I've never been off, except for an orbiting excursion. I want to go to the Moon on my vacation. They give us a bonus in travel vouchers. It must be wonderful dancing under the low gravity."
Spaceport? Off? Low gravity? Terms belonging to the detested electronic world of the stereopantograph in which he had no place.
"Be very interesting," he said, closing his eyes to conceal disgust.
"I am bothering you. I'll go away now, but I'll be back Tuesday night for the class. What time do I come and what should I bring?"
"Eight. It's charcoal—I sell you the sticks and paper. Just bring a smock."
"All right. And I want to take the oils class, too. And I want to bring some people I know to see your work. I'm sure they'll see something they like. Austin Malone's in from Venus—he's a special friend of mine."
"Lucretia," he said. "Or do some people call you Lucy?"
"Lucy."
"Will you take that little bronze you liked? As a thank you?"
"I can't do that!"
"Please. I'd feel much better about this. I really mean it."
She nodded abruptly, flushing, and almost ran from the room.
Now why did I do that? he asked himself. He hoped it was because he liked Lucy Grumman very much. He hoped it wasn't a cold-blooded investment of a piece of sculpture that would never be sold, anyway, just to make sure she'd be back with class fees and more groceries.
III
She was back on Tuesday, a half-hour early and carrying a smock. He introduced her formally to the others as they arrived: a dozen or so bored young women who, he suspected, talked a great deal about their art lessons outside, but in class used any excuse to stop sketching.
He didn't dare show Lucy any particular consideration. There were fierce little miniature cliques in the class. Halvorsen knew they laughed at him and his line among themselves, and yet, strangely, were fiercely jealous of their seniority and right to individual attention.
The lesson was an ordeal, as usual. The model, a muscle-bound young graduate of the barbell gyms and figure-photography studios, was stupid and argumentative about ten-minute poses. Two of the girls came near a hair-pulling brawl over the rights to a preferred sketching location. A third girl had discovered Picasso's cubist period during the past week and proudly announced that she didn't feel perspective in art.
But the two interminable hours finally ticked by. He nagged them into cleaning up—not as bad as the Saturdays with oils—and stood by the open door. Otherwise they would have stayed all night, cackling about absent students and snarling sulkily among themselves. His well-laid plans went sour, though. A large and flashy car drove up as the girls were leaving.
"That's Austin Malone," said Lucy. "He came to pick me up and look at your work."
That was all the wedge her fellow-pupils needed.
"Aus-tin Ma-lone! Well!"
"Lucy, darling, I'd love to meet a real spaceman."
"Roald, darling, would you mind very much if I stayed a moment?"
"I'm certainly not going to miss this and I don't care if you mind or not, Roald, darling!"
Malone was an impressive figure. Halvorsen thought: he looks as though he's been run through an esthetikon set for 'brawny' and 'determined.' Lucy made a hash of the introductions and the spaceman didn't rise to conversational bait dangled enticingly by the girls.
In a clear voice, he said to Halvorsen: "I don't want to take up too much of your time. Lucy tells me you have some things for sale. Is there any place we can look at them where it's quiet?"
The students made sulky exits.
"Back here," said the artist.
The girl and Malone followed him through the curtains. The spaceman made a slow circuit of the studio, seeming to repel questions.
He sat down at last and said: "I don't know what to think, Halvorsen. This place stuns me. Do you know you're in the Dark Ages?"
People who never have given a thought to Chartres and Mont St. Michel usually call it the Dark Ages, Halvorsen thought wryly. He asked, "Technologically, you mean? No, not at all. My plaster's better, my colors are better, my metal is better—tool metal, not casting metal, that is."
"I mean hand work," said the spaceman. "Actually working by hand."
The artist shrugged. "There have been crazes for the techniques of the boiler works and the machine shop," he admitted. "Some interesting things were done, but they didn't stand up well. Is there anything here that takes your eye?"