Above him he was conscious of the watch-towers hanging in the bright air, but he kept his eyes level with the gates and hedges, scanning the empty houses. Now and then he passed one that was occupied, the family sitting out on the lawn, and once someone called his name, reminding him that the school had started without him. The air was fresh and crisp, the light glimmering off the pavements with an unusual intensity.
Within ten minutes he realized that he had wandered into an unfamiliar part of the town and completely lost himself, with only the aerial lines of watch-towers to guide him, but he still refused to look up at them.
He had entered a poorer quarter of the town, where the narrow empty streets were separated by large waste dumps, and tilting wooden fences sagged between ruined houses. Many of the dwellings were only a single storey high, and the sky seemed even wider and more open, the distant watch-towers along the horizon like a continuous palisade.
He twisted his foot on a ledge of stone, and hobbled painfully towards a strip of broken fencing that straddled a small rise in the centre of the waste dump. He was perspiring heavily, and loosened his tie, then searched the surrounding straggle of houses for a way back into the streets through which he had come.
Overhead, something moved and caught his eye. Forcing himself to ignore it, Renthall regained his breath, trying to master the curious dizziness that touched his brain. An immense sudden silence hung over the waste ground, so absolute that it was as if some inaudible piercing music was being played at full volume.
To his right, at the edge of the waste ground, he heard feet shuffle slowly across the rubble, and saw the elderly man in the shabby black suit and wing collar who usually loitered outside the Public Library. He hobbled along, hands in pockets, an almost Chaplinesque figure, his weak eyes now and then feebly scanning the sky as if he were searching for something he had lost or forgotten.
Renthall watched him cross the waste ground, but before he could shout the decrepit figure tottered away behind a ruined wall.
Again something moved above him, followed by a third sharp angular motion, and then a succession of rapid shuttles. The stony rubbish at his feet flickered with the reflected light, and abruptly the whole sky sparkled as if the air was opening and shutting.
Then, as suddenly, everything was motionless again.
Composing himself, Renthall waited for a last moment. Then he raised his face to the nearest watch-tower fifty feet above him, and gazed across at the hundreds of towers that hung from the clear sky like giant pillars. The haze had vanished and the shafts of the towers were defined with unprecedented clarity.
As far as he could see, all the observation windows were open. Silently, without moving, the watchers stared down at him.
1962
The Singing Statues
Again last night, as the dusk air began to move across the desert from Lagoon West, I heard fragments of music coming in on the thermal rollers, remote and fleeting, echoes of the love-song of Lunora Goalen. Walking out over the copper sand to the reefs where the sonic sculptures grow, I wandered through the darkness among the metal gardens, searching for Lunora's voice. No one tends the sculptures now and most of them have gone to seed, but on an impulse I cut away a helix and carried it back to my villa, planting it in the quartz bed below the balcony. All night it sang to me, telling me of Lunora and the strange music she played to herself...
It must be just over three years ago that I first saw Lunora Goalen, in Georg Nevers's gallery on Beach Drive. Every summer at the height of the season at Vermilion Sands, Georg staged a special exhibition of sonic sculpture for the tourists. Shortly after we opened one morning I was sitting inside my large statue, Zero Orbit, plugging in the stereo amplifiers, when Georg suddenly gasped into the skin mike and a boom like a thunderclap nearly deafened me.
Head ringing like a gong, I climbed out of the sculpture ready to crown Georg with a nearby maquette. Putting an elegant fingertip to his lips, he gave me that look which between artist and dealer signals one thing: Rich client.
The sculptures in the gallery entrance had begun to hum as someone came in, but the sunlight reflected off the bonnet of a white Rolls-Royce outside obscured the doorway.
Then I saw her, hovering over the stand of art journals, followed by her secretary, a tall purse-mouthed Frenchwoman almost as famous from the news magazines as her mistress.
Lunora Goalen, I thought, can all our dreams come true? She wore an ice-cool sliver of blue silk that shimmered as she moved towards the first statue, a toque hat of black violets and bulky dark glasses that hid her face and were a nightmare to cameramen. While she paused by the statue, one of Arch Penko's frenetic tangles that looked like a rimless bicycle wheel, listening to its arms vibrate and howl, Nevers and I involuntarily steadied ourselves against the wing-piece of my sculpture.
***
In general it's probably true that the most maligned species on Earth is the wealthy patron of modern art. Laughed at by the public, exploited by dealers, even the artists regard them simply as meal tickets. Lunora Goalen's superb collection of sonic sculpture on the roof of her Venice palazzo, and the million dollars' worth of generous purchases spread around her apartments in Paris, London and New York, represented freedom and life to a score of sculptors, but few felt any gratitude towards Miss Goalen.
Nevers was hesitating, apparently suffering from a sudden intention tremor, so I nudged his elbow.
'Come on,' I murmured. 'This is the apocalypse. Let's go.'
Nevers turned on me icily, noticing, apparently for the first time, my rust-stained slacks and three-day stubble.
'Milton!' he snapped. 'For God's sake, vanish! Sneak out through the freight exit.' He jerked his head at my sculpture. 'And switch that insane thing off! How did I ever let it in here?'
Lunora's secretary, Mme Charcot, spotted us at the rear of the gallery. Georg shot out four inches of immaculate cuff and swayed forward, the smile on his face as wide as a bulldozer. I backed away behind my sculpture, with no intention of leaving and letting Nevers cut my price just for the cachet of making a sale to Lunora Goalen.
Georg was bowing all over the gallery, oblivious of Mme Charcot's contemptuous sneer. He led Lunora over to one of the exhibits and fumbled with the control panel, selecting the alto lift which would resonate most flatteringly with her own body tones. Unfortunately the statue was Sigismund Lubitsch's Big End, a squat bull-necked drum like an enormous toad that at its sweetest emitted a rasping grunt. An old-style railroad tycoon might have elicited a sympathetic chord from it, but its response to Lunora was like a bull's to a butterfly.
They moved on to another sculpture, and Mme Charcot gestured to the white-gloved chauffeur standing by the Rolls. He climbed in and moved the car down the street, taking with it the beach crowds beginning to gather outside the gallery. Able now to see Lunora clearly against the hard white walls, I stepped into Orbit and watched her closely through the helixes.
Of course I already knew everything about Lunora Goalen. A thousand magazine exposs had catalogued ad nauseam her strange flawed beauty, her fits of melancholy and compulsive roving around the world's capitals. Her brief career as a film actress had faltered at first, less as a consequence of her modest, though always interesting, talents than of her simple failure to register photogenically. By a macabre twist of fate, after a major car accident had severely injured her face she had become an extraordinary success. That strangely marred profile and nervous gaze had filled cinemas from Paris to Pernambuco. Unable to bear this tribute to her plastic surgeons, Lunora had abruptly abandoned her career and become a leading patron of the fine arts. Like Garbo in the '40s and '50s, she flitted elusively through the gossip columns and society pages in unending flight from herself.
Her face was the clue. As she took off her sunglasses I could see the curious shadow that fell across it, numbing the smooth white skin. There was a dead glaze in her slate-blue eyes, an uneasy tension around the mouth. Altogether I had a vague impressi
on of something unhealthy, of a Venus with a secret vice.
Nevers was switching on sculptures right and left like a lunatic magician, and the noise was a babel of competing sensocells, some of the statues responding to Lunora's enigmatic presence, others to Nevers and the secretary.
Lunora shook her head slowly, mouth hardening as the noise irritated her. 'Yes, Mr Nevers,' she said in her slightly husky voice, 'it's all very clever, but a bit of a headache. I live with my sculpture, I want something intimate and personal.'
, of course, Miss Goalen,' Nevers agreed hurriedly, looking around desperately. As he knew only too well, sonic sculpture was now nearing the apogee of its abstract phase; twelve-tone blips and zooms were all that most statues emitted. No purely representational sound, responding to Lunora, for example, with a Mozart rondo or (better) a Webern quartet, had been built for ten years. I guessed that her early purchases were wearing out and that she was hunting the cheaper galleries in tourist haunts like Vermilion Sands in the hope of finding something designed for middle-brow consumption.
Lunora looked up pensively at Zero Orbit, towering at the rear of the gallery next to Nevers's desk, apparently unaware that I was hiding inside it. Suddenly realizing that the possibility of selling the statue had miraculously arisen, I crouched inside the trunk and started to breathe heavily, activating the senso-circuits.
Immediately the statue came to life. About twelve feet high, it was shaped like an enormous metal totem topped by two heraldic wings. The microphones in the wing-tips were powerful enough to pick up respiratory noises at a distance of twenty feet. There were four people well within focus, and the statue began to emit a series of low rhythmic pulses.
Seeing the statue respond to her, Lunora came forwards with interest. Nevers backed away discreetly, taking Mme Charcot with him, leaving Lunora and I together, separated by a thin metal skin and three feet of vibrating air. Fumbling for some way of widening the responses, I eased up the control slides that lifted the volume. Neurophonics has never been my strong suit - I regard myself, in an old-fashioned way, as a sculptor, not an electrician - and the statue was only equipped to play back a simple sequence of chord variations on the sonic profile in focus.
Knowing that Lunora would soon realize that the statue's repertory was too limited for her, I picked up the hand-mike used for testing the circuits and on the spur of the moment began to croon the refrain from Creole Love Call. Reinterpreted by the sonic cores, and then relayed through the loudspeakers, the lulling rise and fall was pleasantly soothing, the electronic overtones disguising my voice and amplifying the tremors of emotion as I screwed up my courage (the statue was priced at five thousand dollars - even subtracting Nevers's 90 per cent commission left me with enough for the bus fare home).
Stepping up to the statue, Lunora listened to it motionlessly, eyes wide with astonishment, apparently assuming that it was reflecting, like a mirror, its subjective impressions of herself. Rapidly running out of breath, my speeding pulse lifting the tempo, I repeated the refrain over and over again, varying the bass lift to simulate a climax.
Suddenly I saw Nevers's black patent shoes through the hatch. Pretending to slip his hand into the control panel, he rapped sharply on the statue. I switched off.
'Don't please!' Lunora cried as the sounds fell away. She looked around uncertainly. Mme Charcot was stepping nearer with a curiously watchful expression.
Nevers hesitated. 'Of course, Miss Goalen, it still requires tuning, you - '
'I'll take it,' Lunora said. She pushed on her sunglasses, turned and hurried from the gallery, her face hidden.
Nevers watched her go. 'What happened, for heaven's sake? Is Miss Goalen all right?'
Mme Charcot took a cheque-book out of her blue crocodile handbag. A sardonic smirk played over her lips, and through the helix I had a brief but penetrating glimpse into her relationship with Lunora Goalen. It was then, I think, that I realized Lunora might be something more than a bored dilettante.
Mme Charcot glanced at her watch, a gold pea strung on her scrawny wrist. 'You will have it delivered today. By three o'clock sharp. Now, please, the price?'
Smoothly, Nevers said: 'Ten thousand dollars.'
Choking, I pulled myself out of the statue, and spluttered helplessly at Nevers.
Mme Charcot regarded me with astonishment, frowning at my filthy togs. Nevers trod savagely on my foot. 'Naturally, Mademoiselle, our prices are modest, but as you can see, M. Milton is an inexperienced artist.'
Mme Charcot nodded sagely. 'This is the sculptor? I am relieved. For a moment I feared that he lived in it.'
When she had gone Nevers closed the gallery for the day. He took off his jacket and pulled a bottle of absinthe from the desk. Sitting back in his silk waistcoat, he trembled slightly with nervous exhaustion.
'Tell me, Milton, how can you ever be sufficiently grateful to me?'
I patted him on the back. 'Georg, you were brilliant! She's another Catherine the Great, you handled her like a diplomat. When you go to Paris you'll be a great success. Ten thousand dollars!' I did a quick jig around the statue. 'That's the sort of redistribution of wealth I like to see. How about an advance on my cut?'
Nevers examined me moodily. He was already in the Rue de Rivoli, over-bidding for Leonardos with a languid flicker of a pomaded eyebrow. He glanced at the statue and shuddered. 'An extraordinary woman. Completely without taste. Which reminds me, I see you rescored the memory drum. The aria from Tosca cued in beautifully. I didn't realize the statue contained that.'
'It doesn't,' I told him, sitting on the desk. 'That was me. Not exactly Caruso, I admit, but then he wasn't much of a sculptor '
'What?' Nevers leapt out of his chair. 'Do you mean you were using the hand microphone? You fool!'
'What does it matter? She won't know.' Nevers was groaning against the wall, drumming his forehead on his fist. 'Relax, you'll hear nothing.'
Promptly at 9.01 the next morning the telephone rang.
As I drove the pick-up out to Lagoon West Nevers's warnings rang in my ears - '... six international blacklists, sue me for misrepresentation..
He apologized effusively to Mme Charcot, and assured her that the monotonous booming the statue emitted was most certainly not its natural response. Obviously a circuit had been damaged in transit, the sculptor himself was driving out to correct it.
Taking the beach road around the lagoon, I looked across at the Goalen mansion, an abstract summer palace that reminded me of a Frank Lloyd Wright design for an experimental department store. Terraces jutted out at all angles, and here and there were huge metal sculptures, Brancusi's and Calder mobiles, revolving in the crisp desert light. Occasionally one of the sonic statues hooted mournfully like a distant hoodoo.
Mme Charcot collected me in the vestibule, led me up a sweeping glass stairway. The walls were heavy with Dali and Picasso, but my statue had been given the place of honour at the far end of the south terrace. The size of a tennis court, without rails (or safety net), this jutted out over the lagoon against the skyline of Vermilion Sands, low furniture grouped in a square at its centre.
Dropping the tool-bag, I made a pretence of dismantling the control panel, and played with the amplifier so that the statue let out a series of staccato blips. These put it into the same category as the rest of Lunora Goalen's sculpture. A dozen pieces stood about on the terrace, most of them early period sonic dating back to the '70s, when sculptors produced an incredible sequence of grunting, clanking, barking and twanging statues, and galleries and public squares all over the world echoed night and day with minatory booms and thuds.
'Any luck?'
I turned to see Lunora Goalen. Unheard, she had crossed the terrace, now stood with hands on hips, watching me with interest. In her black slacks and shirt, blonde hair around her shoulders, she looked more relaxed, but sunglasses still masked her face.
'Just a loose valve. It won't take me a couple of minutes.' I gave her a reassuring smile and she stretche
d out on the chaise longue in front of the statue. Lurking by the french windows at the far end of the terrace was Mme Charcot, eyeing us with a beady smirk. Irritated, I switched on the statue to full volume and coughed loudly into the handmike.
The sound boomed across the open terrace like an artillery blank. The old crone backed away quickly.
Lunora smiled as the echoes rolled over the desert, the statues on the lower terraces responding with muted pulses. 'Years ago, when Father was away, I used to go on to the roof and shout at the top of my voice, set off the most wonderful echo trains. The whole place would boom for hours, drive the servants mad.' She laughed pleasantly to herself at the recollection, as if it had been a long time ago.
'Try it now,' I suggested. 'Or is Mme Charcot mad already?'
Lunora put a green-tipped finger to her lips. 'Carefully, you'll get me into trouble. Anyway, Mme Charcot is not my servant.'
'No? What is she then, your jailer?' We spoke mockingly, but I put a curve on the question; something about the Frenchwoman had made me suspect that she might have more than a small part in maintaining Lunora's illusions about herself.
I waited for Lunora to reply, but she ignored me and stared out across the lagoon. Within a few seconds her personality had changed levels, once again she was the remote autocratic princess.
Unobserved, I slipped my hand into the tool-bag and drew out a tape spool. Clipping it into the player deck, I switched on the table. The statue vibrated slightly, and a low melodious chant murmured out into the still air.
Standing behind the statue, I watched Lunora respond to the music. The sounds mounted, steadily swelling as Lunora moved into the statue's focus. Gradually its rhythms quickened, its mood urgent and plaintive, unmistakably a lover's passion-song. A musicologist would have quickly identified the sounds as a transcription of the balcony duet from Romeo and Juliet, but to Lunora its only source was the statue. I had recorded the tape that morning, realizing it was the only method of saving the statue. Nevers's confusion of Tosca and 'Creole Love Call' reminded me that I had the whole of classical opera in reserve. For ten thousand dollars I would gladly call once a day and feed in every aria from Figaro to Moses and Aaron.
The Complete Short Stories: Volume 1 Page 57