Like the discharge of a lightning bolt, the greater the charge on the Tolliver, the greater its tendency to escape. The force of the four billion driving the electrons in their mad dance away from the region of highest excess toward the region of greatest deficiency. Pain as electromotive force. Frustration as electric potential. The electrons jump the insulating gap of love and friendship and kindness and humane behavior and the power is unleashed.
Like the discharge of the lightning bolt, the power seeks and finds its focus, leaps the gap, and the bolt of energy is unleashed.
Does the lightning rod know it is draining off the dangerous electrical charge? Is there sentience in a Leyden jar? Does not the voltaic pile continue to sleep while current is drawn off? Does the focus know it has unleashed the anger and frustration of the four billion?
Fred Tolliver sat in misery, the cello forgotten, the pain of having been cheated, of being impotent against the injustice, eating at his stomach. His silent scream: at that moment the most dominant in the entire universe. Chance. It could have been anyone; or perhaps, as Chesterton said, “Coincidences are a spiritual sort of puns.”
His phone rang. He did not move to pick up the receiver. It rang again. He did not move. His stomach burned and roiled. There was a scorched-earth desperation in him. Nine thousand dollars overcharge. Thirty-seven hundred dollars by the original contract. Twelve thousand seven hundred dollars. He had had to take a second mortgage on the house. Five more months than the estimated two Weisel had said it would take to complete the job. Seven months of filth and plaster dust and inept workmen tramping through his little house with mud and dirt and dropping cigarette butts on his floor.
I’m sixty-two years old, he thought, frantically. My God, I’m an old man. A moment ago I was just middle-aged, and now I’m an old man… I never felt old before. It’s good Betsy never lived to see me like this; she would cry. But this thing with the bathroom is a terrible thing, an awful thing, it’s made me an old man, poor, in financial straits; and I don’t know how to save myself. He’s ruined my life… he’s killed me… I’ II never be able to get even, to put away a little… if the thing with the knees gets any worse, there could be big doctor bills, specialists maybe… the Blue Cross would never cover it… what am I going to do, please God help me… what am I going to do?
He was an old man, retired and very tired, who had thought he could make it through. He had figured it out so he could just barely slide through. But the pains in the back of his knees had begun three years before, and though they had not flared up in sixteen months, he remembered how he would simply fall down, suddenly, ludicrously, fall down: the legs prickling with pins and needles as though he had sat cross-legged for a long time. He was afraid to think about the pains too much. They might come back if he thought about them too much.
But he didn’t really believe that thinking about things could make them happen. Thinking didn’t make things change in the real world. Fred Tolliver did not know about the dance of the emotions, the resonance of the electrons. He did not know about a sixty-two-year-old lightning rod that leaked off the terror and frustration of four billion people, all crying out silently just as Fred Tolliver cried out. For help that never came.
The phone continued to ring. He did not think about the pains he had felt in the back of his knees, as recently as sixteen months ago. He did not think about it, because he did not want it to return. It was only a low-level throbbing now, and he wanted it to stay that way. He didn’t want to feel pins and needles. He wanted his money back. He wanted the sound of gurgling under the floor of the guest bathroom to stop. He wanted William Weisel to make good.
He answered the phone. It rang once too often for him to ignore it.
“Hello?”
“Mr. Tolliver? Is that you?”
“Yes, this is Fred Tolliver. Who’s calling?”
“Evelyn Hand. I haven’t heard from you about my violin, and I’m going to need it late next week…”
He had forgotten. In all the anguish with Weisel, he had forgotten Evelyn Hand, and her damaged violin. And she had paid him already.
“Oh, my gosh, Miss Hand, I’m awfully sorry! I’ve just had the most awful business going on these last months, a man built me a guest bathroom, and he overcharged me nine thousand dollars, and it’s all broken and…”
He stopped. This was unbecoming. He coughed with embarrassment, giving himself a moment to gather his composure. “I’m just as terribly sorry and ashamed as I can be, Miss Hand. I haven’t had a chance to get to the repairs. But I know you need it a week from today…”
“A week from yesterday, Mr. Tolliver. Thursday, not Friday.”
“Oh. Yes, of course. Thursday.” She was a nice woman, really. Very slim, delicate fingers and a gentle, warm voice. He had thought perhaps they might go to the Smorgasbord for a meal, and they might get to know each other. He wanted companionship. It was so necessary; now, particularly, it was so necessary. But the memory of Betsy was always there, singing softly within him; and he had said nothing to Evelyn Hand.
“Are you there, Mr. Tolliver?”
“Uh, yes. Yes, of course. Please forgive me. I’m so wrought up these days. I’ll get to it right away. Please don’t you worry about it.”
“Well, I am rather concerned.” She hesitated, as though reluctant to speak. She drew a deep breath and plunged on:.. I did pay you in advance for the repairs, because you said you needed the money for bills, and…”
He didn’t take offense. He understood perfectly. She had said something that otherwise she would have considered déplacé. but she was distraught and wanted to make the point as firmly as she could without being overly offensive.
“I’ll get to it today, Miss Hand; I promise.”
It would take time. It was a good instrument, a fine, old Gagliano. He knew he could finish the repairs in time if he kept at it without distraction.
Her tone softened. “Thank you, Mr. Tolliver. I’m sorry to have bothered you, but… you understand.”
“Of course. Don’t give it a thought. I’ll call as soon as it’s ready. I’ll give it special attention, I promise.”
“You’re very kind.”
They said their goodbyes and he stopped himself from suggesting dinner when the violin was ready. There was always time for that later, when appropriate. When the business with the bathroom was settled.
And that brought him back to the state of helpless fury and pain. That terrible man, Weisel!
Unknowing confluence of four billion resonating emotions, Fred Tolliver sat with head in hands; as the electrons danced.
Eight days later, in a filthy alley behind a boarded-up supermarket that had begun as a sumptuous gilt-and-brocade movie house in 1924, William Weisel sat in filth, trying to eat the butt of a stale loaf of pumpernickel he had stolen from a garbage can. He weighed ninety-seven pounds, had not shaved in seven days, his clothes were stained and torn rags, his shoes had been stolen while he slept, four days earlier, in the doorway outside the Midnight Mission, his eyes were rheumy and he had developed a terrible, wracking cough. The angry crimson weal on his left forearm where the bolt of lightning had just grazed him seemed to be infected. He gagged on the bread, realizing he had missed one of the maggots, and threw the granitelike butt across the alley.
He was incapable of crying. He had cried himself out. He knew, at last, that there was no way to save himself. On the third day, he had tried to get to Tolliver, to beg him to stop; to tell him he would repair the bathroom; to tell him he would build him a new house, a mansion, a palace, anything! Just stop this terror! Please!
But he had been stopped. He could not get to Tolliver. The first time he had set his mind to seeing the old man, he had been arrested by a California Highway Patrol officer who had him on his hot sheet for having left the Roll& in the middle of Ventura Boulevard. Weisel had managed to escape on foot, somehow, miraculously.
The second time he had been attacked by a pit bull while skulking throug
h back yards. He had lost his left pant leg below the knee.
The third time he had actually gotten as far as the street on which Tolliver’s house sat, but a seven-car pileup had almost crushed him beneath tons of thundering metal, and he had fled, fearing an aircraft carrier might drop from the sky to bury him.
He knew now that he could not even make amends, that it was inertial, and that he was doomed.
He lay back, waiting for the finish. But it was not to be that easy. The song of the four billion is an unending symphony of incredible complexity. As he lay there, a derelict stumbled into the alley, saw him, and pulled the straight razor from his jacket pocket. He was almost upon him when William Weisel opened his eyes. He saw the rusty blade coming for his throat, had a moment of absolute mind-numbing horror wash over him, spasmed into shock, and did not hear the sound of the cop’s service revolver as the derelict—who had serviced over a dozen other such bums as Weisel in this same manner—was blown in half.
He woke in the drunk tank, looked around, saw the company to which he had been condemned, knew that if he lived it would be through years of horror, and began tearing off strips of rags from what remained of his clothing.
When the attendant came to turn the men out into the exercise area, he found William Weisel hanging from the bars of the door, eyes bulging, tongue protruding like a charred leaf from his mouth. What he could not reconcile was that no one in the cell had even shouted, nor raised a hand to stop Weisel. That, and the look of voiceless anguish on the dead man’s face, as though he had glimpsed, just at the instant of death, a view of an eternity of voiceless anguish.
The focus could direct the beam, but it could not heal itself. At the very moment that Weisel died, Fred Tolliver—still unaware of what he had done—sat in his home, realizing finally that the contractor had done him in. He could never repay the note, would perhaps have to get work again in some studio, and probably would be unable to do it with sufficient regularity to save the house. His twilight years would be spent in some dingy apartment. The modest final hope of his life had been denied him: he would not be able to just simply get by in peace. It was a terrible lonely thing to contemplate.
The phone rang.
He picked it up wearily. “Yes?”
There was a moment of silence, then the voice of Miss Evelyn Hand came across the line, icily. “Mr. Tolliver, this is Evelyn Hand. I waited all day yesterday. I was unable to participate in the recital. Please have my violin waiting for me, repaired or not.”
He was too stunned, too depressed, even to be polite. “Okay.”
“I want you to know you have caused me great pain, Mr. Tolliver. You are a very unreliable and evil man. I want you to know I’m going to take steps to rectify this matter. You have taken money from me under false pretenses, you have ruined a great opportunity I had, and you have caused me unnecessary anguish. You will have to pay for your irresponsibility; there must be justice. I will make certain you pay for what you’ve done!”
“Yes. Yes, of course,” he said, dimly, faintly.
He hung up the receiver and sat there.
The emotions sang, the electrons danced, the focus shifted, and the symphony of frustration went on.
Fred Tolliver’s cello lay unattended at his feet. He would never get through, just barely slide through. He felt the excruciating pain of pins and needles in his legs.
“No snowflake in an avalanche ever feels responsible.”
S. J. LEC
Shoppe Keeper
Introduction
I was riding down Beverly Glen with Arthur Byron Cover. I said to Arthur, “You know, one of the things that always bothered me about those fantasies in which some dude comes across a magic shop that sells real magic, or three wishes, or genuine love potions, or whatever, is they never told you what kind of life was lived by the proprietor. I mean, where did he get his stock? In what sort of coin could you pay someone for things that valuable? When the dude leaves the shop it always vanishes; where does it go? What happened to the poor schmuck who ran the joint? Huh, answer me that?”
Arthur looked at me seriously and said, “You know, you’re a very weird person.”
That is how this story came to be written.
To satisfy my curiosity.
And you can stick it in your ear, Cover.
I often wonder what the Vintners buy
One half so precious as the goods
They sell.
Stanza LXXXV, The Rubáyyat of Omar Khyyám
A pale, short, young man wearing filthy blue jeans and goat-roper boots worn away at the heels came shuffling down Jamshyd Avenue. As he passed the narrow arcade alleyway, the rusty creaking of a sign hung on chains caught his attention. He stared at the sign with eyes that were just the slightest bit crossed and glazed. The sign proclaimed Shoppe of Wonders and beneath those words in curlicued but. extremely readable Islamic calligraphy: Your Heart’s Desire.
Only five feet, two inches tall, the young man paused at the mouth of the alley, stared at the swinging sign for a moment, ran a hand with dirty nails through his long hair, then turned in.
The shoppe was tiny, with leaded-paned windows, dusty and fly-specked. He could not see inside, but there was a dim and golden light shining through the murkiness of the glass. The door handle was a brass lizard with a forked tongue. The young man put his hand on the brass and it was warm. He opened the door, which opened easily, and he went inside.
The shoppe seemed to stretch on before him indefinitely. It defied dimensional description, like an Escher etching. Such a narrow shop could not possibly be so wide, and so deep, and so high. The frontage of the shoppe on the alley had seemed only twenty feet across, but here inside it was easily ten times as wide. The cathedral ceiling hung far away above him in dismal shadows, beamed and sloping, smelling faintly of mildew and sandalwood and tallow. The light that he had seen straining through the obscured glass of the windows was a mere glow, trembling through the murky interior from a distance so far in the rear of the shoppe that it was no more than a suggestion of light.
The shoppe was jammed with goods; filled with goods; odd goods.
Hobbyhorses with peculiarly mad expressions in their eyes, and with foam-flecked lips. Rows and rows of amphorae, tightly stoppered and each marked with indecipherable inscriptions, written with felt-tip pens. Cases of amulets and tokens, some Egyptian-looking, some contemporary and clearly the products of communes. Puppets hung on long wires from the rafters above, a community of brittle, brightly painted figures, all with broken necks. Shelves filled with anemones. A stack of abacuses. A wall of clocks, from all periods, some with nine or fifty-six divisions of time. Bookcases filled with grimoires, daybooks, hornbooks, arcane thesauri, enchiridia, illuminated manuscripts, diaries, palimpsests, incunabula, claviculae, parerga, ana and epilegomena. Incan icons. Glass phials within which emboli floated, turning slowly in a tideless tide. In one corner an enormous freestanding antique mirror with chased brass fittings; another land, dark and distressing, could be seen in the mirror. Showcases containing plastic doggie vomit and ice cubes with cockroaches in them. Whoopee cushions. Meteorites. Thousands of boxes, all sizes, stacked one atop another. Golden balls of all sizes. A butcher’s-paper roller screwed to one wall, holding a large roll of gold-foil. Bugles. In one showcase a complete set of English vintage automobile cigarette packet cards, 50 to the set, with one hundred thirty-six duplicates of card #26, the 1925 Vauxhall. Orrises, embroideries of gold and silver lace, tossed willy-nilly over a rattan chair. Bolts of paduasoy. On a Duncan Phyfe table lay a folio of ottava rimas. A shelf containing tins of tennis balls. Oil lamps of the sort Aladdin rubbed to produce his genie. Dangling from a hook on the wall, an uncountable number of fishhooks, with unnameable things still snagged thereon. Hanging over an arched doorway in the side wall, a gonfalon upon which was emblazoned a booted foot crushing a five-headed serpent, one of whose heads was arched back around with the fangs imbedded in the heel of the foot. Stoppered extra-th
ick glass bottles of vitriol: blue, green and white. Tubes of bismuth. Clothing racks of hair shirts, habergeons, hauberks and herringbone suits. Potted fleabane. Dolls with quarter-melon slices bitten out of their heads. Several dozen small cases containing dancing mice, dyed in rainbow hues. A glass-fronted cabinet originally intended to hold dental equipment, jammed full of severed paws, monkey, civet, fox, lynx, bear, and others, several with the claws extended, one that looked as though it had been lopped off a yeti. Philters labeled “love potion.” Hexahedrons. Tomes on epigraphy (all with unreadable titles, of course). Kourbashes coiled on hooks on the wall. Beakers bearing the label “phlogiston.” A complete run of Amazing Stories dated from April 1926 to December 2009. More grimoires (some in paperback editions). A plethora of keys, of all kinds, sizes, shapes and intricacies. Calling horns, some as simple as a shofar. others as cuculiform as a cornucopia. Scruples in breather-jars. Umbilically joined oxymora. Silver seashells that, when placed next to the ear, as the short young man did, reproduced not the sound of the sea, but the sound of the wind between the stars. Shrink-wrapped packages of miniature hydra heads. A thirty-foot-high glass-fronted cabinet that seemed to contain model toy soldiers, until the young man looked closer and saw that the models were not metal at all, but seemed to be miniaturized human beings, frozen and solidified in the moment of combat: the Battle of the Ardennes; Balaklava; Visigoths against Huns; Rough Riders against Villa; Luftwaffe and Wolf Legions at Stalingrad; the Battle of the Little Big Horn; Midway; Chosen Reservoir; the one hundred Spartans at the Hot Gates against Xerxes’ millions; the French Foreign Legion at Dien Bien Phu; Spartacus and his gladiator army versus the Roman Imperial Legions… each soldier perfect, down to the expression of utter horror as he was whisked off the battlefield, shrunk, and concretized. Polish for the True Lamp. A fragment of Christ’s molar in the wafer. Stigmata kits. Packets of dried Granny’s Claw. Eyes of newts. Toes of frogs. Spiderweb poultices. Transmigration threads on huge spools bearing the Seal of Solomon on each. Cryogenically frozen pixies, nixies, niads and dryads. Pickled kraken tentacles. Fire-breathing salamanders in asbestos cages. Disintegrator pistols. Saintly relics—fingers, tibiae, fibulae, eyeballs. And everywhere the young man looked, in every nook and crevice, there was rubbish, junk, litter, rags, odds and ends, trash, offscourings, tares, waste, rubble, debris and dregs.
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