by Damon Knight
“What is there, then, underneath it all?”
“The stars.”
“Ah,” said the miner, floored. He scratched his rough, tallow-clotted hair, and laughed. “There’s a poser,” he said, and stared at Guennar with pity and admiration. He knew Guennar was mad, but the size of his madness was a new thing to him, and admirable. “Will you find ’em then, the stars?”
“If I learn how to look,” Guennar said, so calmly that Per had no response but to heft his shovel and get back to loading the cart.
One morning when the miners came down they found Guennar still sleeping, rolled up in the battered cloak Count Bord had given him, and by him a strange object, a contraption made of silver tubing, tin struts and wires beaten from old headlamp sockets, a frame of pick handles carefully carved and fitted, cogged wheels, a bit of twinkling glass. It was elusive, makeshift, delicate, crazy, intricate. “What the devil’s that?”
They stood about and stared at the thing, the lights of their headlamps centering on it, a yellow beam sometimes flickering over the sleeping man as one or another glanced at him.
“He made it, sure.”
“Sure enough.”
“What for?”
“Don’t touch it.”
“I wasn’t going to.”
Roused by their voices, the astronomer sat up. The yellow beams of the candles brought his face out white against the dark. He rubbed his eyes and greeted them.
“What would that be, lad?”
He looked troubled or confused when he saw the object of their curiosity. He put a hand on it protectively, yet he looked at it himself without seeming to recognize it for a while. At last he said, frowning and speaking in a whisper, “It’s a telescope.”
“What’s that?”
“A device that makes distant things clear to the eye.”
“How come?” one of the miners asked, baffled. The astronomer answered him with growing assurance. “By virtue of certain properties of light and lenses. The eye is a delicate instrument, but it is blind to half the universe—far more than half. The night sky is black, we say: between the stars is void and darkness. But turn the telescope eye on that space between the stars, and lo, the stars! Stars too faint and far for the eye alone to see, rank behind rank, glory beyond glory, out to the uttermost boundaries of the universe.
Beyond all imagination, in the outer darkness, there is light: a great glory of sunlight. I have seen it. I have seen it, night after night, and mapped the stars, the beacons of God on the shores of darkness. And here too there is light! There is no place bereft of the light, the comfort and radiance of the creator spirit. There is no place that is outcast, outlawed, forsaken. There is no place left dark. Where the eyes of God have seen, there light is. We must go farther, we must look farther! There is light if we will see it. Not with eyes alone, but with the skill of the hands and the knowledge of the mind and the heart’s faith is the unseen revealed, and the hidden made plain. And all the dark earth shines like a sleeping star.”
He spoke with that authority which the miners knew belonged by rights to the priests, to the great words priests spoke in the echoing churches. It did not belong here, in the hole where they grubbed their living, in the words of a crazy fugitive. Later on, one talking to another, they shook their heads, or tapped them. Per said, “The madness is growing in him,” and Hanno said, “Poor soul, poor soul!” Yet there was not one of them who did not, also, believe what the astronomer had told them.
“Show me,” said old Bran, finding Guennar alone in a deep eastern drift, busy with his intricate device. It was Bran who had first followed Guennar, and brought him food, and led him back to the others.
The astronomer willingly stood aside and showed Bran how to hold the device pointing downward at the tunnel floor, and how to aim and focus it, and tried to describe its function and what Bran might see: all hesitantly, since he was not used to explaining to the ignorant, but without impatience when Bran did not understand.
“I don’t see nothing but the ground,” the old man said after a long and solemn observation with the instrument. “And the little dust and pebbles on it.”
“The lamp blinds your eyes, perhaps,” the astronomer said with humility. “It is better to look without light. I can do it because I have done it for so long. It is all practice—like placing the gads, which you always do right, and I always do wrong.”
“Aye. Maybe. Tell me what you see—” Bran hesitated. He had not long ago realized who Guennar must be. Knowing him to be a heretic made no difference, but knowing him to be a learned man made it hard to call him “mate” or “lad.” And yet here, and after all this time, he could not call him “Master.” There were times when for all his mildness the fugitive spoke with great words, gripping one’s soul, times when it would have been easy to call him Master. But it would have frightened him.
The astronomer put his hand on the frame of his mechanism and replied in a soft voice, “There are . . . constellations.”
“What’s that, constellations?”
The astronomer looked at Bran as if from a great way off, and said presently, “The Wain, the Scorpion, the Sickle by the Milky Way in summer, those are constellations. Patterns of stars, gatherings of stars, parenthoods, semblances . . .”
“And you see those here, with this?”
Still looking at him through the weak lamplight with clear brooding eyes, the astronomer nodded, and did not speak, but pointed downward, at the rock on which they stood, the. hewn floor of the mine.
“What are they like?” Bran’s voice was hushed.
“I have only glimpsed them. Only for a moment. I have not learned the skill; it is a somewhat different skill . . . But they are there, Bran.”
Often now he was not in the stope when they came to work, and did not join them even for their meal, though they always left him a share of food. He knew the ways of the mine now better than any of them, even Bran, not only the “living” mine but the “dead” one, the abandoned workings and exploratory tunnels that ran eastward, ever deeper, toward the caves. There he was most often; and they did not follow him.
When he did appear amongst them and they talked with him, they were more timid with him, and did not laugh.
One night as they were all going back with the last cartload to the main shaft, he came to meet them, stepping suddenly out of a crosscut to their right. As always, he wore his ragged sheepskin coat, black with the clay and dirt of the tunnels. His fair hair had gone grey. His eyes were clear. “Bran,” he said, “come, I can show you now.”
“Show me what?”
“The stars. The stars beneath the rock. There’s a great constellation in the stope on the old fourth level, where the white granite cuts down through the black.”
“I know the place.”
“It’s there: underfoot, by that wall of white rock. A great shining and assembly of stars. Their radiance beats up through the darkness. They are like the faces of dancers, the eyes of angels. Come and see them, Bran!”
The miners stood there, Per and Hanno with backs braced to hold the cart from rolling: stooped men with tired, dirty faces and big hands bent and hardened by the grip of shovel and pick and sledge. They were embarrassed, compassionate, impatient.
“We’re just quitting. Off home to supper. Tomorrow,” Bran said. The astronomer looked from one face to another and said nothing.
Hanno said in his hoarse gentle voice, “Come up with us, for this once, lad. It’s dark night out, and likely raining; it’s November now; no soul will see you if you come and sit at my hearth, for once, and eat hot food, and sleep beneath a roof and not under the heavy earth all by yourself alone!”
Guennar stepped back. It was as if a light went out, as his face went into shadow. “No,” he said. “They will burn out my eyes.”
“Leave him be,” said Per, and set the heavy ore-cart moving toward the shaft.
“Look where I told you,” Guennar said to Bran. “The mine is not dead. Look with your own ey
es.”
“Aye. I’ll come with you and see. Good night!”
“Good night,” said the astronomer, and turned back to the side tunnel as they went on. He carried no lamp or candle; they saw him one moment, darkness the next.
In the morning he was not there to meet them. He did not come. Bran and Hanno sought him, idly at first, then for one whole day. They went as far down as they dared, and came at last to the entrance of the caves, and entered, calling sometimes, though in the great caverns even they, miners all their lives, dared not call aloud because of the terror of the endless echoes in the dark.
“He has gone down,” Bran said. “Down farther. That’s what he said. Go farther, you must go farther, to find the light.”
“There is no light,” Hanno whispered. “There was never light here. Not since the world’s creation.”
But Bran was an obstinate old man, with a literal and credulous mind; and Per listened to him. One day the two went to the place the astronomer had spoken of, where a great vein of hard light granite that cut down through the darker rock had been left untouched, fifty years ago, as barren stone. They retimbered the roof of the old stope where the supports had weakened, and began to dig, not into the white rock but down, beside it; the astronomer had left a mark there, a kind of chart or symbol drawn with candle-black on the stone floor. They came on silver ore a foot down, beneath the shell of quartz; and under that—all eight of them working now—the striking picks laid bare the raw silver, the veins and branches and knots and nodes shining among broken crystals in the shattered rock, like stars and gatherings of stars, depth below depth without end, the light.
A BROTHER TO DRAGONS, A COMPANION OF OWLS
This is the rejoicing city that dwelt carelessly, that said in her heart, I am, and there is none beside me: how is she become a desolation, a place for beasts to lie down in! every one that passeth by her shall hiss, and wag his hand.
Kate Wilhelm
It is late in the afternoon, a warm, hazy autumn day; the frost has already turned the leaves golden and scarlet, and the insects are quieted for the season. Although there are no fires in the city, no smokestacks sending clouds to meet clouds, the air is somehow thick and blurs the outlines of things in the distance. In the distance the buildings seem more blue than stone-colored, more grey than they are, and they have no distinct edges. Finally the canyons of the buildings and the thick air blend and there is only the grey-blue. The city is still.
In the fourth-floor apartment of one of the buildings overlooking a park, an old man sits at a table that is six feet long, covered with books and notebooks. There is a kerosene lamp on the table, not lighted at this hour. The books are Bibles, and a concordance that is a thousand pages thick. Another table abuts the work table, and it is covered also, but most of the material there is the old man’s writing. Notebooks filled, others opened, not yet completed, card files, piles of notes on yellow paper.
The old man is bent over the table, following a line of print with his finger, pursing his lips, his face rigid with concentration. He wears glasses that are not properly fitted, and now and again he pushes them onto the bridge of his nose. Occasionally he pauses in his reading and looks at the park across the street, the source of the yellow in the light. The trees at this end of the park are almost uniformly gold now. The old man thinks that one day he will study the trees and relearn their names—he knew them once—and the names of the flowers that are still blooming, having become naturalized in the park long ago. Wildflowers, that is all he knows about them. They are yellow also. The old man thinks that it is shameful that he knows so little about the trees, the flowers, the insects. They all have names, every tree its own name, every kind of grass, every kind of insect. The clouds. The kinds of soils, the rocks. And he knows none of them. Only recently has he begun to have such thoughts. He rubs his eyes; they tend to water after reading too long, and he wonders why so many of the Bibles were printed in such small type. He thinks it was to save paper, to keep the weight manageable, but that is only a guess. Perhaps it was custom. He pushes his glasses up firmly and bends over the books again.
The old man is strong, with good muscles in his legs and arms, his back strong and straight. His hair is very light, and even though it has whitened in the past three years, it looks much the same as always, except that now it has become very fine, almost like baby’s hair. It is as if his hair is wearing out before anything else. He has a beard that is soft also, not the coarse pubic hair of many beards. When the wind blows through it, it parts in unfamiliar ways, just as a girl’s long hair does, and when the wind is through rearranging it, it falls back into place easily and shows no disarray. The old man reads, and now he turns and searches among the many notebooks, finds the one he wants and draws it to him. On the cover is his name, written in beautiful script: Llewellyn Frick.
He begins to write. He is still writing when the door is flung open and another man runs in wildly, his face ashen. He is plump and soft, unfinished-looking, as if time that has carved the old man’s face has left his untouched. He is forty perhaps, dressed in a red cape that opens to reveal a blue robe. He is barefoot. He rushes to the desk and grabs the old man’s arm frantically.
“Not now, Boy,” the old man says, and pulls his arm free. He doesn’t look up. Boy has made him trail a thick line down the page and he is too irritated to show forgiveness immediately, but neither does he want to scold. Boy shakes him again and this time his insistence communicates itself and the old man looks at him.
“For God’s sake, Boy . . .” The old man stops and stands up. His voice becomes very gentle. “What is it, Boy? What happened?”
Boy gestures wildly and runs to the window, pointing. The old man follows, sees nothing on the streets below. He puts his arm about Boy’s shoulders and, holding him, says, “Calm down, Boy, and try to tell me. What is it?”
Boy has started to weep, and the old man pulls him away from the window and forces him into a chair. He is much stronger than Boy, taller, heavier. He kneels in front of Boy and says soothingly, “It’s all right, Boy. It’s all right. Take it easy.” He says it over and over until Boy is able to look at him and start to gesticulate in a way the old man can understand.
Once, many years ago, a pack of wild dogs entered the city and almost ran Boy down. He fled through the alleys, through stores, through backyards, every short cut that he knew, and they followed, yelping, driven by hunger. The old man heard them blocks from the apartment building and went out with his shotgun.
Now Boy makes the same motions he made then. They almost caught him. They were after him. The old man returns to the window. “Dogs?” He looks out and the city is quiet; the sun is very low now and the shadows fall across the streets, fill the streets. Boy runs after him and tries fiercely to pull him away from the window, shaking his head. Not dogs.
He shakes his head wildly now, and he touches the old man, touches himself, then holds his hand at waist level, then a bit higher, a bit lower. “Animals?” the old man asks. Again the wild shake. “People? Little people? Children?”
Children! The old man stares at Boy in disbelief. Children? In the city? Boy pulls at him again, to get him away from the window. The old man searches the darkening shadows and sees nothing. The city is very quiet. No wind blows. There is nothing out there to make a sound.
Children! Again and again he demands that Boy change his story. It was animals. Dogs. Wild cats. Anything but children. Boy is weeping again, and when the old man starts to light the lamp, Boy knocks it from his hands. The oil spills and makes a gleaming, dark pattern on the tile floor, a runner from the door to the center of the room. The old man stares at it.
“I’ll have to tell the others,” the old man says, but he doesn’t move. He still can’t believe there are any children in the city. He can’t believe there are any children anywhere in the country, in the world. Finally he starts to move toward the door, avoiding the oil. Boy tugs at him, holds his robe, clutches at his arm.
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br /> “Boy,” the old man says gently, “it’s all right. I have to tell everyone else, or they might make fires, put lights on, draw the children this way. Don’t you understand?” Boy’s eyes are insane with fear. He looks this way and that like an animal that smells the blood of slaughter and is helpless to communicate its terror. Suddenly he lets go the old man’s robe and darts to the door, out into the hall, and vanishes into the shadows that are impenetrable at the end of the hall.
It is not so dark outside, after all. The twilight is long at this time of year, but there is a touch of frost in the air, a hint that by morning the grass will have a white sheath, that the leaves will be silver and gold, that the late-blooming flowers will be touched and that perhaps this time they will turn brown and finally black. The old man walks through the corner of the park, and it makes little difference to him if there is light or not. For thirty-two years he has lived in that building, has walked in this park at all hours; his feet know it as well by night as by day. It is easier to walk in the park than on the city streets and sidewalks. Whole sections of roadways have caved in, and other sections are upthrust, tilting precariously. Everywhere the grass has taken hold, creeping along cracks, creating chasms and filling them. When the old man emerges from the trees, he is on the far side of a wide street from a large department store. This side of the building is almost all open. Once it was glass-fronted and very expensive; now it is Monica Auerbach’s private palace.
Inside the palace graceful columns of black marble rise out of sight. The counters have been removed and oddities now occupy the spots where the rough construction might otherwise show. A bronze Buddha from the garden shop; a cupid with a birdbath, chalklike in the dim light; a bookcase with knick-knacks on its shelves—china cups in matching saucers, a teapot, a jade bowl, owls. Monica is very fond of owls. There is something draped in tattered and brittle material that over the years has turned to a strange blue with a violet sheen. Farther back everything fades into shadows as the light fails. The old man starts up the wide, ornate stairs. On the second floor he calls her. On the third floor he finds her.