The Very Best of Fantasy & Science Fiction, Volume 1

by Gordon Van Gelder

  “Have some more wine,” Russell says.

  Russell refills their glasses with the excellent bordeaux. It’s been a first-rate meal. Wells finds the debate stimulating even when he can’t prevail; at one time that would have been enough, but as the years go on the need to prevail grows stronger in him. The times are out of joint, and when he looks around he sees desperation growing. A new world order is necessary—it’s so clear that even a fool ought to see it—but if he can’t even convince radicals like Darrow, what hope is there of gaining the acquiescence of the shareholders in the utility trusts?

  The answer is that the changes will have to be made over their objections. As Roosevelt seems prepared to do. Wells’s dinner with the President has heartened him in a way that this debate cannot negate.

  Wells brings up an item he read in the Washington Post. A lecturer for the communist party—a young Negro—was barred from speaking at the University of Virginia. Wells’s question is, was the man barred because he was a communist or because he was Negro?

  “Either condition,” Darrow says sardonically, “is fatal in Virginia.”

  “But students point out the University has allowed communists to speak on campus before, and has allowed Negroes to perform music there.”

  “They can perform, but they can’t speak,” Russell says. “This isn’t unusual. Go down to the Paradise Ballroom, not a mile from here. There’s a Negro orchestra playing there, but no Negroes are allowed inside to listen.”

  “You should go to hear them anyway,” Darrow says. “It’s Duke Ellington. Have you heard of him?”

  “I don’t get on with the titled nobility,” Wells quips.

  “Oh, this Ellington’s a noble fellow, all right, but I don’t think you’ll find him in the peerage,” Russell says.

  “He plays jazz, doesn’t he?”

  “Not like any jazz you’ve heard,” Darrow says. “It’s something totally new. You should find a place for it in one of your Utopias.”

  All three of them are for helping the colored peoples. Darrow has defended Negroes accused of capital crimes. Wells, on his first visit to America almost thirty years ago, met with Booker T. Washington and came away impressed, although he still considers the peaceable coexistence of the white and colored races problematical.

  “What are you working on now, Wells?” Russell asks. “What new improbability are you preparing to assault us with? Racial equality? Sexual liberation?”

  “I’m writing a screen treatment based on The Shape of Things to Come,” Wells says. He tells them about his screenplay, sketching out for them the future he has in his mind. An apocalyptic war, a war of unsurpassed brutality that will begin, in his film, in 1939. In this war, the creations of science will be put to the service of destruction in ways that will make the horrors of the Great War pale in comparison. Whole populations will be exterminated. But then, out of the ruins will arise the new world. The orgy of violence will purge the human race of the last vestiges of tribal thinking. Then will come the organization of the directionless and weak by the intelligent and purposeful. The new man. Cleaner, stronger, more rational. Wells can see it. He talks on, supplely, surely, late into the night. His mind is fertile with invention, still. He can see that Darrow and Russell, despite their Yankee individualism, are caught up by his vision. The future may be threatened, but it is not entirely closed.

  Friday night, back in the barracks at Fort Hunt, Kessel lies on his bunk reading the latest Wonder Stories. He’s halfway through the tale of a scientist who invents an evolution chamber that progresses him through 50,000 years of evolution in an hour, turning him into a big-brained telepathic monster. The evolved scientist is totally without emotions and wants to control the world. But his body’s atrophied. Will the hero, a young engineer, be able to stop him?

  At a plank table in the aisle a bunch of men are playing poker for cigarettes. They’re talking about women and dogs. Cole throws in his hand and comes over to sit on the next bunk. “Still reading that stuff, Jack?”

  “Don’t knock it until you’ve tried it.”

  “Are you coming into D.C. with us tomorrow? Sgt. Sauter says we can catch a ride in on one of the trucks.”

  Kessel thinks about it. Cole probably wants to borrow some money. Two days after he gets his monthly pay he’s broke. He’s always looking for a good time. Kessel spends his leave more quietly; he usually walks into Alexandria— about six miles—and sees a movie or just walks around town. Still, he would like to see more of Washington. “Okay.”

  Cole looks at the sketchbook poking out from beneath Kessel’s pillow. “Any more hot pictures?”

  Immediately Kessel regrets trusting Cole. Yet there’s not much he can say—the book is full of pictures of movie stars he’s drawn. “I’m learning to draw. And at least I don’t waste my time like the rest of you guys.”

  Cole looks serious. “You know, you’re not any better than the rest of us,” he says, not angrily. “You’re just another polack. Don’t get so high-and-mighty.”

  “Just because I want to improve myself doesn’t mean I’m high-and-mighty.”

  “Hey, Cole, are you in or out?” Turkel yells from the table.

  “Dream on, Jack,” Cole says, and returns to the game.

  Kessel tries to go back to the story, but he isn’t interested anymore. He can figure out that the hero is going to defeat the hyper-evolved scientist in the end. He folds his arms behind his head and stares at the knots in the rafters.

  It’s true, Kessel does spend a lot of time dreaming. But he has things he wants to do, and he’s not going to waste his life drinking and whoring like the rest of them.

  Kessel’s always been different. Quieter, smarter. He was always going to do something better than the rest of them; he’s well spoken, he likes to read. Even though he didn’t finish high school he reads everything: Amazing, Astounding, Wonder Stories. He believes in the future. He doesn’t want to end up trapped in some factory his whole life.

  Kessel’s parents emmigrated from Poland in 1913. Their name was Kisiel, but his got Germanized in Catholic school. For ten years the family moved from one to another middle-sized industrial town, as Joe Kisiel bounced from job to job. Springfield. Utica. Syracuse. Rochester. Kessel remembers them loading up a wagon in the middle of night with all their belongings in order to jump the rent on the run-down house in Syracuse. He remembers pulling a cart down to the Utica Club brewery, a nickel in his hand, to buy his father a pail of beer. He remembers them finally settling in the First Ward of Buffalo. The First Ward, at the foot of the Erie Canal, was an Irish neighborhood as far back as anybody could remember, and the Kisiels were the only Poles there. That’s where he developed his chameleon ability to fit in, despite the fact he wanted nothing more than to get out. But he had to protect his mother, sister and little brothers from their father’s drunken rages. When Joe Kisiel died in 1924 it was a relief, despite the fact that his son ended up supporting the family.

  For ten years Kessel has strained against the tug of that responsibility. He’s sought the free and easy feeling of the road, of places different from where he grew up, romantic places where the sun shines and he can make something entirely American of himself.

  Despite his ambitions, he’s never accomplished much. He’s been essentially a drifter, moving from job to job. Starting as a pinsetter in a bowling alley, he moved on to a flour mill. He would have stayed in the mill only he developed an allergy to the flour dust, so he became an electrician. He would have stayed an electrician except he had a fight with a boss and got blacklisted. He left Buffalo because of his father; he kept coming back because of his mother. When the Depression hit he tried to get a job in Detroit at the auto factories, but that was plain stupid in the face of the universal collapse, and he ended up working up in the peninsula as a farm hand, then as a logger. It was seasonal work, and when the season was over he was out of a job. In the winter of 1933, rather than freeze his ass off in northern Michigan, he joined the CCC
. Now he sends twenty-five of his thirty dollars a month back to his mother and sister back in Buffalo. And imagines the future.

  When he thinks about it, there are two futures. The first one is the one from the magazines and books. Bright, slick, easy. We, looking on it, can see it to be the fifteen-cent utopianism of Hugo Gernsback’s Science and Mechanics, that flourished in the midst of the Depression. A degradation of the marvelous inventions that made Wells his early reputation, minus the social theorizing that drove Wells’s technological speculations. The common man’s boosterism. There’s money to be made telling people like Jack Kessel about the wonderful world of the future.

  The second future is Kessel’s own. That one’s a lot harder to see. It contains work. A good job, doing something he likes, using his skills. Not working for another man, but making something that would be useful for others. Building something for the future. And a woman, a gentle woman, for his wife. Not some cheap dancehall queen.

  So when Kessel saw H. G. Wells in person, that meant something to him. He’s had his doubts. He’s twenty-nine years old, not a kid anymore. If he’s ever going to get anywhere, it’s going to have to start happening soon. He has the feeling that something significant is going to happen to him. Wells is a man who sees the future. He moves in that bright world where things make sense. He represents something that Kessel wants.

  But the last thing Kessel wants is to end up back in Buffalo.

  He pulls the sketchbook, the sketchbook he was to show me twenty years later, from under his pillow. He turns past drawings of movie stars: Jean Harlow, Mae West, Carole Lombard—the beautiful, unreachable faces of his longing—and of natural scenes: rivers, forests, birds—to a blank page. The page is as empty as the future, waiting for him to write upon it. He lets his imagination soar. He envisions an eagle, gliding high above the mountains of the west that he has never seen, but that he knows he will visit some day. The eagle is America; it is his own dreams. He begins to draw.

  Kessel did not know that Wells’s life has not worked out as well as he planned. At that moment Wells is pining after the Russian emigré Moura Budberg, once Maxim Gorky’s secretary, with whom Wells has been carrying on an off-and-on affair since 1920. His wife of thirty years, Amy Catherine “Jane” Wells, died in 1927. Since that time Wells has been adrift, alternating spells of furious pamphleteering with listless periods of suicidal depression. Meanwhile, all London is gossiping about the recent attack published in Time and Tide by his vengeful ex-lover Odette Keun. Have his mistakes followed him across the Atlantic to undermine his purpose? Does Darrow think him a jumped-up cockney? A moment of doubt overwhelms him. In the end, the future depends as much on the open-mindedness of men like Darrow as it does on a reorganization of society. What good is a guild of samurai if no one arises to take the job?

  Wells doesn’t like the trend of these thoughts. If human nature lets him down, then his whole life has been a waste.

  But he’s seen the President. He’s seen those workers on the road. Those men climbing the trees risk their lives without complaining, for minimal pay. It’s easy to think of them as stupid or desperate or simply young, but it’s also possible to give them credit for dedication to their work. They don’t seem to be ridden by the desire to grub and clutch that capitalism rewards; if you look at it properly that may be the explanation for their ending up wards of the state. And is Wells any better? If he hadn’t got an education he would have ended up a miserable draper’s assistant.

  Wells is due to leave for New York Sunday. Saturday night finds him sitting in his room, trying to write, after a solitary dinner in the New Willard. Another bottle of wine, or his age, has stirred something in Wells, and despite his rationalizations he finds himself near despair. Moura has rejected him. He needs the soft, supportive embrace of a lover, but instead he has this stuffy hotel room in a heat wave.

  He remembers writing The Time Machine, he and Jane living in rented rooms in Sevenoaks with her ailing mother, worried about money, about whether the landlady would put them out. In the drawer of the dresser was a writ from the court that refused to grant him a divorce from his wife Isabel. He remembers a warm night, late in August—much like this one—sitting up late after Jane and her mother went to bed, writing at the round table before the open window, under the light of a paraffin lamp. One part of his mind was caught up in the rush of creation, burning, following the Time Traveler back to the sphinx, pursued by the Morlocks, only to discover that his machine is gone and he is trapped without escape from his desperate circumstances. At the same moment he could hear the landlady, out in the garden, fully aware that he could hear her, complaining to the neighbor about his and Jane’s scandalous habits. On the one side, the petty conventions of a crabbed world; on the other, in his mind—the future, their peril and hope. Moths fluttering through the window beat themselves against the lampshade and fell onto the manuscript; he brushed them away unconsciously and continued, furiously, in a white heat. The time traveler, battered and hungry, returning from the future with a warning, and a flower.

  He opens the hotel windows all the way but the curtains aren’t stirred by a breath of air. Below, in the street, he hears the sound of traffic, and music. He decides to send a telegram to Moura, but after several false starts he finds he has nothing to say. Why has she refused to marry him? Maybe he is finally too old, and the magnetism of sex or power or intellect that has drawn women to him for forty years has finally all been squandered. The prospect of spending the last years remaining to him alone fills him with dread.

  He turns on the radio, gets successive band shows: Morton Downey. Fats Waller. Jazz. Paging through the newspaper, he comes across an advertisement for the Ellington orchestra Darrow mentioned; it’s at the ballroom just down the block. But the thought of a smoky room doesn’t appeal to him. He considers the cinema. He has never been much for the “movies.” Though he thinks them an unrivaled opportunity to educate, that promise has never been properly seized—something he hopes to do in Things to Come. The newspaper reveals an uninspiring selection: 20 Million Sweethearts, a musical at the Earle, The Black Cat, with Boris Karloff and Bela Lugosi at the Rialto, and Tarzan and His Mate at the Palace. To these Americans he is the equivalent of this hack, Edgar Rice Burroughs. The books I read as a child, that fired my father’s imagination and my own, Wells considers his frivolous apprentice work. His serious work is discounted. His ideas mean nothing.

  Wells decides to try the Tarzan movie. He dresses for the sultry weather— Washington in May is like high summer in London—and goes down to the lobby. He checks his street guide and takes the streetcar to the Palace Theater, where he buys an orchestra seat, for twenty-five cents, to see Tarzan and His Mate.

  It is a perfectly wretched movie, comprised wholly of romantic fantasy, melodrama and sexual innuendo. The dramatic leads perform with wooden idiocy surpassed only by the idiocy of the screenplay. Wells is attracted by the undeniable charms of the young heroine, Maureen O’Sullivan, but the film is devoid of intellectual content. Thinking of the audience at which such a farrago must be aimed depresses him. This is art as fodder. Yet the theater is filled, and the people are held in rapt attention. This only depresses Wells more. If these citizens are the future of America, then the future of America is dim.

  An hour into the film the antics of an anthropomorphized chimpanzee, a scene of transcendent stupidity which nevertheless sends the audience into gales of laughter, drives Wells from the theater. It is still mid-evening. He wanders down the avenue of theaters, restaurants and clubs. On the sidewalk are beggars, ignored by the passersby. In an alley behind a hotel Wells spots a woman and child picking through the ashcans beside the restaurant kitchen.

  Unexpectedly, he comes upon the marquee announcing “Duke Ellington and his Orchestra.” From within the open doors of the ballroom wafts the sound of jazz. Impulsively, Wells buys a ticket and goes in.

  Kessel and his cronies have spent the day walking around the mall, which the WPA is re
-landscaping. They’ve seen the Lincoln Memorial, the Capitol, the Washington Monument, the Smithsonian, the White House. Kessel has his picture taken in front of a statue of a soldier—a photo I have sitting on my desk. I’ve studied it many times. He looks forthrightly into the camera, faintly smiling. His face is confident, unlined.

  When night comes they hit the bars. Prohibition was lifted only last year and the novelty has not yet worn off. The younger men get plastered, but Kessel finds himself uninterested in getting drunk. A couple of them set their minds on women and head for the Gayety Burlesque; Cole, Kessel and Turkel end up in the Paradise Ballroom listening to Duke Ellington.

  They have a couple of drinks, ask some girls to dance. Kessel dances with a short girl with a southern accent who refuses to look him in the eyes. After thanking her he returns to the others at the bar. He sips his beer. “Not so lucky, Jack?” Cole says.

  “She doesn’t like a tall man,” Turkel says.

  Kessel wonders why Turkel came along. Turkel is always complaining about “niggers,” and his only comment on the Ellington band so far has been to complain about how a bunch of jigs can make a living playing jungle music while white men sleep in barracks and eat grits three times a day. Kessel’s got nothing against the colored, and he likes the music, though it’s not exactly the kind of jazz he’s used to. It doesn’t sound much like Dixieland. It’s darker, bigger, more dangerous. Ellington, resplendent in tie and tails, looks like he’s enjoying himself up there at his piano, knocking out minimal solos while the orchestra plays cool and low.

  Turning from them to look across the tables, Kessel sees a little man sitting alone beside the dance floor, watching the young couples sway to the music. To his astonishment he recognizes Wells. He’s been given another chance. Hesitating only a moment, Kessel abandons his friends, goes over to the table and introduces himself.