It was blindness-not continuous, but a series of swift, widening ripples between which he could catch glimpses of the other faces in the room, strained and astonished in the flickering light from the city.
The ripples came faster. There was only a blink of sight between them now, and the blinks grew briefer and briefer, the intervals of darkness more broad.
From downstairs the laughter rose again up the stairwell. Oliver thought he knew the voice. He opened his mouth to speak, but a door nearby slammed open before he could find his tongue, and Omerie shouted down the stairs.
“Hollia?” he roared above the roaring of the city. “Hollia, is that you?”
She laughed again, triumphantly. “I warned you!” her hoarse, harsh voice called. “Now come out in the street with the rest of us if you want to see any more!”
“Hollia!” Omerie shouted desperately. “Stop this or-”
The laughter was derisive. “What will you do, Omerie? This time I hid it too well-come down in the street if you want to watch the rest.”
There was angry silence in the house. Oliver could feel Kleph’s quick, excited breathing light upon his cheek, feel the soft motions of her body in his arms. He tried consciously to make the moment last, stretch it out to infinity. Everything had happened too swiftly to impress very clearly on his mind anything except what he could touch and hold. He held her in an embrace made consciously light, though he wanted to clasp her in a tight, despairing grip, because he was sure this was the last embrace they would ever share.
The eye-straining blinks of light and blindness went on. From far away below the roar of the burning city rolled on, threaded together by the long, looped cadences of the sirens that linked all sounds into one.
Then in the bewildering dark another voice sounded from the hall downstairs. A man’s voice, very deep, very melodious, saying:
“What is this? What are you doing here? Hollia-is that you?”
Oliver felt Kleph stiffen in his arms. She caught her breath, but she said nothing in the instant while heavy feet began to mount the stairs, coming up with a solid, confident tread that shook the old house to each step.
Then Kleph thrust herself hard out of Oliver’s arms. He heard her high, sweet, excited voice crying, “Cenbe! Cenbe!” and she ran to meet the newcomer through the waves of dark and light that swept the shaken house.
Oliver staggered a little and felt a chair seat catching the back of his legs. He sank into it and lifted to his lips the cup he still held. Its steam was warm and moist in his face, though he could scarcely make out the shape of the rim.
He lifted it with both hands and drank.
When he opened his eyes it was quite dark in the room. Also it was silent except for a thin, melodious humming almost below the threshold of sound. Oliver struggled with the memory of a monstrous nightmare. He put it resolutely out of his mind and sat up, feeling an unfamiliar bed creak and sway under him.
This was Kleph’s room. But no-Kleph’s no longer. Her shining hangings were gone from the walls, her white resilient rug, her pictures. The room looked as it had looked before she came, except for one thing.
In the far corner was a table-a block of translucent stuff-out of which light poured softly. A man sat on a low stool before it, leaning forward, his heavy shoulders outlined against the glow. He wore earphones and he was making quick, erratic notes upon a pad on his knee, swaying a little as if to the tune of unheard music.
The curtains were drawn, but from beyond them came a distant, muffled roaring that Oliver remembered from his nightmare. He put a hand to his face, aware of a feverish warmth and a dipping of the room before his eyes. His head ached, and there was a deep malaise in every limb and nerve.
As the bed creaked, the man in the corner turned, sliding the earphones down like a collar. He had a strong, sensitive face above a dark beard, trimmed short. Oliver had never seen him before, but he had that air Oliver knew so well by now, of remoteness which was the knowledge of time itself lying like a gulf between them.
When he spoke his deep voice was impersonally kind.
“You had too much euphoriac, Wilson,” he said, aloofly sympathetic. “You slept a long while.”
“How long?” Oliver’s throat felt sticky when he spoke.
The man did not answer. Oliver shook his head experimentally. He said, “I thought Kleph said you don’t get hangovers from-” Then another thought interrupted the first, and he said quickly, “Where is Kleph?” He looked confusedly toward the door.
“They should be in Rome by now. Watching Charlemagne’s coronation at St. Peter’s on Christmas Day a thousand years from here.”
That was not a thought Oliver could grasp clearly. His aching brain sheered away from it; he found thinking at all was strangely difficult. Staring at the man, he traced an idea painfully to its conclusion.
“So they’ve gone on-but you stayed behind? Why? You…you’re Cenbe? I heard your-symphonia, Kieph called it.”
“You heard part of it. I have not finished yet. I needed-this.” Cenbe inclined his head toward the curtains beyond which the subdued roaring still went on.
“You needed-the meteor?” The knowledge worked painfully through his dulled brain until it seemed to strike some area still untouched by the aching, an area still alive to implication. “The meteor? But-”
There was a power implicit in Cenbe’s raised hand that seemed to push Oliver down upon the bed again. Cenbe said patiently, “The worst of it is past now, for a while. Forget if you can. That was days ago. I said you were asleep for some time. I let you rest. I knew this house would be safe-from the fire at least.”
“Then-something more’s to come?” Oliver only mumbled his question. He was not sure he wanted an answer. He had been curious so long, and now that knowledge lay almost within reach, something about his brain seemed to refuse to listen. Perhaps this weariness, this feverish, dizzy feeling would pass as the effect of the euphoriac wore off.
Cenbe’s voice ran on smoothly, soothingly, almost as if Cenbe too did not want him to think. It was easiest to lie here and listen.
“I am a composer,” Cenbe was saying. “I happen to be interested in interpreting certain forms of disaster into my own terms. That is why I stayed on. The others were dilettantes. They came for the May weather and the spectacle. The aftermath-well why should they wait for that? As for myself-I suppose I am a connoisseur. I find the aftermath rather fascinating. And I need it. I need to study it at first hand, for my own purposes.”
His eyes dwelt upon Oliver for an instant very keenly, like a physician’s eyes, impersonal and observing. Absently he reached for his stylus and the note pad. And as he moved, Oliver saw a familiar mark on the underside of the thick, tanned wrist.
“Kieph had that scar, too,” he heard himself whisper. “And the others.”
Cenbe nodded. “Inoculation. It was necessary, under the circumstances. We did not want disease to spread in our own time-world.”
“Disease?”
Cenbe shrugged. “You would not recognize the name.”
“But, if you can inoculate against disease-” Oliver thrust himself up on an aching arm. He had a half-grasp upon a thought now which he did not want to let go. Effort seemed to make the ideas come more clearly through his mounting confusion. With enormous effort he went on.
“I’m getting it now,” he said. “Wait. I’ve been trying to work this out. You can change history? You can! I know you can. Kleph said she had to promise not to interfere. You all had to promise. Does that mean you really could change your own past-our time?”
Cenbe laid down his pad again. He looked at Oliver thoughtfully, a dark, intent look under heavy brows. “Yes,” he said. “Yes, the past can be changed, but not easily. And it changes the future, too, necessarily. The lines of probability are switched into new patterns-but it is extremely difficult, and it has never been allowed. The physiotemporal course tends to slide back to its norm, always. That is why it is so hard to force any
alteration.” He shrugged. “A theoretical science. We do not change history, Wilson. If we changed our past, our present would be altered, too. And our time-world is entirely to our liking. There may be a few malcontents there, but they are not allowed the privilege of temporal travel.”
Oliver spoke louder against the roaring from beyond the windows. “But you’ve got the power! You could alter history, if you wanted to-wipe out all the pain and suffering and tragedy-”
“All of that passed away long ago,” Cenbe said.
“Not-now! Not-this!”
Cenbe looked at him enigmatically for a while. Then-”This, too,” he said.
And suddenly Oliver realized from across what distances Cenbe was watching him. A vast distance, as time is measured. Cenbe was a composer and a genius, and necessarily strongly empathic, but his psychic locus was very far away in time. The dying city outside, the whole world of now was not quite real to Cenbe, falling short of reality because of that basic variance in time. It was merely one of the building blocks that had gone to support the edifice on which Cenbe’s culture stood in a misty, unknown, terrible future.
It seemed terrible to Oliver now. Even Kleph-all of them had been touched with a pettiness, the faculty that had enabled Hollia to concentrate on her malicious, small schemes to acquire a ringside seat while the meteor thundered in toward Earth’s atmosphere. They were all dilettantes, Kleph and Omerie and the other. They toured time, but only as onlookers. Were they bored-sated-with their normal existence?
Not sated enough to wish change, basically. Their own time-world was a fulfilled womb, a perfection made manifest for their needs. They dared not change the past-they could not risk flawing their own present.
Revulsion shook him. Remembering the touch of Kleph’s lips, he felt a sour sickness on his tongue. Alluring she had been; he knew that too well. But the aftermath- There was something about this race from the future. He had felt it dimly at first, before Kleph’s nearness had drowned caution and buffered his sensibilities. Time traveling purely as an escape mechanism seemed almost blasphemous. A race with such power- Kleph-leaving him for the barbaric, splendid coronation at Rome a thousand years ago-how had she seen him? Not as a living, breathing man. He knew that, very certainly. Kleph’s race were spectators.
But he read more than casual interest in Cenbe’s eyes now. There was an avidity there, a bright, fascinated probing. The man had replaced his earphones-he was different from the others. He was a connoisseur. After the vintage season came the aftermath-and Cenbe.
Cenbe watched and waited, light flickering softly in the translucent block before him, his fingers poised over the note pad. The ultimate connoisseur waited to savor the rarities that no non-gourmet could appreciate.
Those thin, distant rhythms of sound that was almost music began to be audible again above the noises of the distant fire. Listening, remembering, Oliver could very nearly catch the pattern of the symphonia as he had heard it, all intermingled with the flash of changing faces and the rank upon rank of the dying- He lay back on the bed letting the room swirl away into the darkness behind his closed and aching lids. The ache was implicit in every cell of his body, almost a second ego taking possession and driving him out of himself, a strong, sure ego taking over as he himself let go.
Why, he wondered dully, should Kleph have lied? She had said there was no aftermath to the drink she had given him. No aftermath-and yet this painful possession was strong enough to edge him out of his own body.
Kleph had not lied. It was no aftermath to drink. He knew that-but the knowledge no longer touched his brain or his body. He lay still, giving them up to the power of the illness which was aftermath to something far stronger than the strongest drink. The illness that had no name-yet.
Cenbe’s new symphonia was a crowning triumph. It had its premiere from Antares Hall, and the applause was an ovation. History itself, of course, was the artist-opening with the meteor that forecast the great plagues of the fourteenth century and closing with the climax Cenbe had caught on the threshold of modem times. But only Cenbe could have interpreted it with such subtle power.
Critics spoke of the masterly way in which he had chosen the face of the Stuart king as a recurrent motif against the montage of emotion and sound and movement. But there were other faces, fading through the great sweep of the composition, which helped to build up to the tremendous climax. One face in particular, one moment that the audience absorbed greedily. A moment in which one man’s face loomed huge in the screen, every feature clear. Cenbe had never caught an emotional crisis so effectively, the critics agreed. You could almost read the man’s eyes.
After Cenbe had left, he lay motionless for a long while. He was thinking feverishly- I’ve got to find some way to tell people. If I’d known in advance, maybe something could have been done. We’d have forced them to tell us how to change the probabilities. We could have evacuated the city.
If I could leave a message- Maybe not for today’s people. But later. They visit all through time.
If they could be recognized and caught somewhere, sometime, and made to change destiny- It wasn’t easy to stand up. The room kept tilting. But he managed it. He found pencil and paper and through the swaying of the shadows he wrote down what he could. Enough. Enough to warn, enough to save.
He put the sheets on the table, in plain sight, and weighted them down before he stumbled back to bed through closing darkness.
The house was dynamited six days later, part of the futile attempt to halt the relentless spread of the Blue Death.
A. E. VAN VOGT
1912 – 2000
A.E. van Vogt moved to the US in 1944, shortly after establishing his name with a flood of material in Astounding Science Fiction magazine. After his conversion to Dianetics in 1950, he became virtually silent until the early 1960s, when a smaller spate of new material came from his pen.
While van Vogt catered to the pulp press (from 1939 to 1947 he published at least 35 stories in Astounding Science Fiction alone), he simultaneously intensified the emotional impact and complexity of the stories it would bear. Although his prose used crude, dark colors, it nonetheless conveyed a striking sense of wonder with dreamlike conviction, and his work consequently earned him a reputation as a master of intricate, metaphysical space opera.
Van Vogt also became well known for abrupt complications of plot. Though often illogical, these sudden shifts of perspective, rationale, and scale are best considered similar to those of a dream. Grippingly void of constraints, the resulting "hard science fiction dreams" have convincingly haunted generations of children and adolescents. Nonetheless, critics have tended to treat the typical van Vogt tale as a failed effort at hard science fiction.
Consequently, stories others have written in the van Vogt mode — including ones by Philip K. Dick, Charles L. Harness and Larry Niven — have been described as "improvements" on the original model. In some ways, of course, these writers and their works have significantly rationalized van Vogt's convulsive shuffling and reshuffling of storylines. But at their heart, van Vogt's space operas remain enacted dreams, with no dependence upon misunderstood science, cosmography, or technology. As such, there is no "improving" van Vogt.
Home of the Gods, by A. E. van Vogt
At first the land below was a shadow seen through mist. As the three spaceships of Lord Clane Linn's expedition settled through the two thousand mile atmosphere, the vagueness went out of the scene. Mountains looking like maps rather than territories took form. The vast sea to the north sank beyond the far horizon of swamps and marshes, hills and forests. The reality grew wilder and wilder, but the pit was directly ahead now, an enormous black hole on a long narrow plain.
The ships settled to the ground on a green meadow half a mile from the nearest edge of the pit, which lay to the northeast. Some six hundred men and women, three hundred of them slaves, emerged from the vessels, and a vast amount of equipment was unloaded. By nightfall habitations had been erected for Clane and
the three slave women who attended him, for two knights and for three temple scientists and five scholars not connected with a religious organization. In addition a corral had been built for the slaves, and the two companies of soldiers were encamped in a half circle around the main camp.
Sentries were posted, and the spaceships withdrew to a height of about five hundred feet. All night long, a score of fires, tended by trusted slaves, brightened the darkness. Dawn came uneventfully, and slowly the camp took up the activities of a new day. Clane did not remain to direct it. Immediately after breakfast, horses were saddles; and he and twenty-five men, including a dozen armed soldiers, set out for the nearby home of the gods.
They were all rank unbelievers, but they had proceeded only a few hundred yards when Clane noticed that one of the riders was as pale as lead. He reined up beside him. "Breakfast upset you?" he asked gently. "Better go back to camp and rest today."
Most of those who were destined to continue watched the lucky man trot off out of sight into the brush.
The evenness of the land began to break. Gashes opened in the earth at their feet, and ran off at a slant towards the pit, which was still not visible beyond the trees. Straight were those gashes, too straight; as if long ago irresistible objects had hurtled up out of the pit each at a different angle, each tearing the intervening earth as it darted up out of the hell below.
Clane had a theory about the pits. Atomic warfare by an immeasurably superior civilization. Atomic bombs that set up a reaction in the ground where they landed, and only gradually wore themselves out in the resisting soil, concrete and steel of vast cities. For centuries the remnants roiled and flared with deadly activity. How long? No one knew. He had an idea that if star maps of the period could be located an estimate of the time gap might be possible. The period involved must be very great, for several men that he knew had visited pits on Earth without ill effects.
Anthology of Speculative Fiction, Volume One Page 142