The result is a three-dimensional work composed of hard shells of paint on several levels below the exterior shell. The shells are of varying thicknesses and all are so thin that light slips through the upper to the inner shell when the painting is turned at angles. Parts of the shells are simply reflectors to intensify the light so that the inner images may be more visible.
When being shown, the painting is on a self-moving pedestal which turns the painting 12 degrees to the left from the center and then 12 degrees to the right from the center.
The fido tocsins. Chib, cursing, thinks of disconnecting it. At least, it's not the intercom with his mother calling hysterically. Not yet, anyway. She'll call soon enough if she loses heavily at poker.
Open O sesame!
SING, O MEWS, OF UNCLE SAM
Grandpa writes in his _Private Ejaculations_: Twenty-five years after I fled with twenty billion dollars and then supposedly died of a heart attack, Falco Accipiter is on my trail again. The IRB detective who named himself Falcon Hawk when he entered his profession. What an egotist! Yet, he is as sharp-eyed and relentless as a bird of prey, and I would shiver if I were not too old to be frightened by mere human beings. Who loosed the jesses and hood? How did he pick up the old and cold scent?
Accipiter's face is that of an overly suspicious peregrine that tries to look everywhere while it soars, that peers up its own anus to make sure that no duck has taken refuge there. The pale blue eyes fling glances like knives shot out of a shirtsleeve and hurled with a twist of the wrist. They scan all with sherlockian intake of minute and significant detail. His head turns back and forth, ears twitching, nostrils expanding and collapsing, all radar and sonar and odar.
"Mr. Winnegan, I'm sorry to call so early. Did I get you out of bed?"
"It's obvious you didn't!" Chib says. "Don't bother to introduce yourself. I know you. You've been shadowing me for three days."
Accipiter does not redden. Master of control, he does all his blushing in the depths of his bowels, where no one can see. "If you know me, perhaps you can tell me why I'm calling you?"
"Would I be dumbshit enough to tell you?"
"Mr. Winnegan, I'd like to talk to you about your great-great-grandfather."
"He's been dead for twenty-five years!" Chib cries. "Forget him. And don't bother me. Don't try for a search warrant. No judge would give you one. A man's home is his hassle ... I mean castle."
He thinks of Mama and what the day is going to be like unless he gets out soon. But he has to finish the painting.
"Fade off, Accipiter," Chib says. "I think I'll report you to the BPHR. I'm sure you got a fido inside that silly-looking hat of yours."
Accipiter's face is as smooth and unmoving as an alabaster carving of the falcon-god Horus. He may have a little gas bulging his intestines. If so, he slips it out unnoticed.
"Very well, Mr. Winnegan. But you're not getting rid of me that easily. After all ..."
"Fade out!"
The intercom whistles thrice. What I tell you three times is Grandpa. "I was eavesdropping," says the 120-year-old voice, hollow and deep as an echo from a Pharaoh's tomb. "I want to see you before you leave. That is, if you can spare the Ancient of Daze a few minutes."
"Always, Grandpa," Chib says, thinking of how much he loves the old man. "You need any food?"
"Yes, and for the mind, too."
_Der Tag_. _Dies Irae_. _Gцtterdammerung_. Armageddon. Things are closing in. Make-or-break day. Go-no-go time. All these calls and a feeling of more to come. What will the end of the day bring?
THE TROCHE SUN SLIPS INTO THE SORE THROAT OF NIGHT
--from Omar Runic
Chib walks towards the convex door, which rolls into the interstices between the walls. The focus of the house is the oval family room. In the first quadrant, going clockwise, is the kitchen, separated from the family room by six-meter-high accordion screens, painted with scenes from Egyptian tombs by Chib, his too subtle comment on modern food. Seven slim pillars around the family room mark the borders of room and corridor. Between the pillars are more tall accordion screens, painted by Chib during his Amerind mythology phase.
The corridor is also oval-shaped; every room in the house opens onto it. There are seven rooms, six bedroom-workroom-study-toilet-shower combinations. The seventh is a storeroom.
Little eggs within bigger eggs within great eggs within a megamonolith on a planetary pear within an ovoid universe, the latest cosmogony indicating that infinity has the form of a hen's fruit. God broods over the abyss and cackles every trillion years or so.
Chib cuts across the hall, passes between two pillars, carved by him into nymphet caryatids, and enters the family room. His mother looks sidewise at her son, who she thinks is rapidly approaching insanity if he has not already overshot his mark. It's partly her fault; she shouldn't have gotten disgusted and in a moment of wackiness called It off. Now, she's fat and ugly, oh, God, so fat and ugly. She can't reasonably or even unreasonably hope to start up again.
It's only natural, she keeps telling herself, sighing, resentful, teary, that he's abandoned the love of his mother for the strange, firm, shapely delights of young women. But to give them up, too? He's not a fairy. He quit all that when he was thirteen. So what's the reason for his chastity? He isn't in love with the fornixator, either, which she would understand, even if she did not approve.
Oh, God, where did I go wrong? And then, There's nothing wrong with me. He's going crazy like his father -- Raleigh Renaissance, I think his name was -- and his aunt and his great-great-grandfather. It's all that painting and those radicals, the Young Radishes, he runs around with. He's too artistic, too sensitive. Oh, God, if something happens to my little boy, I'll have to go to Egypt.
Chib knows her thoughts since she's voiced them so many times and is not capable of having new ones. He passes the round table without a word. The knights and ladies of the canned Camelot see him through a beery veil.
In the kitchen, he opens an oval door in the wall. He removes a tray with food in covered dishes and cups, all wrapped in plastic.
"Aren't you going to eat with us?"
"Don't whine, Mama," he says and goes back to his room to pick up some cigars for his Grandpa. The door, detecting, amplifying, and transmitting the shifting but recognizable eidolon of epidermal electrical fields to the activating mechanism, balks. Chib is too upset. Magnetic maelstroms rage over his skin and distort the spectral configuration. The door half-rolls out, rolls in, changes its mind again, rolls out, rolls in.
Chib kicks the door and it becomes completely blocked. He decides he'll have a video or vocal sesame put in. Trouble is, he's short of units and coupons and can't buy the materials. He shrugs and walks along the curving, one-walled hall and stops in front of Grandpa's door, hidden from view of those in the living room by the kitchen screens.
"For he sang of peace and freedom,
Sang of beauty, love, and longing;
Sang of death, and life undying
In the Islands of the Blessed,
In the kingdom of Ponemah,
In the land of the Hereafter.
Very dear to Hiawatha
Was the gentle Chibiabos."
Chib chants the passwords; the door rolls back.
Light glares out, a yellowish red-tinged light that is Grandpa's own creation. Looking into the convex oval door is like looking into the lens of a madman's eyeball. Grandpa, in the middle of the room, has a white beard falling to midthigh and white hair cataracting to just below the back of his knees. Although beard and headhair conceal his nakedness, and he is not out in public, he wears a pair of shorts. Grandpa is somewhat old-fashioned, forgivable in a man of twelve decadencies.
Like Rex Luscus, he is one-eyed. He smiles with his own teeth, grown from buds transplanted thirty years ago. A big green cigar sticks out of one corner of his full red mouth. His nose is broad and smeared as if time had stepped upon it with a heavy foot. His forehead and cheeks are broad, perhaps due to a shot
of Ojibway blood in his veins, though he was born Finnegan and even sweats celtically, giving off an aroma of whiskey. He holds his head high, and the blue-gray eye is like a pool at the bottom of a prediluvian pothole, remnant of a melted glacier.
All in all, Grandpa's face is Odin's as he returns from the Well of Mimir, wondering if he paid too great a price. Or it is the face of the windbeaten, sandblown Sphinx of Gizeh.
"Forty centuries of hysteria look down upon you, to paraphrase Napoleon," Grandpa says. "The rockhead of the ages. _What, then, is Man?_ sayeth the New Sphinx, Edipus having resolved the question of the Old Sphinx and settling nothing because She had already delivered another of her kind, a smartass kid with a question nobody's been able to answer yet. And perhaps just as well it can't be."
"You talk funny," Chib says. "But I like it."
He grins at Grandpa, loving him.
"You sneak into here every day, not so much from love for me as to gain knowledge and insight. I have seen all, heard everything, and thought more than a little. I voyaged much before I took refuge in this room a quarter of a century ago. Yet confinement here has been the greatest Odyssey of all.
THE ANCIENT MARINATOR
I call myself. A marinade of wisdom steeped in the brine of over-salted cynicism and too long a life."
"You smile so, you must have just had a woman," Chib teases.
"No, my boy. I lost the tension in my ramrod thirty years ago. And I thank God for that, since it removes from me the temptation of fornication, not to mention masturbation. However, I have other energies left, hence, scope for other sins, and these are even more serious.
"Aside from the sin of sexual commission, which paradoxically involves the sin of sexual emission, I had other reasons for not asking that Old Black Magician Science for shots to starch me out again. I was too old for young girls to be attracted to me for anything but money. And I was too much a poet, a lover of beauty, to take on the wrinkled blisters of my generation or several just before mine.
"So now you see, my son. My clapper swings limberly in the bell of my sex. Ding, dong, ding, dong. A lot of dong but not much ding."
Grandpa laughs deeply, a lion's roar with a spray of doves.
"I am but the mouthpiece of the ancients, a shyster pleading for long-dead clients. Come not to bury but to praise and forced by my sense of fairness to admit the faults of the past, too. I'm a queer crabbed old man, pent like Merlin in his tree trunk. Samolxis, the Thracian bear god, hibernating in his cave. The Last of the Seven Sleepers."
Grandpa goes to the slender plastic tube depending from the ceiling and pulls down the folding handles of the eyepiece.
"Accipiter is hovering outside our house. He smells something rotten in Beverly Hills, level 14. Could it be that Win-again Winnegan isn't dead? Uncle Sam is like a diplodocus kicked in the ass. It takes twenty-five years for the message to reach its brain."
Tears appear in Chib's eyes. He says, "Oh, God, Grandpa, I don't want anything to happen to you."
"What can happen to a 120-year-old man besides failure of brain or kidneys?"
"With all due respect, Grandpa," Chib says, "you do rattle on."
"Call me Id's mill," Grandpa says. "The flour it yields is baked in the strange oven of my ego -- or half-baked, if you please."
Chib grins through his tears and says, "They taught me at school that puns are cheap and vulgar."
"What's good enough for Homer, Aristophanes, Rabelais, and Shakespeare is good enough for me. By the way, speaking of cheap and vulgar, I met your mother in the hall last night, before the poker party started. I was just leaving the kitchen with a bottle of booze. She almost faulted. But she recovered fast and pretended not to see me. Maybe she did think she'd seen a ghost. I doubt it. She'd have been blabbing all over town about it."
"She may have told her doctor," Chib says. "She saw you several weeks ago, remember? She may have mentioned it while she was bitching about her so-called dizzy spells and hallucinations."
"And the old sawbones, knowing the family history, called the IRB. Maybe."
Chib looks through the periscope's eyepiece. He rotates it and turns the knobs on the handle-ends to raise and lower the cyclops on the end of the tube outside. Accipiter is stalking around the aggregate of seven eggs, each on the end of a broad thin curved branchlike walk projecting from the central pedestal. Accipiter goes up the steps of a branch to the door of Mrs. Applebaum's. The door opens.
"He must have caught her away from the fornixator," Chib says. "And she must be lonely; she's not talking to him over fido. My God, she's fatter than Mama!"
"Why not?" Grandpa says. "Mr. and Mrs. Everyman sit on their asses all day, drink, eat, and watch fido, and their brains run to mud and their bodies to sludge. Caesar would have had no trouble surrounding himself with fat friends these days. You ate, too, Brutus?"
Grandpa's comment, however, should not apply to Mrs. Applebaum. She has a hole in her head, and people addicted to fornixation seldom get fat. They sit or lie all day and part of the night, the needle in the fornix area of the brain delivering a series of minute electrical jolts. Indescribable ecstasy floods through their bodies with every impulse, a delight far surpassing any of food, drink, or sex. It's illegal, but the government never bothers a user unless it wants to get him for something else, since a fornic rarely has children. Twenty per cent of LA have had holes drilled in their heads and tiny shafts inserted for access of the needle. Five per cent are addicted; they waste away, seldom eating, their distended bladders spilling poisons into the bloodstream.
Chib says, "My brother and sister must have seen you sometimes when you were sneaking out to mass. Could they ... ?"
"They think I'm a ghost, too. In this day and age! Still, maybe it's a good sign that they can believe in something, even a spook."
"You better stop sneaking out to church."
"The Church, and you, are the only things that keep me going. It was a sad day, though, when you told me you couldn't believe. You would have made a good priest -- with faults, of course -- and I could have had private mass and confession in this room."
Chib says nothing. He's gone to instruction and observed services just to please Grandpa. The church was an egg-shaped seashell which, held to the ear, gave only the distant roar of God receding like an ebb tide.
THERE ARE UNIVERSES BEGGING FOR GODS
yet He hangs around this one looking for work.
--from Grandpa's Ms.
Grandpa takes over the eyepiece. He laughs. "The Internal Revenue Bureau! I thought it'd been disbanded! Who the hell has an income big enough to report on any more? Do you suppose it's still active just because of me? Could be."
He calls Chib back to the scope, directed towards the center of Beverly Hills. Chib has a lane of vision between the seven-egged clutches on the branched pedestals. He can see part of the central plaza, the giant ovoids of the city hall, the federal bureaus, the Folk Center, part of the massive spiral on which set the houses of worship, and the dora (from pandora) where those on the purple wage get their goods and those with extra income get their goodies. One end of the big artificial lake is visible; boats and canoes sail on it and people fish.
The irradiated plastic dome that enfolds the clutches of Beverly Hills is sky-blue. The electronic sun climbs towards the zenith. There are a few white genuine-looking images of clouds and even a V of geese migrating south, their honks coming down faintly. Very nice for those who have never been outside the walls of LA. But Chib spent two years in the World Nature Rehabilitation and Conservation Corps -- the WNRCC -- and he knows the difference. Almost, he decided to desert with Rousseau Red Hawk and join the neo-Amerinds. Then, he was going to become a forest ranger. But this might mean he'd end up shooting or arresting Red Hawk. Besides, he didn't want to become a sammer. And he wanted more than anything to paint.
"There's Rex Luscus," Chib says. "He's being interviewed outside the Folk Center. Quite a crowd."
THE PELLUCIDAR BREAKTHROUGH<
br />
Luscus' middle name should have been Upmanship. A man of great erudition, with privileged access to the Library of Greater LA computer, and of Ulyssean sneakiness, he is always scoring over his colleagues.
He it was who founded the Go-Go School of Criticism.
Primalux Ruskinson, his great competitor, did some extensive research when Luscus announced the title of his new philosophy. Ruskinson triumphantly announced that Luscus had taken the phrase from obsolete slang, current in the mid-twentieth century.
Luscus, in the fido interview next day, said that Ruskinson was a rather shallow scholar, which was to be expected.
_Go-go_ was taken from the Hottentot language. In Hottentot, _go-go_ meant to examine, that is, to keep looking until something about the object in this case, the artist and his works has been observed.
The critics got in line to sign up at the new school. Ruskinson thought of committing suicide, but instead accused Luscus of having blown his way up the ladder of success.
Luscus replied on fido that his personal life was his own, and Ruskinson was in danger of being sued for violation of privacy. However, he deserved no more effort than a man striking at a mosquito.
"What the hell's a mosquito?" say millions of viewers. "Wish the bighead would talk language we could understand."
Luscus' voice fades off for a minute while the interpreters explain, having just been slipped a note from a monitor who's run off the word through the station's encyclopedia.
Luscus rode on the novelty of the Go-Go School for two years.
Then he re-established his prestige, which had been slipping somewhat, with his philosophy of the Totipotent Man.
RIDERS OF THE PURPLE WAGE or The Great Gavage Page 2