The World Outside

by Robert Silverberg

  How far is it to the nearest commune?

  * * * *

  Somehow, in their infinite wisdom, the planners of this farm have allowed one low hill to survive. Mounting it in midafternoon, Michael takes stock. There are the urbmons, curiously dwindled. There are the cultivated fields. He sees machines, now, moving in some of the rows, things with many arms, possibly pulling up weeds. No sign of a settlement, though. He descends the hill and shortly encounters one of the agricultural machines. The first company he's had all day. “Hello. Michael Statler, from Urbmon 116. What's your name, machine? What kind of work do you do?"

  Baleful yellow eyes study him and turn away. The machine is loosening the soil at the base of each plant in the row. Squirting something milky over the roots. Unfriendly filther, aren't you? Or just not programed to talk. “I don't mind,” he says. “Silence is golden. If you could just tell me where I could get a little to eat, though. Or find some people."

  Droning sound again. Crot! Another stinking crop-sprayer! He gets down, ready to curl up again, but no, this flying thing is not spraying, nor does it go past. Hovering overhead, it swings into a tight circle, making an infernal holocaust of noise, and a hatch opens in its belly. Out drops a double strand of fine golden fiber, reaching to the ground. Down it, riding a clip-pod, slides a human being, a woman, followed by a man. They land deftly and come toward him. Grim faces. Beady eyes. Weapons at their waists. Their only garments are glossy red wraps covering them from thigh to belly. Their skins are tanned; their bodies are lean. The man has a stiff, bushy black beard: incredible, grotesque facial hair! The woman's breasts are small and hard. Both of them drawing their weapons now. “Hello!” Michael calls hoarsely. “I'm from an urbmon! Just visiting your country. Friend! Friend! Friend!"

  The woman says something unintelligible.

  He shrugs. “Sorry, I don't under—"

  The weapon poking in his ribs. How cold her face is! The eyes like icy buttons. Will they kill him? Now the man speaks. Slowly and clearly, very loud, as one would speak to a three-year-old. Every syllable an alien one. Accusing him of trespassing in the fields, probably. One of the farming machines must have reported him to the commune. Michael points; the urbmons can still be seen from here. Indicates them, taps his chest. For whatever good that will do. They must know where he's from. His captors nod, unsmiling. A frosty pair. Arrested. Intruder menacing the sanctity of the fields. Woman takes him by the elbow. Well, at least they aren't going to kill him outright. The devilish noisy flying thing still racketing overhead in its narrow orbit. They guide him toward the dangling fiber strands. The woman is in the clip-pod, now. Goes up. Then the man tells Michael something which he suspects means “Now you.” Michael smiles. Cooperation his only hope. Figures out how to get into the clip-pod; the man makes the adjustments, locking him in, and up he goes. The woman, waiting above, depods him and pushes him into a webwork cradle. Keeps her weapon ready. A moment later the man is aboard too; the hatch closes and the flying machine goes roaring off. During the flight both of them interrogate him, hurling little jabbing bursts of words at him, but he can only reply apologetically, “I don't speak your language. How can I tell you what you want to know?"

  Minutes later the machine lands. They jostle him out onto a bare reddish-brown field. Along its rim he sees low flat-roofed brick buildings, curious snub-fronted gray vehicles, several many-armed farming machines, and dozens of men and women wearing the glossy red loincloths. Not many children; perhaps they're at school, although it's getting late in the day. Everyone pointing at him. Speaking rapidly. Harsh unintelligible comments. Some laughter. He is frightened somewhat, not by the possibility that he is in peril so much as by the strangeness of everything. He knows this must be an agricultural commune. All this day's walking was prelude; he now has truly passed over from one world to another.

  * * * *

  The man and woman who captured him push him across the bare field and through the crowd of farming folk into one of the buildings nearby. As he passes, the farmers finger his clothing, touch his bare arms and face, murmur softly. Wonderstruck. Like a man from Mars in their midst. The building is poorly lit, roughly constructed, with crooked walls, low ceilings, warped floors of some pale pocked plastic material. Dumped into a bare, dismal room. A sour smell pervading it: vomit? Before she leaves him, the woman points out the facilities with a few brusque gestures. From this he can get water; it is a basin of some white artificial substance with the texture of smooth stone, yellowing and cracked in places. There is no sleeping platform, but probably he is meant to use the heap of rumpled blankets against one wall. No sign of a cleanser. For excretion he has a single unit, nothing more than a kind of plastic funnel going into the floor, with a button to push when he wishes to clear it. Evidently it is for urine and feces both. An odd arrangement; but then he realizes they wouldn't need to recycle wastes here. The room has no source of artificial light. Through its one window there streams the last feeble sun of the afternoon. The window faces the plaza where the farmers still are gathered, discussing him; he sees them pointing, nodding, nudging each other. There are metal bars on the window, set too close together to permit a man to slip through. A prison cell, then. He checks the door. Locked. How friendly of them. He'll never reach the seacoast this way.

  “Listen,” he calls to those in the plaza, “I don't mean any harm! You don't need to lock me up!"

  They laugh. Two young men stroll over and stare solemnly at him. One of them puts his hand to his mouth and painstakingly covers his entire palm with saliva; when this is done he offers the palm to his companion, who presses his hand against it, and both break into wild laughter. Michael watches, mystified. He has heard about the barbaric customs in the communes. Primitive, incomprehensible. The young men say something contemptuous-sounding to him and walk away. A girl takes their place by his window. Fifteen, sixteen years old, he guesses. Her breasts are large and deeply tanned, and between them hangs an explicit phallic amulet. She fondles it in what strikes him as lascivious invitation. “I'd love to,” he says. “If you can only get me out of here.” He puts his hands through the bars as if to caress her. She leaps back, wild-eyed, and makes a fierce gesture, jabbing her left hand at him with the thumb clenched under and the other four fingers aimed at his face. Clearly an obscenity. As she goes, some older people come to stare. A woman taps her chin in slow, steady, apparently meaningful rhythm; a withered man soberly presses his left palm to his right elbow three times; another man stoops, puts his hands on the ground, and rises, lifting them far above his head, perhaps pantomiming the growth of a lofty plant, perhaps the construction of an urban monad. Whatever, he breaks into shrill laughter and stumbles off. Night is coming, now. Through the dusk Michael sees a succession of crop-spraying machines landing in the plaza like birds returning to the nest at sundown, and dozens of many-legged mobile farming units come striding out of the fields. The onlookers vanish; he watches them going into the other buildings around the plaza. Despite the uncertainties of being a prisoner, he is captivated by the alien nature of this place. To live so close to the ground, to walk about all day long under the naked sun, to know nothing of an urbmon's crowded richness—

  An armed girl brings him dinner, popping his door open, setting down a tray, leaving without a word. Stewed vegetables, a clear broth, some unfamiliar red fruits, and a capsule of cold wine: the fruits are bruised and, to his taste, overripe, but everything else is excellent. He eats greedily, cleaning the tray. Then he goes to the window. The center of the plaza is still empty, although at the far side eight or ten men, evidently a maintenance crew, have gone to work on the farming machines by the light of three floating luminous globes. His cell now is in complete darkness. Since there is nothing else to do, he removes his clothes and sprawls out on the blankets. Though he is exhausted by his long day's trek, sleep wil1 not come at first: his mind ticks furiously, contemplating options. Doubtless they will interrogate him tomorrow. Someone around here must know the langua
ge of the urbmons. With luck he can demonstrate that he means no harm. Smile a lot, act friendly, an air of innocence. Perhaps even get them to escort him out of their territory. Fly him eastward, dump him in some other commune's land, let him make his way to the sea. Will he be arrested at commune after commune? A dreary prospect. Maybe he can find a route that bypasses the agricultural zone—through the ruins of some former cities, possibly. Unless there are wild men living there. At least the farmers are civilized, in their fashion. He envisions himself cooked by cannibals in some blasted rubbleheap, the former Pittsburgh, say. Or just eaten raw. Why are the farmers so suspicious? What can one lone wanderer do to them? The natural xenophobia of an isolated culture, he decides. Just as we wouldn't want a farmer loose in an urbmon. But of course urbmons are closed systems. Everybody numbered, inoculated, assigned to a proper place. These folk have a less rigid system, don't they? They don't need to fear strangers. Try convincing them of that.

  He drifts into an uneasy sleep.

  He is awakened, not more than an hour or two later, by discordant music, raw and disturbing. Sits up: red shadows flickering on the wall of his cell. Some kind of visual projections? Or a fire outside? Rushes to the window. Yes. An immense mound of dried stems, branches, vegetable debris of all sorts, is ablaze in the middle of the plaza. He has never seen fire before, except sometimes on the screen, and the sight of it terrifies and delights him. Those wavering bursts of redness rising and vanishing—where do they go? And he can feel the surging heat even from where he stands. The constant flux, the shifting shape of the dancing flames—how incredibly beautiful! And menacing. Aren't they afraid, letting fire loose like this? But of course there's that zone of bare dirt around it. Fire can't cross that. The earth doesn't burn.

  He forces his eyes away from the hypnotic frenzy of the fire. A dozen musicians sit close together to the left of the blaze. The instruments weirdly medieval: everything operated by blowing or pounding or scraping or pressing keys, and the sounds are uneven and imprecise, flickering around the proper pitches but missing by a fraction of a tone. The human element; Michael, whose sense of pitch is unusually good, cringes at these tiny but perceptible variations from the absolute. Yet the farmers don't seem to mind. Unspoiled by the mechanical perfection of modern scientific music. Hundreds of them, perhaps the entire population of the village, sit in ragged rows along the perimeter of the plaza, nodding in time to the wailing, screeching melodies, pounding their heels against the ground, rhythmically clapping their hands to their elbows. The light of the fire transforms them into an assemblage of demons; the red glow ripples eerily over their half-nude bodies. He sees children among them, but still not very many. Two here, three there, many adult couples with one or none. Stunned by the realization: they limit births here. His skin crawls. He is amused by his own involuntary reaction of horror; it tells him that no matter what configuration his genes may have, he is by conditioning a man of the urbmons.

  The music grows even wilder. The fire soars. The farmers begin to dance. Michael expects the dancing to be amorphous and frantic, a helter-skelter flinging-out of arms and legs, but no: surprisingly, it is tight and disciplined, a controlled and formal series of movements. Men in this row, women in that; forward, back, interchange partners, elbows high, head thrown back, knees pumping, now hop, turn around, form lines again, link hands. The pace constantly accelerating, but the rhythms always distinct and coherent. A ritualized progression of patterns. Eyes glazed, lips tight. This is no revel, he is suddenly aware; it is a religious festival. The rites of the commune people. What are they building toward? Is he the sacrificial lamb? Providence has sent them an urbmon man, eh? Panicky, he looks about for signs of a caldron, a spit, a stake, anything on which they might cook him. Tales of the communes circulate gaudily in the urbmon; he has always dismissed them as ignorant myths. But possibly not.

  When they come for him, he decides, he will lunge and attack them. Better to be shot down quickly than to die on the village altar.

  Yet half an hour passes, and no one has even looked in the direction of his cell. The dancing has continued without a break. Oiled with sweat, the farmers seem like dream figures, glittering, grotesque. Bare breasts bobbling; nostrils distended, eyes aglow. New boughs on the fire. The musicians goading one another into fresh frenzies. And now, what's this? Masked figures parading solemnly into the plaza: three men, three women. Faces hidden by intricate spherical constructions, nightmarish, bestial, garish. The women carry oval baskets in which can be seen products of the commune: seeds, dried ears of corn, ground meal. The men encircle a seventh person, a woman, two of them tugging at her arms and one pushing her from behind. She is pregnant, well along, into her sixth or even seventh month. She wears no mask, and her face is tense and rigid, the lips clamped, the eyes wide and frightened. They fling her down before the fire, and stand flanking her. She kneels, head drooping, long hair almost touching the ground, swollen breasts swaying with each ragged intake of breath. One of the masked men—it is impossible not to think of them as priests—intones a resonant invocation. One of the masked women places an ear of corn in each hand of the pregnant one. Another sprinkles her back with meal; it sticks to her sweaty skin. The third scatters seeds in her hair. The other two men join the chant. Michael, gripping the bars of his cell, feels as though he has been hurled thousands of years back in time, to some Neolithic festival; it is almost impossible for him to believe that one day's march from here there rises the thousand-story bulk of Urban Monad 116.

  They have finished anointing the pregnant woman with produce. Now two of the priests lift her, shaking, to a standing position, and one of the priestesses rips away her single garment. A howl from the villagers. They spin her around. Displaying her nakedness to all. The heavy protruding belly, drum-tight, glistening in the firelight. The broad hips and solid thighs, the meaty buttocks. Sensing something sinister just ahead, Michael presses his face against the bars, fighting off terror. Is she and not he the sacrificial victim? A flashing knife, the unborn fetus ripped from the womb, a devilish propitiation of the harvest gods? Please, no. Maybe he is to be the chosen executioner. His feverish imagination, unbidden, supplies the scenario: he sees himself taken from the cell, thrust into the plaza, a sickle pushed into his hand, the woman lying spread-eagled near the fire, belly upturned, the priests chanting, the priestesses leaping, and in pantomime they tell him what he must do, they indicate the taut curve of her body, draw their fingers across the preferred place of incision, while the music climbs toward insanity and the fire flares ever higher, and. No. No. He turns away, flinging one arm over his eyes. Shivering, nauseated. When he can bring himself to look again, he sees that the villagers are getting up and dancing toward the fire, toward the pregnant woman. She stands flatfooted,bewildered, clutching the ears of corn, pressing her thighs together, wriggling her shoulders in a way that somehow indicates she is shamed by her nudity. And they caper around her. Shouting raucous abuse. Making the four-fingered jab of contempt. Pointing, mocking, accusing. A condemned witch? An adulteress? The woman shrinks into herself. Suddenly the mob closes in on her. He sees them slapping her, pushing her, spitting at her. God bless, no! “Let her alone!” he screams. “You filthy grubbos, get your hands off her!” His wails are drowned by the music. A dozen or so farmers now ring the woman and they are shoving her back and forth. A double-handed push; she staggers, barely managing to stay upright, and stumbles across the ring, only to be seized by her breasts and slammed back the other way. She is panting, wild with terror, searching for escape, but the ring is tight, and they fling her around. When at last she drops, they tug her upright and toss her some more, grabbing her arms and whirling her from hand to hand around the ring. Then the circle opens. Other villagers sweep toward her. More abuse. The blows all are open-handed ones, and no one seems to hit her belly, yet they are delivered with great force; a trickle of blood stains her chin and throat, and one knee and one buttock are scraped raw from when she has been knocked to the g
round. She is limping, too; she must have turned an ankle. Vulnerable as she is in her nakedness, she makes no attempt to defend herself or even to protect her pregnancy. Clutching the ears of corn, she simply accepts her torment, letting herself be hurled about, allowing the vindictive hands to poke and pinch and slap her. The mob surges about her, everyone having a turn. How much more can she take? Is the idea to beat her to death? To make her drop her baby while they watch? He has never imagined anything so chilling. He feels the blows as if they are landing on his own body. If he could, he would strike these people dead with thunderbolts. Where is their respect for life? That woman should be sacred, and instead they torture her.

  She vanishes under a horde of screaming attackers.

  When they clear away, a minute or two later, she is kneeling, half-conscious, close to collapse. Her lips writhe in hysterical choking sobs. Her entire body is trembling. Her head hangs forward. Someone's clawed hand has left a series of parallel bloody tracks across the globe of her right breast. She is smudged everywhere with dirt.