Arthur C Clarke - Tales From The "White Hart"
Contents
PREFACE
SILENCE PLEASE
BIG GAME HUNT
PATENT PENDING
ARMAMENTS RACE
CRITICAL MASS
THE ULTIMATE MELODY
THE PACIFIST
THE NEXT TENANTS
MOVING SPIRIT
THE MAN WHO PLOUGHED THE SEA
THE RELUCTANT ORCHID
COLD WAR
WHAT GOES UP
SLEEPING BEAUTY
THE DEFENESTRATION OF ERMINTRUDE INCH
PREFACE
These stories were written in spurts and spasms between 1953 and 1956 at such diverse spots on the globe as New York, Miami, Colombo, London, Sydney, and various other locations whose names now escape me. In some cases the geographical influence is obvious, though curiously enough I had never visited Australia when "What Goes Up...." was written.
It seems to me that there is room—one might even say a long unfelt want—for what might be called the "tall'. science-fiction story. By this I mean stories that are intentionally unbelievable; not, as is too often the case, unintentionally so. At the same time, I should hate to say exactly where the Great Divide of plausibility comes in these tales, which range from the perfectly possible to the totally improbable.
In at least two cases, science has practically caught up with me in the few years since I wrote these stories. The technique described in "Big Game Hunt" has already been used on monkeys, so there is no reason to suppose that it could not be adapted to other creatures. For a more successful conclusion to this particular hunt—and the rest of the quotation from Herman Melville—I refer you to my novel "The Deep Range."
It is in the field touched upon in "Patent Pending," however, that the most hair-raising discovery has been made—a discovery which should stop anyone worrying about such minor menaces as the hydrogen bomb. The first report of the work that may end our civilization will be found in James Old's article "Pleasure Centers in the Brain" (Scientific American, October 1956). Briefly, it has been found that an electric current flowing into a certain area in the brain of a rat can produce intense pleasure. So much so, in fact, that when the rat learns that it can stimulate itself at will by pushing a little pedal, it loses interest in anything else—even in food. I quote: "Hungry rats ran faster to reach an electric stimulator than they did to reach food. Indeed, a hungry animal often ignored available food in favor of the pleasure of stimulating itself electrically. Some rats... stimulated their brains more than 2,000 times per hour for 24 consecutive hours!"
The article concludes with these ominous words: "Enough of the brain-stimulating work has been repeated on monkeys... to indicate that our general conclusions can very likely be generalized eventually to human beings —with modifications, of course."
Of course. For the record (written, not electroencephalographic) I believe the first writers to use the theme of "Patent Pending" were Fletcher Pratt and Laurence Manning, back in the '30's. And quite recently, in "The Big Ball of Wax," Shepherd Mead has given it a much more ribald treatment than mine. I thought his book very funny before I read Mr. Old's article. You may still do so.
Another item for which I cannot claim originality is the newspaper quotation in "Cold War." It is perfectly genuine. It may even have been true.
I must confess that, having chosen the title of this volume some years ago, I was a little disconcerted when Sprague de Camp and Fletcher Pratt brought out their "Tales from Gavagan's Bar." But as most of the odd goings-on at Mr. Cohan's establishment are concerned with the supernatural, I feel that there is plenty of room for both taverns—especially as they are separated by the width of the Atlantic.
Finally, a word to any readers of my (pause for modest cough) more serious works, who may be distressed to find me taking the universe so light-heartedly after my earlier preoccupation with such themes as the Destiny of Man and the Exploration of Space (Advt.) My only excuse is that for some years I've been irritated by critics who keep claiming that science fiction and humor are incompatible.
Now they have a chance to prove it and shut up.
New York, October, 1956
SILENCE PLEASE
You COME upon the "White Hart" quite unexpectedly in one of these anonymous little lanes leading down from Fleet Street to the Embankment. It's no use telling you where it is: very few people who have set out in a determined effort to get there have ever actually arrived. For the first dozen visits a guide is essential: after that you'll probably be all right if you close your eyes and rely on instinct. Also—to be perfectly frank—we don't want any more customers, at least on our night. The place is already uncomfortably crowded. All that I'll say about its location is that it shakes occasionally with the vibration of newspaper presses, and that if you crane out of the window of the gent's room you can just see the Thames.
From the outside, is looks like any other pub—as indeed it is for five days of the week. The public and saloon bars are on the ground floor: there are the usual vistas of brown oak paneling and frosted glass, the bottles behind the bar, the handles of the beer engines... nothing out of the ordinary at all. Indeed, the only concession to the twentieth century is the juke box in the public bar. It was installed during the war in a laughable attempt to make G.I.'s feel at home, and one of the first things we did was to make sure there was no danger of its ever working again.
At this point I had better explain who "we" are. That is not as easy as I thought it was going to be when I started, for a complete catalogue of the "White Hart's" clients would probably be impossible and would certainly be excruciatingly tedious. So all I'll say at this point is that "we" fall into three main classes. First there are the journalists, writers and editors. The journalists, of course, gravitated here from Fleet Street. Those who couldn't make the grade fled elsewhere: the tougher ones remained. As for the writers, most of them heard about us from other writers, came here for copy, and got trapped.
Where there are writers of course, there are sooner or later editors. If Drew, our landlord, got a percentage on the literary business done in his bar, he'd be a rich man. (We suspect he is a rich man, anyway.) One of our wits once remarked that it was a common sight to see half a dozen indignant authors arguing with a hard-faced editor in one corner of the "White Hart", while in another, half a dozen indignant editors argued with a hard-faced author.
So much for the literary side: you will have, I'd better warn you, ample opportunities for close-ups later. Now let us glance briefly at the scientists. How did they get in here?
Well, Birkbeck College is only across the road, and King's is just a few hundred yards along the Strand. That's doubtless part of the explanation, and again personal recommendation had a lot to do with it. Also, many of our scientists are writers, and not a few of our writers are scientists. Confusing, but we like it that way.
The third portion of our little microcosm consists of what may be loosely termed "interested laymen". They were attracted to the "White Hart" by the general brouhaha, and enjoyed the conversation and company so much that they now come along regularly every Wednesday— which is the day when we all get together. Sometimes they can't stand the pace and fall by the wayside, but there's always a fresh supply.
With such potent ingredients, it is hardly surprising that Wednesday at the "White Hart" is seldom dull. Not only have some remarkable stories been told there, but remarkable things have happened there. For example, there was the time when Professor--, passing through on his way to Harwell, left behind a brief-case containing—well, we'd better not go into that, even though we did so at the time. And most interesting it was, too.... Any Russian agents will find me in
the corner under the dartboard. I come high, but easy terms can be arranged.
Now that I've finally thought of the idea, it seems astonishing to me that none of my colleagues has ever got round to writing up these stories. Is it a question of being so close to the wood that they can't see the trees?
Or is it lack of incentive? No, the last explanation hardly hold: several of them are quite as hard up and have complained with equal bitterness about "NO CREDIT" rule. My only fear, as I type these words on my old Remington Noiseless, is that John Christopher or George Whitley or John Beynon are already hard at work using up the best material. Such as, for instance, the story of the Fenton Silencer....
I don't know when it began: one Wednesday is much like another and it's hard to tag dates on to them. Besides, people may spend a couple of months lost in the "White Hart" crowd before you first notice their existence. That had probably happened to Harry Purvis, because when I first came aware of him he already knew the names of most of the people in our crowd. Which is more than I do these days, now that I come to think of it.
But though I don't know when, I know exactly how it all started. Bert Huggins was the catalyst, or, to be more accurate, his voice was. Bert's voice would catalyze anything. When he indulges in a confidential whisper, it sounds like a sergeant major drilling an entire regiment. And when he lets himself go, conversation languishes elsewhere while we all wait for those cute little bones in the inner ear to resume their accustomed places.
He had just lost his temper with John Christopher (we all do this at some time or other) and the resulting detonation had disturbed the chess game in progress at the back of the saloon bar. As usual, the two players were surrounded by backseat drivers, and we all looked up with a start as Bert's blast whammed overhead. When the echoes died away, someone said: "I wish there was a way of shutting him up."
It was then that Harry Purvis replied: "There is, you know."
Not recognizing the voice, I looked round. I saw a small, neatly-dressed man in the late thirties. He was smoking one of those carved German pipes that always makes me think of cuckoo clocks and the Black Forest. That was the only unconventional thing about him: otherwise he might have been a minor Treasury official all dressed up to go to a meeting of the Public Accounts Committee.
"I beg your pardon?" I said.
He took no notice, but made some delicate adjustments to his pipe. It was then that I noticed that it wasn't, as I'd thought at first glance, an elaborate piece of wood carving. It was something much more sophisticated—a contraption of metal and plastic like a small chemical engineering plant. There were even a couple of minute valves. My God, it was a chemical engineering plant....
I don't goggle any more easily than the next man, but I made no attempt to hide my curiosity. He gave me a superior smile.
"All for the cause of science. It's an idea of the Biophysics Lab. They want to find out exactly what there is in tobacco smoke—hence these filters. You know the old argument—does smoking cause cancer of the tongue, and if so, how? The trouble is that it takes an awful lot of— er—distillate to identify some of the obscurer bye-products. So we have to do a lot of smoking."
"Doesn't it spoil the pleasure to have all this plumbing in the way?"
"I don't know. You see, I'm just a volunteer. I don't smoke."
"Oh," I said. For the moment, that seemed the only reply. Then I remembered how the conversation had started.
"You were saying," I continued with some feeling, for there was still a slight tinnitus in my left ear, "that there was some way of shutting up Bert. We'd all like to hear it—if that isn't mixing metaphors somewhat."
"I was thinking," he replied, after a couple of experimental sucks and blows, "of the ill-fated Fenton Silencer. A sad story—yet, I feel, one with an interesting lesson for us all. And one day—who knows?—someone may perfect it and earn the blessings of the world."
Suck, bubble, bubble, plop.. ,.
"Well, let's hear the story. When did it happen?"
He sighed.
"I'm almost sorry I mentioned it. Still, since you insist—and, of course, on the understanding that It doesn't go beyond these walls."
"Er—of course."
"Well, Rupert Fenton was one of our lab assistants. A very bright youngster, with a good mechanical background, but, naturally, not very well up in theory. He was always making gadgets in his spare time. Usually the idea was good, but as he was shaky on fundamentals the things hardly ever worked. That didn't seem to discourage him: I think he fancied himself as a latter-day Edison, and imagined he could make his fortune from the radio tubes and other oddments lying around the lab. As his tinkering didn't interfere with his work, no-one objected: indeed, the physics demonstrators did their best to encourage him, because, after all, there is something refreshing about any form of enthusiasm. But no-one expected he'd ever get very far, because I don't suppose he could even integrate e to the x."
"Is such ignorance possible?" gasped someone.
"Maybe I exaggerate. Let's say x e to the x. Anyway, all his knowledge was entirely practical—rule of thumb, you know. Give him a wiring diagram, however complicated, and he could make the apparatus for you. But unless it was something really simple, like a television set, he wouldn't understand how it worked. The trouble was, he didn't realize his limitations. And that, as you'll see, was most unfortunate.
"I think he must have got the idea while watching the Honours Physics students doing some experiments in acoustics. I take it, of course, that you all understand the phenomenon of interference?"
"Naturally," I replied.
"Hey!" said one of the chess-players, who had given up trying to concentrate on the game (probably because he was losing.) "/ don't."
Purvis looked at him as though seeing something that had no right to be around in a world that had invented penicillin.
"In that case," he said coldly, "I suppose I had better do some explaining." He waved aside our indignant protests. "No, I insist. It's precisely those who don't understand these things who need to be told about them. If someone had only explained the theory to poor Fenton while there was still time... ,"
He looked down at the now thoroughly abashed chess player.
"I do not know," he began, "if you have ever considered the nature of sound. Suffice to say that it consists of a series of waves moving through the air. Not, however, waves like those on the surface of the sea—oh dear no! Those waves are up and down movements. Sound waves consist of alternate compressions and rarefactions." "Rare-what?" "Rarefactions."
"Don't you mean 'rarefications'?" "I do not. I doubt if such a word exists, and if it does, it shouldn't," retorted Purvis, with the aplomb of Sir Alan Herbert dropping a particularly revolting neologism into his killing-bottle. "Where was I? Explaining sound, of course. When we make any sort of noise, from the faintest whisper to that concussion that went past just now, a series of pressure changes moves through the air. Have you ever watched shunting engines at work on a siding? You see a perfect example of the same kind of thing. There's a long line of goods-wagons, all coupled together. One end gets a bang, the first two trucks move together—and then you can see the compression wave moving right along the line. Behind it the reverse thing happens—the rarefaction —I repeat, rarefaction—as the trucks separate again.
"Things are simple enough when there is only one source of sound—only one set of waves. But suppose you have two wave-patterns, moving in the same direction? That's when interference arises, and there are lots of pretty experiments in elementary physics to demonstrate it. All we need worry about here is the fact—which I think you will all agree is perfectly obvious—that if one could get two sets of waves exactly out of step, the total result would be precisely zero. The compression pulse of one sound wave would be on top of the rarefaction of another—net result—no change and hence no sound. To go back to my analogy of the line of wagons, it's as if you gave the last truck a jerk and a push simultaneously. Nothing at
all would happen.
"Doubtless some of you will already see what I am driving at, and will appreciate the basic principle of the Fenton Silencer. Young Fenton, I imagine, argued in this manner. 'This world of ours,' he said to himself, 'is too full of noise. There would be a fortune for anyone who could invent a really perfect silencer. Now, what would that imply... ?'
"It didn't take him long to work out the answer: I told you he was a bright lad. There was really very little in his pilot model. It consisted of a microphone, a special amplifier, and a pair of loudspeakers. Any sound that happened to be about was picked up by the mike, amplified and inverted so that it was exactly out of phase with the original noise. Then it was pumped out of the speakers, the original wave and the new one cancelled out, and the net result was silence.
"Of course, there was rather more to it than that. There had to be an arrangement to make sure that the canceling wave was just the right intensity—otherwise you might be worse off than when you started. But these are technical details that I won't bore you with. As many of you will recognize, it's a simple application of negative feed-back."
"Just a moment!" interrupted Eric Maine. Eric, I should mention, is an electronics expert and edits some television paper or other. He's also written a radio play about space-flight, but that's another story. "Just a moment! There's something wrong here. You couldn't get silence that way. It would be impossible to arrange the phase..."
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