The Very Best of Fantasy & Science Fiction, Volume 1

by Gordon Van Gelder

“Excuse me, Mr. Wells. You might not remember me, but I was one of the men you saw yesterday in Virginia working along the road. The CCC?”

  Wells looks up at a gangling young man wearing a khaki uniform, his olive tie neatly knotted and tucked between the second and third buttons of his shirt. His hair is slicked down, parted in the middle. Wells doesn’t remember anything of him. “Yes?”

  “I—I been reading your stories and books a lot of years. I admire your work.”

  Something in the man’s earnestness affects Wells. “Please sit down,” he says.

  Kessel takes a seat. “Thank you.” He pronounces “th” as “t” so that “thank” comes out “tank.” He sits tentatively, as if the chair is mortgaged, and seems at a loss for words.

  “What’s your name?”

  “John Kessel. My friends call me Jack.”

  The orchestra finishes a song and the dancers stop in their places, applauding. Up on the bandstand, Ellington leans into the microphone. “Mood Indigo,” he says, and instantly they swing into it: the clarinet moans in low register, in unison with the muted trumpet and trombone, paced by the steady rhythm guitar, the brushed drums. The song’s melancholy suits Wells’s mood.

  “Are you from Virginia?”

  “My family lives in Buffalo. That’s in New York.”

  “Ah—yes. Many years ago I visited Niagara Falls, and took the train through Buffalo.” Wells remembers riding along a lakefront of factories spewing waste water into the lake, past heaps of coal, clouds of orange and black smoke from blast furnaces. In front of dingy rowhouses, ragged hedges struggled through the smoky air. The landscape of laissez faire. “I imagine the Depression has hit Buffalo severely.”

  “Yes sir.”

  “What work did you do there?”

  Kessel feels nervous, but he opens up a little. “A lot of things. I used to be an electrician until I got blacklisted.”

  “Blacklisted?”

  “I was working on this job where the super told me to set the wiring wrong. I argued with him but he just told me to do it his way. So I waited until he went away, then I sneaked into the construction shack and checked the blueprints. He didn’t think I could read blueprints, but I could. I found out I was right and he was wrong. So I went back and did it right. The next day when he found out, he fired me. Then the so-and-so went and got me blacklisted.”

  Though he doesn’t know how much credence to put in this story, Wells’s sympathies are aroused. It’s the kind of thing that must happen all the time. He recognizes in Kessel the immigrant stock that, when Wells visited the U.S. in 1906, made him skeptical about the future of America. He’d theorized that these Italians and Slavs, coming from lands with no democratic tradition, unable to speak English, would degrade the already corrupt political process. They could not be made into good citizens; they would not work well when they could work poorly, and given the way the economic deal was stacked against them would seldom rise high enough to do better.

  But Kessel is clean, well-spoken despite his accent, and deferential. Wells realizes that this is one of the men who was topping trees along the river road.

  Meanwhile, Kessel detects a sadness in Wells’s manner. He had not imagined that Wells might be sad, and he feels sympathy for him. It occurs to him, to his own astonishment, that he might be able to make Wells feel better. “So—what do you think of our country?” he asks.

  “Good things seem to be happening here. I’m impressed with your President Roosevelt.”

  “Roosevelt’s the best friend the working man ever had.” Kessel pronounces the name “Roozvelt.” “He’s a man that—” he struggles for the words, “—that’s not for the past. He’s for the future.”

  It begins to dawn on Wells that Kessel is not an example of a class, or a sociological study, but a man like himself with an intellect, opinions, dreams. He thinks of his own youth, struggling to rise in a classbound society. He leans forward across the table. “You believe in the future? You think things can be different?”

  “I think they have to be, Mr. Wells.”

  Wells sits back. “Good. So do I.”

  Kessel is stunned by this intimacy. It is more than he had hoped for, yet it leaves him with little to say. He wants to tell Wells about his dreams, and at the same time ask him a thousand questions. He wants to tell Wells everything he has seen in the world, and to hear Wells tell him the same. He casts about for something to say.

  “I always liked your writing. I like to read scientifiction.”

  “Scientifiction?”

  Kessel shifts his long legs. “You know—stories about the future. Monsters from outer space. The Martians. The Time Machine. You’re the best scientifiction writer I ever read, next to Edgar Rice Burroughs.” Kessel pronounces “Edgar,” “Eedgar.”

  “Edgar Rice Burroughs?”

  “Yes.”

  “You like Burroughs?”

  Kessel hears the disapproval in Wells’s voice. “Well—maybe not as much as, as The Time Machine” he stutters. “Burroughs never wrote about monsters as good as your Morlocks.”

  Wells is nonplussed. “Monsters.”

  “Yes.” Kessel feels something’s going wrong, but he sees no way out. “But he does put more romance in his stories. That princess—Dejah Thoris?”

  All Wells can think of is Tarzan in his loincloth on the movie screen, and the moronic audience. After a lifetime of struggling, a hundred books written to change the world, in the service of men like this, is this all his work has come to? To be compared to the writer of pulp trash? To “Eedgar Rice Burroughs?” He laughs aloud.

  At Wells’s laugh, Kessel stops. He knows he’s done something wrong, but he doesn’t know what.

  Wells’s weariness has dropped down onto his shoulders again like an iron cloak. “Young man—go away,” he says. “You don’t know what you’re saying. Go back to Buffalo.”

  Kessel’s face burns. He stumbles from the table. The room is full of noise and laughter. He’s run up against the wall again. He’s just an ignorant polack after all; it’s his stupid accent, his clothes. He should have talked about something else—The Outline of History, politics. But what made him think he could talk like an equal to a man like Wells in the first place? Wells lives in a different world. The future is for men like him. Kessel feels himself the prey of fantasies. It’s a bitter joke.

  He clutches the bar, orders another beer. His reflection in the mirror behind the ranked bottles is small and ugly.

  “Whatsa matter, Jack?” Turkel asks him. “Didn’t he want to dance neither?”

  And that’s the story, essentially, that never happened.

  Not long after this, Kessel did go back to Buffalo. During the Second World War he worked as a crane operator in the 40-inch rolling mill of Bethlehem Steel. He met his wife, Angela Giorlandino, during the war, and they married in June 1945. After the war he quit the plant and became a carpenter. Their first child, a girl, died in infancy. Their second, a boy, was born in 1950. At that time Kessel began building the house that, like so many things in his life, he was never to entirely complete. He worked hard, had two more children. There were good years and bad ones. He held a lot of jobs. The recession of 1958 just about flattened him; our family had to go on welfare. Things got better, but they never got good. After the 1950s, the economy of Buffalo, like that of all U.S. industrial cities caught in the transition to a post-industrial age, declined steadily. Kessel never did work for himself, and as an old man was no more prosperous than he had been as a young one.

  In the years preceding his death in 1946 Wells was to go on to further disillusionment. His efforts to create a sane world met with increasing frustration. He became bitter, enraged. Moura Budberg never agreed to marry him, and he lived alone. The war came, and it was, in some ways, even worse than he had predicted. He continued to propagandize for the socialist world state throughout, but with increasing irrelevance. The new leftists like Orwell considered him a dinosaur, fatally out of touch with th
e realities of world politics, a simpleminded technocrat with no understanding of the darkness of the human heart. Wells’s last book, Mind at the End of Its Tether, proposed that the human race faced an evolutionary crisis that would lead to its extinction unless humanity leapt to a higher state of consciousness; a leap about which Wells speculated with little hope or conviction.

  Sitting there in the Washington ballroom in 1934, Wells might well have understood that for all his thinking and preaching about the future, the future had irrevocably passed him by.

  But the story isn’t quite over yet. Back in the Washington ballroom Wells sits humiliated, a little guilty for sending Kessel away so harshly. Kessel, his back to the dance floor, stares humiliated into his glass of beer. Gradually, both of them are pulled back from dark thoughts of their own inadequacies by the sound of Ellington’s orchestra.

  Ellington stands in front of the big grand piano, behind him the band: three saxes, two clarinets, two trumpets, trombones, a drummer, guitarist, bass. “Creole Love Call,” Ellington whispers into the microphone, then sits again at the piano. He waves his hand once, twice, and the clarinets slide into a low, wavering theme. The trumpet, muted, echoes it. The bass player and guitarist strum ahead at a deliberate pace, rhythmic, erotic, bluesy. Kessel and Wells, separate across the room, each unaware of the other, are alike drawn in. The trumpet growls eight bars of raucous solo. The clarinet follows, wailing. The music is full of pain and longing—but pain controlled, ordered, mastered. Longing unfulfilled, but not overpowering.

  As I write this, it plays on my stereo. If anyone has a right to bitterness at thwarted dreams, a black man in 1934 has that right. That such men can, in such conditions, make this music opens a world of possibilities.

  Through the music speaks a truth about art that Wells does not understand, but that I hope to: that art doesn’t have to deliver a message in order to say something important. That art isn’t always a means to an end but sometimes an end in itself. That art may not be able to change the world, but it can still change the moment.

  Through the music speaks a truth about life that Kessel, sixteen years before my birth, doesn’t understand, but that I hope to: that life constrained is not life wasted. That despite unfulfilled dreams, peace is possible.

  Listening, Wells feels that peace steal over his soul. Kessel feels it too.

  And so they wait, poised, calm, before they move on into their respective futures, into our own present. Into the world of limitation and loss. Into Buffalo.

  Return to Table of Contents

  Solitude – Ursula K. Le Guin

  I’ve found that a lot of people seem to hold in mind some ideal—almost a Platonic ideal—science fiction story. Fortunately for us all, no two people can agree on what form this ideal story should take. Some say it should feature a granite-jawed Hero with a blaster in hand, others contend it needn’t have any characters at all except the universe in all its glory, and thus the debate begins.

  While I have no proof of it, I suspect there are a lot of people who would (consciously or not) take one of Ursula Le Guin’s brilliant, beautiful tales and say, “There—that is what a science fiction story should be.”

  An addition to “POVERTY: The Second Report on Eleven-Soro” by Mobile Entselenne’temharyonoterregwis Leaf, by her daughter, Serenity.

  My mother, a field ethnologist, took the difficulty of learning anything about the people of Eleven-Soro as a personal challenge. The fact that she used her children to meet that challenge might be seen as selfishness or as selflessness. Now that I have read her report I know that she finally thought she had done wrong. Knowing what it cost her, I wish she knew my gratitude to her for allowing me to grow up as a person.

  Shortly after a robot probe reported people of the Hainish Descent on the eleventh planet of the Soro system, she joined the orbital crew as backup for the three First Observers down on planet. She had spent four years in the tree-cities of nearby Huthu. My brother In Joy Born was eight years old and I was five; she wanted a year or two of ship duty so we could spend some time in a Hainish-style school. My brother had enjoyed the rainforests of Huthu very much, but though he could brachiate he could barely read, and we were all bright blue with skin-fungus. While Borny learned to read and I learned to wear clothes and we all had antifungus treatments, my mother became as intrigued by Eleven-Soro as the Observers were frustrated by it.

  All this is in her report, but I will say it as I learned it from her, which helps me remember and understand. The language had been recorded by the probe and the Observers had spent a year learning it. The many dialectical variations excused their accents and errors, and they reported that language was not a problem. Yet there was a communication problem. The two men found themselves isolated, faced with suspicion or hostility, unable to form any connection with the native men, all of whom lived in solitary houses as hermits or in pairs. Finding communities of adolescent males, they tried to make contact with them, but when they entered the territory of such a group the boys either fled or rushed desperately at them trying to kill them. The women, who lived in what they called “dispersed villages,” drove them away with volleys of stones as soon as they came anywhere near the houses. “I believe,” one of them reported, “that the only community activity of the Sorovians is throwing rocks at men.”

  Neither of them succeeded in having a conversation of more than three exchanges with a man. One of them mated with a woman who came by his camp; he reported that though she made unmistakable and insistent advances, she seemed disturbed by his attempts to converse, refused to answer his questions, and left him, he said, “as soon as she got what she came for.”

  The woman Observer was allowed to settle in an unused house in a “village” (auntring) of seven houses. She made excellent observations of daily life, insofar as she could see any of it, and had several conversations with adult women and many with children; but she found that she was never asked into another woman’s house, nor expected to help or ask for help in any work. Conversation concerning normal activities was unwelcome to the other women; the children, her only informants, called her Aunt Crazy-Jabber. Her aberrant behavior caused increasing distrust and dislike among the women, and they began to keep their children away from her. She left. “There’s no way,” she told my mother, “for an adult to learn anything. They don’t ask questions, they don’t answer questions. Whatever they learn, they learn when they’re children.”

  Aha! said my mother to herself, looking at Borny and me. And she requested a family transfer to Eleven-Soro with Observer status. The Stabiles interviewed her extensively by ansible, and talked with Borny and even with me—I don’t remember it, but she told me I told the Stabiles all about my new stockings—and agreed to her request. The ship was to stay in close orbit, with the previous Observers in the crew, and she was to keep radio contact with it, daily if possible.

  I have a dim memory of the tree-city, and of playing with what must have been a kitten or a ghole-kit on the ship; but my first clear memories are of our house in the auntring. It is half underground, half aboveground, with wattle-and-daub walls. Mother and I are standing outside it in the warm sunshine. Between us is a big mudpuddle, into which Borny pours water from a basket; then he runs off to the creek to get more water. I muddle the mud with my hands, deliciously, till it is thick and smooth. I pick up a big double handful and slap it onto the walls where the sticks show through. Mother says, “That’s good! That’s right!” in our new language, and I realize that this is work, and I am doing it. I am repairing the house. I am making it right, doing it right. I am a competent person.

  I have never doubted that, so long as I lived there.

  We are inside the house at night, and Borny is talking to the ship on the radio, because he misses talking the old language, and anyway he is supposed to tell them stuff. Mother is making a basket and swearing at the split reeds. I am singing a song to drown out Borny so nobody in the auntring hears him talking funny, and anyway I li
ke singing. I learned this song this afternoon in Hyuru’s house. I play every day with Hyuru. “Be aware, listen, listen, be aware,” I sing. When Mother stops swearing she listens, and then she turns on the recorder. There is a little fire still left from cooking dinner, which was lovely pigi-root, I never get tired of pigi. It is dark and warm and smells of pigi and of burning duhur, which is a strong, sacred smell to drive out magic and bad feelings, and as I sing “Listen, be aware,” I get sleepier and sleepier and lean against Mother, who is dark and warm and smells like Mother, strong and sacred, full of good feelings.

  Our daily life in the auntring was repetitive. On the ship, later, I learned that people who live in artificially complicated situations call such a life “simple.” I never knew anybody, anywhere I have been, who found life simple. I think a life or a time looks simple when you leave out the details, the way a planet looks smooth, from orbit.

  Certainly our life in the auntring was easy, in the sense that our needs came easily to hand. There was plenty of food to be gathered or grown and prepared and cooked, plenty of temas to pick and rett and spin and weave for clothes and bedding, plenty of reeds to make baskets and thatch with; we children had other children to play with, mothers to look after us, and a great deal to learn. None of this is simple, though it’s all easy enough, when you know how to do it, when you are aware of the details.

  It was not easy for my mother. It was hard for her, and complicated. She had to pretend she knew the details while she was learning them, and had to think how to report and explain this way of living to people in another place who didn’t understand it. For Borny it was easy until it got hard because he was a boy. For me it was all easy. I learned the work and played with the children and listened to the mothers sing.

  The First Observer had been quite right: there was no way for a grown woman to learn how to make her soul. Mother couldn’t go listen to another mother sing, it would have been too strange. The aunts all knew she hadn’t been brought up well, and some of them taught her a good deal without her realizing it. They had decided her mother must have been irresponsible and had gone on scouting instead of settling in an auntring, so that her daughter didn’t get educated properly. That’s why even the most aloof of the aunts always let me listen with their children, so that I could become an educated person. But of course they couldn’t ask another adult into their houses. Borny and I had to tell her all the songs and stories we learned, and then she would tell them to the radio, or we told them to the radio while she listened to us. But she never got it right, not really. How could she, trying to learn it after she’d grown up, and after she’d always lived with magicians?