The scene dissolved into a modern workshop. We were standing beside a workbench, upon which an unusual piston assembly had been dismantled.
“Powered by a very ordinary steam engine, this piston and valve system can slowly withdraw air from a chamber the size of a small room. It can reduce the atmospheric pressure to one tenth that at sea level.”
“The pressure at eight miles?”
“Yes. I could dwell within it, and have full control of my mind.”
“Do you want me to build it?”
“That is the wrong question, Mr. Parkes. Do you want to build it? I have pleaded my case, now you are my judge. What is my sentence?”
Once more the scene began to dissolve, but this time only blackness followed.
We were at four miles when I revived. Breathing was not easy, but a trickle of oxygen seemed to be still issuing from the reactor. Angelica was back to her old vegetative self, sitting on the floor.
In my haste to plan the abduction of the balloon, I had made no real plans for the return to earth. While still a few yards from the ground I released the rope and grapple. It snared a tree in a windbreak, then the car came to earth gently in what was actually one of my better landings. I helped Angelica from the car, and pausing only to discard my heavy coat and gloves, I hurried her to a nearby stand of trees. We had come down in a field not far from the edge of London, and I estimated that we had travelled no more than fifteen miles laterally. Gainsley and his men would arrive soon, to fetch Angelica back and have me dead. My thought was to hide until a large crowd had assembled, for he would not want to kill me in front of witnesses.
A pair of farm labourers arrived at the balloon after a few minutes. Although fearful of the huge gas bag at first, they soon began striking poses in front of the wicker car. One even put on my heavy fur coat, as if he had been the aeronaut.
It was now that Gainsley arrived, riding hard with his butler, groom, and two other men. My worst fears were justified when he shouted an order and all four of his men produced rifles and fired at the man in my coat. He fell to the ground. His companion raised his hands. It was clear that Gainsley had mistaken the two men for myself and Angelica. He soon realised his error.
“The man and woman—Where are they?” he screamed, dismounting and seizing the surviving labourer by the smock while pressing one of those tiny American percussion cap pistols between his eyes.
“Dunno, sir,” the man answered. “Me an’ Fergus, we found the balloon ’ere. We thought we’d guard it until the owner got back.”
“My balloon was stolen by the man who owns that coat. Where is he?”
“Dunno sir, the coat was on the grass when we arrived.”
The temptation for Gainsley to kill him was probably near to overwhelming, but by now another horseman was approaching. One death could have been a mistake. A second would send Gainsley to the gallows, baron or not. He ordered his men to dismount and reload as the rider drew up.
“Ho there, sir, we are pursuing dangerous criminals who stole this balloon,” was as much as Gainsley managed to say before the rider produced a pistol and shot him between the eyes.
It was at this point that I recognised Norvin. Gainsley’s four men had not yet managed to reload their Enfield rifles, so they attempted to mob him. They had not realised that he was armed with one of the new pepperbox pistols by Cooper of London. It could fire six shots from six barrels in as many seconds, so at close quarters it made one man as effective as six. Two more men were shot down before one of the others used his rifle butt to club Norvin from the saddle. He fell, but shot a third while lying on his back in the grass. The survivor raised his hands.
“Mercy, sir, you’d not shoot an unarmed man, would you?” he cried.
“How much mercy did you show me, Monsieur Garrard?” asked Norvin, who then shot him down.
By now the farm labourer had got to his feet and was running for his life. Norvin calmly took a percussion lock rifle from his saddle, aimed with smooth, professional style, and fired. The side of the man’s head burst open as a ball seven tenths of an inch across did its work. Even at a distance I could see the gleam of tears on Norvin’s cheeks. He was a good man, being forced to kill. He was a Frenchman killing a Napoleon for the greater good. He probably thought he was saving the world. Knowing only what he did, which of us would not do the same?
I lay absolutely still. True, I had my father’s flintlock, but I am no flash shot, and would have trouble hitting a steam train from the platform. Norvin had killed six men with as many shots, and still had one shot remaining in his pistol. Apparently satisfied that he had killed Gainsley and his men, and that Angelica and myself were the dead farm labourers, he mounted and rode away. We remained hidden amid the trees until more people arrived at the balloon and discovered the massacre. When the authorities arrived I emerged and played the part of a yokel who had come late to the scene, and of course Angelica was quite convincing as a village idiot. It was no great effort for us to slip away and walk back to London.
That was two years ago, and since then I have prospered. I have my own workshop, where a steam engine chugs night and day to maintain the world’s only altitude chamber. It is the size of a small room, and within it lives Angelica, in conditions of pressure that can be found at eight miles. Otherwise, it is furnished very comfortably in red and green leather upholstery, Regency furniture, a small library, a desk where she draws diagrams of things for me to build, and a workbench where she builds tiny, intricate metal machines like surreal insects with wings of blue and silver lace. Food and drink passes in through an equalisation chamber. What comes out is mainly diagrams.
I am building a voidcraft. The thing resembles a streamlined steam train with no wheels. It stands on grasshopper-like legs driven by pistons plated in gold. In place of a cabin there is an airtight double chamber with portholes. One side is for Angelica, the other is mine, and they are at very divergent atmospheric pressures. I tell the artisans that help with construction that it is a new type of armoured balloon, and in their ignorance they believe me.
The parts were made at a thousand different workshops in Britain, continental Europe, and even America. It is a beautiful thing, with a body of brass pipes, steel tubes, crystal mechanisms mounted in gaslight enclosures, and riveted boilers in which nothing boils. Even in its incomplete state, it is awesome in its performance. Last night we rolled back the moveable roof of the workshop, ascended into the night, and looked down upon the gaslit, smoky haze of London in comfort . . . from eight miles. How easily the frontier becomes the commonplace. Angelica spoke within my thoughts, asking whether I wished to fly on to the Moon, but I was not ready for that. Like lungs acclimatising to the air at great altitudes, my mind needed time to adjust to such wonders.
Currently, I am having four quite different engines built to add to our craft. To me they make no sense, but Angelica insists that they will work. The clever and industrious Mr. Brunel has contracts to make some of the parts. If only he knew that he was really building boilers to confine matter more black than soot that has no real existence as we know it. The electrical experimenter Faraday is supplying many of our electromagnetic and electrostatic controls, while the jewelers Pennington and Bailey fabricate crystals to almost-conduct electricity, and Harley Brothers Watchmakers build control clockwork that they do not understand.
The voidcraft of rivets and iron plate will be able to travel to the stars, even though my mind cannot comprehend the distances in any more than the most general sense. It will be armed with a tube being built in two sections in the workshops of Glasgow and Sheffield, a tube that will one day enclose a fragment of a star’s heart. With it one can vaporise a warship at ten miles using not one thousandth of the power available. Angelica will be the captain, navigator, and gunner, yet when she leaves, I will be with her. After all, what engine can work without a humble stoker and oiler?
Norvin was right in a sense. Angelica is a Napoleon from an unimaginably advanced race, and
Earth is the Elba where she was exiled. Norvin also feared her, but in this he was mistaken. It is with worlds too distant to comprehend that Angelica has her quarrel. After all, why would a Napoleon want to conquer a little Elba when so much more is within reach?
Ghosts Doing the Orange Dance
(The Parke Family Scrapbook Number IV)
Paul Park
Paul Park lives with his wife, Deborah Brothers, and their children in North Adams, Massachusetts. He teaches at Williams College. He became prominent in SF in the late 1980s with the publication of his first three novels, The Starbridge Chronicles: Soldiers of Paradise (1987), Sugar Rain (1989), and The Cult of Loving Kindness (1991). He went on to write a variety of challenging novels in and out of genre, and short stories, collected in If Lions Could Speak (2002). His major project in the last decade has been the four-volume fantasy of an alternate world where magic works: A Princess of Roumania (2005) and its sequels, The Tourmaline (2006), The White Tyger (2007), and The Hidden World (2008).
“Ghosts Doing the Orange Dance” was published in F&SF in a slightly longer version. It is an ambitious work of SF post-modern fiction, set in the relatively near future, combining autobiography, family history, continual hints of the fantastic, stories within stories, and finally settling down as science fiction. All the clues are present for a multiplicity of interpretations. It rewards the reader’s careful attention.
1. Phosphorescence
Before her marriage, my mother’s mother’s name and address took the form of a palindrome. I’ve seen it on the upper left-hand corner of old envelopes:
Virginia Spotswood McKenney
Spotswood
McKenney
Virginia
Spotswood was her father’s farm in a town named after him, outside of Petersburg. He was a congressman and a judge who had sent his daughters north to Bryn Mawr for their education, and had no reason to think at the time of his death that they wouldn’t live their lives within powerful formal constraints. He died of pneumonia in 1912. He’d been shooting snipe in the marshes near his home.
For many years my grandmother lived a life that was disordered and uncertain. But by the time I knew her, when she was an old woman, that had changed. This was thanks to forces outside her control—her sister Annie had married a lawyer who defended the German government in an international case, the Black Tom explosion of 1916. An American gunboat had blown up in the Hudson River amid suspicions of sabotage.
The lawyer’s name was Howard Harrington. Afterward, on the strength of his expectations, he gave up his practice and retired to Ireland, where he bought an estate called Dunlow Castle. Somewhere around here I have a gold whistle with his initials on it, and also a photograph of him and my great-aunt, surrounded by a phalanx of staff.
But he was never paid. America entered the First World War, and in two years the Kaiser’s government collapsed. Aunt Annie and Uncle Howard returned to New York, bankrupt and ill. My grandmother took them in, and paid for the sanatorium in Saranac Lake where he died of tuberculosis, leaving her his debts. In the family this was considered unnecessarily virtuous, because he had offered no help when she was most in need. Conspicuously and publicly he had rejected her husband’s request for a job in his law firm, claiming that he had “committed the only crime a gentleman couldn’t forgive.”
She had to wait forty years for her reward. In the 1970s a West German accountant discovered a discrepancy, an unresolved payment which, with interest, was enough to set her up in comfort for the rest of her life.
At that time she was director of the Valentine Museum in Richmond. She used to come to Rhode Island during the summers and make pickled peaches in our kitchen. I was frightened of her formal manners, her take-no-prisoners attitude toward children, and her southern accent, which seemed as foreign to me as Turkish or Uzbeki. She had white hair down her back, but I could only see how long it was when I was spying on her through the crack in her bedroom door, during her morning toilette. She’d brush it out, then braid it, then secure the braids around her head in tight spirals, held in place with long tortoiseshell hairpins.
She wore a corset.
One night there was a thunderstorm, and for some reason there was no one home but she and I. She appeared at the top of the stairs, her hair undone. She was breathing hard, blowing her cheeks out as she came down, and then she stood in the open door, looking out at the pelting rain. “Come,” she said—I always obeyed her. She led me out onto the front lawn. We didn’t wear any coats, and in a moment we were soaked. Lightning struck nearby. She took hold of my arm and led me down the path toward the sea; we stood on the bluff as the storm raged. The waves were up the beach. Rain wiped clean the surface of the water. For some reason there was a lot of phosphorescence.
She had hold of my arm, which was not characteristic. Before, she’d never had a reason to touch me. Her other hand was clenched in a fist. The lenses of her glasses were streaked with rain. The wind blew her white hair around her head. She pulled me around in a circle, grinning the whole time. Her teeth were very crooked, very bad.
2. The Glass House
It occurs to me that every memoirist and every historian should begin by reminding their readers that the mere act of writing something down, of organizing something in a line of words, involves a clear betrayal of the truth. Without alternatives we resort to telling stories, coherent narratives involving chains of circumstance, causes and effects, climactic moments, introductions and denouements. We can’t help it.
This is even before we start to make things up. And it’s in spite of what we already know from our own experience: that our minds are like jumbled crates or suitcases or cluttered rooms, and that memory cannot be separated from ordinary thinking, which is constructed in layers rather than sequences. In the same way history cannot be separated from the present. Both memory and history consist not of stories but of single images, words, phrases, or motifs repeated to absurdity. Who could tolerate reading about such things? Who could even understand it?
So our betrayal of experience has a practical justification. But it also has a psychological one. How could we convince ourselves of progress, of momentum, if the past remained as formless or as pointless as the present? In our search for meaning, especially, we are like a man who looks for his vehicle access and ignition cards under a streetlamp regardless of where he lost them. What choice does he have? In the darkness, it’s there or nowhere.
But stories once they’re started are self-generating. Each image, once clarified, suggests the next. Form invents content, and so problems of falsehood cannot be limited entirely to form. A friend of mine once told me a story about visiting his father, sitting with him in the VA hospital the morning he died, trying to make conversation, although they had never been close. “Dad,” he said, “there’s one thing I’ve never forgotten. We were at the lake house the summer I was twelve, and you came downstairs with some army stuff, your old revolver that you’d rediscovered at the bottom of a drawer. You told Bobby and me to take it out into the woods and shoot it off, just for fun. But I said I didn’t want to, I wanted to watch Gilligan’s Island on TV, and you were okay with that. Bobby went out by himself. And I think that was a turning point for me, where I knew you would accept me whatever I did, even if it was, you know, intellectual things—books and literature. Bobby’s in jail, now, of course. But I just wanted you to know how grateful I was for that, because you didn’t force me to conform to some. . . .”
Then my friend had to stop because the old man was staring at him and trying to talk, even though the tubes were down his throat. What kind of deranged psychotic asshole, he seemed to want to express, would give his teenage sons a loaded gun of any kind, let alone a goddamned .38? The lake house, as it happened, was not in Siberia or fucking Wyoming, but suburban Maryland; there were neighbors on both sides. The woods were only a hundred yards deep. You could waste some jerkoff as he sat on his own toilet in his own home. What the fuck? And don’t even talk to
me about Bobby. He’s twice the man you are.
Previously, my friend had told variations of this childhood memory to his wife and his young sons, during moments of personal or family affirmation. He had thought of it as the defining moment of his youth, but now in the stark semiprivate hospital room it sounded ridiculous even to him. And of course, any hope of thoughtful tranquility or reconciliation was impeded, as the old man passed away immediately afterward.
Everyone has had experiences like this. And yet what can we do, except pretend what we say is accurate? What can we do, except continue with our stories? Here is mine. It starts with a visit to my grandfather, my father’s father, sometime in the early 1960s.
His name was Edwin Avery Park, and he lived in Old Mystic in eastern Connecticut, not far from Preston, where his family had wasted much of the seventeenth, the entire eighteenth, and half of the nineteenth centuries on unprofitable farms. He had been trained as an architect, but had retired early to devote himself to painting—imitations, first, of John Marin’s landscapes, and then later of Georgio di Chirico’s surrealist canvases; he knew his work derived from theirs. Once he said, “I envy you. I know I’ll never have what you have. Now here I am at the end of my life, a fifth-rate painter.” His eyes got misty, wistful. “I could have been a third-rate painter.”
He showed no interest in my sisters. But I had been born in a caul, the afterbirth wrapped around my head, which made me exceptional in his eyes. When we visited, my grandfather was always waking me up early and taking me for rambles in old graveyards. Once he parked the car by the side of the road, and he—
No, wait. Something happened first. At dawn I had crept up to his studio in the top of the house and looked through a stack of paintings: “Ghosts Doing the Orange Dance.” “The Waxed Intruder.” “Shrouds and Dirges, Disassembled.”
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