Such was my naiveté.
* * * *
4
The days had grown short, and Thanksgiving had come and gone, and so had November, and snow was in the air—the tang of it, anyway—when fifty cavalrymen of the Athabaska Reserve rode into Williams Ford, escorting an equal number of Campaigners and Poll-Takers.
Many people despised the Athabaskan winter. I was not one of them. I didn’t mind the cold and the darkness, not so long as there was a hard-coal heater, a spirit lamp to read by on long nights, and the chance of wheat cakes or headcheese for breakfast. And Christmas was coming up fast—one of the four Universal Christian Holidays recognized by the Dominion (the others being Easter, Independence Day, and Thanksgiving). My favorite of these had always been Christmas. It was not so much the gifts, which were generally meager—though last year I had received from my parents the lease of a muzzle-loading rifle of which I was exceptionally proud—nor was it entirely the spiritual substance of the holiday, which I am ashamed to say seldom entered my mind except when it was thrust upon me at religious services. What I loved was the combined effect of brisk air, frost-whitened mornings, pine and holly wreaths pinned to doorways, cranberry-red banners draped above the main street to flap cheerfully in the cold wind, carols and hymns chanted or sung—the whole breathless confrontation with Winter, half defiance and half submission. I liked the clockwork regularity of these rituals, as if a particular cog on the wheel of time had engaged with neat precision. It soothed; it spoke of eternity.
But this was an ill-omened season.
The Reserve troops rode into town on the fifteenth of December. Ostensibly, they were here to conduct the Presidential Election. National elections were a formality in Williams Ford. By the time our citizens were polled, the outcome was usually a foregone conclusion, already decided in the populous Eastern states—that is, when there was more than one candidate, which was seldom. For the last six electoral years no individual or party had contested the election, and we had been ruled by one Comstock or another for three decades. Election had become indistinguishable from acclamation.
But that was all right, because an election was still a momentous event, almost a kind of circus, involving the arrival of Poll-Takers and Campaigners, who always had a fine show to put on.
And this year—the rumor emanated from high chambers of the Estate, and had been whispered everywhere—there was to be a movie shown in the Dominion Hall.
I had never seen any movies, though Julian had described them to me. He had seen them often in New York when he was younger, and whenever he grew nostalgic—life in Williams Ford was sometimes a little sedate for Julian’s taste—it was the movies he was provoked to mention. And so, when the showing of a movie was announced as part of the electoral process, both of us were excited, and we agreed to meet behind the Dominion Hall at he appointed hour.
Neither of us had any legitimate reason to be there. I was too young to vote, and Julian would have been conspicuous and perhaps unwelcome as the only aristo at a gathering of the leasing class. (The high-born had been polled independently at the Estate, and had already voted proxies for their indentured labor.) So I let my parents leave for the Hall early in the evening, and I followed surreptitiously, and arrived just before the event was scheduled to begin. I waited behind the meeting hall, where a dozen horses were tethered, until Julian arrived on an animal borrowed from the Estate stables. He was dressed in his best approximation of a leaser’s clothing: hempen shirt and trousers of a dark color, and a black felt hat with its brim pulled low to disguise his face.
He dismounted, looking troubled, and I asked him what was wrong. Julian shook his head. “Nothing, Adam—or nothing yet—but Sam says there’s trouble brewing.” And here he regarded me with an expression verging on pity. “War,” he said.
“There’s always war.”
“A new offensive.”
“Well, what of it? Labrador’s a million miles away.”
“Obviously your sense of geography hasn’t been much improved by Sam’s classes. And we might be physically a long distance from the front, but we’re operationally far too close for comfort.”
I didn’t know what that meant, and so I dismissed it. “We can worry about that after the movie, Julian.”
He forced a grin and said, “Yes, I suppose so. As well after as before.”
So we entered the Dominion Hall just as the lamps were being dimmed, and slouched into the last row of crowded pews, and waited for the show to start.
There was a broad stage at the front of the Hall, from which all religious appurtenances had been removed, and a square white screen had been erected in place of the usual pulpit or dais. On each side of the screen was a kind of tent in which the two players sat, with their scripts and dramatic gear: speaking-horns, bells, blocks, a drum, a pennywhistle, et alia. This was, Julian said, a stripped-down edition of what one might find in a fashionable New York movie theater. In the city, the screen (and thus the images projected on it) would be larger; the players would be more professional, since script-reading and noise-making were considered fashionable arts, and the city players competed with one another for roles; and there might be a third player stationed behind the screen for dramatic narration or additional “sound effects.” There might even be an orchestra, with thematic music written for each individual production.
Movies were devised in such a way that two main characters, male and female, could be voiced by the players, with the male actor photographed so that he appeared on the left during dialogue scenes, and the female actor on the right. The players would observe the movie by a system of mirrors, and could follow scripts illuminated by a kind of binnacle lamp (so as not to cast a distracting light), and they spoke their lines as the photographed actors spoke, so that their voices seemed to emanate from the screen. Likewise, their drumming and bell-ringing and such corresponded to events within the movie.5
“Of course, they did it better in the secular era,” Julian whispered, and I prayed no one had overheard this indelicate comment. By all reports, movies had indeed been spectacular during the Efflorescence of Oil—with recorded sound, natural color rather than black-and-gray, etc. But they were also (by the same reports) hideously impious, blasphemous to the extreme, and routinely pornographic. Fortunately (or unfortunately, from Julian’s point of view) no examples have survived; the media on which they were recorded was ephemeral; the film stock has long since rotted, and “digital” copies are degraded and wholly undecodable. These movies belonged to the twentieth and early twenty-first centuries—that period of great, unsustainable, and hedonistic prosperity, driven by the burning of Earth’s reserves of perishable oil, which culminated in the False Tribulation, and the wars, and the plagues, and the painful dwindling of inflated populations to more reasonable numbers.
Our truest and best American antiquity, as the Dominion History of the Union insisted, was the nineteenth century, whose household virtues and modest industries we have been forced by circumstance to imperfectly restore, whose skills were practical, and whose literature was often useful and improving.
But I have to confess that some of Julian’s apostasy had infected me. I was troubled by unhappy thoughts even as the torchieres were extinguished and Ben Kreel (our Dominion representative, standing in front of the movie screen) delivered a brief lecture on Nation, Piety, and Duty. War, Julian had said, implying not just the everlasting War in Labrador but a new phase of it, one that might reach its skeletal hand right into Williams Ford—and then what of me, and what of my family?
“We are here to cast our ballots,” Ben Kreel said in summation, “a sacred duty at once to our country and our faith, a country so successfully and benevolently stewarded by its leader, President Deklan Comstock, whose Campaigners, I see by the motions of their hands, are anxious to get on with the events of the night; and so, without further adieu, etc., please direct your attention to the presentation of their moving picture, First Under Heaven, which they have pr
epared for our enjoyment—”
The necessary gear had been hauled into Williams Ford under a canvas-top wagon: a projection apparatus and a portable Swiss dynamo (probably captured from the Dutch forces in Labrador), powered by distilled spirits, installed in a sort of trench or redoubt freshly dug behind the church to muffle its sound, which nevertheless penetrated through the plank floors like the growl of a huge dog. This vibration only added to the sense of moment, as the last illuminating flame was extinguished and the electric bulb within the huge black mechanical projector flared up.
The movie began. As it was the first I had ever seen, my astonishment was complete. I was so entranced by the illusion of photographs “come to life” that the substance of the scenes almost escaped me . . . but I remember an ornate title, and scenes of the Second Battle of Quebec, recreated by actors but utterly real to me, accompanied by drum-banging and shrill penny whistling to represent the reports of shot and shell. Those at the front of the auditorium flinched instinctively; several of the village’s prominent women came near to fainting, and clasped the hands or arms of their male companions, who might be as bruised, come morning, as if they had participated in the battle itself.
Soon enough, however, the Dutchmen under their cross-and-laurel flag began to retreat from the American forces, and an actor representing the young Deklan Comstock came to the fore, reciting his Vows of Inauguration (a bit prematurely, but history was here truncated for the purposes of art)—that’s the one in which he mentions both the Continental Imperative and the Debt to the Past. He was voiced, of course, by one of the players, a basso profundo whose tones emerged from his speaking-bell with ponderous gravity. (Which was also a slight revision of the truth, for the genuine Deklan Comstock possessed a high-pitched voice, and was prone to petulance.)
The movie then proceeded to more decorous episodes and scenic views representing the glories of the reign of Deklan Conqueror, as he was known to the Army of the Laurentians, which had marched him to his ascendancy in New York City. Here was the reconstruction of Washington, DC (a project never completed, always in progress, hindered by a swampy climate and insect-borne diseases); here was the Illumination of Manhattan, whereby electric streetlights were powered by a hydroelectric dynamo, four hours every day between 6 and 10 p.m.; here was the military shipyard at Boston Harbor, the coal mines and foundries and weapons factories of Pennsylvania, the newest and shiniest steam engines to pull the newest and shiniest trains, etc., etc.
I had to wonder at Julian’s reaction to all this. This entire show, after all, was concocted to extoll the virtues of the man who had contrived the death by hanging of his father. I could not forget—and Julian must be constantly aware—that the current President was a fratricidal tyrant. But Julian’s eyes were riveted on the screen. This reflected (I later learned) not his opinion of contemporary politics but his fascination with what he preferred to call “cinema.” This making of illusions in two dimensions was never far from his mind—it was, perhaps, his “true calling,” and would culminate in the creation of Julian’s suppressed cinematic masterwork, The Life and Adventures of the Great Naturalist Charles Darwin . . . but that tale remains for another telling.
The present movie went on to mention the successful forays against the Brazilians at Panama during Deklan Conqueror’s reign, which may have struck closer to home, for I saw Julian wince once or twice.
As for me . . . I tried to lose myself in the moment, but my attention was woefully truant.
Perhaps it was the strangeness of the campaign event, so close to Christmas. Perhaps it was the HISTORY OF MANKIND IN SPACE, which I had been reading in bed, a page or two at a time, almost every night since our journey to the Tip. Whatever the cause, I was beset by a sudden anxiety and sense of melancholy. Here I was in the midst of everything that seemed familiar and ought to be comforting—the crowd of the leasing class, the enclosing benevolence of the Dominion Hall, the banners and tokens of the Christmas season—and it all felt suddenly ephemeral, as if the world were a bucket from which the bottom had dropped out.
Perhaps this was what Julian had called “the philosopher’s perspective.” If so, I wondered how the philosophers endured it. I had learned a little from Sam Godwin—and more from Julian, who read books of which even Sam disapproved—about the discredited ideas of the Secular Era. I thought of Einstein, and his insistence that no particular point of view of was more privileged than any other: in other words his “general relativity,” and its claim that the answer to the question “What is real?” begins with the question “Where are you standing?” Was that all I was, here in the cocoon of Williams Ford—a Point of View? Or was I an incarnation of a molecule of DNA, “imperfectly remembering,” as Julian had said, an ape, a fish, and an amoeba?
Maybe even the Nation that Ben Kreel had praised so extravagantly was only an example of this trend in nature—an imperfect memory of another century, which had itself been an imperfect memory of all the centuries before it, and so back to the dawn of Man (in Eden, or Africa, as Julian believed).
Perhaps this was just my growing disenchantment with the town where I had been raised—or a presentiment that it was about to be stolen away from me.
* * * *
The movie ended with a stirring scene of an American flag, its thirteen stripes and sixty stars rippling in sunlight—betokening, the narrator insisted, another four years of the prosperity and benevolence engendered by the rule of Deklan Conqueror, for whom the audience’s votes were solicited, not that there was any competing candidate known or rumored. The film flapped against its reel; the electric bulb was extinguished. Then the deacons of the Dominion began to reignite the wall lights. Several of the men in the audience had lit pipes during the cinematic display, and their smoke mingled with the smudge of the torchieres, a blue-gray thundercloud hovering under the high arches of the ceiling.
Julian seemed distracted, and slumped in his pew with his hat pulled low. “Adam,” he whispered, “we have to find a way out of here.”
“I believe I see one,” I said; “it’s called the door—but what’s the hurry?”
“Look at the door more closely. Two men of the Reserve have been posted there.”
I looked, and what he had said was true. “But isn’t that just to protect the balloting?” For Ben Kreel had retaken the stage and was preparing to ask for a formal show of hands.
“Tom Shearney, the barber with a bladder complaint, just tried to leave to use the jakes. He was turned back.”
Indeed, Tom Shearney was seated less than a yard away from us, squirming unhappily and casting resentful glances at the Reserve men.
“But after the balloting—”
“This isn’t about balloting. This is about conscription.”
“Conscription!”
“Hush!” Julian said hastily, shaking his hair out of his pale face. “You’ll start a stampede. I didn’t think it would begin so soon . . . but we’ve had certain telegrams from New York about setbacks in Labrador, and the call-up of new divisions. Once the balloting is finished the Campaigners will probably announce a recruitment drive, and take the names of everyone present and survey them for the names and ages of their children.”
“We’re too young to be drafted,” I said, for we were both just seventeen.
“Not according to what I’ve heard. The rules have been changed. Oh, you can probably find a way to hide out when the culling begins—and get away with it, considering how far we are from anywhere else. But my presence here is well-known. I don’t have a mob or family to melt away into. In fact it’s probably not a coincidence that so many Reserves have been sent to such a little village as Williams Ford.”
“What do you mean, not a coincidence?”
“My uncle has never been happy about my existence. He has no children of his own. No heirs. He sees me as a possible competitor for the Executive.”
“But that’s absurd. You don’t want to be President—do you?”
“I would so
oner shoot myself. But Uncle Deklan has a jealous bent, and he distrusts the motives of my mother in protecting me.”
“How does a draft help him?”
“The entire draft is not aimed at me, but I’m sure he finds it a useful tool. If I’m drafted, no one can complain that he’s excepting his own family from the general conscription. And when he has me in the infantry he can be sure I find myself on the front lines in Labrador—performing some noble but suicidal trench attack.”
“But—Julian! Can’t Sam protect you?”
“Sam is a retired soldier; he has no power except what arises from the patronage of my mother. Which isn’t worth much in the coin of the present realm. Adam, is there another way out of this building?”
“Only the door, unless you mean to break a pane of that colored glass that fills the windows.”
“Somewhere to hide, then?”
I thought about it. “Maybe,” I said. “There’s a room behind the stage where the religious equipment is stored. You can enter it from the wings. We could hide there, but it has no door of its own.”
The Year's Best Science Fiction: Twenty-Fourth Annual Collection Page 13
