Ursula Kroeber Le Guin

by The wind's twelve quarters - vol 2

  Most of the processsions have reached the Green Fields by now. A marvelous smell of cooking goes forth from the red and blue tents of the provisioners. The faces of small children are amiably sticky; in the benign grey beard of a man a couple of crumbs of rich pastry are entangled. The youths and girls have mounted their horses and are beginning to group around the starting line of the course. An old woman, small, fat, and laughing, is passing out flowers from a basket, and tall young men wear her flowers in their shining hair. A child of nine or ten sits at the edge of the crowd, alone, playing on a wooden flute. People pause to listen, and they smile, but they do not speak to him for he never ceases playing and never sees them, his dark eyes wholly rapt in the sweet, thin magic of the tune.

  He finishes, and slowly lowers his hands holding the wooden flute.

  As if that little private silence were the signal, all at once a trumpet sounds from the pavilion near the starting line: imperious, melancholy, piercing. The horses rear on their slender legs, and some of them neigh in answer. Sober-faced, the young riders stroke the horses' necks and soothe them, whispering, 'Quiet, quiet, there my beauty, my hope...' They begin to form in rank along the starting line. The crowds along the racecourse are like a field of grass and flowers in the wind. The Festival of Summer has begun.

  Do you believe? Do you accept the festival, the city, the joy? No? Then let me describe one more thing.

  In a basement under one of the beautiful public buildings of Omelas, or perhaps in the cellar of one of its spacious private homes, there is a room. It has one locked door, and no window. A little light seeps in dustily between cracks in the boards, secondhand from a cobwebbed window somewhere across the cellar. In one corner of the little room a couple of mops, with stiff, clotted, foul-smelling heads, stand near a rusty bucket. The floor is dirt, a little damp to the touch, as cellar dirt usually is. The room is about three paces long and two wide: a mere broom closet or disused tool room. In the room a child is sitting. It could be a boy or a girl. It looks about six, but actually is nearly ten. It is feeble-minded. Perhaps it was born defective, or perhaps it has become imbecile through fear, malnutrition, and neglect. It picks its nose and occasionally fumbles vaguely with its toes or genitals, as it sits hunched in the corner farthest from the bucket and the two mops. It is afraid of the mops. It finds them horrible. It shuts its eyes, but it know the mops are still standing there; and the door is locked; and nobody will come. The door is always locked; and nobody ever comes, except that sometimes - the child has no understanding of time or interval - sometimes the door rattles terribly and opens, and a person, or several people, are there. One of them may come in and kick the child to make it stand up. The others never come close, but peer in at it with frightened, disgusted eyes. The food bowl and the water jug are hastily filled, the door is locked, the eyes disappear. The people at the door never say anything, but the child, who has not always lived in the tool room, and can remember sunlight and its mother's voice, sometimes speaks. 'I will be good,' it says. 'Please let me out. I will be good!' They never answer. The child used to scream for help at night, and cry a good deal, but now it only makes a kind of whining, 'eh-haa, eh-haa', and it speaks less and less often. It is so thin there are no calves to its legs; its belly protrudes; it lives on a half-bowl of corn meal and grease a day. It is naked. Its buttocks and thighs are a mass of festered sores, as it sits in its own excrement continually.

  They all know it is there, all the people of Omelas. Some of them have come to see it, others are content merely to know it is there. They all know that it has to be there. Some of them understand why, and some do not, but they all understand that their happiness, the beauty of their city, the tenderness of their friendships, the health of their children, the wisdom of their scholars, the skill of their makers, even the abundance of their harvest and the kindly weathers of their skies, depend wholly on this child's abominable misery.

  This is usually explained to children when they are between eight and twelve, whenever they seem capable of understanding; and most of those who come to see the child are young people, though often enough an adult comes, or comes back, to see the child. No matter how well the matter has been explained to them, these young spectators are always shocked and sickened at the sight. They feel disgust, which they had thought themselves superior to. They feel anger, outrage, impotence, despite all the explanations. They would like to do something for the child. But there is nothing they can do. If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms. To exchange all the goodness and grace of every life in Omelas for that single, small improvement: to throw away the happiness of thousands for the chance of the happiness of one: that would be to let guilt within the walls indeed.

  The terms are strict and absolute; there may not even be a kind word spoken to the child.

  Often the young people go home in tears, or in a tearless rage, when they have seen the child and faced this terrible paradox. They may brood over it for weeks or years. But as time goes on they begin to realize that even if the child could be released, it would not get much good of its freedom: a little vague pleasure of warmth and food, no doubt, but little more. It is too degraded and imbecile to know any real joy. It has been afraid too long ever to be free of fear. Its habits are too uncouth for it to respond to humane treatment. Indeed, after so long it would probably be wretched without walls about it to protect it, and darkness for its eyes, and its own excrement to sit in. Their tears at the bitter injustice dry when they begin to perceive the terrible justice of reality, and to accept it. Yet it is their tears and anger, the trying of their generosity and the acceptance of their helplessness, which are perhaps the true source of the splendor of their lives. Theirs is no vapid, irresponsible happiness. They know that they, like the child, are not free. They know compassion. It is the existence of the child, and their knowledge of its existence, that makes possible the nobility of their architecture; the poignancy of their music, the profundity of their science. It is because of the child that they are so gentle with children. They know that if the wretched one were not there snivelling in the dark, the other one, the flute-player, could make no joyful music as the young riders line up in their beauty for the race in the sunlight of the first morning of summer.

  Now do you believe in them? Are they not more credible? But there is one more thing to tell, and this is quite incredible.

  At times one of the adolescent girls or boys who go to see the child does not go home to weep or rage, does not, in fact, go home at all. Sometimes also a man or woman much older falls silent for a day or two, and then leaves home. These people go out into the street, and walk straight out of the city of Omelas, through the beautiful gates. They keep walking across the farmlands of Omelas. Each one goes alone, youth or girl, man or woman. Night falls; the traveler must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on. They leave Omelas, they walk ahead into the darkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.

  THE DAY BEFORE THE REVOLUTION

  In memoriam Paul Goodman, 1911-1972

  My novel The Dispossessed is about a small worldful of people who call themselves Odonians. The name is taken from the founder of their society, Odo, who lived several generations before the time of the novel, and who therefore doesn't get into the action — except implicitly, in that all the action started with her.

  Odonianism is anarchism. Not the bomb-in-the-pocket stuff, which is terrorism, whatever name it tries to dignify itsel
f with; not the social-Darwinist economic 'libertarianism' of the far right; but anarchism, as prefigured in early Taoist thought, and expounded by Shelley and Kropotkin, Goldman and Goodman. Anarchism's principal target is the authoritarian State (capitalist or socialist); its principal moral-practical theme is cooperation (solidarity, mutual aid). It is the most idealistic, and to me the most interesting, of all political theories.

  To embody it in a novel, which had not been done before, was a long and hard job for me, and absorbed me totally for many months. When it was done I felt lost, exiled — a displaced person. I was very grateful, therefore, when Odo came out of the shadows and across the gulf of Probability, and wanted a story written, not about the world she made, but about herself.

  This story is about one of the ones who walked away from Omelas.

  The speaker's voice was as loud as empty beer-trucks in a stone street, and the people at the meeting were jammed up close, cobblestones, that great voice booming over them. Taviri was somewhere on the other side of the hall. She had to get to him. She wormed and pushed her way among the dark-clothed, close-packed people. She did not hear the words, nor see the faces: only the booming, and the bodies pressed one behind the other. She could not see Taviri, she was too short. A broad black-vested belly and chest loomed up, blocking her way. She must get through to Taviri. Sweating, she jabbed fiercely with her fist. It was like hitting stone, he did not move at all, but the huge lungs let out right over her head a prodigious noise, a bellow. She cowered. Then she understood that the bellow had not been at her. Others were shouting. The speaker had said something, something fine about taxes or shadows. Thrilled, she joined the shouting - 'Yes! Yes!' - and shoving on, came out easily into the open expanse of the Regimental Drill Field in Parheo. Overhead the evening sky lay deep and colorless, and all around her nodded the tall weeds with dry, white, close-floreted heads. She had never known what they were called. The flowers nodded above her head, swaying in the wind that always blew across the fields in the dusk. She ran among them, and they whipped lithe aside and stood up again swaying, silent. Taviri stood among the tall weeds in his good suit, the dark grey one that made him look like a professor or a playactor, harshly elegant. He did not look happy, but he was laughing, and saying something to her. The sound of his voice made her cry, and she reached out to catch hold of his hand, but she did not stop, quite. She could not stop. 'Oh, Taviri,' she said, 'it's just on there!' The queer sweet smell of the white weeds was heavy as she went on. There were thorns, tangles underfoot, there were slopes, pits. She feared to fall, to fall, she stopped.

  Sun, bright morning-glare, straight in the eyes, relentless. She had forgotten to pull the blind last night. She turned her back on the sun, but the right side wasn't comfortable. No use. Day. She sighed twice, sat up, got her legs over the edge of the bed, and sat hunched in her nightdress looking down at her feet.

  The toes, compressed by a lifetime of cheap shoes, were almost square where they touched each other, and bulged out above in corns; the nails were discolored and shapeless. Between the knob-like anklebones ran fine, dry wrinkles. The brief little plain at the base of the toes had kept its delicacy, but the skin was the color of mud, and knotted veins crossed the instep. Disgusting. Sad, depressing. Mean. Pitiful. She tried on all the words, and they all fit, like hideous little hats. Hideous: yes, that one too. To look at oneself and find it hideous, what a job! But then, when she hadn't been hideous, had she sat around and stared at herself like this? Not much! A proper body's not an object, not an implement, not a belonging to be admired, it's just you, yourself. Only when it's no longer you, but yours, a thing owned, do you worry about it - Is it in good shape? Will it do? Will it last?

  'Who cares?' said Laia fiercely, and stood up.

  It made her giddy to stand up suddenly. She had to put out her hand to the bed-table, for she dreaded falling. At that she thought of reaching out to Taviri, in the dream.

  What had he said? She could not remember. She was not sure if she had even touched his hand. She frowned, trying to force memory. It had been so long since she had dreamed about Taviri; and now not even to remember what he had said!

  It was gone, it was gone. She stood there hunched in her nightdress, frowning, one hand on the bed-table. How long was it since she had thought of him - let alone dreamed of him -even thought of him, as 'Taviri'? How long since she had said his name?

  Asieo said. When Asieo and I were in prison in the North. Before I met Asieo. Asieo's theory of reciprocity. Oh yes, she talked about him, talked about him too much no doubt, maundered, dragged him in. But as 'Asieo', the last name, the public man. The private man was gone, utterly gone. There were so few left who had even known him. They had all used to be in jail. One laughed about it in those days, all the friends in all the jails. But they weren't even there, these days. They were in the prison cemeteries. Or in the common graves.

  'Oh, oh my dear,' Laia said out loud, and she sank down onto the bed again because she could not stand up under the remembrance of those first weeks in the Fort, in the cell, those first weeks of the nine years in the Fort in Drio, in the cell, those first weeks after they told her that Asieo had been killed in the fighting in Capitol Square and had been buried with the Fourteen Hundred in the lime-ditches behind Oring Gate. In the cell. Her hands fell into the old position on her lap, the left clenched and locked inside the grip of the right, the right thumb working back and forth a little pressing and rubbing on the knuckle of the left first finger. Hours, days, nights. She had thought of them all, each one, each one of the Fourteen Hundred, how they lay, how the quicklime worked on the flesh, how the bones touched in the burning dark. Who touched him? How did the slender bones of the hand lie now? Hours, years.

  'Taviri, I have never forgotten you!' she whispered, and the stupidity of it brought her back to morning light and the rumpled bed. Of course she hadn't forgotten him. These things go without saying between husband and wife. There were her ugly old feet flat on the floor again, just as before. She had got nowhere at all, she had gone in a circle. She stood up with a grunt of effort and disapproval, and went to the closet for her dressing gown.

  The young people went about the halls of the House in becoming immodesty, but she was too old for that. She didn't want to spoil some young man's breakfast with the sight of her. Besides, they had grown up in the principle of freedom of dress and sex and all the rest, and she hadn't. All she had done was invent it. It's not the same.

  Like speaking of Asieo as 'my husband'. They winced. The word she should use as a good Odonian, of course, was 'partner'. But why the hell did she have to be a good Odonian?

  She shuffled down the hall to the bathrooms. Mairo was there, washing her hair in a lavatory. Laia looked at the long, sleek, wet hank with admiration. She got out of the House so seldom now that she didn't know when she had last seen a respectably shaven scalp, but still the sight of a full head of hair gave her pleasure, vigorous pleasure. How many times had she been jeered at Longhair, longhair, had her hair pulled by policemen or young toughs, had her hair shaved off down to the scalp by a grinning soldier at each new prison? And then had grown it all over again, through the fuzz, to the frizz, to the curls, to the mane ... In the old days. For God's love, couldn't she think of anything today but the old days?

  Dressed, her bed made, she went down to commons. It was a good breakfast, but she had never got her appetite back since the damned stroke. She drank two cups of herb tea, but couldn't finish the piece of fruit she had taken. How she had craved fruit as a child badly enough to steal it; and in the Fort - oh, for God's love stop it! She smiled and replied to the greetings and friendly inquiries of the other breakfasters and big Aevi who was serving the counter this morning. It was he who had tempted her with the peach, 'Look at this, I've been saving it for you,' and how could she refuse? Anyway she had always loved fruit, and never got enough; once when she was six or seven she had stolen a piece off a vendor's cart in River Street. But it was hard to eat whe
n everyone was talking so excitedly. There was news from Thu, real news. She was inclined to discount it at first, being wary of enthusiasms, but after she had read the article in the paper, and read between the lines of it, she thought, with a strange kind of certainty, deep but cold, Why, this is it; it has come. And in Thu, not here. Thu will break before this country does; the Revolution will first prevail there. As if that mattered! There will be no more nations. And yet it did matter somehow, it made her a little cold and sad -envious, in fact. Of all the infinite stupidities. She did not join in the talk much, and soon got up to go back to her room, feeling sorry for herself. She could not share their excitement. She was out of it, really out of it. It's not easy, she said to herself in justification, laboriously climbing the stairs, to accept being out of it when you've been in it, in the center of it, for fifty years. Oh, for God's love. Whining!