"Paul Gorou," Paul said.
"Pleased to meet you, Mr. Gorou. When the time come, they took one whole side of the family. They was the Worthmore Pendeltons; that's what we always called them, because most of them lived thereabouts. Cousins of mine they was, and second cousins. We was the Evershaw Pendeltons, and they didn't take none of us. Bad blood, they said— too much wrong to be worth fixing, or too much that mightn't get fixed right, and then show up again. My ma— she's alive then— she always swore it was her sister Lillian's boy that did it to us. The whole side of his head was pushed in. You know what I mean? They used to say a cow'd kicked him when he was small, but it wasn't so— he's just born like that. He could talk some— there's those that set a high value on that— but the slobber'd run out of his mouth. My ma said if it wasn't for him we'd have got in sure. The only other thing was my sister Clara that was born with a bad eye— blind, you know, and something wrong with the lid of it, too. But she was just as sensible as anybody. Smart as a whip. So I would say it's likely Ma was right. Same thing with your family, I suppose?"
"I think so. I don't really know."
"A lot of it was die-beetees. They could fix it, but if there was other things too they just kept them out. Of course when it was over there wasn't no medicine for them no more, and they died off pretty quick. When I was young, I used to think that was what it meant: die-beetees— you died away. It's really sweetening of the blood. You heard of it?"
Paul nodded.
"I'd like to taste some sometime, but I never come to think of that while there was still some of them around."
"If they weren't masters—"
"Didn't mean I'd of killed them," the old man said quickly. "Just got one to gash his arm a trifle so I could taste of it. Back then— that would be twenty aught nine, close to fifty years gone it is now— there was several I knowed that was just my age.… What I was meaning to say at the beginning was that us Pendeltons never figured on anythin' like this. We'd farmed, and we meant to keep on, grow our own truck and breed our own stock. Well, that did for a time, but it wouldn't keep."
Paul, who had never considered living off the land, or even realized that it was possible to do so, could only stare at him.
"You take chickens, now. Everybody always said there wasn't nothing easier than chickens, but that was when there was medicine you could put in the water to keep off the sickness. Well, the time come when you couldn't get it no more than you could get a can of beans in those stores of theirs that don't use money or cards or anything a man can understand. My dad had two hundred in the flock when the sickness struck, and it took every hen inside of four days. You wasn't supposed to eat them that had died sick, but we did it. Plucked 'em and canned 'em— by that time our old locker that plugged in the wall wouldn't work. When the chickens was all canned, Dad saddled a horse we had then and rode twentyfive miles to a place where the new folks grew chickens to eat themselves. I guess you know what happened to him, though— they wouldn't sell, and they wouldn't trade. Finally he begged them. He was a Pendelton, and used to cry when he told of it. He said the harder he begged them, the scareder they got. Well, finally he reached out and grabbed one by the leg— he was on his knees to them— and he hit him alongside the face with a book he was carryin'."
The old man rocked backward and forward in his seat as he spoke, his eyes half closed. "There wasn't no more seed but what was saved from last year then, and the corn went so bad the ears wasn't no longer than a soft dick. No bullets for Dad's old gun, nowhere to buy new traps when what we had was lost. Then one day just afore Christmas these here machines just started tearing up our fields. They had forgot about us, you see. We threw rocks but it didn't do no good, and about midnight one come right through the house. There wasn't no one living then but Ma and Dad and brother Tom and me and Janie. Janie wasn't but just a little bit of a thing. The machine got Tom in the leg with a piece of two-by-four— rammed the splintery end into him, you see. The rot got to the wound and he died a week after; it was winter then, and we was living in a place me and Dad built up on the hill out of branches and saplings."
"About Janie," Paul said. "I can understand how you might not want to let her go—"
"Are you sayin' you don't want her?" The old man shifted in his seat, and Paul saw that his right hand had moved close to the crevice where the horizontal surface joined the vertical. The crevice was a trifle too wide, and he thought he knew what was hidden there. He was not afraid of the old man, and it had crossed his mind more than once that if he killed him there would be nothing to prevent his taking Janie.
"I want her," he said. "I'm not going away without her." He stood up without knowing why.
"There's been others said the same thing. I would go, you know, to the meetin' in the regular way; come back next month, and the fella'd be waitin'."
The old man was drawing himself to his feet, his jaw outthrust belligerently. "They'd see her," he said, "and they'd talk a lot, just like you, about how good they'd take care of her, though there wasn't a one brought a lick to eat when he come to call. Me and Janie, sometimes we ain't et for three, four days— they never take account of that. Now here, you look at her."
Bending swiftly, he took his daughter by the arm; she rose gracefully, and he spun her around. "Her ma was a pretty woman," he said, "but not as pretty as what she is, even if she is so thin. And she's got sense too— I don't keer what they say."
Janie looked at Paul with frightened, animal eyes. He gestured, he hoped gently, for her to come to him, but she only pressed herself against her father.
"You can talk to her. She understands."
Paul started to speak, then had to stop to clear his throat. At last he said: "Come here, Janie. You're going to live with me. We'll come back and see your father sometimes."
Her hand slipped into her shirt; came out holding a knife. She looked at the old man, who caught her wrist and took the knife from her and dropped it on the seat behind him, saying, "You're going to have to be a mite careful around her for a bit, but if you don't hurt her none she'll take to you pretty quick. She wants to take to you now— I can see it in the way she looks."
Paul nodded, accepting the girl from him almost as he might have accepted a package, holding her by her narrow waist.
"And when you get a mess of grub she likes to cut them up, sometimes, while they're still movin' around. Mostly I don't allow it, but if you do— anyway, once in a while— she'll like you better for it."
Paul nodded again. His hand, as if of its own volition, had strayed to the girl's smoothly rounded hip, and he felt such desire as he had never known before.
"Wait," the old man said. His breath was foul in the close air. "You listen to me now. You're just a young fella and I know how you feel, but you don't know how I do. I want you to understand before you go. I love my girl. You take good care of her or I'll see to you. And if you change your mind about wanting her, don't you just turn her out. I'll take her back, you hear?"
Paul said, "All right."
"Even a bad man can love his child. You remember that, because it's true."
Her husband took Janie by the hand and led her out of the wrecked bus. She was looking over her shoulder, and he knew that she expected her father to drive a knife into his back.
*
They had seen the boy— a brown-haired, slightly freckled boy of nine or ten with an armload of books— on a corner where a small, columniated building concealed the entrance to the monorail, and the streets were wide and empty. The children of the masters were seldom out so late. Paul waved to him, not daring to speak, but attempting to convey by his posture that he wanted to ask directions; he wore the black cloak and scarlet-slashed shirt, the gold sandals and wide-legged black film trousers proper to an evening of pleasure. On his arm Janie was all in red, her face covered by a veil dotted with tiny synthetic bloodstones. Gem-studded veils were a fashion now nearly extinct among the women of the masters, but one that served to conceal the blankn
ess of eye that betrayed Janie, as Paul had discovered, almost instantly. She gave a soft moan of hunger as she saw the boy, and clasped Paul's arm more tightly. Paul waved again.
The boy halted as though waiting for them, but when they were within five meters, he turned and dashed away. Janie was after him before Paul could stop her. The boy dodged between two buildings and raced through to the next street; Paul was just in time to see Janie follow him into a doorway in the center of the block.
He found her clear-soled platform shoes in the vestibule, under a four-dimensional picture of Hugo de Vries. De Vries was in the closing years of his life, and in the few seconds it took Paul to pick up the shoes and conceal them behind an aquarium of phosphorescent cephalopods, had died, rotted to dust, and undergone rebirth as a fissioning cell in his mother's womb with all the labyrinth of genetics still before him.
The lower floors, Paul knew, were apartments. He had entered them sometimes when he could find no prey on the streets. There would be a school at the top.
A confused, frightened-looking woman stood in an otherwise empty corridor, a disheveled library book lying open at her feet. As Paul pushed past her, he could imagine Janie knocking her out of the way, and the woman's horror at the savage, exultant face glimpsed beneath her veil.
There were elevators, a liftshaft, and a downshaft, all clustered in an alcove. The boy would not have waited for an elevator with Janie close behind him.…
The liftshaft floated Paul as spring water floats a cork. Thickened by conditioning agents, the air remained a gas; enriched with added oxygen; it stimulated his whole being, though it was as viscous as corn syrup when he drew it into his lungs. Far above, suspended (as it seemed) in crystal and surrounded by the books the boy had thrown down at her, he saw Janie with her red gown billowing around her and her white legs flashing. She was going to the top, apparently to the uppermost floor, and he reasoned that the boy, having led her there, would jump into the downshaft to escape her. He got off at the eighty-fifth floor, opened the hatch to the downshaft, and was rewarded by seeing the boy only a hundred meters above him. It was a simple matter then to wait on the landing and pluck him out of the sighing column of thickened air.
The boy's pointed, narrow face, white with fear under a tan, turned up toward him. "Don't," the boy said. "Please, sir, good master—" but Paul clamped him under his left arm, and with a quick wrench of his right broke his neck.
Janie was swimming head down with the downshaft current, her mouth open and full of eagerness, and her black hair like a cloud about her head. She had lost her veil. Paul showed her the boy and stepped into the shaft with her. The hatch slammed behind him, and the motion of the air ceased.
He looked at Janie. She had stopped swimming and was staring hungrily into the dead boy's face. He said, "Something's wrong," and she seemed to understand, though it was possible that she only caught the fear in his voice. The hatch would not open, and slowly the current in the shaft was reversing, lifting them; he tried to swim against it but the effort was hopeless. When they were at the top, the dead boy began to talk; Janie put her hand over his mouth to muffle the sound. The hatch at the landing opened, and they stepped out onto the hundred-and-first floor. A voice from a loudspeaker in the wall said: "I am sorry to detain you, but there is reason to think you have undergone a recent deviation from the optimal development pattern. In a few minutes I will arrive in person to provide counseling; while you are waiting, it may be useful for us to review what is meant by 'optimal development.' Look at the projection.
"In infancy the child first feels affection for its mother, the provider of warmth and food.…" There was a door at the other end of the room, and Paul swung a heavy chair against it, making a din that almost drowned out the droning speaker.
"Later one's peer group becomes, for a time, all-important— or nearly so. The boys and girls you see are attending a model school in Armstrong. Notice that no tint is used to mask the black of space above their air-tent."
The lock burst from the doorframe, but a remotely actuated hydraulic cylinder snapped it shut each time a blow from the chair drove it open. Paul slammed his shoulder against it, and before it could close again put his knee where the shattered bolt-socket had been. A chrome-plated steel rod as thick as a finger had dropped from the chair when his blows had smashed the wood and plastic holding it; after a moment of incomprehension, Janie dropped the dead boy, wedged the rod between the door and the jamb, and slipped through. He was following her when the rod lifted, and the door swung shut on his foot.
He screamed and screamed again, and then, in the echoing silence that followed, heard the loudspeaker mumbling about education, and Janie's sobbing, indrawn breath. Through the crack between the door and the frame, the two-centimeter space held in existence by what remained of his right foot, he could see the livid face and blind, malevolent eyes of the dead boy, whose will still held the steel rod suspended in air. "Die," Paul shouted at him. "Die! You're dead!" The rod came crashing down.
"This young woman," the loudspeaker said, "has chosen the profession of medicine. She will be a physician, and she says now that she was born for that. She will spend the remainder of her life in relieving the agonies of disease."
Several minutes passed before he could make Janie understand what it was she had to do.
"After her five years' training in basic medical techniques, she will specialize in surgery for another three years before—"
It took Janie a long time to bite through his Achilles' tendon; when it was over, she began to tear at the ligaments that held the bones of the tarsus to the leg. Over the pain he could feel the hot tears washing the blood from his foot.
Halfjack
ROGER ZELAZNY
Like a number of other writers, the late Roger Zelazny began publishing in 1962 in the pages of Cele Goldsmith's Amazing. This was the so-called "Class of '62," whose membership also included Thomas M. Disch, Keith Laumer, and Ursula K. Le Guin. Everyone in that "class" would eventually achieve prominence, but some of them achieved it faster than others, and Zelazny's subsequent career would be one of the most meteoric in the history of SF. The first Zelazny story to attract wide notice was "A Rose for Ecclesiastics," published in 1963 (it was later selected by vote of the SFWA membership to have been one of the best SF stories of all time). By the end of that decade, he had won two Nebula Awards and two Hugo Awards and was widely regarded as one of the two most important American SF writers of the sixties (the other was Samuel R. Delany). By the end of the seventies, although his critical acceptance as an important science-fiction writer had dimmed, his long series of novels about the enchanted land of Amber— beginning with Nine Princes in Amber— had made him one of the most popular and bestselling fantasy writers of our time, and inspired the founding of worldwide fan clubs and fanzines.
Zelazny's early novels were, on the whole, well-received (This Immortal won a Hugo, as did his most famous novel Lord of Light), but it was the strong and stylish short work he published in magazines like F&SF and Amazing and Worlds of If throughout the middle years of the decade that electrified the genre, and it was these early stories— stories such as "This Moment of the Storm," "The Doors of His Face, The Lamps of His Mouth," "The Graveyard Heart," "He Who Shapes," "For a Breath I Tarry," "The Keys to December," and "This Mortal Mountain" —that established Zelazny as a giant of the field, and that many still consider to be his best work. These stories are still amazing for their invention and elegance and verve, for their good-natured effrontery and easy ostentation, for the risks Zelazny took in pursuit of eloquence without ruffling a hair, the grace and nerve he displayed as he switched from high-flown pseudo-Spenserian to wisecracking Chandlerian slang to vivid prose-poetry to Hemingwayesque starkness in the course of only a few lines— and for the way he made it all look easy and effortless, the same kind of illusion Fred Astaire used to generate when he danced.
Here's a vivid and lyrical look into the life of a posthuman, accomplishing in a few
short pages what many another writer would have taken a five-hundred-page novel to spell out.
Zelazny won another Nebula and Hugo Award in 1976 for his novella "Home Is the Hangman," another Hugo in 1986 for his novella "24 Views of Mt. Fuji, by Hosiki," and a final Hugo in 1987 for his story "Permafrost." His other books include, in addition to the multivolume Amber series, the novels This Immortal, The Dream Master, Isle of the Dead, Jack of Shadows, Eye of Cat, Doorways in the Sand, Today We Choose Faces, Bridge of Ashes, To Die in Italbar, and Roadmarks, and the collections Four For Tomorrow, The Doors of His Face, the Lamps of His Mouth and Other Stories, The Last Defender of Camelot, and Frost and Fire. Among his last books are two collaborative novels, A Farce to Be Reckoned With, with Robert Sheckley, and Wilderness with Gerald Hausman, and as editor, two anthologies, Wheel of Fortune and Warriors of Blood and Dream. Zelazny died in 1995. Since his death, several posthumous collaborative novels have been published, including Psychoshop, with the late Alfred Bester, and Donnerjack and Lord Demon, both with Jane Llndskold. A tribute anthology to Zelazny, featuring stories by authors who had been inspired by his work, Lord of the Fantastic, was published in 1998.
*
He walked barefoot along the beach. Above the city several of the brighter stars held for a few final moments against the wash of light from the east. He fingered a stone, then hurled it in the direction from which the sun would come. He watched for a long while until it had vanished from sight. Eventually it would begin skipping. Before then, he had turned and was headed back, to the city, the apartment, the girl.
Somewhere beyond the skyline a vehicle lifted, burning its way into the heavens. It took the remainder of the night with it as it faded. Walking on, he smelled the countryside as well as the ocean. It was a pleasant world, and this a pleasant city— spaceport as well as seaport— here in this backwater limb of the galaxy. A good place in which to rest and immerse the neglected portion of himself in the flow of humanity, the colors and sounds of the city, the constant tugging of gravity. But it had been three months now. He fingered the scar on his brow. He had let two offers pass him by to linger. There was another pending his consideration.
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