“Aristocrats, then.”
“Nor even that. Among ourselves, we’re ‘the Eupatridian Community.’ ”
A label big enough to strangle a man, I thought; but I practiced it dutifully, and after a while it ceased to stick in the throat.
* She played earnestly but haltingly, and Calyxa and I often excused ourselves from these sessions. Sam, on the other hand, was made rapturous by her performances, and claimed he could listen to her all night without tiring, though even he seemed grateful when she moved on to such simpler compositions as Ladies of Cairo or Where the Sauquoit Meets the Mohawk.
* I had taken to heart Lymon Pugh’s many sermons on that subject.
3
The reader, if not versed in recent history, may be anxious to discover whether or not Julian and I were killed on Independence Day. I do not mean to protract the answer to that important question, but the events of the Fourth will make more sense once I have described some of what happened prior to that date.
It was a nervous time for Calyxa and me, though we were newlyweds and tempted to believe in our own immortality. President Comstock was hardly concerned with us, Calyxa said, and in any event we were not locked up in the fine rooms of the Aristocracy. We could pack up our belongings at any time, and travel to Boston or Buffalo, and live there anonymously, beyond the reach of any maddened Chief Executive. I would write books under an assumed name (in this scenario), and Calyxa would sing in respectable cafés. We went so far as to price railway tickets and scrutinize timetables, though I was distressed at the prospect of abandoning Julian to his fate.
“It’s his own fate,” Calyxa said, “and he could shed himself of it if he chose to. He ran away once—can’t he run away again? Ask him to come with us.”
But when I proposed this option to Julian he shook his head. “No, Adam. That’s no longer possible. It was a miracle that I escaped from Williams Ford. Here, I’m under much closer scrutiny.”
“What scrutiny? I don’t see it. New York City is a big locality—big enough to get lost in, it seems to me.”
“My uncle has eyes everywhere. If I so much as packed a bag he’d hear of it. This house is watched, though very discreetly. If I go for a walk, the President’s men aren’t far behind. If I drink to excess in some Broadway tavern, a report will find its way to Deklan Conqueror.”
“And are Calyxa and I also under this observation?”
“Probably, but the surveillance isn’t so strict.” He cast a glance to make sure no servant could overhear us. “If you want to escape, you’re well advised to do so. I won’t stop you or blame you. But it must be a clean escape, or else the President’s men will haul you back and use you against me. To be honest, given your trivial position in Deklan’s eyes, you might be safer here than elsewhere. But the decision is yours, of course.” He added, “I’m sorry you find yourself mixed up in it, Adam. I never meant for it to be so, and I’ll do anything I can to help.”
So Calyxa and I went on studying our railroad timetables, and made airy plans, but failed to pursue them. We continued living in the brownstone house as the days and weeks passed. Mrs. Comstock kept on with her charitable work, and held occasional gatherings of the Manhattan artistic circle, events which Julian enjoyed very much. Sam was often absent during this time, pursuing contacts in the upper echelons of the military—for he was no longer “Sam Samson” but Sam Godwin once again, restored to his reputation as a veteran of the Isthmian War; and I imagined he was performing his own kind of intelligence-gathering, with the aim of discovering the President’s ultimate intentions.
There was no such useful work for me, but I spent many pleasant hours with Calyxa as we adjusted to wedded life. Calyxa in her own way was as philosophically-inclined as Julian, and liked to discuss the flaws and shortcoming of the system of Aristocracy, of which she disapproved. When that palled, we took walks around the city. She enjoyed exploring the shops and restaurants on Broadway or Fifth Avenue; and on fine days we ventured as far as the great stone walls of the Presidential Palace Grounds.* The walls were immensely tall and thick, and made of granite fragments salvaged from city ruins. The huge Broadway Gate at 59th Street, with its stone and steel guardhouse, was a work of architecture nearly as impressive as the Montreal Cathedral where I had first spied Calyxa in her surplice, and twice as monolithic. I couldn’t imagine what lay within those moated and forbidding walls (though I was destined to find out).
The month of June was unusually fine and sunny, and we took such walks often. To avoid monotony we varied our route; and we were returning from Broadway by way of Hudson Street when we passed a Manhattan book-store. The sunlight fell aslant through the window glass, revealing the illustrated cover of a book by Mr. Charles Curtis Easton—a volume I hadn’t seen before, called American Sailors Afloat.
Needless to say, I hurried inside.
I had never been in a book-store before. All the books I had read had been borrowed from the Estate library at Williams Ford, or (in the case of A History of Mankind in Space) dug moldering from ancient Tips. Of course I had known such stores existed, and that Manhattan must include more than a few of them. But I had not gathered up the courage to seek one out. I suppose I had imagined a book-store to be an intimidating place, as airy and marble-pillared as a Greek temple. This store was not such a sacral establishment. Grogan’s Books Music and Cheap Publications was the name of it, and it was no more or less grand than the shoe store to the left of it or the vaccination shop to the right.
Even the smell of the air inside the shop was inviting, a perfume of paper and ink. The books on sale were many and various, and all unfamiliar to me; but I made my way by some instinct to the section where Mr. Easton’s novels were on display—a great plethora of them, fresh and bright in their stamped and colored boards.
“Close your mouth,” Calyxa said, “or you’ll begin to drool.”
“This must be near everything Mr. Easton has published!”
“I hope it is. He seems to have written far too many books already.”
I had been hoarding my back pay from the Army of the Laurentians, grudging every expense—the hope of one day owning a typewriter was still at the back of my mind—but I could not resist buying a volume or two* of Mr. Easton’s recent work. Calyxa browsed among the sheet music while I counted out Comstock dollars to the cashier.
When we left the store Calyxa lingered a few moments in front of the vaccination shop next door. Calyxa, for all her contempt of the Aristocracy, was not immune to certain aspects of Manhattan fashion. The window of the vaccination shop advertised a newly-arrived Yellow Fever serum, popular with the sort of stylish young city women who sport vaccination scars as if they were jewelry. A single dose of this serum cost more than a dozen novels, however; and Julian had already warned us against such shops, which tended to dispense more diseases than they ever prevented.
In any case my attention was absorbed by the prospect of new Easton books to read. I confessed to Calyxa, as we walked home, how inspiring Mr. Easton’s work had been to me, and how it had formed my ambition to become a professional writer, and how distant that prospect now seemed.
“Nonsense,” Calyxa said. “Adam, you are a professional writer.”
“Not professional—not even published.”
“You’ve written a popular pamphlet already. The Adventures of Captain Commongold was on sale in Grogan’s, if you didn’t notice. Selling briskly, it appeared to me.”
“That abomination! The piece that imperiled Julian’s life. Horribly mangled by Theodore Dornwood, on top of it all. He murdered half my commas, and misplaced the rest.”
“Punctuation aside, it’s your work, and professional enough that a surprising number of literate Manhattanites are willing to part with a dollar and fifty cents to read it.”
That was true, though I had not thought of it in such a light. My indignation at Mr. Dornwood was rekindled. I escorted Calyxa to the brownstone house of Mrs. Comstock, and said no more about the que
stion, though I privately determined to visit the offices of the Spark and express my grievances there.
I would have preferred to spend that evening reading, for the books I had bought were a novelty to me, and I could not help admiring the crisp pages and unsmudged letters of the freshly-purchased volumes, and the clean white string that bound the signatures snugly together; but Julian insisted on taking Calyxa and me to see a movie—an invitation that was difficult to resist after everything Julian had said about movies back in Williams Ford.
We rode a taxi to the Broadway theater where Julian had reserved our seats, and we mingled in the lobby with a crowd of well-dressed Eupatridians of both sexes. It was clear even before we entered the auditorium that this would be a performance infinitely grander than the recruiting film I had seen in the Dominion Hall in Williams Ford. The movie to be shown here, which was called Eula’s Choice, was advertised with colorful Lobby Posters, which portrayed a female in antiquated dress, and a man with a pistol; also a horse and an American flag. Julian explained that Eula’s Choice was a patriotic story, its debut timed to coincide with the Independence season. He didn’t expect much in the way of refined drama, he said, but the movie had been produced by a local crew known for its extravagant camera-work and lavish stage effects. “It ought to be a fine spectacle,” he said, “if nothing else.”
Calyxa was ill-at-ease among the haughty Eupatridians, and she seemed relieved when a team of ushers appeared to shoo us into the auditorium, where we took our assigned seats. “All the money that changes hands here,” she said, “could feed a thousand orphans.”*
“That’s not the way to think of it,” Julian reproved her. “By that reasoning there would be no art at all, nor philosophy, nor books. This is an independent theater, not a Eupatridian institution. The profits pay the salaries of working actors and singers, who would otherwise go hungry.”
“Singers as well as actors? In that case I withdraw the remark.”
The entire theater was powered by an in-house dynamo which thrummed from the basement like a snoring Leviathan. The lights were electric, and they dimmed in unison as the orchestra—a full brass band, with strings—struck up the overture. The curtain rose, revealing a huge white Screen and the veiled booths in which the Voice-Actors and Sound Effects persons worked. As soon as the darkness was complete the beam of the projector threw an ornate title on the screen:
THE NEW YORK STAGE AND SCREEN ALLIANCE
presents
EULA’S CHOICE
A Musical Story of Antiquity
accompanied by the Dominion Stamp of Approval.
“This ought to be rich,” remarked Calyxa, who had seen movies under less elaborate circumstances in Montreal; but Julian shushed her, and the music swelled and subsided as the story began.
I won’t describe my astonishment—the reader can take it for granted. I will say that, for once, Julian’s pride in Eastern culture seemed justified and wholly excusable. This was Art, I thought; and on a grand scale!
The story took place at some unspecified time during the Fall of the Cities. The main characters were Boone, the beleaguered pastor of an urban Church; Eula, his fiancé; and Foster, a thrifty industrialist.
The show was divided into three Acts, itemized in a Program Book the ushers had distributed. Each Act featured three songs, or “Arias.”
There was no singing at first, however—only Spectacle, as the audience was treated to flickering scenes of a City of the Secular Ancients in the last stage of its decline. We saw many impossibly tall buildings, artfully constructed of paper and wood, but fully real to the eye; we saw streets crowded with Business Men, Atheists, Harlots, and Automobiles.* Boone and Eula appeared, working together in Boone’s small pious church, and bantering in a way that suggested their approaching nuptials; but they were interrupted by a troop of Secular Policemen who barged in and accused Boone of speaking such forbidden words as “faith” and “heaven.” These thugs led Boone away to prison, while Eula wept piteously. Boone, as he was dragged through the street in chains, sang the first song, which according to the program was:
Aria: The hand of God, not gentle.
The filmed actor was expressive, and he was voiced by a masculine tenor who lent fire and discipline to the lyrics. (The hand of God, not gentle but just / Descends upon the wicked by and by, and so forth).
If the Secular Policemen by this brutish behavior had earned themselves a place in Hell, their city was already halfway there. We witnessed a montage of strikes, rioting, and fires, the tall buildings beginning to burn as if they had been built of kindling. Now the audience was introduced to Foster, the industrialist, who labored mightily to subdue a fire in his iron mill, which had been set ablaze by unruly workers; but he was forced back by the heat and fallen timbers. Against this backdrop of destruction Foster wiped his sooty brow and sang in resignation the
Aria: Gone, all that I have built.
All this was sorrowful enough to melt the hardest cynic’s heart, but it wasn’t finished. Eula appeared once more. She had left the scene of Boone’s cruel arrest, only to find her family home engulfed in flame, and her mother and father crying out from a window from which they could not be rescued. The flames consumed them. Overwhelmed with grief, Eula stumbled on to the jail where she believed Boone had been taken; but that building, too, had burned to the ground.
Several of the Eupatridian ladies in the audience were moved by this tragic scene, and they dabbed their eyes and blew their noses in a manner that distracted from Eula’s excellently performed
Aria: Lost and alone among the ruins,
which was the conclusion of Act I.
The lights came up for an intermission. Many of the Eupatridians adjourned at once to the lobby; but Calyxa and Julian and I were young and staunch of bladder, and we kept our seats. Images from the film were still vivid in my mind’s eye, and I began to think about the lost wonders of the Secular Ancients. I said to Julian, “The Secular Ancients made movies, didn’t they?—you told me so, I think.”
“Movies too numerous to count, though none survive, unless they’ve been locked away in the Dominion Archives.” The Dominion’s Cultural Committee kept a large stone building in New York City, Julian explained, where it preserved antique texts and documents and other items too blasphemous to be seen by the public. No one outside the licensed clergy knew what treasures it contained.
“And their movies had recorded sound, and color photography?”
“They did.”
“Then why can’t we have such movies? Or at least a larger number of the ones we do make? I don’t understand it, Julian. The simpler technologies of the past are no mystery to us. We may not have bountiful supplies of oil, but we can burn coal to much the same effect.”
“We could make movies with recorded sound,” Julian said, “but the resources haven’t been allotted that way. The same is true of that typewriter by which Theodore Dornwood seduced your services. We could build a typewriter for every human being in Manhattan if we liked; but it would be a reckless expenditure of iron or rubber or whatever they make typewriters out of—materials the Senate assigns to Eupatridian manufacturers, who in turn supply the military with weapons and other necessities.”
I had not thought of it in those terms. I supposed every Trench Sweeper in Labrador could be considered a typewriter not manufactured or a movie not produced. A painful bargain, but what patriot could disagree with it?
“An artist,” Julian said, “or a small manufacturer or shopkeeper, has to make do with whatever resources trickle down as surplus from above, or with second-pickings from some local Tip. The justice of this is debatable, of course.” He turned to Calyxa. “What do you think of the film so far?”
“As drama?” She rolled her eyes scornfully. “And the songs—excuse me, the arias—are simple-minded. The female singer is good, though. A little flat in the upper registers, but bold and fluent overall.”
I politely disagreed with her about the quality
of the drama; but what she said about the music amounted to high praise, for Calyxa dispensed her approval grudgingly at the best of times.
Now the audience filed back into the auditorium and the lights were extinguished for Act II. The production resumed with yet another Spectacle: hundreds of ragged men and women fleeing the Fall of the Cities, set to a mournful trumpet eulogy and the rhythm of tramping feet. Among these individuals was the convicted pastor Boone, who (unknown to Eula) had escaped ahead of the flames. In one touching scene he came across his former captors, the brutal Secular Policemen, now starving and suffering from burns; and despite their sins against him he helped them renounce their apostasy, and led them to redemption in the moment of their deaths. Rising tear-streaked from this sacred task, Boone spotted a distant Banner of the Cross among the plodding refugees. He recognized it as a symbol of the nascent Dominion of Jesus Christ on Earth—a union of all the Persecuted Churches—and he marked the event by singing his
Aria: In the wilderness, a flag.
Eula, unknown to Boone, was part of the same mass of vagrant urbanites. When hunger threatened to overcome her she was forced to beg help from Foster, the former industrialist. Foster, traveling in a wagon, explained that he was aiming to reach a certain rural plantation he owned. His behavior toward Eula was impeccably kind and chaste, and although she still loved Boone she believed the pastor had been killed in the fire; so she accepted Foster’s gifts with a relatively free heart. Eula’s plaintive second-act song, accompanied by piano rather than full orchestra, was
Aria: I will take this offered hand.
Then Foster and Eula—growing ever closer—traveled in Foster’s horse-drawn wagon through a montage of scenes of the degraded world of the False Tribulation. There were ruined houses, dust-blown farms, starved cattle, fallen Airplanes, rusted Automobiles, and so forth. Eventually, and after arduous adventures, they came to a hilltop town not far from the rural property Foster owned. This town had survived the Fall of the Cities intact, and was protected by the steadfast Christianity of its population. The inhabitants had erected a huge symbol of their faith at the highest point of land, prompting Foster’s
Julian Comstock: A Story of 22nd-Century America Page 28
