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** *******
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* * * *
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* *
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* ** * ******* ***** **** * ***** ** ** *******
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* ** * * * * * * * * * * * * * *
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* * * * * * * * * * * * *
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* * * * * * * * * * * *
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* * * * * *** **** * *** * *
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* * ** * * * * * * * * *
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* * * * * * * * * * * *
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* * * * **** * * * **** * * *
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=======================================
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InterText Vol. 4, No. 3 / May-June 1994
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=======================================
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The Watcher by Jason Snell
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==============================
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The watcher had just passed middle age when it felt it for the
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first time, a little breath of cold as it passed by just out of
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reach. It was the first cold the watcher had felt in the
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millions of years since its coalescence.
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Time moved along, balls of mud and gas spinning in their orbits,
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the cold touch a long-forgotten memory. The small life-things
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still clung to one of the balls of mud, taking hesitant steps
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toward their brothers. The watcher continued its silent vigil.
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Then, again, the cold breath blew into its heart. Stronger this
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time, and the watcher could feel its claws as it passed. A black
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icy bird, with a sharp beak and razor-sharp talons. Moving
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through the darkness like quicksilver.
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The watcher could only sit, as it had for eons. And that was
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when it knew the cold would spell the end. It saw
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everything--how far the tiny life-things could go. How slowly
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they moved. They could never escape the watcher's eye, and that
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would be their doom.
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The black bird-thing came more often, then, each blast of cold
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air dampening the watcher's own brightness. And one day, it did
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not turn away as it flew by. It dove into the heart of the
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watcher.
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A screech of... thankfulness?
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The cold claws, scratching through the watcher's body. A pain in
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the watcher's heart.
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The fire is dying...
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The little life-things, moving quickly now. Do they see the
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black thing? Do they know the watcher's end is near?
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An icy claw reaches the heart. The claw tears it out and feeds
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it to the beak.
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Inconceivable pain. The watcher makes one final effort, surging
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toward the black thing in its heart.
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Light flares. The small life-things move faster, but there is
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nothing they can do.
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In an instant, there are no more balls of mud and gas, and no
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more life-things to cling to them. There is no more black
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bird-thing.
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There is only the watcher, everywhere screaming in pain.
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And then, after a time, there is only silence--and the echo of
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the watcher's death throes, spreading outward, to its brothers.
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Distant star's radiation bursts puzzle scientists
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===================================================
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JANUARY 22, 1992: A group of scientists reported that for the
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last several months, a star about 815 light years away in the
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constellation Auriga has begun emitting unusual bursts of
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electromagnetic radiation. The star, Yale #2143, is barely
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visible to the naked eye or binoculars in the southern sky near
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Capella, one of the brightest points in our night sky.
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Yale 2143 contains about twice the mass of our solar system and
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astronomers have speculated in the past that it may be a
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variable star or a member of a binary system. "Otherwise, not
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much is known about it," said Robert Hartman of the Kitt Peak
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National Observatory in a telephone interview. "But this isn't
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normal behavior for a star at its point in its life-cycle so
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we're very interested in it."
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Normally, a star like Yale 2143 burns white-hot at a temperature
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from 7,000 to 10,000 Kelvin and has a life-cycle of several
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billion years. "It's larger and hotter than our sun, but
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otherwise it's really not that exceptional as stars go," said
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Hartman.
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So why all the excitement in the astrophysics community about
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this nearly invisible and apparently non-descript member of the
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heavens?
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"Because, quite simply, nothing we've seen has done this
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before." The star suddenly began emitting strong irregular
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bursts of invisible radio and microwave radiation a few months
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ago that are unusually focused around a small number of
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wavelengths. Scientists first noticed the bursts when they
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interfered with data collection from quasars and other deep-sky
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objects. "At first we didn't know where it was coming from, and
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then we weren't sure if it was coming from this particular star
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or another phenomenon behind it," said Mailika Gibbons, the
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graduate assistant credited with first observing the bursts.
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"But it quickly became clear that this was a local event,
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happening right in our stellar backyard."
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Scientists are still collecting data and analyzing the
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phenomenon. When asked to speculate about its cause, Dr. Hartman
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declined, but emphasized that this event might lead to
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significant revision of our understanding of a star's
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life-cycle. "The main sequence of a star is presently understood
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to be a rather uneventful period. This could reveal it to be a
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time when dynamic changes occur."
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Novalight by Greg Knauss
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============================
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May 1992
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----------
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As soon as the equipment was turned on, it started to record the
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message. Originating at a charted but uninteresting star near
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the constellation Auriga was a steady, constant stream of
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information across a wide swath of the electromagnetic
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spectrum--rapidly alternating, millisecond-long blasts. When the
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speakers were on, you could hear the rhythm.
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The group was quickly and quietly assembled, culled from
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universities and government installations. There was a period of
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secrecy; there were many variables, many scenarios to consider.
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Nothing was released until it became clear there was some sort
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of intelligence behind it.
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Then the story raced through the scientific community like
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wildfire. Something was out there. Somebody was out there.
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There was a palpable euphoria within the group. This was the
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thing that every one of them had been waiting for all their
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lives but had been too realistic to expect, to even hope for.
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Aliens--intelligent aliens--were making contact with our
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species.
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Humanity was being greeted.
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June 1992
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-----------
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The message was divided into three sections, each separated by a
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brief silence. After a gap double that length, the entire cycle
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would begin again. There were only three amplitudes used in the
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entire message, and the group took to calling them on, off, and
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none.
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The group was much larger now, researchers pulled from projects
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around the world. The linguists and anthropologists were
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prepared to spend a lot of time arguing about how universal the
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concept of binary was, but the debates became academic when the
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computers produced results within weeks.
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The message was actually a series of pictures, four-bit-deep
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animation they rendered in gray, each part a different movie.
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Image-recognition software turned the one-dimensional stream of
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bits into two-dimensional pictures by running through all the
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possibilities of width and height until something sensible
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appeared.
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The public was fascinated. They released all three animations as
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soon as they were decoded, before they had even attempted to
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analyze them. Soon they were distributed via videotape, computer
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networks, books, and even on postcards. The aliens' message
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entered mass consciousness. Conspiracy theories abounded; the
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Joint Chiefs of Staff were asked to assess the military threat;
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UFO "experts" wrote books on the alien's society and connected
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them with Stonehenge and the pyramids at Giza; televangelists
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called the whole thing a hoax.
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The first series showed machines in orbit around a star, and
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thin, spindly spikes of solar plasma rising toward them. The
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scene faded to complex pictograms and cutaway views that the
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physicists scrambled to decipher.
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The second was stranger. While it shared some pictograms with
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the first, the concepts being displayed were harder to grasp.
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There was no animated prelude and, at over a million frames, it
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ran almost twice as long as the first.
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The third was pictures of the aliens themselves. Sleek and gray,
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with wide, black eyes, a small group performed some ritual the
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meaning of which no one in the group would even speculate upon.
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Their movements were fluid and exaggerated and almost
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indescribably eerie. Occasionally static would leap across a
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frame as the computer displayed a damaged portion of the
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message. After enough repetitions were collected, a composite
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was assembled that removed all the static, but the sense of
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dislocation remained.
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The anthropologists claimed anthropomorphization, but the aliens
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looked distressed somehow.
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They looked ashamed.
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September 1993
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----------------
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The first part of the message took over a year to fully
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decipher. Though understanding it required intuition and massive
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amounts of additional research, the message led the physicists
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almost inexorably to what they called solar mining. The
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pictograms described what the initial animation played out--a
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technique for retrieving fusing material from the core of a
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star. The conclusion was wildly hypothetical, resting on
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unproven and perhaps untestable theory. But there seemed to be
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no mistaking the message.
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Unlimited, inexhaustible energy. The first part of the message
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was the key to unlimited, inexhaustible energy. The United
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Nations and government panels began to research and assess the
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possibility of a small mining operation, but even the most
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optimistic warned that benefits were still decades, if not
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centuries, off. Despite this, research continued. Limitless
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energy would be an incredible boon to mankind. A solution to
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innumerable problems.
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The message was a gift. Not just a greeting, but a tremendous
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gift.
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Little Sun by Patrick Hurh
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==============================
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January 1, 1994 01:31:56
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--------------------------
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Catherine,
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This New Year's eve was, except for the locale, rather
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uneventful. I heard fireworks or gunfire in the distance,
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muffled and faint, drifting from down river. I naively assumed
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the noise to be from Leticia or Iquitos although both those
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villages are over two hundred miles from here. I looked from my
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small porch, but could see nothing. I thought about climbing to
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the roof, but the canopy of trees was too thick to see through,
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even this close to the river. It was most likely gunfire and
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probably from Bolognesi just upstream. I thought about trying to
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walk up to Bolognesi then to see if any celebrations were
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underway, but I couldn't muster the courage needed to make that
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trip in the dark. Of course I am sure that the FUNAI house was
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probably just as dark and empty as it has been for the past five
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days. Except for sleeping loggers and druggers, Bolognesi is
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lifeless after the sun goes down.
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I sat out on the porch most of the remaining evening sipping
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from a small bottle of whiskey I negotiated from one of the
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river port hands in Leticia. I'll have to remember to try and
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haggle a larger bottle next time I'm in Leticia, although that
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could be awhile; that twenty-eight hours of bug-slapping,
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sweat-reeking, and idle staring into swirling brown water was
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more than I could take--at least more than I can take just for a
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bottle of whiskey. Still, this bottle has almost run dry.
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Perhaps without the booze I wouldn't become so melancholy (and
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then angry) when I think of you... or perhaps I wouldn't even
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think of you so much in the first place. No matter, tonight,
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with the cheap whiskey trailing hot into my chest, I was caught
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in the endless circle, thinking of you.
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Partly because of this night's drunken reveries, and partly
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because I need to make writing this journal feel not so
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conspicuously like talking to myself, I have decided to address
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this journal in your name. At first I wasn't sure if this was a
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good idea; I saw myself, months from now, stifling an emotional
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hiccup every time I wrote in this book. But now, looking back at
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the other sparse journal entries, I realize that this is what I
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need to do to keep writing and documenting my thoughts while
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here in the Amazon. No one has yet been assigned to replace you
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or the other researchers called back to work on the SETI
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project. Although I write and take notes everyday on my
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experiences here on Rio Javari and, hopefully in the future,
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with the neighboring Mayoruna villagers, I think this private
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journal will be crucial to my understanding of those
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experiences. This will be my scratch pad for my thoughts onto
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until they take on enough shape to formalize and send upline to
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UIC. I want to do more than be a glorified caretaker of the
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equipment left here. Since the research station has been
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entrusted to me for the time being, I want to ensure my time
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here is put to some useful purpose.
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So, without knowing how I really feel about you anymore... or
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without even just being able to know you ... I start this new
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year by writing your name.
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January 13 1993 20:21:11
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--------------------------
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Catherine,
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The first two weeks of the year have been extremely busy. My
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delayed luggage containing several pieces of needed equipment,
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including the radio antennae, arrived yesterday. I spent that
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day assembling the equipment and trying to raise the FUNAI
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contact in Leticia but didn't have any luck. I took a quick walk
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over to Bolognesi, but the FUNAI house is still empty. At least
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the doors are locked and the place hasn't been ransacked. It
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would be encouraging, though, to use their radio to contact
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Leticia and help troubleshoot my own. Ah well, I missed the
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packet transmission last week so I guess if I miss tomorrow's it
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won't matter too much. Still, I had such an experience this
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morning that I feel I should immediately communicate it to my
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peers (if only the damned radio would work!).
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I made contact with a Mayoruna Indian today! He was walking
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through the main dirt road in Bolognesi as I was standing by the
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lumber dock. I was waiting for a good opportunity to talk to the
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loggers loading the boat and ask to borrow their radio for a
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|
moment. I admit I was nervous, my Portuguese is not as good as
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yours, you know, and I was put off by the loggers' brutal
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handling of the ripe-smelling wood. I turned, giving up, when I
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saw a bouncing head covered with straight shiny black hair
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disappear behind a stack of the huge tires used by the logging
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trucks. Instantly realizing that this could be exactly what you
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and the research station were here to study, I ran around the
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stack of tires and almost tripped over the young, naked man.
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He was crouched, with knees splayed wide, over a piece of a
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truck's transmission. His dark elbows rested on the inside flesh
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of his thighs while his hands forcefully fiddled with
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grease-covered gears. As I began to fall over him, he sprang up
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and turned to face me solemnly. He was not afraid... and I,
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within the relatively familiar context of the lumber dock,
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showed no fear either. Thinking back, I probably expressed
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extreme pleasure and curiosity on the paleness of my face, much
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like the naive white scientists we have both seen on late night
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television as they approached some alien race.
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The Indian immediately strode by me, bouncing slightly as I had
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witnessed before and, if I hadn't stopped him, would probably
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have strode out of the town of shacks without a pause. I'm not
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sure what I said; it might have been "Hey!" or "You!" or more
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likely some grunt that in any language said, "Hold on there!"
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But I must have said something, since he stopped and turned
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toward me slowly on the balls of his feet. His face presented a
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slight scowl and, when he spoke, his head moved sharply forward
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like a dog's head barking.
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"What!" he coughed, pronouncing it as `wat.' His held his hands
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out to the sides of his body. His fingers were poised stiffly
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like the whisker-spikes that bobbed from the small bulbs of his
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nostrils. "Wat you want?"
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I couldn't believe it. Did this Mayoruna actually speak English?
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"You speak English?" I exclaimed, not being able to think of
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anything else. "Where..." I pointed at him. "Where did you learn
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English?"
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He seemed to smile at that and said something to the effect of
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"I learn English at the fork of Javari." Besides the
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characteristic needles jutting from his nostrils, his face also
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wore the dark blue tattooed line that united his ears in a
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toothy grin.
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"At Leticia? The town there?"
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"Yes, Letisha... I learn at that place and make much money." His
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English was broken and heavily accented but wasn't too bad.
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"Now, I go... this boat has no parts." He started to turn, again
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quite slowly as if waiting for me to stop him.
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"What do you mean, `no parts'? What parts are you looking for? I
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have some parts you might want." I spoke the last sentence
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quickly, not knowing if I really wanted him to understand.
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He looked back at me and smiled widely this time. The blue stain
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surrounding his lips accentuated the lines of his stained teeth.
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"I find parts for our gun." He took a step toward me. "You have
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gun parts?"
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I hesitated. I had a small pistol hidden under my hammock
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cushion, but I knew I could not admit that.
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"No," I stuttered, hoping that this wouldn't be the end of the
|
|
conversation. "But I would like to talk with you anyway." My
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hand, half folded, unconsciously slapped my chest as I referred
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|
to myself, just as I'd seen him do earlier.
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"Now, I go," he repeated as he walked away with his bouncing
|
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gait. "But I think you very smart," he called over his shoulder.
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"I think you very holy man. I maybe see you on a new sun." He
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|
broke into a quick trot and darted into the thick undergrowth of
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the forest.
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I followed him to his point of departure from the road. I was
|
|
amazed that he was able to run so quickly and without fear among
|
|
the poison brush and dangerous wildlife that surrounded us. But
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|
when I inspected more closely I realized that where he stepped
|
|
off the road was a path of trampled spine grass--prickly, but
|
|
tolerable with callused feet. I wanted to follow but where would
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that have got me? Most likely, lost.
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I realize now, in talking to you as a person, Catherine, that I
|
|
have described this event much more vividly than my record in
|
|
the official log. I will have to go back and cut and paste this
|
|
more descriptive perspective into the log; this event deserves
|
|
no less. This is exactly what motivated you/us in the first
|
|
place. The nomadic Mayoruna tribe settling into a camp near a
|
|
logging port and interacting with the relatively technologically
|
|
advanced and "more civilized" community of industrialized
|
|
loggers. It is unheard of! As I watched that small brown man,
|
|
clothed only in a fibrous cloth wound about his waist, strings
|
|
dangling to his crotch in a mess of ritual knots about the
|
|
foreskin, nostril spikes shaking as he spoke in English--English
|
|
for God's sake!-- about `gun parts' and `much money,' I felt so
|
|
much like an outsider, a foreigner bearing the guilt of
|
|
corrupting his pure soul. Why has his tribe come to this small
|
|
spot of western industry to make their camp? Am I witnessing the
|
|
effects of civilization on his culture? Or am I, just by being
|
|
here and observing, really just studying my own effect on his
|
|
life?
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I now wish I hadn't drank the last of that whiskey three nights
|
|
ago.
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|
January 24, 1994 22:39:26
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---------------------------
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Catherine,
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|
|
I reached Leticia today via my radio. The S/N was not too bad
|
|
and I talked to a fellow at the FUNAI house there. He said he
|
|
was sorry that the house at Bolognesi was shut and boarded, but
|
|
with the lack of money this year to fund what is now considered
|
|
highbrow cultural research, FUNAI and the surrounding countries
|
|
in general are having to scale back their support operations. I
|
|
protested this `scaling back' and wondered aloud how the
|
|
preservation of the indigenous cultures of the Basin could be
|
|
considered "highbrow." The speaker on the other end did not
|
|
offer much in reply, but only agreed with me and said something
|
|
to the effect of "But what are you gonna do?" Good question.
|
|
|
|
The radio contact's name is Mohammed. Funny name for a FUNAI
|
|
worker in the middle of the Amazon. A convert? I wonder. It
|
|
seems strange that a native of this land so rich in tradition
|
|
and mystique would embrace another land's religion as his own.
|
|
Perhaps not--after all, I was brought up in the Midwest of
|
|
America and still, to this day, am heavily influenced by the
|
|
doctrine and catechism of the Roman Catholic church, whether I
|
|
want to be or not.
|
|
|
|
Mohammed told me that he would arrange for a radio packet
|
|
transmission in a week. I will transmit the data I have so far
|
|
plus some e-mail messages that should be able to reach you at
|
|
the SETI Institute via the Internet in a few days. He will also
|
|
relay a digital packet to my workstation consisting of any
|
|
e-mail messages I might have received in the past three weeks
|
|
plus a download of the Usenet newsgroups I asked for. I'm not
|
|
sure if the UIC news-server has set up the sci.seti.anthro
|
|
newsgroup yet, but I requested it anyway. Mohammed seems to be a
|
|
nice guy. I hope he is reliable also.
|
|
|
|
Not much news on the Indian front, I'm afraid. I waited daily by
|
|
the docks, expecting to meet Tantu there. I know his name is
|
|
Tantu because I finally was able to get the attention of the
|
|
dock loggers and I asked them about the strange Indian I had
|
|
met. They laughed and told me about Tantu. Apparently he lived
|
|
in Leticia for some time and had just recently returned to the
|
|
tribe's village. When I asked about the village, the loggers
|
|
just shrugged their shoulders and pointed to the east. They said
|
|
it had been there for almost two years. One small gnarled man
|
|
burst out laughing and whispered something in Portuguese to
|
|
another that I couldn't catch. When I asked the foreman what was
|
|
so funny, he replied that a lot of the men didn't mind having
|
|
the village so close and he turned back to smile at the small
|
|
laughing man. I pressed him for an explanation and he simply
|
|
said, "The women wear little clothes--the old ones are not so
|
|
good, but the young ones..." His face smiled with clenched teeth
|
|
and he snorted inwards through his thick, flat nose. The other
|
|
loggers began to chuckle and I turned away, trying to smile and
|
|
make light of the lewd noises I heard erupt behind me.
|
|
|
|
Tantu, obviously, never showed up--at least not during the
|
|
daylight hours. I amused myself by throwing rocks at the shut
|
|
FUNAI house. Somehow the activity seemed to cool me off from the
|
|
hot midday temperature. Eventually I came back to the cabin and
|
|
sat in the shade of its thick mosquito netting. I wondered about
|
|
Tantu and what he meant by "I maybe see you on a new sun." To me
|
|
that meant `tomorrow' or `in the morning,' but it obviously must
|
|
mean something else to him. Or perhaps his perception of time
|
|
and a day's passing is different than mine. I remember you
|
|
telling me that the Mayoruna tribe often defined the passage of
|
|
time by the coming and going of the days and nights, but also
|
|
that they seemed not to place these passings within the contexts
|
|
of a larger season or calendar... but I can't remember what else
|
|
you had said on the matter.
|
|
|
|
I wish you were here now, not just because of what you meant to
|
|
me in a romantic sense, but also because of what you could tell
|
|
me about these people and how I should approach them. I still
|
|
don't understand the purpose of sending me here alone, even for
|
|
just an interim period. The entire research proposal hinged upon
|
|
the team of us--anthropologists, sociologists and research
|
|
staff--studying the changing relationships of this taciturn and
|
|
nomadic tribe of Indians with encroaching pockets of
|
|
industrialization. I was prepared to help project the
|
|
fundamentals of societal theory upon this interaction of Indian
|
|
village and logger town, the depth of the moral contract, the
|
|
absorption and adaptation of the indigenous culture. The culture
|
|
that your group were supposed to help make clear to me!
|
|
|
|
I guess I am bitter about the choices you had to make. I
|
|
understand your motives: why wouldn't you choose to this
|
|
"mop-up" research study for the grand adventure of discovery
|
|
that the nova transmissions have to offer? I, too, felt pride
|
|
when I learned you had been chosen to help decipher the culture
|
|
of an alien race from the signals that spiked through the EM
|
|
universe, as reality for that distant intelligent species....
|
|
But when I realized that it would mean not the end of our
|
|
Mayoruna project but the mutation of it into a one-eyed, blunted
|
|
stab into a deep and rich culture, I wilted. I think you sensed
|
|
that weakness in me. It drove you further from me. Even before
|
|
you had to leave for Colorado, I felt like slinking away from
|
|
your shining example. I did slink away... I holed myself with
|
|
self-pity and hid myself with anger.
|
|
|
|
I didn't think the Foundation would fund the Amazon expedition
|
|
without you or the others, but still I asked. When my
|
|
workstation arrived at my office two weeks later, I still
|
|
couldn't believe they were so stupid as to let a Chicago-bred
|
|
sociology research assistant continue with this crippled agenda.
|
|
Don't get me wrong: I really think you're an asset to the team
|
|
studying the nova transmissions, but I find it odd that you
|
|
would embark on a mission to study such a distant society when
|
|
on this planet, less than a half-mile from where I lay my head
|
|
at night, lives and breathes a culture that we understand less
|
|
than we comprehend our own: one whose comparison to our own
|
|
"modern" society will yield more fruit than the fanciful
|
|
conjectures of how an alien race might have lived eight hundred
|
|
years earlier.
|
|
|
|
I know this is a harsh accusation, and that is why I will make
|
|
no mention of it when I write to you via e-mail next week. Yet,
|
|
I realize when I go back and reread this entry I am no longer
|
|
filled with self-pity and the longing to be with you. I believe
|
|
I have inspired myself (how's that for a recovered ego?). While
|
|
you decipher the secrets of an alien race I will be here
|
|
attempting to understand a living, mysterious society and its
|
|
role in teaching the rest of us why we are here.
|
|
|
|
|
|
February 19, 1994 08:14:48
|
|
----------------------------
|
|
|
|
Catherine,
|
|
|
|
Finally, after the boredom of the past weeks, Tantu visited
|
|
again. I was almost ready to have the loggers show me the way to
|
|
the Mayoruna village to seek him out, when he sauntered into
|
|
town again yesterday afternoon. After a brief talk near the
|
|
docks, I convinced him to follow me to the cabin where I could
|
|
show him some of the gifts that I had brought to ease my
|
|
acceptance into the hidden tribe. Tantu followed, again without
|
|
fear. I think his times in Leticia must have put him relatively
|
|
at ease with Western strangeness.
|
|
|
|
I stepped on my small porch and was surprised not to hear his
|
|
hollow footstep directly behind me. I turned to find that he was
|
|
waiting below in front of the first step. I opened my arms in
|
|
acceptance and tried to urge him in. He balked and shook his
|
|
head slightly. "I have no gifts for you," he called out.
|
|
|
|
I replied, "Yes, you do, Tantu. Just your presence here is a
|
|
gift to me."
|
|
|
|
He looked at me perplexed and I spoke again, more slowly.
|
|
"Tantu, you can wait here and I will bring out my gifts--my
|
|
parts--for you to see."
|
|
|
|
His face smiled and he replied in true Western fashion. "Okay."
|
|
|
|
I ran inside and grabbed a few of the items I had set out
|
|
earlier in anticipation of just this circumstance. I picked up a
|
|
mirror, a small pen light and a sheathed machete, then returned
|
|
outside.
|
|
|
|
Without stepping off the porch, I handed the items to Tantu. He
|
|
placed them on the ground at his feet and squatted to inspect
|
|
them one by one. He looked very much like he did when I almost
|
|
tripped over him a few weeks ago.
|
|
|
|
I sat on a nylon chair at one end of the porch and watched him.
|
|
I occasionally offered advice to him, naively forgetting that he
|
|
had probably seen most of these items during his time in Leticia
|
|
and his exposure to the logging communities. His face was
|
|
expressionless, yet I felt as if he were seriously considering
|
|
his next words to me rather than investigating my bribes.
|
|
|
|
After a few minutes, Tantu looked up at me and said, "Thank
|
|
you."
|
|
|
|
"I think these gifts may be very useful to you in your village,"
|
|
I said.
|
|
|
|
He shook his head once, sharply. "I know these things. These
|
|
things are... nice." His eyes never left mine as he raised his
|
|
arm to point with all of his fingers at the small radio tower at
|
|
the side of my cabin. "That is... more nice."
|
|
|
|
"Do you know what that is?" I asked glancing at the antennae.
|
|
|
|
"Yes. That is radio tongue. You talk to many others with it." He
|
|
lowered his eyes to the items between his feet and then stood
|
|
upright.
|
|
|
|
"Tantu," I said, "would you like to come inside and see the
|
|
radio?"
|
|
|
|
Without a vocalized sound, Tantu nodded and stepped on the
|
|
porch. I stood and guided him into the small one room cabin.
|
|
|
|
What followed inside is both logical and fantastic to me now. I
|
|
showed Tantu the radio transmitter equipment and demonstrated
|
|
its use, trying to raise Mohammed in Leticia. Mohammed didn't
|
|
answer, but another strange voice did. After a few moments of
|
|
trying to explain to the person on the other end of the radio
|
|
waves that he was talking to a genuine Mayoruna Indian, the
|
|
FUNAI operator asked us to change frequencies because we were
|
|
broadcasting on a reserved band for FUNAI official
|
|
communication. I was a bit irritated, but Tantu did not seem
|
|
disturbed. In fact he was more interested in the computer
|
|
equipment and jumble of cables that littered my work area. He
|
|
went to the table and began to finger some of the components
|
|
carefully. After a few moments he looked at me inquisitively, I
|
|
switched off the radio and proceeded to show my workstation to
|
|
the Indian with the flair of a magician.
|
|
|
|
Tantu remained mesmerized by the computer's display and the
|
|
whirring, clicking hard drive for over an hour. I eventually had
|
|
to shut it down because the bank of batteries was almost
|
|
depleted. Tantu then stayed at the cabin for another hour,
|
|
following me as I went outside to start the generator up and
|
|
back inside as I checked on the charging batteries. The entire
|
|
time he asked strange questions about the computers and the
|
|
display--he even pointed to the cables that connected the
|
|
computer to the radio and questioned me about that. Most of his
|
|
questions were simple: What did I use the equipment for? What
|
|
did the clicking sounds mean? What language did the computer
|
|
speak? But after I gave him very rudimentary lectures on the
|
|
benefits of computers and how I used them to communicate and
|
|
record information, he also asked questions of a spiritual and
|
|
supernatural nature: What did I feed the computer? Which spirits
|
|
did I talk to? What tribe was I a shaman for? And others, which
|
|
confused me almost as much as my answers seemed to confuse him.
|
|
I tried to explain to him again the basic concepts of a computer
|
|
as a tool and stressed that humans had built--invented--this
|
|
machine.
|
|
|
|
Tantu truly seemed to grasp the basic functions of some of the
|
|
components (keyboard, monitor, etc.), but he did so by
|
|
personifying them. For instance, at one point I let him press
|
|
some keys on the keyboard and watch the corresponding letters
|
|
appear on the screen. He was able to understand the cause and
|
|
effect relationship and even recognized that the picture of the
|
|
letter on a pressed key matched that which was displayed on the
|
|
monitor. However, when I unplugged the keyboard to demonstrate
|
|
the flow of information from the input device to the computer,
|
|
Tantu did not understand why the letters would not still appear
|
|
on screen. I tried to explain, and he nodded knowingly then and
|
|
said something to the effect of, "Yes, the voice of Keyboard is
|
|
very quiet and Keyboard must pull on the tail of Computer to
|
|
make Monitor listen." He pulled on the unplugged keyboard cable
|
|
to demonstrate. In spite of the metaphorical (and zoological)
|
|
overtones, I told him he was basically right. I was too tired of
|
|
explaining the operation of the computer and too amazed at the
|
|
general situation to try to convince him otherwise.
|
|
|
|
Finally, he made his way towards the open cabin door as the day
|
|
turned to dusk. He looked back at me and told me that he would
|
|
come back tomorrow with gifts if I would let him talk to the
|
|
spirits. He pointed vaguely at the computer and the radio. I
|
|
reminded him that they were not spirits and that he would
|
|
probably have to learn to write and read English to use my
|
|
equipment. He asked me if I would teach him. I said yes without
|
|
thinking.
|
|
|
|
I wish I would have taken a picture of Tantu while he was here
|
|
in the cabin. The sight was so odd. Tantu has shoulder-length
|
|
dark hair, trimmed to straight bangs at his eyebrows, but
|
|
otherwise unstyled. There is no sign of a beard on his brown
|
|
chin, but I know he is well past puberty from the thin growth of
|
|
pubic hair (it seems this may be trimmed periodically) and the
|
|
way he handles himself.
|
|
|
|
I've grown used to his "cat whiskers" in one afternoon. They
|
|
consist of six- to seven-inch-long stalks or spines of some
|
|
dried plant similar to the spine grass that is so prevalent
|
|
around the river. The spines seem to cause Tantu little pain
|
|
although they look to me to be forcefully stuck into the soft
|
|
tissue of each nostril. They truly give his round face a catlike
|
|
appearance.
|
|
|
|
The characteristic blue tattoo around Tantu's lips is actually
|
|
the easiest feature to overlook. Its lines flow naturally along
|
|
the contours of his lips and sport smaller perpendicular lines
|
|
about a quarter of an inch long which give the impression of a
|
|
large mouth lined with square teeth. I suppose a simple picture
|
|
couldn't capture these facial details, the awed and curious
|
|
expression on his face, plus his nearly naked body leaning over
|
|
the glowing computer monitor, but it certainly could convey the
|
|
entirely strange image of an Indian confronting a modern
|
|
computer in a darkened room. Incredible.
|
|
|
|
I spent the rest of the evening writing the day's events in my
|
|
official journals and eating a cold supper. I was too tired to
|
|
write in this journal until this morning. Now, I sit here
|
|
sipping scalded coffee, listening to the generator, and
|
|
wondering if I should have agreed to teach Tantu about computers
|
|
or reading English. I'm not sure what impact this could have on
|
|
his culture. Would it be more than what Tantu's Leticia
|
|
experiences might have already brought to the tribe? I guess
|
|
that if Western culture and technology is going to be
|
|
assimilated by the Mayoruna, then my teachings would perhaps
|
|
accelerate that acculturation by a degree, not spark it
|
|
initially. The spark has already been created by Indians such as
|
|
Tantu. Besides, maybe it is better that Tantu learn from me than
|
|
from the disgusting, exploitative loggers in Bolognesi.
|
|
|
|
So I guess I will attempt to teach Tantu. I'll have to remember
|
|
to tone down my showmanship as I teach, however, and try to
|
|
dispel the computer's mystique. Plus I'm going to have to teach
|
|
him to say my name correctly; he pronounces it "Kane" rather
|
|
than "Ken." Teaching him will be a long process but hopefully
|
|
one that will yield an open invitation to their village, which
|
|
will be useful when more researchers are assigned here. I would
|
|
much rather we were invited and welcomed in Tantu's community
|
|
than having to barge in on our own.
|
|
|
|
In two days I'll receive a radio digital packet transmission
|
|
from the outside world. I'm eager to hear up-to-date news from a
|
|
perspective other than the Armed Forces network, and to find out
|
|
what is going on with the nova transmission studies. I'm also
|
|
suffering slight anxiety attacks thinking about receiving e-mail
|
|
from you. I'd like to hear from you, but afraid of what I might
|
|
read. I have composed an e-mail message to you and saved it with
|
|
the other materials I will transmit on Tuesday. When I read over
|
|
the message it strikes me as a bit cold and unfeeling. I do
|
|
still feel for you, but after what you said when we parted, it
|
|
may be best to try to carry on without that emotional baggage.
|
|
|
|
|
|
February 24, 1994 21:48:01
|
|
----------------------------
|
|
|
|
Catherine,
|
|
|
|
Mohammed stood good to his word and relayed a digital package to
|
|
me a few days ago. However, nowhere in that package was a
|
|
message from you. I guess my anxieties will have another week to
|
|
fortify their ramparts in my ego. Their main battle plan seems
|
|
to revolve about my ignorance of the reason for your message's
|
|
absence. I'm sure that in all the excitement of the nova
|
|
transmissions you may have forgotten to send a note to me;
|
|
however, my darker half tells me that you have purposefully
|
|
ignored me. There could have been a technical error in the
|
|
communication process, of course, but my family's birthday
|
|
wishes came through unimpeded, and I gave them the same
|
|
information I gave you.
|
|
|
|
I spent most of the day pouring over the package. My family is
|
|
well and sends their best. My father is incredibly proud of me
|
|
and my "gumption" to stick it out alone in the Amazon Basin.
|
|
Mother claims that he can't shut up about it, even in casual
|
|
conversation to mere acquaintances and fellow churchgoers. He's
|
|
even bought a subscription to National Geographic again. I hope
|
|
he reads them this time around. When I gave him a subscription
|
|
four years ago for his birthday, the inside pages never saw
|
|
anything but their facing neighbors as the issues accumulated in
|
|
a fanned stack on the low coffee table by the settee.
|
|
|
|
I spent a good deal of time following arcane threads in the
|
|
newsgroups that I requested. Most were just flame wars elevated
|
|
to a seemingly intelligent level, but it was fun to read the
|
|
newsgroups in this isolated environment. It will be a while
|
|
before that novelty wears off.
|
|
|
|
The sci.seti.anthro group was indeed included in the package. I
|
|
didn't see any posts or references about you however. What I did
|
|
see was a bunch of messages all complaining that the
|
|
anthropology and sociology couldn't start until the semiotics
|
|
and semanticists figured out the alien pictographs a little
|
|
better. I'm going to post a note there to you next week, just in
|
|
case there is a problem with your e-mail.
|
|
|
|
Tantu came by again today, as usual. Today he brought me some
|
|
sort of dried gourd that rattles lightly. He said that it was a
|
|
"keyboard" from his village. I placed it next to the howler
|
|
monkey paw that he had brought the day before. When he saw the
|
|
dried and burnt paw, he asked me why I had not eaten it yet. I
|
|
told him the truth; that even had I known I was supposed to eat
|
|
the paw, I probably wouldn't have. Tantu looked at me oddly then
|
|
and crossed to the table on which I had laid out his gifts to
|
|
me. In a sudden darting motion he grabbed the paw and threw it
|
|
out an open window. When he turned to face me again I was afraid
|
|
he was angry, and I'm sure that fear showed on my face. However
|
|
he just walked by me and sat down at the computer for another
|
|
lesson.
|
|
|
|
Tantu's three English lessons have followed a consistent
|
|
pattern. I begin with the alphabet and after about ten minutes
|
|
he becomes obviously confused and begins to ask questions about
|
|
the computer and the radio. I had planned to try to teach Tantu
|
|
how to read phonetically, but he doesn't seem to want to get
|
|
past the alphabet. He can recognize letters and pronounce them,
|
|
but he seems to lack the motivation to continue. It is as if he
|
|
doesn't understand that the letters are the building blocks,
|
|
even though I have shown him how I can assemble words from the
|
|
letters. I guess the greatest breakthrough is that he can now
|
|
recognize his name when typed on the computer and even type in
|
|
the password to the partition I have created for him on the hard
|
|
drive.
|
|
|
|
The biggest surprise of Tantu's training is that he can actually
|
|
manipulate the computer quite easily, without being able to
|
|
read! He understands directories and folders and can steer
|
|
himself to picture files that he likes to view. He likes to zoom
|
|
in and out of images, watching how the image is made up of
|
|
individual pixels. I have not shown him games yet--I don't want
|
|
to be known as the sociologist who enslaved naive cultures with
|
|
the shackles of Tetris!
|
|
|
|
I am very concerned, however, that Tantu will never surpass the
|
|
spiritual fraud that I seem to have perpetuated by
|
|
shock-treating him with the computer the first time. For
|
|
instance, I read aloud to him the mail messages I received from
|
|
my family and even some of the newsgroup messages. He was
|
|
completely enthused with the idea of mass communication and I
|
|
felt a sense of elation that perhaps here was a way I could
|
|
motivate Tantu to learn how to read and write English. However,
|
|
he immediately asked how the computer could talk to shamen so
|
|
far away, and how those shamen could know where we were. I
|
|
explained that the shamen were just people and that we
|
|
communicated via the radio (slight lie, but close to the truth).
|
|
He looked at the radio and smiled knowingly. He said, "The
|
|
spirit of the monkey is in your radio."
|
|
|
|
I asked him what he meant but he would only reply that monkeys
|
|
talk the same way my computer does; therefore the monkey spirit
|
|
is in my radio. I began to explain that the radio worked on
|
|
principles of science, but I had to halt when he asked me to
|
|
talk about those principles. I must confess I don't know much
|
|
beyond the basics about those electromagnetic principles. Tantu
|
|
then smiled again, his whiskers pointing at the cabin's loose
|
|
rafters. I realized then how much like a religion my "science"
|
|
must sound to him.
|
|
|
|
|
|
March 6, 1994 14:11:48
|
|
------------------------
|
|
|
|
Catherine,
|
|
|
|
Tantu just left the cabin suddenly and without warning. He was
|
|
sitting at the computer staring at the screen when his back
|
|
stiffened slightly. Then he simply got up and left. I called out
|
|
to him from the porch but he had disappeared. I wouldn't be
|
|
surprised except that, from the way he suddenly jumped to
|
|
attention, he seemed to have heard something or someone call his
|
|
name. I wonder if his hearing is more acute than mine; I
|
|
wouldn't doubt it.
|
|
|
|
I am looking at the screen Tantu was staring at just moments
|
|
ago. It's just a jumble of characters... ah, perhaps they are a
|
|
jumble because they are meant to be a jumble--indecipherable.
|
|
Tantu must have been engaged in what seems to be one of his
|
|
favorite past times, composing a very crude sentence, or
|
|
sometimes just a word, and using a cipher to encrypt it. He
|
|
appears to derive some sort of meaning from the encrypted
|
|
letters and symbols; I have witnessed him pondering an encrypted
|
|
sentence for minutes or more, sometimes tracing his fingers over
|
|
the glass. Just the other day I saw him encrypt an entire Usenet
|
|
message and then scroll through it several times, as if looking
|
|
for something. I've asked him why he does it, but his answers
|
|
are vague and he seems surprised that I should ask. Luckily, I
|
|
have access to his partition and can run the cipher in reverse.
|
|
|
|
The line of letters decrypts as, "It is mine."
|
|
|
|
I wonder if I am teaching him about greed and envy as well as
|
|
English and computers.
|
|
|
|
Earlier today I upgraded the memory in the computer with chips
|
|
that arrived by boat yesterday from Leticia. Tantu watched my
|
|
every move as if I were performing a ritual. He seemed
|
|
particularly intrigued by the grounding wrist strap. I took the
|
|
opportunity to try to show him that the computer was really a
|
|
machine and not a spirit manifestation, but I think I failed.
|
|
I'm beginning to think it doesn't matter if he believes that
|
|
spirits of nature drive the machine rather than human-guided
|
|
electrons; in a way, I guess they are the same sort of force. At
|
|
least he seemed to understand that, by replacing the chips, the
|
|
computer now could hold more "thoughts" in its "fast brain"
|
|
without having to resort to the "slow brain." I demonstrated by
|
|
showing him how much faster the computer could switch back and
|
|
forth between two full-color images of the Chicago skyline. He
|
|
seemed elated.
|
|
|
|
Still no word from you, Catherine. My mail message didn't bounce
|
|
back, nor did you respond to my post on sci.seti.anthro. I don't
|
|
know what to think. I know you are still with SETI because I
|
|
have seen your name mentioned many times in the newsgroup now,
|
|
although I have yet to see a message there from you. I am
|
|
pleased at the success your team has had deciphering the
|
|
transmissions, but why are you ignoring me?
|
|
|
|
I think I'm better off just not thinking of you. But without any
|
|
friends in this place except for Tantu, I have a hard time of
|
|
thinking of anything but you. I am going to have to push Tantu
|
|
to introduce me to his village. I have hesitated so far--I'm
|
|
actually afraid of following Tantu into the forest--but I need
|
|
to see a family again, I need to see humans interacting with
|
|
each other. A once-a-week feed of flame wars from Usenet is not
|
|
enough.
|
|
|
|
I just noticed that the static wrist band and my old memory
|
|
chips are missing. Maybe that is what Tantu meant by, "It is
|
|
mine."
|
|
|
|
|
|
Scientists puzzled by alien home star emissions
|
|
=================================================
|
|
|
|
UNITED NATIONS (AP)--Scientists studying Gibbons' Star, the home
|
|
star of the aliens who broadcast the message to Earth that was
|
|
received two years ago, are puzzled about a stream of subatomic
|
|
particles coming from the star.
|
|
|
|
A representative of the United Nations Committee on
|
|
Extraterrestrials said yesterday that researchers around the
|
|
world have detected an increase in the levels of neutrinos,
|
|
massless subatomic particles, coming from the aliens' star.
|
|
|
|
"We're not quite sure what to make of the [neutrino] hits," said
|
|
Janice Yan, an astronomer coordinating alien research efforts
|
|
for the U.N. "They may be coming from the star as a side effect
|
|
of the aliens' solar mining operation, or they may some alien
|
|
technology that we don't understand yet."
|
|
|
|
But Mark Hirsch, an astronomy professor at the University of
|
|
Hawaii, said that the neutrino emissions may be much more
|
|
sinister in nature.
|
|
|
|
"Traditionally, we see neutrinos right before a star goes nova,"
|
|
Hirsch said. "If this were any other star, I'd probably say we
|
|
should watch it carefully. But considering this is the aliens'
|
|
star, we'll be watching it carefully in any case."
|
|
|
|
Anton Zallian, an astronomer at the University of California,
|
|
raised a stir last week when he told users of the Internet that
|
|
he expects the star to go nova in the next few months.
|
|
|
|
"The neutrino levels continue to go up, and the U.N. doesn't
|
|
want to admit the truth," Zallian said. "The aliens' star is
|
|
going to go, and it's probably because of their solar mining."
|
|
|
|
Zallian predicted on the Internet that the star would go nova in
|
|
early May, based on calculations he refused to reveal. "I will
|
|
explain my methods when I pin down an exact date," he said. "It
|
|
will take a few more weeks."
|
|
|
|
|
|
Bright Time, Dark Time by Eric Skjei
|
|
========================================
|
|
|
|
9:29:17 EST, April 20, 1994
|
|
|
|
Honey is driving down the road. Cole is in the seat beside her.
|
|
Outlaw Willie's on the radio. Honey and Cole have their
|
|
swimsuits on. Cole has outgrown his car seat, but he's still too
|
|
small for the seat belt. Even when he's sitting on his heels,
|
|
like he is now, it hangs around him like an oversized coat.
|
|
Honey wonders what would happen if they got into a wreck. A
|
|
picture of him crashing through the windshield comes to mind and
|
|
she shakes her head to get rid of it.
|
|
|
|
The day is warm but clouds are starting to roll in. When he woke
|
|
up this morning Cole had a cough, one with that awful cracking
|
|
sound in it. The doctor said he was fine, but she took the day
|
|
off anyway. She thought she'd take him to the reservoir for a
|
|
little sun. What the hey.
|
|
|
|
The car's engine misses and smooths out again. Probably needs a
|
|
tune-up. Joe's old yellow Camaro, not in such bad shape on the
|
|
outside except for the ding in the fender. She had to buy new
|
|
tires but couldn't afford the big wide ones, so now it looks
|
|
like a fat old lady on toothpick legs. Inside, the floor is full
|
|
of candy wrappers and toys that Cole doesn't want to play with
|
|
anymore. It still has the California plates on it. She hasn't
|
|
gotten around to doing anything about that, even though they're
|
|
in Ohio now. Maybe they'll wind up in a place with white plates
|
|
or yellow plates. Not Arizona with those ugly red plates. She
|
|
thinks about when she was a kid, driving down the road in the
|
|
back seat, with her folks, going on vacation, searching for
|
|
plates from different states.
|
|
|
|
She looks down at Cole again. He doesn't look anything like Joe
|
|
at all. He's got her blond hair and blue eyes, not Joe's fuzzy
|
|
red hair and thick neck. Not yet, anyway.
|
|
|
|
A beeping sound comes from the floor. It beeps again, then
|
|
again, then again. "Huh," she says out loud. "It can't be." She
|
|
hauls up the purse, fishes around in it, finds the beeper. Yup,
|
|
it's her graduate assistant. She checks the readout. Eleven
|
|
events in ten seconds.
|
|
|
|
Her hands start to shake and she grabs the wheel just as the car
|
|
drifts over the yellow line. She pulls to the side of the road,
|
|
stops. If this is real, she's one of the first to know about it.
|
|
Maybe _the_ first. If it's real. She wonders whether they know
|
|
in Japan yet. She needs to get back. She's got a lot to do.
|
|
|
|
She turns to look at Cole. For a second, she'd completely
|
|
forgotten he was there. He'll have to wait, as usual. She sighs,
|
|
then laughs, feeling like she's going 11,000 miles a second.
|
|
Cole laughs too, grinning up at her, happy to play along. She
|
|
looks out the windshield. "We're going to take a bath, sweetie,"
|
|
she says, wondering if it might have been nothing but background
|
|
noise. "An invisible bath, in hundreds of billions of neutrinos.
|
|
Good thing we have our bathing suits on." She wonders if it'll
|
|
be bright enough to be visible with the naked eye.
|
|
|
|
She sighs again. Then she twists in her seat to look over her
|
|
shoulder and pulls back out onto the road, heading back the way
|
|
she came. She reaches for the radio and turns it up real loud.
|
|
"Nothing I can do about it now," whines Willie.
|
|
|
|
Tell me about it, she thinks.
|
|
|
|
|
|
Little Sun Part Two
|
|
=======================
|
|
|
|
March 17, 1994 08:31:22
|
|
-------------------------
|
|
|
|
Catherine,
|
|
|
|
I've just returned from my first trip to the Mayoruna village!
|
|
It happened suddenly after one of Tantu's lessons yesterday
|
|
afternoon. The experience remains dreamlike in my mind, perhaps
|
|
because I actually slept there, in the village! Not until I
|
|
began the return trip through the steaming morning did I even
|
|
think about how I would record the experience. It would probably
|
|
make more sense to start recording my thoughts in the official
|
|
journals, but it seems easier and will probably be a more vivid
|
|
account if I write it here first, as if I'm talking to you.
|
|
|
|
I met Tantu in Bolognesi early in the afternoon, he was by the
|
|
boat dock as usual, looking for "parts." I was there to give the
|
|
boat hands a stack of letters and packages that I wanted mailed
|
|
from Leticia. (Yes, one of them is for you, maybe that
|
|
handwritten note will be too hard for you to ignore....) The
|
|
crew took the mail and I stepped back and looked for Tantu.
|
|
Instead of squatting over discarded, broken log clasps and tabs
|
|
of rusted iron, he was standing among a small group of loggers
|
|
near where the heavy-timbered dock met the river shore. His head
|
|
was bobbing swiftly so I could tell he was talking to them and,
|
|
when a logger produced a long package from an orange duffel bag,
|
|
Tantu's form bent to the ground to study it.
|
|
|
|
By the time I had walked over, the group was dispersing. I
|
|
shouldered my way through the loggers who were headed back along
|
|
the dock to the boat behind me. Tantu was standing with his back
|
|
to me, the long package now in his hands. He grasped it near the
|
|
center and, when the edge of the rough cloth that bound the
|
|
package flipped off one of the protruding ends, I saw the dull
|
|
gleam of a rifle barrel.
|
|
|
|
"Tantu!"
|
|
|
|
He turned to face me. He pushed the gun at me and said, "See?
|
|
Here is our gun." I took the rifle from him. It was heavier than
|
|
I thought it would be and I almost dropped it as the weight
|
|
shifted inside the scratchy cloth. Tantu grabbed it back and,
|
|
holding the gun in one hand, waggled a finger at me. "Careful,"
|
|
he said seriously.
|
|
|
|
"You be careful, Tantu. That is a dangerous weapon. What will
|
|
you use it for? Hunting?" I wanted to hear him say yes, but
|
|
instead he turned and headed quickly down the path that led to
|
|
my cabin. I followed.
|
|
|
|
When we arrived Tantu placed the gun on the porch and went
|
|
inside. I started to follow, but then hesitated and unwrapped
|
|
the rifle. It looked in good condition--no missing "parts" that
|
|
I could discern. I wanted to check if the rifle was loaded, but
|
|
I know almost nothing about rifles, so I put it away.
|
|
|
|
Tantu was already at the computer, watching it start up. I asked
|
|
him if he wanted a lesson and he replied that he did.
|
|
|
|
We started the lesson as usual but after about ten minutes of
|
|
phonetically pronouncing words, Tantu looked up at me and
|
|
smiled. "I think I can read now!" He said this with such joy
|
|
that I had to agree with him.
|
|
|
|
"Yes, I think you can. But you still have a lot of work to do."
|
|
|
|
"No," he said, grabbing my forearm. "Now, you do not know! I can
|
|
read the letters and see... pictures! The words do not look like
|
|
the pictures, but I see the pictures."
|
|
|
|
Looking back now, I understand what he meant. But at the time, I
|
|
wasn't sure what he was so overjoyed about, only that some
|
|
breakthrough had occurred. The written Mayoruna language
|
|
consists of crude pictograms, generally outlining some event or
|
|
fable. Its "letters" are direct representations of their
|
|
meanings and are only roughly standardized into a small handful
|
|
of characters. I believe now that Tantu didn't understand the
|
|
written English language because it consists of collections of
|
|
letter-characters that have no reference to meaning except when
|
|
grouped together and mentally pronounced. It must have finally
|
|
dawned on him the true phonetic nature of the written word. This
|
|
must be why he said what he said next.
|
|
|
|
"Come, Kane. You must enjoy with us tonight!"
|
|
|
|
I didn't understand what he meant at first, but moments later,
|
|
when we were rapidly trotting over the spine grass path that led
|
|
to his village, I realized that this was it, the invitation I'd
|
|
been waiting for. And I wasn't prepared at all. No camera, no
|
|
paper to take notes, nothing but myself and Tantu. I didn't even
|
|
bring the last of my cache of gifts for the village.
|
|
|
|
"Tantu," I said to the naked back in front of me. "Tantu, I have
|
|
no gifts for your village.... Come back with me to the cabin so
|
|
I can get some."
|
|
|
|
"Kane," he said after a moment and without breaking his stride,
|
|
"this will be your gift." He raised the rifle with one hand over
|
|
his head. The burlap covering fell to the ground. I bent down
|
|
and picked it up. When I had straightened, Tantu was well ahead
|
|
of me.
|
|
|
|
"Tantu! Wait! I didn't give you the rifle. That rifle... that
|
|
gun is yours." For some reason I was desperate to cleanse myself
|
|
of the weapon. "Tantu, that gun is yours!"
|
|
|
|
He turned his head and barked, "Yes, I know! Thank you!" Before
|
|
I had a chance to respond he lifted the rifle and placed the end
|
|
of the stock directly in the center of his chest and bent
|
|
backward at the waist. His body recoiled slightly with the gun
|
|
as it fired a round into the tree branches overhead. I jumped at
|
|
the cracking sound.
|
|
|
|
Immediately rustling appeared in the thick plant life around us
|
|
and I caught the color of brown skin as it disappeared behind
|
|
the foliage. A loud crashing noise erupted to my right. I spun
|
|
my head and just caught sight of an Indian man scrambling away
|
|
from where he had landed after dropping from a huge low-branched
|
|
tree. The Indians must have been all around us for minutes as we
|
|
had walked the path. I would have never known had it not been
|
|
for Tantu's surprise shot in the air.
|
|
|
|
"Are they from your village?" I turned to ask. But Tantu was
|
|
gone. I just caught sight of him taking a turn in the path
|
|
ahead. I ran after him, my panic building quickly.
|
|
|
|
I turned the corner and just managed to avoid running into
|
|
Tantu's back. He was walking slowly forward into a large
|
|
clearing; the rifle raised over his head casually, supported by
|
|
one small arm. A few indigenous men were gathered in the
|
|
clearing in front of a small fire. They too were waving their
|
|
arms as if each of them carried a rifle aloft. Their cheeks were
|
|
painted red and their faces were somber, yet they still wore a
|
|
joyful countenance.
|
|
|
|
Other men stood near a circle of thatched huts that ringed the
|
|
periphery of the clearing. They did not look as cheerful as the
|
|
others and, as we strode slowly toward the men at the fire,
|
|
several more appeared from the doorways of the surrounding huts.
|
|
I glanced between the two sets of men and sensed a distinct
|
|
tension. I reached out to touch Tantu's back; he turned quickly
|
|
and caught my wrist with his free hand and raised the two
|
|
together over his head. Because of my height, the feeling was
|
|
odd--I could feel his arm strain, outstretched as it was, while
|
|
my arm hung limply by the side of my head. I tried to jerk my
|
|
arm back, but Tantu held it there with surprising strength. I
|
|
felt like comically waving at the staring men to alleviate the
|
|
tension.
|
|
|
|
As Tantu led me in this manner about the fire and talked in
|
|
indecipherable bursts to the gathered men, I looked more deeply
|
|
into the dark fringes of the clearing. Despite the growing
|
|
twilight, I spied young children crouched there and, clumped
|
|
about the opening of the largest hut, a group of four women
|
|
spitting into the open mouths of dried gourds. Tantu swung me
|
|
around again and released my hand. I held my breath for a
|
|
response from the seemingly disturbed men that had formed a
|
|
loose circle around us at the fire.
|
|
|
|
If there was one, however, I didn't notice it, for at that
|
|
moment a cry like a bird of prey thwarted sliced through the
|
|
clearing. I turned my head with the others and saw a party of
|
|
Mayoruna hunters emerge from the dense brush. Two of them
|
|
carried the fur-covered forms of inert howler monkeys on their
|
|
backs. An answering cry from the spitting women filled the air
|
|
and suddenly a flurry of activity erupted. From the edges of the
|
|
small village children and adolescents convened on the hunters,
|
|
their joy evident through the bounce in their steps and the
|
|
chatter of their voices. After a moment, the men surrounding us
|
|
went forward to greet them also.
|
|
|
|
Tantu started forward and I called to him so he would not forget
|
|
me. He turned and gestured for me to follow. He was heading for
|
|
the open doorway of the large hut rather than attempting to
|
|
approach the successful hunters. I followed him into the hut,
|
|
noticing that the women sitting in front of it were chewing on
|
|
some type of root and spitting a white juice into numerous dried
|
|
gourds set about the ground around them. One of the gourds
|
|
looked curiously like the top of a human skull.
|
|
|
|
The hut was dark but, as my eyes adjusted, enough twilight was
|
|
able to penetrate the double filter of the trees outside and the
|
|
loose thatched roof above to recognize the shapes of several
|
|
Indians sitting on the ground and a dark central mass ahead of
|
|
us. Tantu approached the dark form and held the gun horizontally
|
|
in front of him. He spoke a few words and then sat down on the
|
|
ground. I felt his hand around my calf as he motioned for me to
|
|
join him. I did, surprised to feel the soft toughness of grass
|
|
mats beneath me rather than the hard dirt I had anticipated.
|
|
|
|
"This is our head man... our chief," Tantu whispered to me. I
|
|
actually looked about me for an instant until I realized he was
|
|
referring to the dark shape in front of us. The form spoke in a
|
|
deep voice and the noise from outside the hut seemed to fade
|
|
away. My eyes started to pick out details of the chief's form
|
|
and my mind attempted to fill in the dark spots.
|
|
|
|
The head man was a withered man sitting in a grass hammock that
|
|
hung low to the ground. I remember thinking that the hammock
|
|
must have been hung so low so that the chief could easily climb
|
|
in and out of it. The chief was as naked as all the Indians
|
|
around me; his gnarled legs draped over the edge of the hammock
|
|
and his feet were folded against the floor so that the outsides
|
|
of his ankles scraped the grass matting. I saw, or imagined I
|
|
saw, numerous warts protruding from the loose skin of his legs,
|
|
some as large as the end of my thumb. His face was hidden in
|
|
shadow, but I could make out the characteristic wide shape of
|
|
his head and the long white glow of his spine whiskers.
|
|
|
|
In a pause of his speech to us--and it was a speech lasting
|
|
almost half an hour--I asked Tantu in a whisper to translate the
|
|
chief's message. Tantu whispered back that the chief was telling
|
|
them of the great sorrow that he felt he had brought to the
|
|
tribe. "What sorrow?" I asked.
|
|
|
|
"The sorrow of being both head man and shaman for the village.
|
|
Now that he is dead, we have no one to lead."
|
|
|
|
After the chief's voice subsided, Tantu and the others stood up.
|
|
I stood up with them and followed them out of the hut. By now
|
|
night had fallen. In the clearing, the fire had been built up
|
|
and I could see that a meal had been in preparation.
|
|
|
|
"Tantu," I said. "If what the chief said was true, shouldn't the
|
|
rest of the villagers been there to listen?"
|
|
|
|
Tantu turned to me and said, "The chief... he tells this story
|
|
many times a day."
|
|
|
|
"You mean it is just a story? He's not really dying?"
|
|
|
|
Tantu looked at me puzzled. "No, it is true. He is dead. We must
|
|
find a new shaman." He moved away from me and toward two young
|
|
women who were stripping the monkeys of their fur.
|
|
|
|
I looked down at my feet then and found myself staring into the
|
|
gourds of white juices that I had seen the women spit. I picked
|
|
one up and swirled the contents around in the base of the gourd.
|
|
In the firelight I could see that the juice consisted of a very
|
|
fluid liquid, which I assumed to be the women's saliva, and a
|
|
mash of plant fibers. I took it over to Tantu and asked him what
|
|
it was.
|
|
|
|
"Beer!" he barked at me. Then he smiled and said, "Do you like
|
|
beer? This will not be good for a few days, but you can try it
|
|
now."
|
|
|
|
"No thanks," I said quickly, recalling the sound the women made
|
|
when they spit. "I'll wait." I gave the gourd to him. He smiled
|
|
and took a drink of it.
|
|
|
|
When he was finished he produced one of the white roots that the
|
|
women had been chewing on. It looked like a manioc root, the
|
|
kind the Indians also make a sort of pancake out of. "Here," he
|
|
said, offering it to me. "The beer... masato... is made of
|
|
this." I took the root. "Chew on it," he said and then knelt
|
|
back down to watch the young women work.
|
|
|
|
I put the root in my mouth and began to chew on it lightly. It
|
|
was a bit pungent but not a bad taste. I returned to the area
|
|
around the fire and watched the various activities around me. It
|
|
was then that I noticed the children looking at me.
|
|
|
|
Several children, male and female, would walk up behind my back
|
|
and watch me. When I would turn to greet them they would giggle
|
|
and run away. This occurred several times before I sat down
|
|
about ten yards from the hot fire. Four of the children then sat
|
|
down around me. They stared at me with smooth skinned faces and
|
|
glinting eyes. None of them wore the spine whiskers or the blue
|
|
mouth tattoo. I smiled at them and tried to think of something
|
|
to give them or do for them. The children simply stared at me.
|
|
Finally I settled on a trick my uncle used to play on me. I
|
|
doubled the thumb of my left hand within a fist and positioned
|
|
my right hand so that it looked like my right thumb was actually
|
|
the continuation of my left. Then with the same sneaky
|
|
expression of a thousand goofy uncles I performed the
|
|
time-honored trick of removing my left thumb. The children
|
|
screamed and ran away.
|
|
|
|
I laughed then and leaned back so that I lay on the ground and
|
|
could look up into the thin canopy of tree branches overhead.
|
|
The flickering light from the fire reflected on the broad leaves
|
|
and shone hypnotically back down at me. I must have lain there
|
|
for some time because the next thing I remember is Tantu
|
|
prodding me with his foot to rouse me for the meal.
|
|
|
|
The meal was quick and I actually ate very little. For the
|
|
number of villagers present there really wasn't that much food.
|
|
I limited myself to the manioc pancakes and didn't drink
|
|
anything. I spent most of the time trying to watch how the
|
|
Indians interacted with each other, trying to identify
|
|
influences of western society on their interaction. About all I
|
|
noticed was Tantu taking his new rifle with him wherever he
|
|
went. I was relieved to see him reprimanding the young children
|
|
when they attempted to touch it.
|
|
|
|
It was then that I noticed the first RAM necklace. One of the
|
|
children, a young boy, was fingering the beads of one of the
|
|
necklaces which Tantu wore about his neck. Whenever the child
|
|
would tug on the beads Tantu would let out a sharp bark. Finally
|
|
Tantu pushed the boy away and scolded him. When Tantu removed
|
|
his hand from his neck I looked closely to see what had so
|
|
attracted the child. I expected to see a jaguar tooth or a worn
|
|
stone. Instead I saw a silicon chip still attached into a broken
|
|
piece of epoxy circuit board. Tantu must have taken my discarded
|
|
computer memory, broken them into pieces and woven them into his
|
|
necklace. The sight made a chill run down my spine. I looked at
|
|
the necklaces of some of the other villagers. To my surprise I
|
|
found that at least four other men had similar necklaces. All of
|
|
them were seated in an area between myself and Tantu.
|
|
|
|
I stood up and asked to speak with Tantu. He basically ignored
|
|
me until I pulled on his necklace. Then he turned and smiled at
|
|
me. I noticed that several of the other necklaced men turned
|
|
their heads to look at me.
|
|
|
|
"You like it?" Tantu asked. "I made you one also... It is my
|
|
gift to you."
|
|
|
|
My first reaction was to refuse the gift. But as he produced the
|
|
necklace and held it up to me in front of the other men, I
|
|
realized I was obligated to accept the necklace. I couldn't
|
|
embarrass Tantu in front of his tribe. I reached for the limp
|
|
ring of fiber and silicon but suddenly Tantu jerked it back,
|
|
yelling something in Mayoruna and then in English, "Careful!"
|
|
|
|
I took my hand back. Tantu dug around in the folds of his waist
|
|
belt and pulled out the grounding wrist strap that I had used
|
|
when installing the memory in my cabin. He wound it carefully
|
|
around his right wrist with great deliberation, then clipped the
|
|
end to one of the chips on his necklace. He stood up, said a few
|
|
words in Mayorunan, and draped the necklace over my head.
|
|
|
|
Sensing the ceremony of the event, I bowed my head and attempted
|
|
to say thank you in Mayorunan. I only heard a few chuckles at my
|
|
mispronunciation and I sat back down, this time next to Tantu.
|
|
|
|
Throughout the next hour Tantu told a story in Mayorunan,
|
|
occasionally gesturing at me, at the chips hung around his neck,
|
|
and himself. I caught the words for "shaman," "spirits," and
|
|
"monkey," I attempted to speak to him during his numerous pauses
|
|
but whenever I would begin, he cut me off with another loud
|
|
sentence.
|
|
|
|
By the time he was done, more men had joined our small circle.
|
|
Some of them did not wear chip necklaces, but seemed eager to
|
|
hear Tantu's story. I became drowsy with the heat of the fire
|
|
and the drone of Tantu's voice. I hoped my drowsiness wouldn't
|
|
be noticed, but Tantu had to shake my shoulder to gain my
|
|
attention when he was ready to leave the fire.
|
|
|
|
He pulled me to one of the huts and told me that I could sleep
|
|
in the hammock. He made a big fuss over assuring me it was safe.
|
|
I was not up to the walk through the jungle to Bolognesi and
|
|
from there back to my cabin, so I agreed to sleep there. I
|
|
attempted once more to talk to Tantu about the necklaces, but he
|
|
left me in the hut, ignoring my attempts at discussion.
|
|
|
|
I slept fitfully--as did the rest of the village. It seemed the
|
|
site was never quiet. Some villagers slept while others tended
|
|
the fire and moved about the huts. When the active ones would
|
|
retire it seemed that others roused themselves to take their
|
|
place. It was as if the night was respected as a time to rest,
|
|
but that resting did not necessarily entail uninterrupted sleep.
|
|
My dreams were filled with the sounds and sights of the Mayoruna
|
|
village. I often woke thinking it to be dawn, only to find
|
|
darkness outside the door of the hut.
|
|
|
|
Sometime during the very early morning I dreamt that the
|
|
Mayoruna chief was talking to me. Not in Mayoruna, but in clear,
|
|
unaccented English. I was standing before his hammock in the
|
|
large, dark hut. I could feel rough grass beneath my bare feet
|
|
and I realized that I was no longer wearing my Vibram-soled
|
|
boots. Now the chief was lying in his hammock and I assumed he
|
|
was asleep; however, moments later I heard a voice address me. I
|
|
was convinced it was his voice, though I'm not sure because the
|
|
figure did not even seem to breathe.
|
|
|
|
"Do you follow our path?" he questioned slowly.
|
|
|
|
In my dream I was not afraid and did not find it odd to reply
|
|
aloud. "What path is that?"
|
|
|
|
"The path of the Little Sun."
|
|
|
|
I thought a moment before answering.
|
|
|
|
"I do not know that path," I said finally.
|
|
|
|
"Then you do not follow the path."
|
|
|
|
"Where does the path lead?" I hurriedly questioned, trying to
|
|
prolong the unearthly dialogue.
|
|
|
|
"To the beginning, to the Nascente... It is a long journey and
|
|
we must move quickly."
|
|
|
|
"If you must move quickly, why have you stopped here for so
|
|
long? Why do you not move on?"
|
|
|
|
"We have not stopped moving. I lead always to the Source, the
|
|
Nascente. I have not halted; perhaps you have begun moving...
|
|
perhaps you follow the path..."
|
|
|
|
The next words I spoke woke me with a start. I said, "I am not
|
|
moving at all!" I looked about me and realized I was in the
|
|
chief's hut. His dark, prone form lay before me in the low slung
|
|
hammock, apparently still asleep.
|
|
|
|
I backed out of the hut then, fright crawling up my neck, and
|
|
walked quickly to the dying fire. I looked about me, but for
|
|
once in the night, no one seemed to be awake. I stared at the
|
|
fire for a long while. Perhaps the root I had chewed earlier was
|
|
some sort of psychoactive and it had triggered my
|
|
already-troubled mind into a state of wakeful dreaming.
|
|
|
|
Whatever had caused my dream, I felt drained and exhausted. I
|
|
left the fire and peered into the hut that I thought I had first
|
|
slept in. It was hard to remember exactly which hut that was.
|
|
But the center hammock was empty and I climbed into its rough
|
|
fibers. I fell asleep quickly and dreamlessly until light, when
|
|
the sound of the waking Mayoruna village roused me.
|
|
|
|
I forgot about the dream until I stepped on a patch of spine
|
|
grass near the dead fire. The bristles scraped at my feet and I
|
|
realized I had lost not only my boots but also my socks. The
|
|
memory of the dream rushed upon me then and my mind reeled with
|
|
its flood. Even now, as I recount this to you, Catherine, I am
|
|
overcome with the tingling feeling that I really did converse
|
|
with the Mayoruna chief.
|
|
|
|
After attempting to find Tantu, I came back to the ashes of the
|
|
central fire. There, charred and half melted, were my boots. I
|
|
poked at them with a twig and finally lifted them with my hands.
|
|
They were completely ruined. Who would do such a thing? Why they
|
|
would burn them, I have no idea. Perhaps it was one of the
|
|
village's men who seemed at odds with Tantu and his rifle when
|
|
we first entered the village?
|
|
|
|
I finally left the village after again trying unsuccessfully to
|
|
find Tantu. I also stopped at the chief's hut, but his hammock
|
|
was empty. In his place were a few dried gourds. I could see the
|
|
milky residue of the masato beer from the night before.
|
|
|
|
The walk back here was slow and almost painful without my boots.
|
|
I hadn't realized before how pampered my feet are. At least I
|
|
have a pair of Reeboks in one of my trunks. Still, without the
|
|
boots I feel more exposed to the dangerous environment around
|
|
me.
|
|
|
|
The fantastic events of the last day are still with me. I feel
|
|
charged, yet reluctant to record every detail in the journals. I
|
|
wish you were here so I could talk the events over with you. I
|
|
need someone to converse with, someone who can talk back to me
|
|
and offer an opinion besides my own on what my experience--my
|
|
dream--really could mean. I cannot believe that after this much
|
|
time, UIC has not assigned other researchers to this station. On
|
|
the other hand I'm almost afraid to relate these events to my
|
|
peers. I failed to make any scientific observations, notes, or
|
|
photos. And what is probably my own personal highlight of the
|
|
trip, the dream, will probably be scoffed at as pure
|
|
fabrication! I will have to go back to the village soon and make
|
|
better record of the social fabric and indications of western
|
|
influence. But how do I explain (or even mention) the necklaces?
|
|
|
|
|
|
April 19, 1994 21:05:23
|
|
-------------------------
|
|
|
|
Catherine,
|
|
|
|
It looks like this journal is the closest I will come to
|
|
actually talking to you. Today's radio packet once again
|
|
contained plenty of news about the aliens, the Hebron massacre,
|
|
the price of grain, my uncle Greg, the family dog and even the
|
|
weather--but nothing from you. Maybe it's because Tantu hasn't
|
|
been by in two days, but it suddenly hit me. You're gone from my
|
|
life completely. I can see your life continue on in the
|
|
sci.seti.anthro posts and in the news about solar mining and the
|
|
undeciphered parts of the alien message. Yet my life is
|
|
invisible to you. I don't even feel like you're ignoring me. I
|
|
feel like I'm dead to you.
|
|
|
|
During one of Tantu's lessons, I read on Usenet that someone
|
|
from the University of California announced that he thinks the
|
|
alien star is going to explode on May 14. I'm sure the Christian
|
|
fundamentalists are having fun with that one. I can't believe
|
|
the stance some of them have taken over this whole alien race
|
|
thing. It seems like after the lenient sentencing of the
|
|
abortion protest shootings, these people have decided to take an
|
|
even more inane "literal" translation of the Bible. If there is
|
|
only room for one intelligent species in their universe, perhaps
|
|
they should question if humans are that one intelligent species!
|
|
"God created one true people!" they yell. I wonder if they
|
|
realize that only they created their one true God.
|
|
|
|
Tantu seemed to fixate on the announcement, asking me to explain
|
|
it to him repeatedly. He wanted to know "how many cycles" until
|
|
May 14, so I took the opportunity to introduce him to the
|
|
calendar program and how we measure time. It confused him until
|
|
I displayed two months and counted out the "cycles" for him one
|
|
by one. He then smiled and counted them himself. "What happens
|
|
when computer has no more days?" Tantu asked, pointing at the
|
|
end of the month.
|
|
|
|
I put that off for another lesson, and I'm almost glad that
|
|
Tantu hasn't been by lately. He's progressing quickly and his
|
|
patience with the computer is increasing, but he scares me with
|
|
his ritualistic approach and the way he treats me if other
|
|
villagers are around. I'm sure the tension I experience when I
|
|
am with him is contributing to my bad dreams also.
|
|
|
|
I had the dream again last night. I was speaking to the chief of
|
|
the Mayoruna and, once again, I can't remember what we talked
|
|
about except that it involved "walking the path to Nascente." At
|
|
least this time I woke up in my cabin and not in the chief's
|
|
hut. I don't know what it means and when I talk about it with
|
|
Tantu I receive no other response than a disquieting look that
|
|
seems to say, "Why shouldn't you be talking to the chief in your
|
|
dreams?"
|
|
|
|
I've made eight trips to the village so far. I've tried to be
|
|
diligent and record as much of the social interaction as I can.
|
|
The village is run like an open commune with a shallow
|
|
hierarchy. In fact, the hierarchy seems to consist of just the
|
|
chief and two Indian men beneath him. One of the two men is
|
|
Tantu and that is where the real tension seems to lie. He and
|
|
the other "second" seem to be in a low-key power struggle.
|
|
Low-key, but pervasive. Tantu's competitor is taller and the
|
|
blue tattoo that surrounds his mouth is exceptionally thick and
|
|
bright. I have come to think of him as Blue Mouth because I
|
|
don't know his name. Both men have a small group of followers
|
|
who interact normally with each other when Tantu and Blue Mouth
|
|
aren't around, but who become antagonistic when forced to take
|
|
sides by a leader's presence. All of Tantu's followers wear some
|
|
piece of western technology around their necks--usually a
|
|
fragment of my computer--and they respectfully ask for more
|
|
`parts' when ever I visit.
|
|
|
|
I have rarely seen the chief. He keeps inside the large hut most
|
|
of the time and I hesitate to enter again. When I ask Tantu
|
|
about the chief he always replies that the chief is dead and
|
|
should not be angered.
|
|
|
|
I have learned a little about Tantu's background. I know that he
|
|
learned English while living with missionaries in Leticia. I've
|
|
tried to ask him about the mission, with hopes of locating his
|
|
previous teacher via radio, but he refuses to talk about his
|
|
time there. Once he glared at me with barely muted hatred. I
|
|
have tried not to talk about it since then.
|
|
|
|
I know that Tantu has purchased more rifles from the loggers.
|
|
The other men in his group sometimes carry them in the village
|
|
and I once saw a young woman inspecting one while Tantu looked
|
|
on. I have not heard a shot from the village though, at least
|
|
not yet.
|
|
|
|
Most of these things--the necklaces, the power struggle between
|
|
Blue Mouth and Tantu's techno-Indians, the rifles--I have barely
|
|
mentioned in the technical journals I send upline. I feel like
|
|
I'm responsible for this fast influx of dangerous change. I
|
|
cannot bring myself to confess my involvement to my peers and
|
|
mentors, so I write down only the mundane and send it upline. I
|
|
can tell by the feedback that they aren't impressed. I haven't
|
|
been telling them anything new, and with all the attention the
|
|
SETI groups have been receiving, my filtered work here must seem
|
|
like an ant farm.
|
|
|
|
|
|
May 2, 1994 11:14:21
|
|
----------------------
|
|
|
|
Catherine,
|
|
|
|
Tantu came by earlier this morning to tell me that the Mayoruna
|
|
chief has left. He wanted me to come with him to the village to
|
|
"enjoy the return." I took this to mean that the ailing chief
|
|
had finally died during the night. When I asked Tantu if this
|
|
was the case he didn't seem to understand. He carefully repeated
|
|
that the chief has "gone over" and that he wanted me to "enjoy
|
|
the return." I agreed, but told him I wanted to prepare myself
|
|
first. Tantu went back to the village agitated that I didn't
|
|
drop everything and return with him.
|
|
|
|
It's odd... Tantu did not seem disturbed at all by the chief's
|
|
death. He actually looked excited, almost eager. I wonder if,
|
|
now that the chief has gone on, if Tantu believes he will become
|
|
the next chief. Surely it will either be him or Blue Mouth. They
|
|
are the only ones who seem ready for the task, although they are
|
|
both very young. I almost hope Blue Mouth wins. It would help
|
|
relieve my sense of guilt. Especially after Tantu's reaction
|
|
yesterday to my explanation of the possibility of a nova. He
|
|
obviously saw the nova as an omen of his ascent to power in the
|
|
village. I wonder if he has told any others in the village about
|
|
it.
|
|
|
|
I am concerned about going to the village for the chief's
|
|
funeral celebration. I have done a little more research and also
|
|
witnessed firsthand evidence of the Mayoruna death rituals. They
|
|
recycle almost the entire body, putting the last of the spirit's
|
|
earthly remains to work for them. Several parts of the body are
|
|
eaten, including some of the bones which are ground up and used
|
|
to make a type of hot broth. Often the skull is cleaned out and
|
|
used as a container for liquids, and I have seen necklaces made
|
|
of what look like human vertebrae. I'm not sure I am up to this
|
|
type of ritual. I remember my glimpses of the chief's
|
|
wart-covered legs and my stomach turns. I hope I will not be
|
|
made to feel obliged to eat anything I do not readily recognize
|
|
or find repulsive.
|
|
|
|
I will take my new digital camera along and also a small pouch
|
|
of crackers and dried beef. I cannot think of anything else that
|
|
will be of use. I may have to spend the night in the village
|
|
again tonight. Hopefully with the chief "gone over" I will not
|
|
dream myself into his hut again.
|
|
|
|
|
|
May 3, 1994 13:48:42
|
|
----------------------
|
|
|
|
Catherine,
|
|
|
|
Just got back from the village and I am exhausted. I do not
|
|
think I slept more than three hours last night. Like the first
|
|
overnight trip to the Mayoruna village, this last trip is
|
|
clouded in my memory. The smoky heat of fires, strange tastes of
|
|
unidentifiable foods, and hours of dizzy observation of the
|
|
villagers have combined to reduce my recollection to quick
|
|
flashes of images, smells and sounds.
|
|
|
|
When I arrived in the village it was nearly empty. Only a
|
|
handful of women were there preparing food and caring for
|
|
children. Even with the children, it was strangely quiet. I
|
|
looked in several of the huts but only found empty hammocks and
|
|
the natural litter of habitation.
|
|
|
|
Returning to the women, who sat away from the smoldering central
|
|
fire on this hot day, I tried to communicate as best I could my
|
|
wonder at where all the men of the village had gone. One of the
|
|
woman pointed further to the east and I looked in that
|
|
direction. I spotted a trampled path jutting from the main
|
|
clearing. As I stepped upon it I noticed that the machete wounds
|
|
on the surrounding vegetation were fresh and new.
|
|
|
|
I followed the trail for about twenty minutes. I was glad that
|
|
it was still mid-afternoon and that I could see easily in front
|
|
of me. Soon I became aware of human voices ahead, some speaking,
|
|
others sounding as if they were singing or barking. I increased
|
|
my pace and made sure my camera was handy and powered on.
|
|
|
|
Soon I broke into a small natural clearing filled with about
|
|
more than a dozen Indian men. Some seemed to be sleeping, curled
|
|
into balls on the jungle floor while others talked to themselves
|
|
loudly, occasionally calling out in crude imitations of animal
|
|
noises. Only three men were standing: one of them was Tantu.
|
|
When he spotted me he stepped around the others' bodies and
|
|
approached me quickly. He looked angry.
|
|
|
|
"I wait for you. You not come for many cycles, Kane," he said
|
|
seriously. Then he smiled. "But now you are here. Now you can
|
|
see how we talk to the spirits. You can see our radio." He
|
|
grabbed me by the forearm and pulled me towards the other two
|
|
standing men. One was holding a small box made from
|
|
loosely-bound twigs. I asked Tantu about the other men in their
|
|
trancelike states. He told me that some were talking to their
|
|
animal ancestors and others were preparing for their great
|
|
hunts.
|
|
|
|
I panicked then for a moment, picturing some sort of mass
|
|
suicide. I asked Tantu if these men were "going over." He said,
|
|
"No. They are just looking over. Some of us need help from our
|
|
fathers. Some of us talk to the animals we will hunt on a new
|
|
sun."
|
|
|
|
"Why?" I asked with apprehension.
|
|
|
|
"To make good peace with the animals so their spirits do not
|
|
hunt us after we kill them."
|
|
|
|
His answer did not completely allay my fears, but for some
|
|
reason I felt confident that any danger these men might face was
|
|
not a new one.
|
|
|
|
We reached the two men in the center of the clearing and I saw
|
|
that the small box contained a slick, wet-looking animal--a
|
|
frog. "What is this?" I asked, but Tantu did not reply. Instead
|
|
he took the box while one of the other men bent over and pulled
|
|
a twig from the ground. Carefully he reached into the box with
|
|
the twig and stroked the animal's back. A thick, clear syrup
|
|
clung to the twig.
|
|
|
|
Quickly, Tantu handed the box to the third Indian and pulled out
|
|
a small sharp knife. Before I could stop him he cut into his own
|
|
forearm, dangerously near the arteries and veins on the inside
|
|
of his wrist. The man with the twig grabbed Tantu's wrist and
|
|
pulled open the wound with his free hand. With the other he
|
|
dripped the frog syrup off the end of the twig and into the
|
|
bleeding gash.
|
|
|
|
I think I was shocked into silence because I don't remember
|
|
making any other protestations as the two Indians continued to
|
|
scrape fluid from the frog's back and place it directly into
|
|
Tantu's bloodstream. I knew some tribes used poisonous mucous
|
|
from a particular frog for their darts or arrows, but I suddenly
|
|
realized I didn't know if the Mayoruna had such a practice, or
|
|
if this was one of those frogs. I continued to watch in a kind
|
|
of paralyzing horror: maybe this was some sort of suicide
|
|
ritual. When they were finished they wrapped a thick green leaf
|
|
around the cut and tied it off with a piece of fibrous twine.
|
|
|
|
Tantu turned to look at me. There was a thin trail of saliva
|
|
oozing from one corner of his mouth and his eyes started to
|
|
glaze over. He asked me to join them then, but I balked as the
|
|
other two Indians approached me. "No," I protested. "I am not
|
|
one of you."
|
|
|
|
The Indians hesitated and Tantu spoke again, obviously angered
|
|
again with me. "You only taste it, Kane. Only I do this..." He
|
|
shook his bound wrist at me and then fell to the ground slowly,
|
|
as if through water.
|
|
|
|
I went over to him, concerned for his life, when one of the last
|
|
two Indians caught me by the shoulder. He held out the twig to
|
|
me and smiled. I reached out and took hold of his wrist lightly
|
|
and pulled it to my mouth. I placed my tongue as lightly as I
|
|
could on the twig and then pushed the twig back away. The
|
|
Indian, apparently satisfied, turned away from me. I bent back
|
|
down to examine Tantu and, as I did so, spit out as much of the
|
|
saliva in my mouth as I could. The other two Indians didn't seem
|
|
to notice.
|
|
|
|
Tantu was curled in a loose fetal position and seemed to be sick
|
|
to his stomach. He eyes were closed tightly and when I tried to
|
|
pull on his arm he did not respond. His arm snapped back to his
|
|
chest when I released it. His breathing was deep and regular.
|
|
|
|
The two Indians that had administered the frog potion to Tantu
|
|
were inhaling some sort of powder out of a small pouch. I
|
|
immediately thought of cocaine, but after inhaling the
|
|
substance, both men wandered quietly to the outskirts of the
|
|
clearing and sat on the ground. One of them leaned against a
|
|
tree and seemed to immediately go to sleep.
|
|
|
|
After a time, I began to wander around the clearing, taking
|
|
pictures and trying to listen to the soft ramblings of the
|
|
hallucinating Indians. This is the last cognizant thing I
|
|
remember. My vision through the camera's viewfinder was
|
|
extremely clear and I think I probably stared through it for
|
|
quite some time. I remember at one point the batteries drained.
|
|
|
|
I became sick and had to lay down. My vision had now begun to
|
|
blur and I think some of the other Indians were actually moving
|
|
around then. At least I heard the crashing of bodies through the
|
|
dense foliage. I remember seeing close up images of howler
|
|
monkeys playing in the trees overhead. One fell to the ground
|
|
and when I went over to it, I saw that its hands and feet were
|
|
burnt and charred.
|
|
|
|
I recall being nudged and prodded along the trail to the main
|
|
village and sitting in front of the fire where men and women
|
|
seemed to address me in foreign tongues--not Mayoruna, but
|
|
French, German, Chinese and others.
|
|
|
|
At some point, I ate. If I ate some of the chief's body last
|
|
night, it did not seem to upset me. For some reason, I accepted
|
|
all these odd sights and tastes. I felt secure in the midst of
|
|
the villagers for the first time. Even the heat and he rain did
|
|
not seem to bother me, although today it is so oppressively hot
|
|
and I cannot seem to drink enough water to satiate my thirst.
|
|
|
|
One image stands out in my mind clearly: it is Tantu and Blue
|
|
Mouth standing on opposite sides of the fire yelling at each
|
|
other. Tantu is pointing at me with three outstretched fingers;
|
|
his other arm is pointed to the sky overhead. Blue Mouth is
|
|
grasping something long and snakelike in one hand and shaking it
|
|
madly.
|
|
|
|
Whatever happened that night between the two did not resolve
|
|
their differences because, when I woke late in the morning, I
|
|
saw two very tired-looking men standing outside of the hut Tantu
|
|
was sleeping in. They wore silicon about their necks and held
|
|
rifles in their crossed arms.
|
|
|
|
After checking my clothes and body for insects (I had slept on
|
|
the ground like a fool), I went to Tantu's hut to check on him.
|
|
The guards there would not let me enter although they seemed to
|
|
respect my approach. I could just see Tantu's form lying in a
|
|
hammock from the doorway.
|
|
|
|
I hobbled back to the cabin and--after splashing some water on
|
|
my face--began to write this. Straining to remember what
|
|
happened last night has tired me even further. I must sleep.
|
|
|
|
|
|
Novalight Part Two
|
|
======================
|
|
|
|
May 1994
|
|
----------
|
|
|
|
The message stopped, suddenly and completely. The computers were
|
|
recording the 488th repetition when things went silent, in the
|
|
middle of the third part.
|
|
|
|
Speculation appeared in the papers and newscasts and none of it
|
|
meant anything. The group suffered through a myriad of useless,
|
|
unanswerable questions until it convinced the reporters that the
|
|
best thing--the only thing--everyone could do was to wait.
|
|
|
|
|
|
Novalight
|
|
-----------
|
|
|
|
The nova lit the evening sky almost like a full moon. And it was
|
|
documented all the way because, after the message had stopped,
|
|
every radio astronomer on the planet had been watching that
|
|
piece of sky.
|
|
|
|
What they ended up with was the most complete record of any
|
|
celestial event in the history of man--a near perfect picture of
|
|
a supernova, from initial appearance to slow fade three months
|
|
later. It was beautiful and terrifying and almost infinitely
|
|
sad.
|
|
|
|
The aliens were dead, every one of them. Their technology and
|
|
their culture and their art and their ideas, all totally gone.
|
|
An entire species had been wiped out in a single moment,
|
|
hundreds of years before we had even begun to record their
|
|
message. The nova pictures were startlingly beautiful if one
|
|
didn't imagine the billions of intelligent beings that had been
|
|
consumed, broken down into atoms.
|
|
|
|
The message, only a third translated, was the only record we had
|
|
of them, strange gray shapes moving across a computer screen,
|
|
tracing out an engineering project we couldn't yet begin to
|
|
undertake. A gift for our future.
|
|
|
|
Linguists, anthropologists and physicists worked feverishly with
|
|
the new information they had from the nova. Within months, they
|
|
had deciphered the second part of the message. With the nova
|
|
still bright in the sky, the conclusion was obvious.
|
|
|
|
The nova was an _accident_, an industrial accident, almost
|
|
certainly caused by solar mining. The second part of the message
|
|
depicted the sudden and total breakdown of a star from its
|
|
normal life-cycle to complete collapse in the space of a few
|
|
years. The message was stylized and iconic, much less intuitive
|
|
than the first part, but its physics were exactingly precise.
|
|
|
|
The core of the star lost stability--the computer simulation
|
|
showed a number of processes, any or all of which may have been
|
|
finally responsible--and the star collapsed in on itself,
|
|
compressing to an infinitely hot ball before exploding, shedding
|
|
layers in sequence and boiling off its planets.
|
|
|
|
It was over. Mankind's first contact with extraterrestrial life
|
|
began and ended with a single message--a greeting that
|
|
translation turned into a gift, a gift that disaster turned into
|
|
a warning.
|
|
|
|
|
|
Stellar explosion continues to be heard around the world
|
|
==========================================================
|
|
|
|
MAY 16, 1994: Tensions continue to mount worldwide as the
|
|
effects of yesterday's supernova explosion of Gibbons' Star are
|
|
felt. Many nations' militaries have been placed on alert due to
|
|
the nova's impact on many types of radio communications, and
|
|
airports, shipping and other transportations systems are
|
|
struggling to cope with the phenomenon. Delays are frequent, and
|
|
some transport and communication systems aren't functioning at
|
|
all.
|
|
|
|
Last night, the nova had an apparent brightness of a half- or
|
|
three-quarter moon. It roughly follows the path of the sun
|
|
across the sky and is highly visible during daytime hours. While
|
|
experts say the nova should present no immediate health danger
|
|
from radiation or other effects, they are advising the public to
|
|
be cautious until more information is available.
|
|
|
|
Public reaction has been enormous. On the west coast of the
|
|
United States where the nova appeared in the late evening,
|
|
streets were crowded with people even before the news officially
|
|
broke. In Tokyo, Japan, nearly everything ground to halt when
|
|
the nova appeared high overhead. There have been reports of
|
|
large religious gatherings in Delhi, India, and street parties
|
|
in Washington, D.C.
|
|
|
|
Most experts have refused to comment on the accuracy of
|
|
University of California astronomer Anton Zallian's prediction
|
|
of the explosion, but preliminary observations seem to indicate
|
|
that this nova is much larger than it should be. "Stars that
|
|
size can explode, but theoretically they can't supernova," said
|
|
one researcher. "This is much brighter and more powerful than it
|
|
ought to be." At this time, there have been no estimates
|
|
released regarding how long the nova may be visible in the sky.
|
|
|
|
|
|
Tracks by Daniel K. Appelquist
|
|
==================================
|
|
|
|
The day that star exploded, I was out back killing my dog. I
|
|
looked up and there it was, outshining everything in the sky,
|
|
exposing me and my crime to the world, lighting me harsher than
|
|
sunlight could have. When I looked back down the dog was dead,
|
|
its head having been held under the water too long. I looked
|
|
down and it looked back up at me with those sad eyes, eyes
|
|
brightened by that exploding star. Eyes that said "I wasn't such
|
|
a bad dog--you didn't give me a chance. Now you've killed me.
|
|
Let that be on your head, on your neck like a flea that you'll
|
|
never gonna be able to scratch off."
|
|
|
|
And I said "Fuck you," because I knew that he was right. Though
|
|
the truth is that he was a bad dog. At night, he yelped and
|
|
yelped and you never heard the end of it. Putting a pillow over
|
|
your head was no help, because this mongrel made the most
|
|
piercing, tortured sound you ever heard. It traveled through
|
|
walls, doors, pillows, blankets, ear plugs--any substance known
|
|
to man. It could be heard for blocks.
|
|
|
|
And this dog was mean, too. He had mauled a kid once; he
|
|
endlessly jumped our neighbors, frightened small children and
|
|
elderly women, ate like a horse, and refused to admit that the
|
|
kitchen was not his personal shit-hole. He was a dumb, mean
|
|
son-of-a-bitch, and I wasn't sorry to see him go, even if I was
|
|
a bit surprised at myself for having the balls to do it.
|
|
|
|
Over the fence next door I heard a clang, the sound of metal
|
|
against metal. For a second I thought I'd been caught, but I
|
|
realized it was just old man Davis building his damned track.
|
|
Davis was a hoot. This guy had been building a track--a real,
|
|
regulation railroad track--through his back yard ever since I'd
|
|
been living there. Strangest shit you ever saw.
|
|
|
|
"Where does he get the supplies?" I asked my friend Harvey once
|
|
at the Brass Knuckles, this little bar down on H Street. I
|
|
remember the air was smoky and old Harvey was working on a
|
|
cigar.
|
|
|
|
"He steals 'em! That's the kicker," Harvey replied, taking
|
|
another giant puff, leaning back and behaving like a rich
|
|
landowner instead of the shit insurance salesman he was. "He
|
|
steals every last bit of it. Most of it's scrap, of course,
|
|
stuff that's lying around. I've heard he steals from the Metro
|
|
tunnels. He goes down there with a flashlight when the trains
|
|
aren't running, cuts himself a length of track or whatever, then
|
|
comes back up."
|
|
|
|
"You're crazy," I remarked, taking Harvey as seriously as I ever
|
|
did. "How could that guy carry all that track, or any track at
|
|
all? Track's heavy stuff. He's gotta have it delivered."
|
|
|
|
"Suit yourself," Harvey retorted blandly while sucking another
|
|
gout of smoke. "But my source is _reliable_."
|
|
|
|
So anyway, here was this guy out in his yard at night,
|
|
installing another length of the mysterious track. Was it art?
|
|
Certainly he couldn't be expecting them to build a Metro line
|
|
through here and he was just preparing. Or perhaps he thought
|
|
they would pay a premium for his plot of land, which already had
|
|
a regulation track on it, ready for use. Peering over the fence,
|
|
I could see that the track did indeed look good. No third rail,
|
|
though, but I wasn't about to tell Davis that. Davis, being my
|
|
neighbor, hated me because of my damned dog.
|
|
|
|
So this particular night, after drowning my hound, I walked back
|
|
into the low porch of my one bedroom row-house, where I would
|
|
never have to put up with the smell of fresh dog shit again, and
|
|
gave my friend Harvey a call.
|
|
|
|
"Hey Harvey! Do you... Yes... Uh huh... Just so, it was...
|
|
Yeah... Right... And then I... Uh huh? Okay." _Click_. Harvey
|
|
never was one to let a guy get a word in edgewise. Not when he
|
|
could be spouting the shit he spouts instead. Harvey had said
|
|
that a friend had told him that they'd seen on the news that the
|
|
new light was a supernova, that a star was exploding somewhere
|
|
in space, that all those aliens were dead. I was going to ask
|
|
Harvey if he thought there was any danger being outside, what
|
|
with the radiation and all, but Harvey cut me off to tell me
|
|
that it was perfectly safe, or at least that's what this guy at
|
|
the deli counter had said. Some shit. Imagine a star exploding
|
|
like that, taking all the light it was gonna give out over the
|
|
next billion or whatever years, and spending it all at once,
|
|
like it was at Vegas or Atlantic City or something.
|
|
|
|
Still, the star brought with it something strange, a thrill that
|
|
crept into the street, infiltrated even the low-life scum that
|
|
populated some of the tenements down by the old post office,
|
|
where the sneakers were slung over the telephone wire. I
|
|
couldn't remember seeing much of those kids--they were usually
|
|
in and out in a flash, with their oversized pants and hats,
|
|
crazy-looking kids. But who am I to judge? This crazy star
|
|
business brought them out onto the street. Goddamn if they
|
|
weren't all out there, gawking and laughing. I hadn't imagined
|
|
that there were this many of them, hanging out in that old
|
|
building with half the windows boarded up. Thought I'd heard a
|
|
gunshot once from inside when I was walking past, but I stopped
|
|
and listened and I didn't hear anything more, so I kept walking.
|
|
|
|
That night, though, they were all outside. It would have made me
|
|
nervous, except that for some reason, I knew it was safe. I knew
|
|
they weren't gonna hassle anybody. I knew they weren't gonna
|
|
bother an old man as he walking toward the bus stop, past the
|
|
abandoned cars, out to the street to catch a bus over to meet
|
|
his friend Harvey at a bar down on H Street. They were too busy
|
|
talking, like they never really knew nothing about each other.
|
|
Talking, and looking up at that bright star, gawking, wondering.
|
|
|
|
Waiting for the bus, an old man caught my eye, hooks where his
|
|
hands might have been. He swaggered over to me, a big burly
|
|
fellow, about twice my size. I froze, unsure whether I was being
|
|
attacked--should I stand my ground? Run? The man asked me for
|
|
directions to the train station. "Going to visit my mother," he
|
|
said. "Haven't seen her in fifteen years, but I just got the
|
|
urge." His eyes had the look of a man who hadn't seen much joy.
|
|
"We might die any time, you know." He looked up, knowingly.
|
|
"Gotta take our joy where we can." He took the next bus, my bus,
|
|
following my hasty directions. "There's nothing in this world
|
|
but pain," the man said. I told him about the kids in front of
|
|
the crack house, laughing, looking up at the sky. "I used to
|
|
think that way too," he said. "Look where it got me." He lifted
|
|
up his hooks as if they were the final answer, as if they were
|
|
supposed to signify something, as if there were nothing else in
|
|
the world. "I lost these on a railroad track in '67. Train cut
|
|
'em right off."
|
|
|
|
"I'm... I'm sorry," was all I could say.
|
|
|
|
I got off at H Street and Harvey was waiting for me there. I
|
|
told him about the kids in front of the crack house, and the man
|
|
with the hooks, and old man Davis making his tracks. He was
|
|
silent through all this, which is strange for Harvey. He's
|
|
always talking, always got something on his mind, something to
|
|
say, something to tell you. All he said through this whole thing
|
|
was "Yeah--that crazy old man'll be building his tracks 'til
|
|
Doomsday," which was an awful strange thing for Harvey to say,
|
|
because he never talks about Doomsday or anything else like
|
|
that. Harvey's real cheerful.
|
|
|
|
"Something bothering you, Harvey?"
|
|
|
|
The crowd in the bar at H street was different that night,
|
|
different from the way it had been the million and one times I'd
|
|
been there before. A bit younger, more lively. Some guys in the
|
|
corner, over by the piano, were trying to sing. That was no real
|
|
surprise, but after the song, they started up with a new one.
|
|
Soon some other voices joined them.
|
|
|
|
Harvey wouldn't tell me why he wasn't being himself, so I told
|
|
him what I'd done before, how I finally killed my damned dog.
|
|
That brightened his face a bit.
|
|
|
|
"Well, damned good for you!" he said. "I'll buy you a drink for
|
|
that." And he did. Always stuck to his word, Harvey did. "I saw
|
|
a woman die yesterday," Harvey blurted out. "I can't get it out
|
|
of my fucking head. She was just standing there, just standing
|
|
there."
|
|
|
|
"Whoa, Harvey! What the hell are you talking about? Who? Where?"
|
|
Harvey had given me no warning.
|
|
|
|
"I can't keep it in any more. I can't keep it in any more." He
|
|
kept repeating this phrase. "She was standing there," he sobbed.
|
|
"On the tracks. And the train just come by and took her right
|
|
along with her. It looked like she didn't even notice, like she
|
|
didn't even care."
|
|
|
|
"Harvey, calm down. Where was this? I didn't hear nothing about
|
|
it."
|
|
|
|
Harvey just rested his head in his hands on the bar. "It doesn't
|
|
matter," he sighed. "It doesn't matter. She's gone now. Gone."
|
|
He downed another shot. "Did you ever notice, when you're riding
|
|
in a train, and you're looking out the window at the other set
|
|
of tracks out there...?" His voice turned all dreamy, like he
|
|
wasn't really talking to me at all. "Did you ever notice how
|
|
everything rushes by so quickly, but that track just stays
|
|
there, like it ain't moving at all? That track just keeps going
|
|
and going, while everything changes around it so quick."
|
|
|
|
I took Harvey out of the bar, out onto the street. "Easy,
|
|
Harvey. Easy."
|
|
|
|
Harvey quickly turned on me. "What do _you_ know about tracks?
|
|
Fuck you!" He tore away from me and ran off raggedly down the
|
|
street, weaving in and out of light poles and fireplugs like
|
|
some kind of slalom skier.
|
|
|
|
What was up with him? All I could think of was his story, about
|
|
the woman on the tracks. What possesses a person to do something
|
|
like that, to make such a final decision?
|
|
|
|
On the corner of the street, there was a man with no arm, with a
|
|
sign around his neck: "Homeless please help." He looked hungry
|
|
and afraid. He wasn't wearing anything more than a T-shirt and
|
|
some ripped up jeans, and he was shivering. His eyes caught the
|
|
light from the star and it seemed to me that he turned into a
|
|
monster, some kind of sci-fi nightmare creature, with eyes that
|
|
were gonna burn a hole straight through me. I just walked on by,
|
|
to the gentle sound of jingling change.
|
|
|
|
I kept walking, damning myself and everyone else I could think
|
|
of, trying to keep those eyes and those thoughts out of my mind.
|
|
Finally, I broke into a run. I didn't know where I was going
|
|
until I found myself back on my street, struggling to open the
|
|
front door like there was something after me, something evil.
|
|
I'd never been so afraid, and I can't think of _what_ I was
|
|
afraid of.
|
|
|
|
It was when I closed the door that I heard it. My mind still
|
|
wasn't working right. The noise was building, grinding, metal
|
|
against metal. It was coming from out back, so I crept out there
|
|
real slow. I peered over the fence and there was old man Davis,
|
|
standing by his tracks. As I watched, the tracks shook back and
|
|
forth before him and I swore I heard the sound of an engine
|
|
getting nearer. With a crash, this train was coming through old
|
|
man Davis's yard, gunning through there like a bat out of hell.
|
|
Car after car appeared on one side of the yard and disappeared
|
|
on the other. That train kept on coming and making that awful
|
|
noise, and I didn't know whether it was a dream. I don't know
|
|
when it stopped--I don't remember anything more from that night,
|
|
but we never saw old man Davis again.
|
|
|
|
A few weeks later, the building manager came around asking
|
|
questions about him, but I didn't know any more than anyone else
|
|
and I didn't tell no one about what I saw. I guess he didn't
|
|
have any family, because they threw his stuff out into the
|
|
street. The star was still in the sky, but those crackhead kids
|
|
were back to their old tricks and Harvey was back to being as
|
|
much of an asshole as ever.
|
|
|
|
"They just tore out those tracks old man Davis spent so much
|
|
time putting down," I remember telling him. "Then they paved it
|
|
all over for the new tenants. It's a shame. A damned shame."
|
|
|
|
Harvey just laughed. "What a nut!" he said, his face all screwed
|
|
up, like it was the funniest thing he ever heard. "What a
|
|
fucking nut."
|
|
|
|
"Yeah," I said. Yeah.
|
|
|
|
|
|
Little Sun Part Three
|
|
=========================
|
|
|
|
May 14, 1994 22:39:13
|
|
-----------------------
|
|
|
|
Catherine,
|
|
|
|
The nova didn't appear today as predicted by your fellow
|
|
researcher. I waited outside on my porch for about two hours in
|
|
anticipation. According to the radio it should have been visible
|
|
overhead at midday, but... nothing. Perhaps the sun blocked it
|
|
out, but the radio has not reported its appearance anyplace
|
|
else.
|
|
|
|
I am of course concerned for what this means to your research,
|
|
although I have seen the widespread debate and skepticism about
|
|
this scientist's prediction. However, my first thoughts are
|
|
consumed with how this nonevent will affect Tantu and his
|
|
village.
|
|
|
|
Tantu stopped by during late afternoon. He was very upset. It
|
|
seems he told--announced, really--the entire village of the
|
|
coming of the "Little Sun." He claimed that this would be a
|
|
message from the spirits to show the villagers he was the chosen
|
|
one to lead the Mayoruna to the Nascente. When the nova did not
|
|
appear, Blue Mouth and his followers pronounced Tantu a fake and
|
|
a liar.
|
|
|
|
Tantu yelled all this at me, clearly blaming me for his own
|
|
haste and greed. I tried to be as honest as I could and explain
|
|
that sometimes this was the way things happened with science...
|
|
that he shouldn't place so much faith in it. This did not seem
|
|
to help. He looked at me incredulously like I was uttering
|
|
blasphemy. The only thing I could say that seemed to calm him
|
|
was that the date and time may have simply been calculated
|
|
incorrectly, that the nova--the "Little Sun"--may yet appear.
|
|
|
|
I felt almost evil telling him this--the prediction could have
|
|
been off by months, or even years. Since I could not make Tantu
|
|
realize that he had deliberately led his village to think of
|
|
science as a faith, I simply encourage him further in his plot
|
|
for power? Still, what was I to do? Tell him the truth? Tell him
|
|
that I secretly hoped the nova would never appear?
|
|
|
|
Yes, I think that is the truth. Without the physical nova,
|
|
Catherine, there's a chance your research would become suspect
|
|
and mocked. And without the "Little Sun," Tantu's techno-fetish
|
|
leadership doesn't have a prayer. These things would satisfy my
|
|
vengeful thoughts of your betrayal and cleanse my conscience of
|
|
the guilt of inadvertently corrupting Tantu's tribe. Admitting
|
|
this is not easy, but perhaps it is the first step towards
|
|
understanding myself.
|
|
|
|
|
|
May 16, 1994 16:08:57
|
|
-----------------------
|
|
|
|
Catherine,
|
|
|
|
The nova appeared today! It appeared early this morning, rising
|
|
maybe an hour and a half after the sun. It was incredibly bright
|
|
for an object so far away. Later in the day, the moon was
|
|
visible through the foliage, and I think the nova is brighter
|
|
than its crescent, even during daylight! Despite my misgivings
|
|
about what the nova could mean, it has filled me with awe and
|
|
excitement.
|
|
|
|
Of course I immediately turned on the radio to see if there was
|
|
coverage of the event but the radio was useless. Nothing but
|
|
static with rare snatches of signal. Perhaps it is the nova
|
|
itself that is creating the interference. If that's true, maybe
|
|
I can raise Leticia when the nova has set.
|
|
|
|
Later, with the star high overhead, I picked my way through the
|
|
forest to the Mayoruna village. I was very anxious about what I
|
|
would find, but I was immensely curious also.
|
|
|
|
The village was a beehive of activity. Blue Mouth and a few of
|
|
his followers were huddled together on one side of the village,
|
|
surrounded by angry men who held spears and blow-gun reeds. But
|
|
the vast majority of villagers were not paying them much
|
|
heed--women were hurriedly rushing between huts carrying the
|
|
cups of dried gourds. Shouts and sounds of laughter could be
|
|
heard from the nearest huts.
|
|
|
|
I crossed the compound to the old chief's hut where there was a
|
|
large crowd of men talking loudly. As I passed by Blue Mouth's
|
|
group a few of his men shouted and stared at me defiantly. Their
|
|
faces and shoulders looked bruised and swollen, as if they'd
|
|
been beaten.
|
|
|
|
Tantu was in the large hut. As I approached, the talking men
|
|
clustered about the doorway parted and I entered. Tantu was
|
|
sitting in the hammock. A man I recognized him as the one who
|
|
had administered the frog potion to Tantu days earlier, rubbed
|
|
white paste into Tantu's shoulders gingerly. I could see gashes
|
|
in his skin and dried blood in his hair. Tantu's face was
|
|
bruised and one eye was almost swollen shut.
|
|
|
|
Tantu smiled when he recognized me and stood to greet me.
|
|
|
|
"Kane! It has happened! The Little Sun is here..."
|
|
|
|
"Yes," I replied. "It has happened... but it has brought a lot
|
|
of pain also." I pointed to his face and the white paste drying
|
|
on his shoulders.
|
|
|
|
"This is good, Kane. This is because we were bad to not believe
|
|
it would happen." He looked at me as if I should have known
|
|
that.
|
|
|
|
"What? This is... your punishment?" I tried not to raise my
|
|
voice too loud. Suddenly, I thought of Blue Mouth and his men
|
|
outside. "Did those others do this to you when the nova--the
|
|
Little Sun--didn't appear?" I looked around at the faces of
|
|
other Indians in the hut: many of them displayed cuts and
|
|
bruises. "Did they do this to all of you?"
|
|
|
|
"We were bad to not believe the Little Sun would come," Tantu
|
|
explained again, smiling. I leaned forward and examined Tantu's
|
|
eye; it looked very painful, but in the dim light it was
|
|
difficult to tell if any permanent damage had been done. "When
|
|
Little Sun leaves the sky, we will be forgiven."
|
|
|
|
"And what happens when the Little Sun comes tomorrow?" I said
|
|
without thinking.
|
|
|
|
Tantu's smile disappeared. "The Little Sun will come here
|
|
again?"
|
|
|
|
I looked around the hut. All eyes were on me. "Yes," I said. "It
|
|
could come every day for the next few months...." I paused, not
|
|
knowing what to say. "They really don't know how long the nova
|
|
will be active or visible."
|
|
|
|
"Who is they?" Tantu asked.
|
|
|
|
I tried to think of a way to explain it, but I was starting to
|
|
get sick of the whole situation. I felt guilty and responsible,
|
|
not for the beatings, but for Tantu and the village's perception
|
|
of the nova. I had made the supernova into a false god.
|
|
|
|
"I don't know, Tantu. Just some scientists...." In the hut, all
|
|
the faces were watching me expectantly, as if I were supposed to
|
|
perform some ritual or feat of magic. "I have to go," I said,
|
|
and started to leave.
|
|
|
|
"Kane." Tantu stopped me with a hand on my back. "I am chief now
|
|
of the tribe. I want you to be our shaman."
|
|
|
|
I froze then. It had all come down to this... I didn't know what
|
|
to say. I knew I couldn't refuse, but I don't think there was
|
|
anything I could say. Tantu began to speak again, but all I
|
|
heard was the blood rushing through my head. I brushed his hand
|
|
off and left the hut.
|
|
|
|
I heard a muffled yell from the hut and then nothing more as I
|
|
marched away from that crowd and out of the village. I wanted to
|
|
get away from Tantu and the hysterical religion I had helped
|
|
instigate. I walked faster, swatting at the leaves and branches
|
|
along the trail as I went. I felt sick to my stomach.
|
|
|
|
Behind me, I heard a gunshot.
|
|
|
|
|
|
May 18, 1994 04:21:37
|
|
-----------------------
|
|
|
|
Catherine,
|
|
|
|
I am kept awake now by my dreams and thoughts of what I have
|
|
done. In the afternoons I become drowsy with the heat and
|
|
humidity, and it is during these times that I try and rest. My
|
|
dreams are filled with visions of the lacerated flesh of the
|
|
Mayoruna and Tantu's swollen eye. Each morning, when the nova
|
|
appears in the strip of sky over the river, I see Blue Mouth
|
|
punishing the Mayoruna again because the Little Sun has not yet
|
|
forgiven them.
|
|
|
|
I have stayed inside almost the entire time since I returned
|
|
from the village. Yesterday evening I went to Bolognesi, hoping
|
|
to find some diesel fuel for the generator and perhaps a way to
|
|
contact Mohammed in Leticia. I haven't been able to raise anyone
|
|
on the radio, even though the static isn't as bad at night.
|
|
|
|
Bolognesi was virtually empty when I arrived, making the trip
|
|
almost useless. I found a dock foreman and asked where everyone
|
|
had gone. He was sitting atop a stack of crates with a rifle
|
|
over his shoulder and a pistol beside him, smoking cigarettes
|
|
and watching the nova. He said they heard no boats or planes
|
|
would be coming while the radios weren't working, so the boat
|
|
men had left for Leticia when they learned they wouldn't be
|
|
paid. He and a few men were staying to guard the shipments and
|
|
lumber that were still here and earn a reward, or take what they
|
|
could if it turned out to be a long wait. He said they had heard
|
|
shots from the east, in the direction of the Mayoruna village,
|
|
and had seen Indians peering at them from the jungle. He didn't
|
|
have any diesel, so I returned to the cabin, increasingly
|
|
agitated.
|
|
|
|
I am afraid to go back to the village. I am afraid to go
|
|
outside. Soon I will run out of fuel, then batteries.
|
|
|
|
|
|
May 20, 1994
|
|
--------------
|
|
|
|
Catherine,
|
|
|
|
Tantu and his followers came to my cabin today. They ransacked
|
|
the place and took almost everything--that is why I am writing
|
|
this by hand--I think I am just lucky to be alive.
|
|
|
|
I heard gunshots from the east last night. So I knew something
|
|
was happening. Then at about noon today Tantu appeared at my
|
|
door with five other men. All of them carried guns, and Tantu's
|
|
eye looked infected.
|
|
|
|
Tantu approached me and asked me again to be his tribe's shaman.
|
|
I think I must have chuckled at the absurdity of the situation
|
|
because he stepped forward and grabbed me by the shoulders and
|
|
demanded that I use the radio to tell the Little Sun to leave.
|
|
He stared at me and yelled something incomprehensible.
|
|
|
|
I removed myself from his grip slowly, assured him that I would
|
|
help with his eye and I went over to one of my small trunks. I
|
|
pulled out a first aid kit and walked back toward him.
|
|
|
|
Tantu looked at the box, clearly dismayed. He pointed his rifle
|
|
at my chest and demanded I use the radio. I tried to explain
|
|
that I couldn't, that there wasn't enough electricity and that
|
|
the nova prevented it from working anyway, but he wouldn't
|
|
listen. He pushed me across the room and started to search the
|
|
cabin. I moved to stop him, but I suddenly realized that other
|
|
guns were pointed in my direction. I backed off to a corner.
|
|
|
|
Tantu tore through my belongings, moving from shelf to box to
|
|
trunk with increasing frustration. Just when I thought he would
|
|
give up, his body froze. Slowly he stood up from the trunk where
|
|
I had stored the first aid kit. In his hand was a beaded rosary
|
|
that my mother had given me. Tantu stared at it and then glared
|
|
at me. His hand began to shake then and he suddenly erupted,
|
|
tearing the rosary apart. Black plastic beads flew across the
|
|
room. Tantu threw what was left at my face.
|
|
|
|
He then went through a fit of rage and yelling. Most of it was
|
|
in Mayoruna and incomprehensible to me, but several times he
|
|
broke into English and called me a liar and a shit. He yelled
|
|
out the words "Jesus Christ" with fierce hatred. He shook his
|
|
gun and then pointed it at me. I thought he was going to kill me
|
|
and I shut my eyes.
|
|
|
|
Instead, Tantu barked out commands to the other men and they
|
|
began to dismantle my computer and radio equipment. They roughly
|
|
carried it outside in loads. When I protested, Tantu struck me
|
|
across the jaw with the butt of his rifle. I collapsed to the
|
|
floor.
|
|
|
|
When they left Tantu said nothing to me. He just walked outside,
|
|
off the porch, and back towards Bolognesi. I peeked out the
|
|
doorway and saw his small group of followers pulling and pushing
|
|
the small generator trailer behind him. It was piled with my
|
|
computer, radio, and a rough jumble of cables.
|
|
|
|
Now I am here writing on the blank pages of computer manuals
|
|
like a pathetic idiot. But I can't go to the village, and I fear
|
|
to follow Tantu toward Bolognesi.
|
|
|
|
|
|
May 22, 1994
|
|
--------------
|
|
|
|
Catherine,
|
|
|
|
I learned of your death today in a hissing report over the AM
|
|
transistor radio. You've been dead for a week and I didn't know
|
|
until now. I feel so empty. I was dead to your life and now...
|
|
now you are dead to mine.
|
|
|
|
I didn't feel empty when I heard the report this morning,
|
|
though. I was full of screaming rage and hatred of the zealots
|
|
and murderers that drove that bombed the SETI research center.
|
|
But now the red has faded from my eyes. I look around me at the
|
|
remnants of the cabin interior. I finished destroying what Tantu
|
|
and his men hadn't destroyed in their rampage earlier. There is
|
|
almost nothing of any value left... at least nothing that I can
|
|
make myself care about.
|
|
|
|
I threw the broken rosary and the transistor radio out into the
|
|
river as far as I could. The radio bobbed for a moment before
|
|
being pulled under by the Javari's strong current. I then went
|
|
to the Mayoruna village. I wasn't sure what would happen there.
|
|
I was a mixture of rage and loneliness, and beyond caring
|
|
|
|
It didn't matter, because the village was gone. Empty huts and
|
|
discarded gourds were all that were left. And the bodies... the
|
|
gunshot bodies of Blue Mouth and his followers.
|
|
|
|
Blue Mouth was draped over the body of another in a makeshift
|
|
funeral pyre. The fire had never really caught and the bodies
|
|
has smoldered for some time before cooling. Now they were
|
|
half-burnt, bloated and crawling with insects.
|
|
|
|
I returned here. After seeing that, your death somehow fits in
|
|
neatly.... It's as if there is nothing left for me now.
|
|
|
|
When I listened to the radio's news report this morning after
|
|
the anchor recited your name in a list of the dead, I heard who
|
|
claimed responsibility for the bombing. My parents give money to
|
|
that group.
|
|
|
|
If I leave quickly I may be able to catch Tantu and the Mayoruna
|
|
before they become completely immersed in the rain forest.
|
|
They'll be traveling slow, dragging that generator with them. It
|
|
should make them easy to track. I may not last long in the
|
|
forest, but if I return to the world I used to know, I won't
|
|
last even that long.
|
|
|
|
Goodbye, Catherine.
|
|
|
|
Maybe I will see you on a new sun.
|
|
|
|
_Kenneth James Mayhew_
|
|
|
|
|
|
This Lighted Dark by Chris Kmotorka
|
|
=======================================
|
|
|
|
Mama Tippet calls all this a sign, another thing coming as sure
|
|
as the Lord has risen. All I know is it's a thing that's driving
|
|
the world crazy. Animals round here don't seem to know day from
|
|
night no more and things as never seen another since God done
|
|
put 'em on the planet is passing each other and scaring each and
|
|
each alike. Two moons, two daytimes, and ain't nothin knowing
|
|
what to make of it.
|
|
|
|
The hounds is having a hell of a good time with it all. Running
|
|
possum and coon half blind with the light, not a shadow of
|
|
darkness unexplained. Their path both clear and free. Seems me
|
|
and these dogs is the only things not drove crazy by all this
|
|
strange going on. But I'll be damned of the rest of 'em ain't
|
|
just about tossed it all in the creek.
|
|
|
|
|
|
I went to see Mama Tippett to ask if she could help me locate
|
|
something of mine that done run off. Blame it all on this here
|
|
astronomical aberration is what I do. But Mama Tippett is looped
|
|
these days, too. Giving me the hellfire and brimstone rap afore
|
|
I even get a chance to explain it all to her. Telling me the
|
|
meek shall inherit the Earth, but they have to escape that
|
|
what's holding 'em back first. Telling me this here is the time
|
|
when all that will happen. When all the meek and mild'ns will be
|
|
seeking their vengeance. The hand of the Lord comes quietly she
|
|
says. I simply thanked her and backed on out and got the dogs
|
|
running again. Somewhere on this mountain I'm going to find what
|
|
it is I'm looking for. And when I do.... Let's just say it had
|
|
better be alone. And it better smell alone, too.
|
|
|
|
I hear Blue. She's not on a scent. Not yet. But I can hear her,
|
|
keeping tabs on the others, rounding them up, keeping things in
|
|
order. A real-take charge gal, that bitch. Finest dog I ever
|
|
had. Probably never find another like her. Keenest nose on this
|
|
mountain. I could probably make a decent price on her if I ever
|
|
decided to sell her off. Should probably get a litter out of her
|
|
before long. Just hate to have her down for any length of time.
|
|
Hell of a lead dog. Absolute music to the ears to hear her work.
|
|
|
|
|
|
Every year it's harder to think why I want to keep things the
|
|
way they are. And now, waiting for a sign from the dogs that
|
|
they've found she's out here, I wonder how long I'll be able to
|
|
keep my life steady and sure.
|
|
|
|
I know she's been thinking on this for a long time now. Known it
|
|
a long, long time. Could see it in her eyes. Hear it in her
|
|
voice, in the way she moans at night. Taste it in the things she
|
|
cooks. I don't know what it is she expected. Maybe if I knew
|
|
what she was thinking when I brought her up here I'd have some
|
|
idea of why she was so dissatisfied with it all. Maybe I'd be
|
|
able to see it from her view. But as it is, all I know is what I
|
|
am, the way I always been, and that's just what she got, just
|
|
what she should have expected to get. No more, no less. I never
|
|
once presented myself in any way but the truth. The essence of
|
|
my being. The straight perfume. If that ain't what she was
|
|
looking to be smelling till death do us part, then she shouldn't
|
|
have latched on to the bottle, so to speak.
|
|
|
|
I suppose I can't help but think of her as a liar, now what with
|
|
all that's happening. Said "I do," and here she is operating on
|
|
a definite "I don't" basis. Took off for who knows what.
|
|
Straight through the woods as if she'd have a chance out there
|
|
alone, as if I wouldn't find her just as easy as if she had
|
|
headed off down the road with her hip cocked, her thumb
|
|
strutting, and her suitcase by her side. Me, I almost prefer it
|
|
this way. Give the dogs a chance to get a run. Work 'em up. Like
|
|
to keep an edge on 'em. Nothing worse than a dog that lost its
|
|
edge.
|
|
|
|
She couldn't have picked a more foolish time to be running. I
|
|
guess she was figuring she'd have time while I was out, take
|
|
advantage of this lighted dark. No sense being alone in the
|
|
woods in the real dark. She'd never get nowhere then. Simply
|
|
find her huddled up, staving off the creeping crawlies. Course,
|
|
she had no way of knowing hunting would be a bust. Everything
|
|
run crazy, no challenge, not knowing whether the dogs is running
|
|
coon or deer. Ain't no sense in taking deer now, not with it so
|
|
light out. No way of sneaking something that big around in the
|
|
broad night light.
|
|
|
|
Come home and she's gone. Not in the smokehouse. Not in the
|
|
outhouse. Sure as hell not in the main house. Drawers pulled
|
|
out, clothes hanging down. And of all things, the cloth missing
|
|
right off the kitchen table. Who knows what that's all about.
|
|
|
|
The dogs was all razzed up, just itching. Had to run 'em on
|
|
something. No way of knowin' how long she was gone. Day or two.
|
|
Probably one. Would have taken her a while to get her nerve up.
|
|
I can see her now, nails all chewed up on those red and
|
|
roughed-up hands of hers. Sitting there all flustered, leaning
|
|
forward, rocking back and forth, knocking her knees together,
|
|
weighing it all out best she can. Finally getting up the nerve
|
|
and rushing around like a wounded pig, knocking into every which
|
|
thing. Pulling out underwear, stuffing it all on the table,
|
|
finally wrapping it all up in the oilcloth, not knowing how else
|
|
to carry it all.
|
|
|
|
|
|
It ain't gonna be a problem. It's just taking longer than I
|
|
expected. Expected her to have lit out on the road. Lost a bit
|
|
of time on that one. Brung the dogs back and they finally picked
|
|
her up back by the spring. Probably shouldn't have taken so much
|
|
time before heading out. Eating and all. Just never expected her
|
|
to get so far. Never would've guessed she moved like this.
|
|
|
|
Don't know where she's headed. Doubt she does. Only thing this
|
|
way is mountain and forest and Kincaid's place. Damn well better
|
|
not be heading for Kincaid's. Ain't no reason for her to be
|
|
'round that son of a bitch.
|
|
|
|
Kincaid's been eyeing her for a long time. Ain't no secret in
|
|
that. Seen her looking at him one time in the grocery. All I
|
|
could do to keep from taking her out right there and then. As it
|
|
was, I slapped the dope from her hands, watched it spill all
|
|
over, puddle up at her shoes while she just stood there
|
|
wide-eyed and about to wet herself. Kincaid stiffened, started
|
|
to step forward. I just turned around and faced him and smiled
|
|
pretty as could be. He backed right off. Just dropped his eyes
|
|
to the floor and walked out. Left his groceries right on the
|
|
counter. Ended up doing most of my shopping right from his stuff
|
|
there. Said to her, you like looking at that? Some little
|
|
polecat too scared to say a thing when he sees something he
|
|
don't like? She didn't say nothing either. Kindred spirits, I
|
|
said. Drug her on out to the pickup and back home.
|
|
|
|
|
|
Through the woods I trail the dogs. Faint thrill of
|
|
anticipation. Of finding what I never wish to find. Night has
|
|
fallen. Two moons in the sky, east and west, replace the sun.
|
|
There is no darkness to speak of. I have not slept in two days,
|
|
but I feel no exhaustion. So many hours in the day. Time enough
|
|
to sleep when darkness finally comes.
|
|
|
|
Into a clearing. I halt. There in the midst of the field a buck
|
|
stands alert. Listening to the hounds. Glad for their increasing
|
|
distance. I take the rifle up from the crook of my arm and hold
|
|
the deer in my sights. The tawny coat bristles in the slight
|
|
chill of the evening breeze. A muscle twitch runs from shoulder
|
|
to knee and nostrils flare. A snort like horse's coughing breaks
|
|
the silence and he lowers his head to graze once more. I slide
|
|
the safety catch into place and I lower the rifle. A slight
|
|
smile and I half yell hup-deer and in one sleek moment he breaks
|
|
to his left, nearly dropping himself to the ground, and
|
|
disappears into the wood in a blur of white tail flash and
|
|
crashing vegetation. I laugh and walk on. There is no hurry.
|
|
There is no secret where the dogs will lead now.
|
|
|
|
|
|
I brought her to the mountain a bride of sixteen. A blush still
|
|
on her. Skin still soft with baby fat. For three years she has
|
|
sullenly gone about her duties as I see them. Not once a whisper
|
|
of thanks for providing for her. For saving her from spending
|
|
her life with a crazy mama and a drunked-up daddy. Three years
|
|
and nary a child to show for it. A woman can't be too much good
|
|
to a man if she can't do what she's called to do, whether it be
|
|
tending a house or bringing up a son or two. I barely get one,
|
|
and damn near nothing of the other. One malformed bloody mess of
|
|
a miscarriage nearly two years ago and not a hint of nothing
|
|
since. Meanwhile, she's just going about her business and biding
|
|
her time for God knows what to come. For a sign, I suppose. Two
|
|
moons to light the way. As good a sign as any.
|
|
|
|
|
|
The baying of the hounds rises to a fever pitch. They strangle
|
|
on their voices. The hunt is on and they have their prey. What
|
|
the hell holds them back, I wonder. But I know: years of
|
|
training, generations of dogs bred to withstand the temptation
|
|
to tear it all apart. To seek and find, but not destroy. To
|
|
stand at the ready, their whole bodies, their entire beings
|
|
aquiver with it all. The stench of bloodlust driving them mad,
|
|
waiting for the master to come along and dispatch it all with a
|
|
bullet. The sudden explosion of the report the climax of a
|
|
heated onslaught. Over. An instant.
|
|
|
|
I walk over the rise and look down over the black geometry that
|
|
is Kincaid's field and feel that rush in my belly again. That
|
|
wicked half sense of fear and anticipation. Blue leads. She
|
|
swings the dogs in a wide, perfect arc down the slope of the
|
|
hill around to the house. Seven shapes, black against the
|
|
grasses, moldy green in the odd night light. The rising pitch of
|
|
baying hounds. The intensity increases. I see her come running
|
|
from around the back of the house, hand holding up the hem of
|
|
her dress. Blue is nearly on her as I walk down slow, easing my
|
|
way down to claim what's rightfully mine.
|
|
|
|
About a hundred yards out, she makes it to the door and slips
|
|
in. Blue nearly knocking herself senseless crashing into it. A
|
|
half scream above the rising howl of dogs. I yell up to the
|
|
house, "You'd best come out here Sher-lynn," and the front
|
|
window slides up about six inches. Kincaid.
|
|
|
|
"What you want, Harris?" he yells out. Too much of a
|
|
chicken-shit to come out and face what he's got coming.
|
|
|
|
"I want what's mine, Kincaid, and I aim to have it. Now send her
|
|
on out here so as we can talk."
|
|
|
|
I'm trying to yell over the hounds all this time and it's making
|
|
things edgy. Too much tension. More than we could want anyhow.
|
|
All I want is to have her come out. Talk some sense to her and
|
|
get on with it all. The damn gun's getting heavy and my hands is
|
|
getting nervous. All this waiting.
|
|
|
|
"Send her out, Kincaid. So as we can talk. We need to talk this
|
|
over."
|
|
|
|
"Ain't no harm gonna come to her, is there, Harris?" I'm
|
|
surprised how sure of himself he sounds.
|
|
|
|
"Harm's already been done, Kincaid. All we can do now is hope to
|
|
make less of it. You hear me?"
|
|
|
|
"You get them dogs offa there and she'll come out to the porch.
|
|
You can talk from where you stand."
|
|
|
|
I called up the dogs as best I could. But they was running at
|
|
fever. The whole thing was anticlimactic for them. You just
|
|
don't run a dog to its prey and then not do something to satisfy
|
|
'em. It just don't work that way. But I got Blue to come down
|
|
off the porch and the rest followed her. They was trotting back
|
|
and forth the length of the porch. An occasional whine. A low
|
|
growl. Finally, I yelled back up at the house.
|
|
|
|
"Okay, Sher-lynn. The dogs is off the porch. Now get your ass
|
|
out here."
|
|
|
|
Kincaid again. "Don't try nothing, Harris. I'm watching from
|
|
right here."
|
|
|
|
The door began to open slowly and Sher-lynn's hand come out
|
|
first. Way slow. She slipped out, half her body showing, a wary
|
|
eye shifting between me and the dogs. Finally she come right out
|
|
and stood there in front of the door, not quite letting it close
|
|
behind her.
|
|
|
|
"What you think you doing, girl?" I asked.
|
|
|
|
"I's leaving you, Tilton Harris. Sure as shine is clear." She
|
|
wasn't anywhere near as confident as she wanted to sound.
|
|
|
|
"What makes you think you can up and leave, girl? We's married,
|
|
if you ain't forgot."
|
|
|
|
"Ain't not forgetting that, Tilton. I remember that every minute
|
|
of every day. I'd sure like to start forgetting it, though."
|
|
|
|
"That ain't goin to be so easy, child. Cause you're coming back
|
|
with me. Sure as shine is clear. Sure as blood is red."
|
|
|
|
I started walking toward the door and I heard a rifle click in
|
|
the house. Sher-lynn heard it, too, because I saw her turn her
|
|
head toward the window and her eyes get real big. I hupped up
|
|
the dogs and they rushed up the porch and were on her in no
|
|
time. Pinned her back up against the door. No way for her to
|
|
open it. All she could do was stand there, hands fluttering up
|
|
about her face, and scream like it was the end of the world.
|
|
Next thing I know there's a gunshot. I hit the ground, thinking
|
|
Kincaid was shooting at me, but as soon as I looked back up
|
|
toward the house I seen Blue laid out on the dirt patch afront
|
|
the porch. Blown off the porch by the shot. The other dogs were
|
|
yelping and hollering, swarming all over Blue. Crazy with the
|
|
smell of blood.
|
|
|
|
I leaped up, stumbled and caught myself and lifted up my rifle.
|
|
I levered off a round through the window and heard something
|
|
heavy hit the floor and Kincaid's rifle discharged. But no
|
|
bullet came out of the cabin. Hit a wall or the ceiling.
|
|
Sher-lynn's just screaming and the dogs are yapping and I'm
|
|
standing there unable to move. Somehow I know Kincaid ain't
|
|
going to be firing back out that window.
|
|
|
|
After a few seconds, I move toward the door. Sher-lynn's
|
|
screaming out a name--Nathan. Must be Kincaid, I'm thinking,
|
|
cause it sure as hell ain't me. I push her out of the way and
|
|
swing open the door and enter rifle first and ready, but there
|
|
lay Kincaid, tumbled back in a chair and a hole ripped right
|
|
through his throat. Blood was pooling everywhere. And then
|
|
Sher-lynn's there at my elbow and her screaming gets even
|
|
louder. She ain't screaming nothing that makes sense now. It's
|
|
just noises. Terror and grief and who knows what. The dogs are
|
|
going crazy over Blue, and Sher-lynn's screaming, and Kincaid's
|
|
laying there dead--just as well dead--and I'm standing there not
|
|
knowing what to do, just knowing I need some quiet. Everything
|
|
was moving too loud and too fast and I couldn't much take it any
|
|
longer.
|
|
|
|
I backed out of the cabin, pushing Sher-lynn along with me and
|
|
she won't stop screaming. She's yelling "You kilt him, you kilt
|
|
him!" Like I don't already know that. Calling me up for murder.
|
|
Calling down God and the law, calling them down from wherever to
|
|
take me off. Finally I turned and held the rifle out
|
|
straightarmed away from me and pulled the trigger. Her head
|
|
jerked back and her eyes rolled up as if she was looking for the
|
|
top of her skull and she fell back slow and straight, like a
|
|
felled tree. When the report from the rifle stopped echoing in
|
|
my ears all that was left was the baying of the damned dogs. I
|
|
pointed the gun to the sky and fired, yelling at the dogs, hup
|
|
dogs, get, get, and fired again and they scattered and took off
|
|
up the hill toward the wood. I walked over to where Blue lay and
|
|
she was still breathing, but it wasn't a gentle breath. There
|
|
was a death rattle in her breath and every lowering of her chest
|
|
was followed by a coughing up of bubbling blood. I lowered the
|
|
rifle just behind her ear, cocked the lever, and put out of her
|
|
misery.
|
|
|
|
|
|
No sound but my labored breathing, nothing around but me and the
|
|
death that surrounds me. And I stood in the silence of this
|
|
lighted dark. And I walked off into it, not knowing where I was
|
|
going, or for how long. Only knowing I could not stay here.
|
|
Maybe Mama Tippet is right. Maybe it is a time of judgment.
|
|
Maybe there is a second coming, some kind of judgment come down
|
|
for us all. I don't know. I only know I will walk until I find
|
|
darkness and a time for sleep has come.
|
|
|
|
|
|
Wine and Cheese by Robert Hurvitz
|
|
=====================================
|
|
|
|
Harold was running late. He had seen a matinee with his
|
|
housemate, done a large pile of laundry, and finally gone down
|
|
to the burrito place for some dinner. By the time he was home
|
|
and ready to go to his boss' six o'clock wine and cheese party,
|
|
it was past seven. He hurried to his car and drove off, sweating
|
|
slightly.
|
|
|
|
Parking was worse than he thought it would be--he ended up
|
|
blocking a fire hydrant three blocks from his destination. He
|
|
walked briskly, casting nervous glances from side to side. His
|
|
boss had mentioned that he had heard gunfire in this
|
|
neighborhood. Harold clenched his jaw and quickened his pace.
|
|
Almost at the front door, he realized that he'd forgotten to set
|
|
the Club on his steering wheel. After a few moments' hesitation,
|
|
he decided that he was too late already, so he trudged up the
|
|
front steps and rang the bell.
|
|
|
|
"Hi!" His boss' wife, Paula, opened the door. Her eyes were red
|
|
and she held a long-stemmed glass in her hand. "You must be one
|
|
of Freddy's friends from work," she said, laughing a little.
|
|
|
|
"Uh, yes. My name is Harold. Sorry I'm late." He motioned
|
|
vaguely with his hands.
|
|
|
|
"Oh!" She clapped her free hand on his shoulder and pulled him
|
|
into the house. "So you're Harry! Freddy's told me about you.
|
|
Please come in and have some wine." She pushed him toward the
|
|
living room and shut the front door with her foot. Harold
|
|
guessed she was drunk.
|
|
|
|
He walked into the living room and looked around. There were a
|
|
handful of people he didn't recognize, but all the rest were
|
|
from work. His boss, Fred Wasserman, ambled out of the kitchen.
|
|
"Harry! So you decided to show up?" Harold had never seen Fred
|
|
in anything but a suit and tie: jeans and a Grateful Dead
|
|
T-shirt made him look like a regular guy. "Here, let me take
|
|
your coat."
|
|
|
|
Harold shrugged out of his leather jacket, which he had
|
|
anxiously bought with his Christmas bonus. Fred took it and
|
|
said, "The wine's in the kitchen," then disappeared into the
|
|
hallway.
|
|
|
|
|
|
Fred and Paula
|
|
----------------
|
|
|
|
At least it hadn't rained. It had been overcast and cold for the
|
|
three days that Fred and Paula had been hiking, but, as they
|
|
kept telling each other, at least it hadn't rained. They'd been
|
|
looking forward to this vacation for a month and they were
|
|
determined to have a good time. They marched on through the
|
|
forest.
|
|
|
|
Around the time they were beginning to think seriously about
|
|
dinner, they found a pleasant clearing and decided to regard it
|
|
as a sign from God to set up camp. They pitched their tent and
|
|
had dinner; by the time they were done it was very dark, very
|
|
cold, and the clouds were starting to disperse overhead. The
|
|
wind was methodically seeping its way through their layers of
|
|
clothing. They huddled together next to their small, faithful
|
|
campfire.
|
|
|
|
"Well, we might freeze to death, but at least we'll be able to
|
|
see the stars," Fred said.
|
|
|
|
Paula smiled slightly, leaned a little more into him, and looked
|
|
up at the sky. The clouds had thinned out enough to let a few
|
|
stars peek through.
|
|
|
|
They weren't sure how long it took them to notice how bright the
|
|
ambient light was, especially with only a crescent moon. For a
|
|
while they were enjoying the beauty of nature, trying to ignore
|
|
the cold. Then suddenly they realized they were staring at a
|
|
bright point of light in the sky, just above the trees. They
|
|
watched in silence for several moments; the light didn't move or
|
|
change intensity. They looked at each other, confused, then they
|
|
both laughed because they knew they were going to ask each other
|
|
the same question.
|
|
|
|
Paula looked back up, and Fred became enraptured by her face.
|
|
The intense starlight illuminated her skin, her eyes and her
|
|
lips in a way he had never seen before. Her face seemed
|
|
amazingly soft and natural, as if the whole time he'd known her
|
|
she'd been covered with a coat of makeup and only now had taken
|
|
it off.
|
|
|
|
"You know what?" she said. "I think it's that nova."
|
|
|
|
He stared at her. "What?"
|
|
|
|
"That nova." She motioned to the light overhead. "It must be
|
|
that supernova."
|
|
|
|
"Oh. Yeah. Hey, Paula, will you marry me?"
|
|
|
|
It was her turn to stare. "What?"
|
|
|
|
"Will you marry me?"
|
|
|
|
"Fred..." She started to smile.
|
|
|
|
"Hmm?"
|
|
|
|
"Yeah. Yeah, I will."
|
|
|
|
|
|
Nodding to his co-workers, who politely nodded back, Harold
|
|
crossed the living room to the kitchen. Plenty of wine still
|
|
available: although half a dozen empty bottles lay in the
|
|
recycling bin, several reds and whites were lined up on the
|
|
counter, waiting to be uncorked.
|
|
|
|
"Hello, Harold. Want some wine?"
|
|
|
|
Harold lifted his eyes from a particularly delicious-looking
|
|
Merlot and tried to be social. There were four people in the
|
|
kitchen, only one of whom he knew.
|
|
|
|
"Hi, John." John was the Accounts Payable manager. They didn't
|
|
talk much in the office, partly because their cubicles were on
|
|
different floors, but also because of their twenty-year age
|
|
difference and the disparaging comments John made when they'd
|
|
both tried to get a date with an attractive temp. Harold looked
|
|
away. "That Merlot looks pretty interesting. Do we just help
|
|
ourselves?"
|
|
|
|
"Glasses and corkscrew are on the counter." John looked around
|
|
at the three others: a good-looking, dark-haired woman in her
|
|
mid-twenties standing next to him and an older couple. "Anyone
|
|
else want some?" asked John. "This'll be your best chance to
|
|
meet Harry, tech support extraordinaire."
|
|
|
|
Harold frowned and picked up the corkscrew.
|
|
|
|
The man in the older couple cleared his throat. "I think I could
|
|
use a refill." He placed his empty glass on the counter. "My
|
|
name's Vic, and this lovely lady is my wife, Abby. We live next
|
|
door."
|
|
|
|
Abby nodded. "How do you do?"
|
|
|
|
The cork came out with a wet, resonant pop and Harold said, "I'm
|
|
doing all right." He poured himself a glass, then one for Vic.
|
|
He held up the opened bottle for the dark-haired woman at John's
|
|
side. "How about you?"
|
|
|
|
She shook her head, holding up a glass of white. "No, thanks.
|
|
I'm still working on this. But I do think it's time I got some
|
|
more cheese. If you'll excuse me..." She smiled and walked out
|
|
of the kitchen. Both John and Harold watched her leave.
|
|
|
|
Harold tilted his head toward the door and asked, "Who's your
|
|
friend, John?"
|
|
|
|
"Her name's Jennifer. She's a friend of Paula's." John smiled.
|
|
"It's always nice to meet Paula's friends." He raised his
|
|
eyebrows and nodded.
|
|
|
|
Harold nodded back and took a sip of Merlot. He looked
|
|
appraisingly at the glass. "Good wine."
|
|
|
|
"Yes," said Abby. "Fred and Paula have such good taste. Such
|
|
nice friends. I'm so glad they moved in here. Some of the others
|
|
who came by..." Her smile faded away as she shook her in
|
|
disapproval.
|
|
|
|
"How long have they been living here?" Harold asked.
|
|
|
|
"Oh," Vic said, "At least four months now."
|
|
|
|
"Closer to five," Abby added. "I'm so glad they moved in. This
|
|
neighborhood needs more people like them. These last few
|
|
years..." She shook her head again. "It's gone downhill,
|
|
really."
|
|
|
|
There was a moment of uncomfortable silence, then Abby laughed.
|
|
"Gee, I didn't mean to get so melancholy!" She put her hand to
|
|
her forehead. "Whew! Too much wine for me." She laughed again.
|
|
|
|
"A regular lush, eh?" John said. He picked up his wine glass. "I
|
|
think I'll get a few finger foods." He bowed slightly and
|
|
gestured with the glass before heading out of the kitchen.
|
|
|
|
Abby sighed. "Such nice people," she said, nodding and smiling.
|
|
|
|
|
|
John
|
|
------
|
|
|
|
John entered through the front door of the corporate office,
|
|
briefcase in hand, and smiled up at the clock that read 11:00.
|
|
He felt excited, happy. His feet barely moved; he floated across
|
|
the empty reception area toward the long line of cubicles. The
|
|
handle of his briefcase throbbed in his hand.
|
|
|
|
Halfway to the end of the hall, to the bright, glowing windows
|
|
of his manager's private office, he looked into a cube and saw a
|
|
ten-year-old boy sitting in front of a monitor, tapping
|
|
deliberately at a keyboard. It didn't seem the least bit odd
|
|
that it was his old friend from fifth grade, Michael Buckler,
|
|
aged not a day.
|
|
|
|
"Hi, Michael!" John said.
|
|
|
|
Michael glanced at John. "You're late. Fred wants to see you."
|
|
|
|
John's heart started beating faster. "Good. I want to see him."
|
|
|
|
The ten-year-old nodded. "Lunch afterward?"
|
|
|
|
John looked at his watch: 12:00. "Sure." He turned and continued
|
|
down the hall, which now stretched out to infinity before him.
|
|
The more he walked the further away Fred's office seemed to be.
|
|
|
|
He stopped, hunkered down, and opened his throbbing briefcase.
|
|
In it was a life-like rubber mask of his face. He gingerly
|
|
picked it up and fitted it completely over his head. Smoothing
|
|
out the wrinkles, he stood up and, after taking a few steps,
|
|
reached the door to Fred's office.
|
|
|
|
Fred sat behind his desk, arms folded severely across his chest,
|
|
crushing his tie. The light from his black, halogen lamp cast
|
|
sharp shadows against his face.
|
|
|
|
John tossed his briefcase onto Fred's credenza. Fred's mouth
|
|
dropped and his arms began unfolding.
|
|
|
|
"Fred," John said intently, "I quit."
|
|
|
|
Fred's hands fiercely gripped the edge of the desk. "You--you--"
|
|
The sound of splintering wood filled the office. "You--"
|
|
|
|
The sudden buzzing of the alarm clock cut through the quiet
|
|
bedroom, jarring John awake. He lay motionless on the bed for a
|
|
moment, breathing quickly, then shut off the alarm.
|
|
|
|
He felt different somehow. He turned his head and saw a note on
|
|
his wife's pillow. His entire body seemed to sink down into the
|
|
bed, break through the bottom, crash through floor, and bury
|
|
itself somewhere deep in the cold dirt below their house.
|
|
|
|
He stared at the note, licked his lips, blinked. Then he
|
|
struggled out of bed and took a shower. The note was still there
|
|
when he trudged back into the room. Sighing, he picked it up:
|
|
his eyes danced over the words, glanced away, came back again,
|
|
until he finished reading.
|
|
|
|
John stood in the bedroom for a long time, not aware he was
|
|
crying, and then dressed for work.
|
|
|
|
He wandered into the backyard and sat on a stone bench.
|
|
Everything outside appeared sharper, harsher, as if the sun were
|
|
more intense that morning. He looked up and saw a of light
|
|
shining away, right above the horizon, a little behind the
|
|
morning sun. He stared at it, transfixed, as it climbed into the
|
|
sky. His mind stalled and hours passed until it kicked back into
|
|
gear.
|
|
|
|
As he left his house, he blinked at the afterimage of the light
|
|
that had seared itself into his eyes. When he arrived at work
|
|
the accounting supervisor shook his head and glanced at the
|
|
clock in the reception area that read 11:00. "Isn't it nuts,
|
|
John? One little supernova and traffic's screwed up completely.
|
|
I didn't get here until 10:30 myself. Absolutely nuts."
|
|
|
|
John nodded and headed off to his cubicle.
|
|
|
|
|
|
Five minutes of anecdotes about the neighborhood from Vic and
|
|
Abby were more than Harold could handle. Fortunately, Fred,
|
|
leading an entourage of three Human Resources people and their
|
|
significant others, came into the kitchen to get some wine. When
|
|
the HR group asked Harold if he was having a wonderful time,
|
|
Harold assured them that he was. As they refilled their glasses,
|
|
he excused himself and exited the kitchen.
|
|
|
|
The kitchen's earlier escapees, Jennifer and John, were standing
|
|
by the snack table with Paula, Grace, Michelle, and Tony. Grace
|
|
was the company's system administrator. Michelle was the
|
|
receptionist and Tony was her fiancé. Harold took a sip
|
|
of wine and walked toward them.
|
|
|
|
"You were born in '68?" John was saying to Jennifer. "Let's
|
|
see... in 1968 I was living in L.A. and, yeah, that's when I saw
|
|
the Doors in concert. Amazing show. I think I can safely say it
|
|
was the best concert I've ever seen."
|
|
|
|
"The Doors?" Harold said. "Isn't that the band with the dead
|
|
singer?"
|
|
|
|
John looked at him and paused. "Why, yes, Harold. I'm surprised
|
|
you've heard of them, considering you hadn't even been born when
|
|
Jim Morrison was alive." There were a few chuckles.
|
|
|
|
"Yeah, well, I saw the movie, by Oliver Stone. Wasn't very
|
|
good."
|
|
|
|
Jennifer laughed.
|
|
|
|
Paula reached out and touched Jennifer's arm. "Hey, I want to
|
|
talk to you." She turned to John and said, "Excuse us." She
|
|
smiled at Harold, and the two of them walked away.
|
|
|
|
"Shucks," said Grace. "Just when it was starting to get
|
|
interesting."
|
|
|
|
John frowned and picked up his empty wine glass. Clearing his
|
|
throat, he retreated to the kitchen.
|
|
|
|
Grace took a bite of cheese-topped cracker and looked over at
|
|
Harold. "I didn't know you and John were such good friends. The
|
|
two of you've been talking up a storm since you came in."
|
|
|
|
"Yeah," Harold said. "It's a very well-kept secret. In fact, not
|
|
even John or I know about it." Harold surveyed the food. There
|
|
were several varieties of cheese as well as an assortment of
|
|
crackers, breads, and pita wedges. He noticed that Grace was not
|
|
holding a glass. "You're not drinking?" he asked.
|
|
|
|
She shrugged. "Never on Sundays."
|
|
|
|
Michelle laughed and said, "Don't worry. That means more for
|
|
us." She lifted up her glass and took a sip.
|
|
|
|
Tony smiled sheepishly.
|
|
|
|
"There you go," Grace said. "Anyway, why'd it take you so long
|
|
to get here? I was the first one to show up, you know. I had to
|
|
hang out with Fred and Paula all alone for half an hour before
|
|
anyone else showed up." She ate the rest of her cracker. "So
|
|
where were you?"
|
|
|
|
"I had some errands to run. Nothing too exciting."
|
|
|
|
"Errands never are."
|
|
|
|
The doorbell rang and Paula got up to answer. Jennifer stayed in
|
|
her chair and stared out the window. John re-emerged from the
|
|
kitchen, looked around, and seated himself on a couch near
|
|
Jennifer. Harold sighed and sipped at his wine.
|
|
|
|
Grace looked back and forth between Harold and John, then smiled
|
|
innocently. "Is round three about to begin?" she asked.
|
|
|
|
Harold squinted. "I'm glad someone's enjoying this. I guess." He
|
|
drank some more wine.
|
|
|
|
|
|
Jennifer
|
|
----------
|
|
|
|
The phone rang, but Jennifer was in no mood to answer it. She'd
|
|
been out with a few friends earlier, but she couldn't stop
|
|
thinking about her father. It had became too much of an effort
|
|
to keep up her facade, so she'd excused herself and gone home.
|
|
|
|
The phone let out a second ring.
|
|
|
|
It's amazing my friends still put up with me, she thought.
|
|
This happens every time I go out. They must be sick of it.
|
|
|
|
There was a third ring and the answering machine took the call.
|
|
"Hi. Can't answer the phone just now, so leave a message.
|
|
Thanks." Beep.
|
|
|
|
"Hi, Jen. It's your brother, David. It's about nine right now.
|
|
Just calling to see how you're doing. Hope you're out having
|
|
fun." A pause. "Well, guess I'll call--"
|
|
|
|
Jennifer picked up the phone. "Hi--"
|
|
|
|
Feedback burst from the answering machine speaker. Growling, she
|
|
slapped the machine's buttons. It beeped a few times and stopped
|
|
howling. "Sorry about that."
|
|
|
|
"Sorry about what? The noise, or that you're screening your
|
|
calls?"
|
|
|
|
"Hey, at least I answered, okay?"
|
|
|
|
"Yeah, yeah, yeah," David said. "You're in a bad mood, aren't
|
|
you?" He paused. "About Dad?"
|
|
|
|
Jennifer sighed. "I don't know how you do it. I can't get over
|
|
it."
|
|
|
|
Four months before, their father had checked into Kaiser for an
|
|
appendectomy. The operation went well, but the next day while he
|
|
was asleep he developed an aneurysm, which burst. There was a
|
|
half hour of confusion until a doctor arrived--by then, their
|
|
father had died.
|
|
|
|
Lawyers were still gathering information for a malpractice suit.
|
|
Their father had been a partner in a Los Angeles law firm and
|
|
lived in Beverly Hills, and while neither of them would have to
|
|
worry about money for a long while, settling the estate was
|
|
immensely complicated. David inherited all of the house because
|
|
Jennifer felt she couldn't set foot in it again.
|
|
|
|
"Jesus, Jen," David said. "It's not something I got over.
|
|
It's--I don't know--it's just something I accepted, I guess. I
|
|
don't think I'll ever get over it, but I have to keep living my
|
|
own life, you know? Otherwise I'll just go nuts."
|
|
|
|
Jennifer realized she was winding the phone cord around her
|
|
finger, and she shook it loose. "David, I feel like everything's
|
|
changed. The whole world's changed--my world has changed.
|
|
Nothing seems real anymore. There's nothing... solid.
|
|
Everything's hollow, just trying to hide the... the pain of
|
|
reality."
|
|
|
|
"Wow," David said. "Heavy."
|
|
|
|
Jennifer smiled a little. "See?"
|
|
|
|
"Jen, I hope you don't get offended when I say this, but you
|
|
have to get out more, be around people. Sitting in your
|
|
apartment alone all the time, not answering the phone, isn't
|
|
good for you. I've been worried about you."
|
|
|
|
"Please, David, don't. You don't have to worry. I'll be okay.
|
|
It's just taking a while."
|
|
|
|
"What about going back to school? You mentioned a college up
|
|
there with a masters program--what happened to that?"
|
|
|
|
"Oh, it's still there. I haven't gotten around to filling out
|
|
the forms." Jennifer sighed. "I don't know."
|
|
|
|
Through the open window, she suddenly heard car horns and
|
|
shouts, the indecipherable noise of many people talking at once.
|
|
|
|
"Hey, Dave, something's going on outside. I'll call you back in
|
|
ten, fifteen minutes, okay?"
|
|
|
|
"Huh? Well, okay."
|
|
|
|
"Bye." She hung up the phone, went to the window, and looked
|
|
out. Cars were stopped, some with their doors open and the
|
|
drivers and passengers standing in the street, others honking
|
|
and flashing their high beams. People were staring at the sky,
|
|
pointing west toward the ocean, and shouting.
|
|
|
|
She left the window and went downstairs, out onto the sidewalk.
|
|
A brilliant point of light shone in the sky, not far from the
|
|
moon. It was painful to look at directly. People kept glancing
|
|
at it, then back at everyone else, at completely baffled but
|
|
happy faces.
|
|
|
|
People talked excitedly, asked each other questions, laughed.
|
|
Traffic was stopped--there were groups wandering in the street,
|
|
half the cars were parked. Eventually, those who were honking
|
|
gave up and got out of their cars to look up at what was causing
|
|
the commotion.
|
|
|
|
Jennifer realized she was smiling, maybe because everyone else
|
|
was smiling. A warm feeling slowly started to grow inside her.
|
|
|
|
The word "nova" began to be heard as soon as everyone realized
|
|
it wasn't a plane or a UFO, and soon everyone was saying it,
|
|
laughing, pointing at the sky, smiling. There was a shout and
|
|
someone began to spray champagne over part of the crowd.
|
|
|
|
The warm glow spread all the way through her, and Jennifer felt
|
|
her whole body tingling with something she hadn't felt in a long
|
|
time. She stayed outside on the sidewalk well past midnight,
|
|
talking to passers-by. even after the star disappeared below the
|
|
horizon.
|
|
|
|
|
|
As Harold sauntered over to join Jennifer and John, Fred came
|
|
out of the kitchen and headed over to the hallway to meet the
|
|
new arrivals.
|
|
|
|
"Tim! Sarah! Glad you could make it. Here, let me take your
|
|
coats. The wine's in the kitchen," he said as he disappeared
|
|
into the hallway.
|
|
|
|
Harold sat down on the hardwood floor and put his back against
|
|
the couch. Tim and Sarah nodded at Harold, who politely nodded
|
|
back, and exchanged greetings with John. "So," Tim said to John,
|
|
"I hope all this wine won't give you a hangover, make you late
|
|
for our meeting tomorrow morning."
|
|
|
|
John laughed. "I thought that was the general idea here.
|
|
Hangover excuses for everybody."
|
|
|
|
Harold leaned forward and said to Jennifer, "So, hey, how do you
|
|
know Paula?"
|
|
|
|
Jennifer turned, surprised. "Through school. We're in the same
|
|
program."
|
|
|
|
"And that is...?"
|
|
|
|
"Anthropology."
|
|
|
|
John joined in with, "Which university?"
|
|
|
|
"Oh, it's a small private college. You probably haven't heard of
|
|
it. They have a very progressive curriculum."
|
|
|
|
Paula came back over and sat in a chair next to Jennifer.
|
|
|
|
"What does that mean?" John asked, smiling. "You don't have to
|
|
study?"
|
|
|
|
"No." Jennifer didn't smile back. "They take a more holistic
|
|
approach to education. They look at interactions between what we
|
|
study and the real world, to make sure nothing we do screws up
|
|
the community, unlike most of academia, which stomps around
|
|
studying things and then leaves them in a shambles."
|
|
|
|
"Yeah!" Paula said. "That's telling him, Jen."
|
|
|
|
Jennifer grinned. "Hey," she said, glancing at Paula, "I'm on a
|
|
roll."
|
|
|
|
Paula reached over and patted her on the knee, then said to John
|
|
and Harold, "Enough about us. Hey, Harry, say something about
|
|
yourself. What did you major in?"
|
|
|
|
Harold scratched his head. "Okay. I was a bio major, graduated
|
|
last June."
|
|
|
|
"So, naturally," John said, "you pursued a career in tech
|
|
support."
|
|
|
|
"Well, I took some computer classes, and biology wasn't
|
|
something I saw myself doing for the rest of my life, you know?
|
|
Besides, I'd just graduated and needed to pay rent." He
|
|
shrugged. "Either that or get evicted."
|
|
|
|
"Ah," John said. He looked at Jennifer. "Is it safe for me to
|
|
assume, then, that you're a part-time student? You have a
|
|
regular job, to keep from, ah... "--he glanced at
|
|
Harold--"getting evicted?"
|
|
|
|
"No, I'm full-time. I take on temp jobs and get financial aid."
|
|
|
|
"From the school?" John asked with a wry smile. "Or from the
|
|
parents?"
|
|
|
|
"A little from both." She pursed her lips and looked at Paula.
|
|
"Have you been talking about me?"
|
|
|
|
"No," said Paula, and hiccuped. "No, of course not."
|
|
|
|
Grace walked up and sat on the couch between John and Harold.
|
|
"Hi, guys," Grace said. "What have I missed?"
|
|
|
|
Jennifer grabbed her glass and said, "Maybe I should get some
|
|
more wine."
|
|
|
|
"Nonsense," Paula said. "You and I have been drinking the house
|
|
dry, and, look, Grace hasn't even had any yet. What's wrong,
|
|
Grace? Don't you like our wine selection?"
|
|
|
|
"Oh, sure," Grace said quickly. "Sure I do. It's fine--I just
|
|
don't feel like drinking, is all."
|
|
|
|
"No?" said Paula, giggling a little. "Why? Is the memory of your
|
|
last hangover still too recent?"
|
|
|
|
Grace smiled, nodded. "You could say that." She tilted her head
|
|
to the side. "It was about a year ago, When the supernova first
|
|
appeared. Almost a month before had I started working with these
|
|
two bozos." She stuck her thumbs out to her sides, pointing at
|
|
John and Harold. "It was at a silly supernova party, and, yeah,
|
|
I drank a little bit too much."
|
|
|
|
"That long ago, huh? Wow. Must have been some hangover."
|
|
|
|
"Yeah," Grace said, nodding. "It was."
|
|
|
|
|
|
Grace
|
|
-------
|
|
|
|
Noise. So many loud things going on at once it overwhelmed her.
|
|
|
|
Grace stood in the doorway of the system administrator's house
|
|
in the heart of Silicon Valley. A banner reading "Welcome To The
|
|
End Of The World!" hung on the opposite wall. People stumbled in
|
|
one door and out another, laughing and spilling drinks.
|
|
|
|
She walked into the living room, sorting through the noise. They
|
|
Might Be Giants blasted from the stereo, on top of which five of
|
|
their compact disks were propped in front of a "Now Playing..."
|
|
sign. Four televisions, their volumes up to compete with the
|
|
stereo, played taped episodes of Doctor Who, Star Trek, Star
|
|
Trek: The Next Generation, and Blake's 7. Groups were
|
|
clustered around the sets, quoting lines and cheering each other
|
|
on. A blender in the kitchen grated away at full force. More
|
|
people gathered around the pool table and amused themselves by
|
|
making fun of drunk players, the billiard balls snapping as they
|
|
hit each other, ricocheting.
|
|
|
|
The blender stopped and Greg--the owner of the house and the
|
|
party's host--walked into the living room holding a pitcher in
|
|
one had and a stack of plastic cups in the other. "Hey!" he
|
|
shouted, spotting her. "Grace!" He held out the stack of cups:
|
|
she took the top one and he filled it from the pitcher. "Drink
|
|
up, for tomorrow we die!"
|
|
|
|
"What am I drinking?"
|
|
|
|
"Margarita!" In the kitchen, the blender started up again. "Oh,
|
|
hey, you can put your coat on my bed. It's down the hall, last
|
|
door on the right. The door on the left's the bathroom." He
|
|
strode away, topping off other peoples' cups.
|
|
|
|
Sipping her drink, she found his room right where he said it
|
|
was. There was already a huge pile of jackets on the bed, so she
|
|
draped her coat over a chair. She gulped some more or her
|
|
margarita and went back to the party.
|
|
|
|
In the kitchen, some guy dressed in black with a ponytail
|
|
reigned over the blender, filling it with ice, mix, and tequila,
|
|
whipping it all up, then pouring the result into the emptied
|
|
pitchers which were constantly returned and picked up by
|
|
peripatetic party guests. It struck her as an alcoholic ballet,
|
|
and she felt it was only proper when one of the pitcher-carriers
|
|
refilled her cup.
|
|
|
|
"Hello!"
|
|
|
|
Grace turned around and saw an overweight man with a bushy beard
|
|
standing next to the snack table. He wore a plaid flannel shirt
|
|
and seemed to be in his late twenties. He held a over-flowing
|
|
plastic cup and was swaying a little on his feet.
|
|
|
|
"My name's Phil. Whaddya think of the party?" Phil's eyes were
|
|
caught in a cycle of staring at the snacks, her breasts, then
|
|
finally glancing up at her face before starting over again.
|
|
Grace decided to consider it amusing.
|
|
|
|
"Pretty good." Grace washed down some salsa with her margarita.
|
|
She could feel a slight buzz coming on. "It certainly is loud,
|
|
isn't it?"
|
|
|
|
"Yeah!" Phil said with a quick laugh. More of his drink sloshed
|
|
out of his cup.
|
|
|
|
Shouts rang out from the living room. "Outside! A toast! To the
|
|
supernova!" Hordes of people streamed in from the living room
|
|
and out the back door, sweeping Grace and Phil along with them.
|
|
"A toast!"
|
|
|
|
Grace lost Phil in the crowd. There must have been fifty or
|
|
sixty people outside, milling around in the back yard. About a
|
|
dozen carried pitchers, and they made sure everyone's cup was
|
|
full.
|
|
|
|
"Okay, listen up!" It was Greg making the toast. He climbed up
|
|
on a picnic table and lifted up his cup towards the supernova,
|
|
just visible between the clouds, beneath the gibbous moon.
|
|
Everyone followed suit. "Praised are you, O supernova, tireless
|
|
bringer of light! We raise our glasses in honor of the alien
|
|
civilizations you have wiped out and the _wonderful_ excuse for
|
|
a party you give us. To the end of the world!" People shouted,
|
|
cheered, howled. Greg lowered the cup to his lips, drained it,
|
|
and everyone else followed suit.
|
|
|
|
Grace smiled and stared into her empty cup. The buzz was going
|
|
pretty strong.
|
|
|
|
The man standing next to her, she noticed, was the margarita
|
|
master himself, ponytail and all. He had pale skin, thin lips,
|
|
and a pitcher in his left hand. He swished it around, said, "Not
|
|
much left," and poured the last of its contents into her cup and
|
|
his own.
|
|
|
|
"I had an interesting thought," he said. "The earth and the sun
|
|
have been around for five billion years, give or take a few,
|
|
right? So, if there's an apocalyptic nuclear disaster or
|
|
something similar that completely wipes out everything on the
|
|
planet, then whatever sort of life evolves after that--say,
|
|
giant sentient cockroaches--it'll probably take about the same
|
|
amount of time for them to get to our current level of
|
|
technology as it has for us."
|
|
|
|
"Yeah," said Grace, blinking. "So?"
|
|
|
|
"So, about five billion years from now, they'd be doing what
|
|
we're doing. They'd know that the sun was ten billion years old
|
|
and that at any moment it would be going giant, thereby wiping
|
|
them out. There'd be no way around it." He drained his cup.
|
|
"Pretty wild, huh?"
|
|
|
|
"Yeah. That's funny," she said. "I wonder what their worldview
|
|
would be like."
|
|
|
|
Ponytail shrugged. "Hey, wanna go play pool? Looks like the
|
|
table's open."
|
|
|
|
Over the next couple of hours, Grace played eight ball and hung
|
|
out by the pool table, drinking constantly--her cup was never
|
|
empty for long. She kept trying to put it someplace out of the
|
|
way and lose it, but it invariably made its way back to her
|
|
hand, full.
|
|
|
|
She suddenly realized that her eyes were closed, and she opened
|
|
them to find herself leaning against a wall in the dining room.
|
|
How long she'd been like that, she didn't know. She laughed and
|
|
looked around. It seemed like even more people had arrived at
|
|
the party, but she may have only been seeing double. She didn't
|
|
know. She didn't care. She thought it was funny.
|
|
|
|
Greg was in the living room, talking to someone holding a
|
|
pitcher. She clumsily grabbed a cup that she hoped was hers and
|
|
deliberately made her way towards Greg, step by step.
|
|
|
|
Greg and the pitcher-bearer watched her as she staggered over to
|
|
them, then as she raised her hand and wiped the sweat off her
|
|
forehead. When she came nearer, Greg said, "Hey, Grace, you
|
|
doing okay?"
|
|
|
|
"Oh yeah," she mumbled. "Yeah, I'm fine. Just fine. Who's your
|
|
friend with the pitcher?"
|
|
|
|
"This is Bill." Greg grinned at him. "Bill, this is Grace."
|
|
|
|
She draped her arm on his shoulder, letting him support her
|
|
weight, and held out her cup. "Hiya, Bill," she said. "Fill 'er
|
|
up, please."
|
|
|
|
Bill obliged as Greg said, "Uh, Grace, maybe you've had
|
|
enough..."
|
|
|
|
"Oh, no. No, no, no, no, no. No, I haven't even started, yet."
|
|
She took a healthy swallow and smiled.
|
|
|
|
Bill cleared his throat. "Well, I was just telling Greg how
|
|
ironic it would be if the Big One hit tomorrow, what with this
|
|
end-of-the-world party going on tonight."
|
|
|
|
"Oh, yeah," Grace said. "What's-his-name, he was talking about
|
|
that. Something about cockroaches."
|
|
|
|
Bill frowned. "Uh, cockroaches?"
|
|
|
|
"No, Grace," said Greg. "No cockroaches here. We're talking
|
|
earthquakes."
|
|
|
|
"Yeah," said Bill. He looked at Grace, who was still hanging
|
|
onto his shoulder. "Were you here back in '89, for the Loma
|
|
Prieta quake?"
|
|
|
|
"No. East Coast. Missed all the fun." She drank some more of her
|
|
margarita.
|
|
|
|
A couple of other guys joined the conversation. "I was here
|
|
during the earthquake," said one. "I'd just moved here a month
|
|
before to start a job at Amdahl. Great way to be introduced to
|
|
California, huh? Funny thing was everybody else in my apartment
|
|
complex had stuff break or pipes burst or something, but nothing
|
|
happened to me--a few CDs fell over on the shelf, that was it."
|
|
|
|
Grace stopped smiling. Her stomach didn't feel well at all. She
|
|
stood up straight, taking her arm off Bill, and inhaled deeply,
|
|
trying to get everything to settle down.
|
|
|
|
"I was in a little conference room," said another guy, "up on
|
|
the ninth floor of our building. I was in a meeting with this
|
|
woman, see, and everything starting shaking. We looked at each
|
|
other as if to say `Oh, God, this is it!' and I thought, `This
|
|
is who they'll find me with, when they dig my body out of the
|
|
rubble.' I wondered what my wife would think." He laughed.
|
|
"Crazy, what can go through your mind during a disaster, huh?"
|
|
|
|
Grace closed her eyes and continued drawing deep breaths. She
|
|
could sense she was fighting a losing battle, so she opened her
|
|
eyes, mumbled something and headed off to the bathroom as
|
|
quickly and carefully as she could. She thought, down the hall,
|
|
last door on the... right? Or the left?
|
|
|
|
She stumbled along the hallway, one hand on the wall to keep
|
|
herself from falling, the other on her mouth. The door on the
|
|
right was open, and she staggered through it and saw she was in
|
|
the bedroom. She tried to turn around, but the room was
|
|
spinning, the ceiling falling forward and down, the floor
|
|
slipping behind her. The best she could do was stand still and
|
|
run her hands through her hair.
|
|
|
|
"Grace..."
|
|
|
|
Her nausea overcame the last of her resolve. She tipped forward,
|
|
onto the bed, onto the hundreds of jackets, and lost the battle.
|
|
|
|
She then rolled off and landed on the floor. The last thing she
|
|
saw before passing out was Greg standing in the doorway, looking
|
|
on in horror.
|
|
|
|
The next morning, she barely managed to get to her car and drive
|
|
home. On Monday, she showed up to work just long enough to turn
|
|
in her letter of resignation.
|
|
|
|
|
|
Their host Fred joined the growing group on the couch and
|
|
chairs. "Hello! What's going on here?"
|
|
|
|
"Oh, Fred, you missed it!" Paula said gleefully. "I got Grace to
|
|
admit she's still recovering from a hangover she had during the
|
|
supernova!" Grace looked away.
|
|
|
|
"Is that so?" Fred said, turning to Grace. She nodded. "Hmm," he
|
|
continued. "You know, that was when I proposed to Paula, when it
|
|
appeared. We were out in the woods, camping. It was all very
|
|
romantic."
|
|
|
|
Paula laughed. "Oh yeah. There we were, freezing our asses off,
|
|
and all filthy and smelly after three days of hiking. Very
|
|
romantic."
|
|
|
|
"Well, I meant the supernova."
|
|
|
|
"Yeah, yeah. That was. And then, to sustain the romance, we
|
|
hurried back to the car and drove to Las Vegas, so we could get
|
|
married."
|
|
|
|
Fred frowned, and Paula reached over and squeezed his hand. "Oh,
|
|
come on, Fred, that's my favorite part of the story!"
|
|
|
|
John cleared his throat. "Jennifer, did you do anything
|
|
interesting during the supernova?"
|
|
|
|
Tim and Sarah walked over to the group. "Trading supernova
|
|
stories, eh?" Tim asked, smiling. He motioned politely with his
|
|
wine glass for Jennifer to begin.
|
|
|
|
She sighed. "Nothing exciting happened to me. It was during one
|
|
of those directionless phases, you know? I didn't know what I
|
|
wanted to do. Then, bang!, there was the supernova and I
|
|
decided to go back to school. And now here I am." She looked
|
|
around at everyone. "Quid pro quo, John."
|
|
|
|
He furrowed his brow and cleared his throat again. "Oh, there's
|
|
not much to say. I had a very boring supernova experience."
|
|
|
|
"Oh, come now, John," Tim said. "I remember you showed up late
|
|
for work that morning. You must have something to tell."
|
|
|
|
John shifted on the couch, glanced at Tim. "Not really. I'd gone
|
|
to sleep early and didn't even see the damned thing the night
|
|
before. I woke up and tried to go to work, but the traffic was
|
|
miserable. There must have been something in those supernova
|
|
rays that made people drive slowly and bump into each other."
|
|
|
|
"That's it?" Tim asked, a little smile on his face.
|
|
|
|
"Yep."
|
|
|
|
"What about you, Harold?" Paula asked. "Tell us your supernova
|
|
story."
|
|
|
|
"My story?"
|
|
|
|
"Yeah. It's got to be better than John's, at least."
|
|
|
|
"Okay, okay. Let's see... It was toward the end of Spring
|
|
Semester, and I was busy writing final papers and cramming for
|
|
exams and all. The night before my last final, though, my
|
|
roommate dragged me up into the hills to celebrate his finishing
|
|
his finals, and he promptly disappeared into the bushes with his
|
|
girlfriend, leaving me all alone with nothing to do but stare at
|
|
the supernova. That's my clearest memory of it. Needless to say,
|
|
I didn't do very well on my final the next morning."
|
|
|
|
Paula laughed. "That has to be one of the best supernova stories
|
|
I've heard."
|
|
|
|
Harold smiled. "Really."
|
|
|
|
|
|
Harold
|
|
--------
|
|
|
|
The metallic crunch and the hiss of the escaping carbon dioxide
|
|
made Harold's mouth water. He took a few gulps of Coke and
|
|
stared back down at the textbook, at the same page he'd been
|
|
staring at for twenty minutes. His last final of the semester
|
|
was the next morning and all he wanted was for it and the
|
|
academic year to be over.
|
|
|
|
He wasn't completely ready for the exam. Math had always been
|
|
his weakest subject, and there were several key chapters he
|
|
needed to review. Plus, he'd been averaging three hours of sleep
|
|
each the past three days and he desperately wanted to catch at
|
|
least five hours that night. He rubbed his eyes, took another
|
|
sip of Coke, and turned the page.
|
|
|
|
The dorm room door banged open and Harold's roommate, Mike,
|
|
bounded in.
|
|
|
|
"A-ha! Yes! I'm done!!" Mike tossed his backpack on the floor,
|
|
jumped up in the air, let out a another whoop and collapsed on
|
|
his bed. "I'm done, Harry! Summer, here I come!"
|
|
|
|
"That's great, Mike. Tomorrow afternoon I'll be just as happy as
|
|
you." He stretched his arms out, arching his back, and then
|
|
downed some more Coke.
|
|
|
|
"Oh yeah, you've still got one more to go." Mike swung his legs
|
|
over the side of the bed and sat up. "But, man, you've been
|
|
studying your ass off-- you've got nothing to worry about,
|
|
you'll do fine. Listen, Christine's coming over with her
|
|
roommate--you met her, didn't you? Jill?"
|
|
|
|
"They're coming over here? Mike, I need to study."
|
|
|
|
"No, wait, I'm gonna drive us all up to the lookout so we can
|
|
get a good view of the nova, you know, and rejoice about the end
|
|
of finals!"
|
|
|
|
"Ah. Sure." Harold hunched over his book. "Sounds like a plan."
|
|
|
|
"Yeah. And, you know, I want you to come along, Harold."
|
|
|
|
"No, I'm staying right here. I _really_ have to do some more
|
|
studying."
|
|
|
|
"Aw, man..."
|
|
|
|
Harold looked up, exasperated. "Tomorrow night. I'll do it
|
|
tomorrow night, okay?"
|
|
|
|
"Tomorrow night? I'm not gonna be here! I'm jetting after lunch.
|
|
Come on, man! You gotta come along. Really, you've studied more
|
|
than enough for the test. And Jill's gonna be coming along, too.
|
|
You've met her, right? She's a total babe. It'll be just me and
|
|
Christine and you and Jill."
|
|
|
|
Harold ran his hand through his hair. "I really should study."
|
|
|
|
"Hey, I swear, it'll only be for a half hour, forty-five minutes
|
|
tops. We'll go up there, bask in the supernova--every day you
|
|
wait, you know, it just fades away that much more! It'll be
|
|
hella romantic, man. Then I'll bring you back, you can do your
|
|
last little bit of studying, and tomorrow you'll ace the exam. I
|
|
tell you, this is exactly what you need."
|
|
|
|
"Well..."
|
|
|
|
There was a knock at the door.
|
|
|
|
"That's them, man. You in or out?" Mike skipped over and opened
|
|
the door. "Christine! Hey! Time to party!" He gave her a big
|
|
hug.
|
|
|
|
Harold looked up from his desk. Rolling her eyes, Jill stepped
|
|
around them and into the room. She had long black hair and had
|
|
on jeans and a jacket. Harold _did_ remember her.
|
|
|
|
"Hey, Harold." Jill sat down on Mike's bed. "Still studying?"
|
|
|
|
"Um, yeah. I've got my last final tomorrow morning." Harold
|
|
paused, looked over at Jill, then closed his book. "But I'm
|
|
getting pretty burned out. I think maybe I should take a little
|
|
break."
|
|
|
|
The next thing he knew, Harold was in the back seat of Mike's
|
|
car with Jill, heading up the windy, hillside roads to Lookout
|
|
Point. Fifteen minutes later they parked in a clearing and
|
|
everyone piled out.
|
|
|
|
"It's kinda chilly," Christine said, rubbing her arms.
|
|
|
|
"I've got a sweatshirt somewhere in the trunk." Mike went around
|
|
to the back of the car. "You two go on ahead. We'll catch up."
|
|
|
|
Harold and Jill walked up the road, around a bend, and then they
|
|
were at Lookout Point. There was another group of people off to
|
|
one side but they were keeping pretty quiet. The two of them
|
|
headed further from the road and sat down on a rocky
|
|
outcropping.
|
|
|
|
The lights of the city stretched out before them, twinkling in
|
|
the rising heat. Strings of white and yellow outlined the
|
|
streets and clusters of rectangles where houses and buildings
|
|
squatted; splashes of red, blue, green and yellow shown from
|
|
store signs and traffic lights. The full moon was rising in the
|
|
east and seemed larger than it should be. At the west horizon
|
|
was the supernova, an intensely bright pinprick of light.
|
|
|
|
Harold took a deep breath. "It's beautiful out," he said.
|
|
|
|
"Yeah. Aren't you glad you came?"
|
|
|
|
"Definitely." He sat there for a moment, stargazing. "I read
|
|
that the supernova is about eight hundred light years away. So,
|
|
it took that light eight hundred years to get here." He laughed
|
|
a little. "Spending a few minutes appreciating it is the least I
|
|
can do."
|
|
|
|
Jill hugged her knees. "We'll always remember it."
|
|
|
|
They sat a moment, and Harold gestured up at the sky. "You know,
|
|
that supernova is ours. It belongs to our generation. It's
|
|
something we'll tell our kids about."
|
|
|
|
"The Summer Recess Supernova?"
|
|
|
|
"Exactly. And I can tell, you know, I can tell that this is
|
|
going to be our most memorable summer."
|
|
|
|
"I hope so. My boyfriend and I going to take a trip together.
|
|
There'll definitely be some serious celebrating going on."
|
|
|
|
Harold's hand clenched into a fist. "Oh?"
|
|
|
|
"Yeah. I wish he were here now, you know? But he's got two
|
|
finals tomorrow, so he's in the library, studying."
|
|
|
|
Harold's fist unclenched. "Oh." He stared out at the supernova.
|
|
|
|
Jill looked back at the road. "Hmm... I guess Mike and Christine
|
|
are taking their time getting here, huh?"
|
|
|
|
"Guess so." Harold lowered his gaze to the city lights and
|
|
sighed. "Man, I knew this would happen."
|
|
|
|
|
|
The party wound down quickly. People wandered back and forth
|
|
between the kitchen and the living room, emptying the last of
|
|
the wine bottles into their glasses and polishing off the
|
|
remaining edibles. Vic and Abby had already left, as had the
|
|
Human Resource group.
|
|
|
|
Harold was standing by the snack table, wondering if he should
|
|
have one last bite of brie, when he heard, "Bye, Harold. Nice
|
|
meeting you." He looked around and saw Jennifer, smiling, wave
|
|
at him as she disappeared into the hallway. "Bye," he said,
|
|
walking after her.
|
|
|
|
He reached the hall as she was buttoning up her coat. "Hey," he
|
|
said. "Need a ride?"
|
|
|
|
She shook her head. "No, thanks. I drove." She finished fiddling
|
|
with her coat and picked up her purse. "I got a great parking
|
|
spot, right out in front."
|
|
|
|
"Lucky you. I had to park blocks away."
|
|
|
|
She started towards the door. "Well, hey, be careful. See ya."
|
|
She walked out the door.
|
|
|
|
Harold sighed and walked back into the living room, where he
|
|
found John hovering over the snack table, eating the last of the
|
|
brie.
|
|
|
|
"Get her phone number?" John asked.
|
|
|
|
"Yeah," he lied. "I did." Harold looked past John and found the
|
|
party's host. "Hey, Fred, thanks for having me over. It was
|
|
fun."
|
|
|
|
"Good! Glad you had a good time."
|
|
|
|
Harold went back to the hallway, donned his jacket, and headed
|
|
outside. He stuffed his hands into his pockets and stared down
|
|
at the sidewalk as he walked to his car. Why do I bother going
|
|
to things? Swapping nova stories... Jeez. At least Jennifer was
|
|
there. Could've been worse, I guess. Fred could have pulled out
|
|
an acoustic guitar and played folk songs all night.
|
|
|
|
Three blocks. He reached the fire hydrant and stopped. His mouth
|
|
dropped open and he blinked a few times as he stared at the
|
|
empty asphalt. Fire hydrant, curb, empty asphalt. No car. His
|
|
car was gone.
|
|
|
|
Harold let out a strangled cry and looked around. He ran his
|
|
hands through his hair. Oh, man, he thought despairingly,
|
|
not tonight! Why would this have to happen to me? Tonight?
|
|
|
|
He kicked the hydrant and winced as pain shot up through his
|
|
leg. After a few moments, he turned back towards Fred's house,
|
|
intending to call the police. A taxi came down the street;
|
|
Harold stopped, swallowed and flagged it down. He gave the
|
|
driver directions and went home, the whole time staring out the
|
|
window at an empty space in the sky, expecting another
|
|
supernova.
|
|
|
|
|
|
Novalight Part Three
|
|
========================
|
|
|
|
August 1998
|
|
-------------
|
|
|
|
It wasn't over.
|
|
|
|
A second nova appeared, not as bright and as powerful as the
|
|
first, but as beautiful and terrible all over again. It had the
|
|
same spectral progression as the other nova, the same radiation
|
|
flares, and was in the same piece of the sky. No barrage of
|
|
information had preceded this one--nobody tapping out a message
|
|
before being consumed by fire.
|
|
|
|
Reporters flooded the group with phone calls, asking why they
|
|
hadn't warned them about this.
|
|
|
|
They hadn't warned them because they hadn't known it was coming.
|
|
|
|
The astrophysicists gave press conferences re-explaining
|
|
everything they had said four years ago, but this time they
|
|
started hearing questions they couldn't answer. What were the
|
|
odds of two novae occupying the same portion of space? Are they
|
|
related? Will there be more?
|
|
|
|
One could start a panic, answering questions like that.
|
|
|
|
The group went over the second part of the message again and
|
|
re-ran the models they'd built, expanding them beyond a single
|
|
solar system. They input information about the nova's five
|
|
nearest neighbors and coded them into the model.
|
|
|
|
Eventually, it happened in the computer, too.
|
|
|
|
The neighboring stars felt the effects of the nova, felt it and
|
|
suffered for it. It was something beyond radiation or simple
|
|
shock waves or even some hypothetical space-time compression.
|
|
The simulation somehow duplicated it, but they didn't have a
|
|
real theory as to how it happened.
|
|
|
|
There was a harmonic in the original nova that seemed incidental
|
|
when they first ran the models, something that went on deep in
|
|
the star's core. It started subtly, then built until the center
|
|
of the star literally tore itself apart, allowing the surface to
|
|
collapse inward. The sudden compression caused the nova.
|
|
|
|
In the model, that same harmonic showed up in the neighboring
|
|
stars. It wasn't immediate, but it built over time. After being
|
|
exposed to the original nova, the harmonic began in the new
|
|
star, eventually causing it to collapse and explode as well.
|
|
|
|
Distance played a factor. The star closest to the first nova
|
|
suffered the first collapse--almost exactly like the second nova
|
|
that burned in the sky--while the furthest didn't show any
|
|
significant change until it was showered by the remains of the
|
|
second star.
|
|
|
|
Like dominos.
|
|
|
|
|
|
October 2041
|
|
--------------
|
|
|
|
The sky is on fire.
|
|
|
|
Novae have been blossoming across the horizon for months, the
|
|
number increasing exponentially. Even our sun is showing signs
|
|
of internal deterioration and collapse, following the cycle laid
|
|
out in the second part of the message. The physicists say we
|
|
have another century or so before it goes nova as well. By then,
|
|
it will be a blessing. The radiation will have done enough
|
|
damage.
|
|
|
|
We decoded the third part of the message, not that it makes much
|
|
of a difference. Abstract concepts are the hardest things to
|
|
express across cultures, much less across species, but the
|
|
linguists are fairly sure of what they have. The group is
|
|
divided about whether to announce what we found, because it all
|
|
seems so sad.
|
|
|
|
The message we received from the aliens, almost fifty years ago
|
|
now, isn't a greeting. We were naive to think so. It's not a
|
|
gift, either, or a warning.
|
|
|
|
Fluid, exaggerated movements mime an act of horror. A small
|
|
group of aliens gracefully disassembles a sphere, carefully
|
|
sliding out interlocking puzzle pieces, dropping each to the
|
|
floor to shatter. Halfway through, the sphere can no longer
|
|
support itself and it collapses, falling and splintering, shards
|
|
sending dizzying reflections to play off the muted walls.
|
|
|
|
An alien stands a moment, staring at the shattered wreck at its
|
|
feet, and drops to its knees to begin shifting among the pieces,
|
|
hopelessly trying to fit them back together. The pieces large
|
|
enough to pick up crumble to sand as it fumbles for them and the
|
|
alien is eventually left moving long, slender fingers through a
|
|
pile of dust.
|
|
|
|
Finally, it scoops up a handful of the dust and slowly lets it
|
|
drain through its fingers.
|
|
|
|
The aliens didn't send us a greeting, or a gift, or a warning.
|
|
|
|
They sent us an apology.
|
|
|
|
|
|
About the Writers
|
|
===================
|
|
|
|
Greg Knauss (greg@cwi.com) is a longtime contributor to
|
|
_InterText_ who works as a programmer at CaseWare, Inc. in
|
|
Irvine, California.
|
|
|
|
Eric Skjei (75270.1221@compuserve.com) is a senior technical
|
|
writer at Autodesk in Marin County, California.
|
|
|
|
Patrick Hurh (hurh@admail.fnal.gov) is a mechanical design
|
|
engineer at Fermi National Accelerator Laboratory in Batavia,
|
|
Illinois, and would like to thank Petru Popescu for his book
|
|
_Amazon Beaming_ (Viking Penguin 1991), which provided education
|
|
and inspiration for "Little Sun."
|
|
|
|
Daniel K. Appelquist (dan@porsche.visix.com) is the editor of
|
|
_Quanta,_ a longtime contributor to _InterText_ and a technical
|
|
writer at Visix software in Reston, Virginia.
|
|
|
|
Chris Kmotorka (ckmotorka@pimacc.pima.edu) is a writing
|
|
instructor at Pima Community College in Tucson, Arizona.
|
|
|
|
Robert Hurvitz (hurvitz@netcom.com) is a longtime contributor to
|
|
_InterText_ who, when last heard from, said he was heading for
|
|
Seattle.
|
|
|
|
Jason Snell (jsnell@etext.org) is editor of _InterText_ and an
|
|
assistant editor at _MacUser,_ and lives in Berkeley,
|
|
California.
|
|
|
|
Geoff Duncan (gaduncan@halcyon.com) is an assistant editor of
|
|
_InterText_ and lives near Seattle, Washington.
|
|
|
|
The editors of _InterText_ would like to thank everyone who
|
|
participated in this project. Thanks to Aviott John and Chris
|
|
Kmotorka for their work on material not included in this issue.
|
|
Special thanks to Bram Boroson, Joseph Snider and Robert Orr for
|
|
their heavenly guidance.
|
|
|
|
|
|
FYI
|
|
=====
|
|
|
|
..................................................................
|
|
InterText's next issue will be released July 15, 1994.
|
|
..................................................................
|
|
|
|
|
|
Back Issues of InterText
|
|
--------------------------
|
|
|
|
Back issues of InterText can be found via anonymous FTP at:
|
|
|
|
> network.ucsd.edu (128.54.16.3) in /intertext
|
|
|
|
and
|
|
|
|
> ftp.etext.org in /pub/Zines/InterText
|
|
|
|
You may request back issues from us directly, but we must handle
|
|
such requests manually, a time-consuming process.
|
|
|
|
If you have CompuServe, you can read InterText in the Electronic
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Frontier Foundation Forum, accessible by typing GO EFFSIG. We're
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located in the "Zines from the Net" section of the EFFSIG forum.
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On GEnie, we're located in the file area of SFRT3, the Science
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Fiction and Fantasy Roundtable.
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On America Online, issues are available in Keyword: PDA, in
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(Mac users): Software Libraries->Ezine Libraries->Writing->InterText
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(PC users): Palmtop Paperbacks->Ezine Libraries->Writing->InterText
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On the World-Wide Web, point your WWW browser to:
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> http://ftp.etext.org/Zines/InterText/intertext.html
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Gopher Users: find our issues at
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> ftp.etext.org in /pub/Zines/InterText
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The InterText Staff
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---------------------
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...................................................................
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Editor Assistant Editor
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Jason Snell Geoff Duncan
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jsnell@etext.org gaduncan@halcyon.com
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...................................................................
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Assistant Editor Send subscription requests, story
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Susan Grossman submissions, and correspondence
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c/o intertext@etext.org to intertext@etext.org
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...................................................................
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InterText Vol. 4, No. 3. InterText (ISSN 1071-7676) is published
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electronically on a bi-monthly basis. Reproduction of this
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magazine is permitted as long as the magazine is not sold and
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the entire text of the issue remains intact. Copyright 1994,
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Jason Snell. Individual stories Copyright 1994 their original
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authors. All further rights to stories belong to the authors.
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InterText is produced using Aldus PageMaker, Microsoft Word,
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and Pete Keleher's Alpha on Apple Macintosh computers.
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...................................................................
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When your seven worlds collide, whenever I'm by your side,
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Dust from a distant sun will shower over everyone...
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..
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This text is wrapped as a setext. For more information send
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email with the single word "setext" (no quotes) in the Subject:
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line to <fileserver@tidbits.com>, or contact the InterText
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staff directly.
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