The Eye of the Sibyl and Other Classic Strories (60 page)

Sitting in isolation and silence in her antiseptic apartment, waiting for the inexorable knock on the door, the Lysol Lady has contrived to put herself in the most difficult circumstances possible. What was easy was made hard. What was hard was transmuted, finally, into the impossible, and there the psychotic lifestyle ends: when the impossible closes in and there are no options at all, even difficult ones. That is the rest of the definition of psychosis: At the end there lies a dead end. And, at that point, the psychotic person freezes. If you have ever seen it happen—well, it is an amazing sight. The person congeals like a motor that has seized. It occurs suddenly. One moment the person is in motion—the pistons are going up and down frantically—and then it’s an inert block. That is because the path has run out for that person, the path he probably got onto years before. It is kinetic death. “Place there is none,” St. Augustine wrote. “We go backward and forward, and there is no place.” And then the cessation comes and there is only place.

The spot where the Lysol Lady had trapped herself was her own apartment, but it was no longer her own apartment. She had found a place at which to psychologically die and then South Orange Investments had taken it away from her. They had robbed her of her own grave.

What I can’t get out of my mind is the notion that my fate is tied to that of the Lysol Lady. A fiscal entry in the computer at Mutual Savings divides us and it is a mythical division; it is real only so long as people such as South Orange Investments—specifically South Orange Investments—are willing to agree that it is real. It seems to me to be nothing more than a social convention, such as wearing matching socks. In another way it’s like the value of gold. The value of gold is what people agree on, which is like a game played by children: “Let’s agree that that tree is third base.” Suppose my television set worked because my friends and I agreed that it worked. We could sit before a blank screen forever that way. In that case, it could be said that the Lysol Lady’s failure lay in not having entered into a compact with the rest of us, a consensus. Underlying everything else there is this unwritten contract to which the Lysol Lady is not a party. But I am amazed to think that the failure to enter into an agreement palpably childish and irrational leads inevitably to kinetic death, total stoppage of the organism.

Argued this way, one could say that the Lysol Lady had failed to be a child. She was too adult. She couldn’t or wouldn’t play a game. The element which had taken over her life was the element of the grim. She never smiled. None had ever seen her do anything but glower in a vague, undirected way.

Perhaps, then, she played a grimmer game rather than no game; perhaps her game was one of combat, in which case she now had what she wanted, even though she was losing. It was at least a situation she understood. South Orange Investments had entered the Lysol Lady’s world. Perhaps being a squatter rather than a tenant was satisfying to her. Maybe we all secretly will everything that happens to us. In that case, does the psychotic person will his own ultimate kinetic death, his own dead end path? Does he play to lose?

I didn’t see Al Newcum that day, but I did see him the next day; he had returned from Sacramento and opened up his office.

“Is the woman in B-15 still there?” I asked him. “Or did you evict her?”

“Mrs. Archer?” Newcum said. “Oh, the other morning she moved out; she’s gone. The Santa Ana Housing Authority found her a place over on Bristol.” He leaned back in his swivel chair and crossed his legs; his slacks, as always, were sharply creased. “She went to them a couple of weeks ago.”

“An apartment she can afford?” I said.

“They picked up the bill. They’re paying her rent; she talked them into it. She’s a hardship case.”

“Christ,” I said, “I wish someone would pay my rent.”

“You’re not paying rent,” Newcum said. “You’re buying your apartment.”

After takeoff the ship routinely monitored the condition of the sixty people sleeping in its cryonic tanks. One malfunction showed, that of person nine. His EEG revealed brain activity.

Shit, the ship said to itself.

Complex homeostatic devices locked into circuit feed, and the ship contacted person nine.

“You are slightly awake,” the ship said, utilizing the psychotronic route; there was no point in rousing person nine to full consciousness—after all, the flight would last a decade.

Virtually unconscious, but unfortunately still able to think, person nine thought, Someone is addressing me. He said, “Where am I located? I don’t see anything.”

“You’re in faulty cryonic suspension.”

He said, “Then I shouldn’t be able to hear you.”

“ ‘Faulty,’ I said. That’s the point; you can hear me. Do you know your name?”

“Victor Kemmings. Bring me out of this.”

“We are in flight.”

“Then put me under.”

“Just a moment.” The ship examined the cryonic mechanisms; it scanned and surveyed and then it said, “I will try.”

Time passed. Victor Kemmings, unable to see anything, unaware of his body, found himself still conscious. “Lower my temperature,” he said. He could not hear his voice; perhaps he only imagined he spoke. Colors floated toward him and then rushed at him. He liked the colors; they reminded him of a child’s paint box, the semianimated kind, an artificial life-form. He had used them in school, two hundred years ago.

“I can’t put you under,” the voice of the ship sounded inside Kemmings’ head. “The malfunction is too elaborate; I can’t correct it and I can’t repair it. You will be conscious for ten years.”

The semianimated colors rushed toward him, but now they possessed a sinister quality, supplied to them by his own fear. “Oh my God,” he said. Ten years! The colors darkened.

As Victor Kemmings lay paralyzed, surrounded by dismal flickerings of light, the ship explained to him its strategy. This strategy did not represent a decision on its part; the ship had been programmed to seek this solution in case of a malfunction of this sort.

“What I will do,” the voice of the ship came to him, “is feed you sensory stimulation. The peril to you is sensory deprivation. If you are conscious for ten years without sensory data, your mind will deteriorate. When we reach the LR4 System, you will be a vegetable.”

“Well, what do you intend to feed me?” Kemmings said in panic. “What do you have in your information storage banks? All the video soap operas of the last century? Wake me up and I’ll walk around.”

“There is no air in me,” the ship said. “Nothing for you to eat. No one to talk to, since everyone else is under.”

Kemmings said, “I can talk to you. We can play chess.”

“Not for ten years. Listen to me; I say, I have no food and no air. You must remain as you are… a bad compromise, but one forced on us. You are talking to me now. I have no particular information stored. Here is policy in these situations: I will feed you your own buried memories, emphasizing the pleasant ones. You possess two hundred and six years of memories and most of them have sunk down into your unconscious. This is a splendid source of sensory data for you to receive. Be of good cheer. This situation, which you are in, is not unique. It has never happened within my domain before, but I am programmed to deal with it. Relax and trust me. I will see that you are provided with a world.”

“They should have warned me,” Kemmings said, “before I agreed to emigrate.”

“Relax,” the ship said.

He relaxed, but he was terribly frightened. Theoretically, he should have gone under, into the successful cryonic suspension, then awakened a moment later at his star of destination; or rather the planet, the colony planet, of that star. Everyone else aboard the ship lay in an unknowing state—he was the exception, as if bad karma had attacked him for obscure reasons. Worst of all, he had to depend totally on the goodwill of the ship. Suppose it elected to feed him monsters? The ship could terrorize him for ten years—ten objective years and undoubtedly more from a subjective standpoint. He was, in effect, totally in the ship’s power. Did interstellar ships enjoy such a situation? He knew little about interstellar ships; his field was microbiology. Let me think, he said to himself. My first wife, Martine; the lovely little French girl who wore jeans and a red shirt open at the waist and cooked delicious crepes.

“I hear,” the ship said. “So be it.”

The rushing colors resolved themselves into coherent, stable shapes. A building: a little old yellow wooden house that he had owned when he was nineteen years old, in Wyoming. “Wait,” he said in panic. “The foundation was bad; it was on a mud sill. And the roof leaked.” But he saw the kitchen, with the table that he had built himself. And he felt glad.

“You will not know, after a little while,” the ship said, “that I am feeding you your own buried memories.”

“I haven’t thought of that house in a century,” he said wonderingly; entranced, he made out his old electric drip coffee pot with the box of paper filters beside it. This is the house where Martine and I lived, he realized. “Martine!” he said aloud.

“I’m on the phone,” Martine said from the living room.

The ship said, “I will cut in only when there is an emergency. I will be monitoring you, however, to be sure you are in a satisfactory state. Don’t be afraid.”

“Turn down the rear right burner on the stove,” Martine called. He could hear her and yet not see her. He made his way from the kitchen through the dining room and into the living room. At the VF, Martine stood in rapt conversation with her brother; she wore shorts and she was barefoot. Through the front windows of the living room he could see the street; a commercial vehicle was trying to park, without success.

It’s a warm day, he thought. I should turn on the air conditioner.

He seated himself on the old sofa as Martine continued her VF conversation, and he found himself gazing at his most cherished possession, a framed poster on the wall above Martine: Gilbert Shelton’s “Fat Freddy Says” drawing in which Freddy Freak sits with his cat on his lap, and Fat Freddy is trying to say “Speed kills,” but he is so wired on speed—he holds in his hand every kind of amphetamine tablet, pill, spansule, and capsule that exists—that he can’t say it, and the cat is gritting his teeth and wincing in a mixture of dismay and disgust. The poster is signed by Gilbert Shelton himself; Kemmings’ best friend Ray Torrance gave it to him and Martine as a wedding present. It is worth thousands. It was signed by the artist back in the 1980s. Long before either Victor Kemmings or Martine lived.

If we ever run out of money, Kemmings thought to himself, we could sell the poster. It was not
a
poster; it was
the
poster. Martine adored it. The Fabulous Furry Freak Brothers—from the golden age of a long-ago society.

No wonder he loved Martine so; she herself loved back, loved the beauties of the world, and treasured and cherished them as she treasured and cherished him; it was a protective love that nourished but did not stifle. It had been her idea to frame the poster; he would have tacked it up on the wall, so stupid was he.

“Hi,” Martine said, off the VF now. “What are you thinking?”

“Just that you keep alive what you love,” he said.

“I think that’s what you’re supposed to do,” Martine said. “Are you ready for dinner? Open some red wine, a cabernet.”

“Will an ‘07 do?” he said, standing up; he felt, then, like taking hold of his wife and hugging her.

“Either an ‘07 or a ‘12.” She trotted past him, through the dining room and into the kitchen.

Going down into the cellar, he began to search among the bottles, which, of course, lay flat. Musty air and dampness; he liked the smell of the cellar, but then he noticed the redwood planks lying half-buried in the dirt and he thought, I know I’ve got to get a concrete slab poured. He forgot about the wine and went over to the far corner, where the dirt was piled highest; bending down, he poked at a board… he poked with a trowel and then he thought, Where did I get this trowel? I didn’t have it a minute ago. The board crumbled against the trowel. This whole house is collapsing, he realized. Christ sake. I better tell Martine.

Going back upstairs, the wine forgotten, he started to say to her that the foundations of the house were dangerously decayed, but Martine was nowhere in sight. And nothing cooked on the stove—no pots, no pans. Amazed, he put his hands on the stove and found it cold. Wasn’t she just cooking? he asked himself.

“Martine!” he said loudly.

No response. Except for himself, the house was empty. Empty, he thought, and collapsing. Oh my God. He seated himself at the kitchen table and felt the chair give slightly under him; it did not give much, but he felt it; he felt the sagging.

I’m afraid, he thought. Where did she go?

He returned to the living room. Maybe she went next door to borrow some spices or butter or something, he reasoned. Nonetheless, panic now filled him.

He looked at the poster. It was unframed. And the edges had been torn.

I know she framed it, he thought; he ran across the room to it, to examine it closely. Faded… the artist’s signature had faded; he could scarcely make it out. She insisted on framing it and under glare-free, reflection-free glass. But it isn’t framed and it’s torn! The most precious thing we own!

Suddenly he found himself crying. It amazed him, his tears. Martine is gone; the poster is deteriorated; the house is crumbling away; nothing is cooking on the stove. This is terrible, he thought. And I don’t understand it.

The ship understood it. The ship had been carefully monitoring Victor Kemmings’ brain wave patterns, and the ship knew that something had gone wrong. The wave-forms showed agitation and pain. I must get him out of this feed-circuit or I will kill him, the ship decided. Where does the flaw lie? it asked itself. Worry dormant in the man; underlying anxieties. Perhaps if I intensify the signal. I will use the same source, but amp up the charge. What has happened is that massive subliminal insecurities have taken possession of him; the fault is not mine, but lies, instead, in his psychological makeup.