Читать книгу Time and Time Again - Robert Silverberg - Страница 10

TRIPS

During the most active phase of my career in the 1960s and 1970s, I wrote novels with almost obsessive regularity, but after 1972 or so I often needed to be prodded into writing short stories. Every one of the sixteen stories in this volume was written at some editor’s direct request. It was all too easy, in that troubled era, for me not to write at all; but I had to write such novels as The Stochastic Man and Shadrach in the Furnace, even so, because I was contractually bound to do them, and I have always honored my contracts. But waking up in the morning and saying, “Hi ho, I think I’ll write a short story for somebody today!”—no, I stopped feeling such impulses decades ago. Only when some friend or colleague who was editing an anthology of new fiction asked me to contribute something could I push myself into tackling the job.

I have always responded to a good challenge, though, and the one that came from Barry Malzberg and Ed Ferman in the winter of 1972–73 was a beauty. They were editing a book called Final Stage: The Ultimate Science Fiction Anthology, and each story in it was supposed to be the definitive statement of its theme—time travel, immortality, space exploration, robots and androids, the future of sex, etc. Malzberg and Ferman offered a list of themes to a select group of writers and asked them to pick the one that held the greatest personal appeal.

Isaac Asimov, of course, took robots, and who would begrudge that choice to him? Harlan Ellison and Joanna Russ tackled the future of sex from very different viewpoints. I wanted time travel, but I think Philip K. Dick beat me to it, or else I simply opted right away for alternative universes and left the time travel theme free for him; I don’t quite remember. In any case, the alternative universe concept is a kind of time travel, taking the voyager sidewise in time to other possible contemporary worlds. The task I set for myself was to send my protagonist to a dozen alternative Californias in the space of some 12,000 words. And so I did, in March 1973, with a profligacy of invention that would serve to fill a pair of trilogies today. I threw in one twist that might have been too subtle, because no one appears to have noticed it in all the years since the book appeared in the Ferman-Malzberg anthology Final Stage: the place where the protagonist arrives at the end, which I assert is the world from which he departed at the outset, is not exactly the world we ourselves live in. I can demonstrate that by pointing to the evidence, but I will leave that to perceptive readers.

Does this path have a heart? All paths are the same: they lead nowhere. They are paths going through the bush, or into the bush. In my own life I could say I have traversed long, long paths, but I am not anywhere… Does this path have a heart? If it does, the path is good, if it doesn’t, it is of no use. Both paths lead nowhere; but one has a heart, the other doesn’t. One makes for a joyful journey; as long as you follow it, you are one with it. The other will make you curse your life.

—The Teachings of Don Juan

1.

THE SECOND PLACE YOU COME to—the first having proved unsatisfactory, for one reason and another—is a city which could almost be San Francisco. Perhaps it is, sitting out there on the peninsula between the ocean and the bay, white buildings clambering over improbably steep hills. It occupies the place in your psychic space that San Francisco has always occupied, although you don’t really know yet what this city calls itself. Perhaps you’ll find out before long.

You go forward. What you feel first is the strangeness of the familiar, and then the utter heartless familiarity of the strange. For example the automobiles, and there are plenty of them, are all halftracks: low, sleek, sexy sedans that have the flashy Detroit styling, the usual chrome, the usual streamlining, the low-raked windows all agleam, but there are only two wheels, both of them in front, with a pair of tread-belts circling endlessly in back. Is this good design for city use? Who knows? Somebody evidently thinks so, here. And then the newspapers: the format is the same, narrow columns, gaudy screaming headlines, miles of black type on coarse grayish-white paper, but the names and the places have been changed. You scan the front page of a newspaper in the window of a curbside vending machine. Big photo of Chairman DeGrasse, serving as host at a reception for the Patagonian Ambassador. An account of the tribal massacres in the highlands of Dzungaria. Details of the solitude epidemic that is devastating Persepolis. When the halftracks stall on the hillsides, which is often, the other drivers ring silvery chimes, politely venting their impatience. Men who look like Navahos chant what sound like sutras in the intersections. The traffic lights are blue and orange. Clothing tends toward the prosaic, grays and dark blues, but the cut and slope of men’s jackets has an angular, formal, eighteenth-century look, verging on pomposity.

You pick up a bright coin that lies in the street; it is vaguely metallic but rubbery, as if you could compress it between your fingers, and its thick edges bear incuse lettering: TO GOD WE OWE OUR SWORDS. On the next block, a squat two-story building is ablaze, and agitated clerks do a desperate dance. The fire engine is glossy green and its pump looks like a diabolical cannon embellished with sweeping flanges; it spouts a glistening yellow foam that eats the flames and, oxidizing, runs off down the gutter, a trickle of sluggish blue fluid. Everyone wears eyeglasses here, everyone. At a sidewalk cafe, pale waitresses offer mugs of boiling-hot milk into which the silent tight-faced patrons put cinnamon, mustard, and what seems to be Tabasco sauce. You offer your coin and try a sample, imitating what they do, and everyone bursts into laughter. The girl behind the counter pushes a thick stack of paper currency at you by way of change: UNITED FEDERAL COLUMBIAN REPUBLIC, each bill declares, GOOD FOR ONE EXCHANGE. Illegible signatures. Portrait of early leader of the republic, so famous that they give him no label of identification, bewigged, wall-eyed, ecstatic. You sip your milk, blowing gently. A light scum begins to form on its speckled surface. Sirens start to wail. About you, the other milk-drinkers stir uneasily. A parade is coming. Trumpets, drums, far-off chanting. Look! Four naked boys carry an open brocaded litter on which there sits an immense block of ice, a great frosted cube, mysterious, impenetrable. “Patagonia!” the onlookers cry sadly. The word is wrenched from them: “Patagonia!” Next, marching by himself, a mitered bishop advances, all in green, curtseying to the crowd, tossing hearty blessings as though they were flowers. “Forget your sins! Cancel your debts! All is made new! All is good!” You shiver and peer intently into his eyes as he passes you, hoping that he will single you out for an embrace. He is terribly tall but white-haired and fragile, somehow, despite his agility and energy. He reminds you of Norman, your wife’s older brother, and perhaps he is Norman, the Norman of this place, and you wonder if he can give you news of Elizabeth, the Elizabeth of this place, but you say nothing and he goes by.

And then comes a tremendous wooden scaffold on wheels, a true juggernaut, at the summit of which rests a polished statue carved out of gleaming black stone: a human figure, male, plump, arms intricately folded, face complacent. The statue emanates a sense of vast Sumerian calm. The face is that of Chairman DeGrasse. “He’ll die in the first blizzard,” murmurs a man to your left. Another, turning suddenly, says with great force, “No, it’s going to be done the proper way. He’ll last until the time of the accidents, just as he’s supposed to. I’ll bet on that.” Instantly they are nose to nose, glaring, and then they are wagering—a tense complicated ritual involving slapping of palms, interchanges of slips of paper, formal voiding of spittle, hysterical appeals to witnesses. The emotional climate here seems a trifle too intense. You decide to move along. Warily you leave the café, looking in all directions.

2.

BEFORE YOU BEGAN YOUR TRAVELS you were told how essential it was to define your intended role. Were you going to be a tourist, or an explorer, or an infiltrator? Those are the choices that confront anyone arriving at a new place. Each bears its special risks.

To opt for being a tourist is to choose the easiest but most contemptible path; ultimately it’s the most dangerous one, too, in a certain sense. You have to accept the built-in epithets that go with the part: they will think of you as a foolish tourist, an ignorant tourist, a vulgar tourist, a mere tourist. Do you want to be considered mere? Are you able to accept that? Is that really your preferred self-image—baffled, bewildered, led about by the nose? You’ll sign up for packaged tours, you’ll carry guidebooks and cameras, you’ll go to the cathedral and the museums and the marketplace, and you’ll remain always on the outside of things, seeing a great deal, experiencing nothing. What a waste! You will be diminished by the very traveling that you thought would expand you. Tourism hollows and parches you. All places become one: a hotel, a smiling, swarthy, sunglassed guide, a bus, a plaza, a fountain, a marketplace, a museum, a cathedral. You are transformed into a feeble shriveled thing made out of glued-together travel folders; you are naked but for your visas; the sum of your life’s adventures is a box of leftover small change from many indistinguishable lands.

To be an explorer is to make the macho choice. You swagger in, bent on conquest; for isn’t any discovery a kind of conquest? Your existential position, like that of any mere tourist, lies outside the heart of things, but you are unashamed of that. And while tourists are essentially passive, the explorer’s role is active: an explorer intends to grasp that heart, take possession, squeeze. In the explorer’s role you consciously cloak yourself in the trappings of power: self-assurance, thick bankroll, stack of credit cards. You capitalize on the glamour of being a stranger. Your curiosity is invincible; you ask unabashed questions about the most intimate things, never for an instant relinquishing eye contact. You open locked doors and flash bright lights into curtained rooms. You are Magellan; you are Malinowski; you are Captain Cook. You will gain much, but—ah, here is the price!—you will always be feared and hated, you will never be permitted to attain the true core. Nor is superficiality the worst peril. Remember that Magellan and Captain Cook left their bones on tropic beaches. Sometimes the natives lose patience with explorers.

The infiltrator, though? His is at once the most difficult role and the most rewarding one. Will it be yours? Consider. You’ll have to get right with it when you reach your destination, instantly learn the regulations, find your way around like an old hand, discover the location of shops and freeways and hotels, figure out the units of currency, the rules of social intercourse—all of this knowledge mastered surreptitiously, through observation alone, while moving about silently, camouflaged, never asking for help. You must become a part of the world you have entered, and the way to do it is to encourage a general assumption that you already are a part of it, have always been a part of it. Wherever you land, you need to recognize that life has been going on for millions of years, life goes on there steadily, with you or without you; you are the intrusive one, and if you don’t want to feel intrusive you’d better learn fast how to fit in.

Of course, it isn’t easy. The infiltrator doesn’t have the privilege of buying stability by acting dumb. You won’t be able to say, “How much does it cost to ride on the cable car?” You won’t be able to say, “I’m from somewhere else, and this is the kind of money I carry–dollars, quarters, pennies, halves, nickels—is any of it legal tender here?” You don’t dare identify yourself in any way as an outsider. If you don’t get the idioms or the accent right, you can tell them you grew up out of town, but that’s as much as you can reveal. The truth is your eternal secret, even when you’re in trouble, especially when you’re in trouble. When your back’s to the wall you won’t have time to say, “Look, I wasn’t born in this universe at all, you see, I came zipping in from some other place, so pardon me, forgive me, excuse me, pity me.” No, no, no, you can’t do that. They won’t believe you, and even if they do, they’ll make it all the worse for you once they know. If you want to infiltrate, Cameron, you’ve got to fake it all the way. Jaunty smile; steely, even gaze. And you have to infiltrate. You know that, don’t you? You don’t really have any choice.

Infiltrating has its dangers, too. The rough part comes when they find you out, and they always will find you out. Then they’ll react bitterly against your deception; they’ll lash out in blind rage. If you’re lucky, you’ll be gone before they learn your sweaty little secret. Before they discover the discarded phrasebook hidden in the boarding-house room, before they stumble on the torn-off pages of your private journal. They’ll find you out. They always do. But by then you’ll be somewhere else, you hope, beyond the reach of their anger and their sorrow, beyond their reach.

3.

SUPPOSE I SHOW YOU, FOR Exhibit A, Cameron reacting to an extraordinary situation. You can test your own resilience by trying to picture yourself in his position. There has been a sensation in Cameron’s mind very much like that of the extinction of the cosmos: a thunderclap, everything going black, a blankness, a total absence. Followed by the return of light, flowing inward upon him like high tide on the celestial shore, a surging stream of brightness moving with inexorable certainty. He stands flat-footed, dumbfounded, high on a bare hillside in warm early-hour sunlight. The house—redwood timbers, picture window, driftwood sculptures, paintings, books, records, refrigerator, gallon jugs of red wine, carpets, tiles, avocado plants in wooden tubs, carport, car, driveway—is gone. The neighboring houses are gone. The winding street is gone. The eucalyptus forest that ought to be behind him, rising toward the crest of the hill, is gone. Downslope there is no Oakland, there is no Berkeley, only a scattering of crude squatter’s shacks running raggedly along unpaved switchbacks toward the pure blue bay. Across the water there is no Bay Bridge; on the far shore there is no San Francisco. The Golden Gate Bridge does not span the gap between the city and the Marin headland—Cameron is astonished, not that he didn’t expect something like this, but that the transformation is so complete, so absolute. “If you don’t want your world anymore,” the old man had said, “you can drop it, can’t you? Let go of it, let it drop. Can’t you? Of course you can.”

And so Cameron has let go of it. He’s in another place entirely, now. Wherever this place is, it isn’t home. The sprawling Bay Area cities and towns aren’t here, never were. Goodbye, San Leandro, San Mateo, El Cerrito, Walnut Creek. He sees a landscape of gentle bare hills, rolling meadows, the dry brown grass of summer; the scarring hand of man is evident only occasionally. He begins to adapt. This is what he must have wanted, after all; and though he has been jarred by the shock of transition, he is recovering quickly; he is settling in; he feels already that he could belong here. He will explore this unfamiliar world, and if he finds it good, he will discover a niche for himself. The air is sweet. The sky is cloudless. Has he really gone to some new place, or is he still in the old place and has everything else that was there simply gone away? Easy. He has gone. Everything else has gone. The cosmos has entered into a transitional phase. Nothing’s stable any more. From this moment onward, Cameron’s existence is a conditional matter, subject to ready alteration. What did the old man say? Go wherever you like. Define your world as you would like it to be, and go there, and if you discover that you don’t care for this or don’t need that, why, go somewhere else. It’s all trips, this universe. What else is there? There isn’t anything but trips. Just trips. So here you are, friend. New frameworks! New patterns! New!

4.

THERE IS A SOUND TO his left, the crackling of dry brush underfoot, and Cameron turns, looking straight into the morning sun, and sees a man on horseback approaching him. He is tall, slender, about Cameron’s own height and build, it seems, but perhaps a shade broader through the shoulders. His hair, like Cameron’s, is golden, but it is much longer, descending in a straight flow to his shoulders and tumbling onto his chest. He has a soft, full, curling beard, untrimmed but tidy. He wears a wide-brimmed hat, buckskin chaps, and a light fringed jacket of tawny leather. Because of the sunlight, Cameron has difficulty at first making out his features, but after a moment his eyes adjust and he sees that the other’s face is very much like his own: thin lips, jutting high-bridged nose, cleft chin, cool blue eyes below heavy brows. Of course. Your face is my face. You and I, I and you, drawn to the same place at the same time across the many worlds. Cameron had not expected this, but now that it has happened it seems to have been inevitable.

They look at each other. Neither speaks. During that silent moment Cameron invents a scene for them. He imagines the other dismounting, inspecting him in wonder, walking around him, peering into his face, studying it, frowning, shaking his head, finally grinning and saying:

—I’ll be damned. I never knew I had a twin brother. But here you are. It’s just like looking in the mirror.

—We aren’t twins.

—We’ve got the same face. Same everything. Trim away a little hair and nobody could tell me from you, you from me. If we aren’t twins, what are we?

—We’re closer than brothers.

—I don’t follow your meaning, friend.

—This is how it is: I’m you. You’re me. One soul, one identity. What’s your name?

—Cameron.

—Of course. First name?

—Kit.

—That’s short for Christopher, isn’t it? My name is Cameron too. Chris. Short for Christopher. I tell you, we’re one and the same person, out of two different worlds. Closer than brothers. Closer than anything.

NONE OF THIS IS SAID, however. Instead, the man in the leather clothing rides slowly toward Cameron, pauses, gives him a long incurious stare, and says simply, “Morning. Nice day.” And continues onward.

“Wait,” Cameron says.

The man halts. Looks back. “What?”

Never ask for help. Fake it all the way. Jaunty smile; steely, even gaze.

Yes. Cameron remembers all that. Somehow, though, infiltration seems easier to bring off in a city. You can blend into the background there. More difficult here, exposed as you are against the stark, unpeopled landscape.

Cameron says, as casually as he can, using what he hopes is a colorless neutral accent, “I’ve been traveling out from inland. Came a long way.”

“Umm. Didn’t think you were from around here. Your clothes.”

“Inland clothes.”

“The way you talk. Different. So?”

“New to these parts. Wondered if you could tell me a place I could hire a room till I got settled.”

“You come all this way on foot?”

“Had a mule. Lost him back in the valley. Lost everything I had with me.”

“Umm. Indians cutting up again. You give them a little gin, they go crazy.” The other smiles faintly; then the smile fades and he retreats into impassivity, sitting motionless with hands on thighs, face a mask of patience that seems merely to be a thin covering for impatience or worse.

—Indians—?

“They gave me a rough time,” Cameron says, getting into the fantasy of it.

“Umm.”

“Cleaned me out, let me go.”

“Umm. Umm.”

Cameron feels his sense of a shared identity with this man lessening. There is no way of engaging him. I am you, you are I, and yet you take no notice of the strange fact that I wear your face and body, you seem to show no interest in me at all. Or else you hide your interest amazingly well.

Cameron says, “You know where I can get lodging?”

“Nothing much around here. Not many settlers this side of the bay, I guess.”

“I’m strong. I can do most any kind of work. Maybe you could use—”

“Umm. No.” Cold dismissal glitters in the frosty eyes. Cameron wonders how often people in the world of his former life saw such a look in his own. A tug on the reins. Your time is up, stranger. The horse swings around and begins picking its way daintily along the path.

Desperately Cameron calls, “One thing more!”

“Umm?”

“Is your name Cameron?”

A flicker of interest. “Might be.”

“Christopher Cameron. Kit. Chris. That you?”

“Kit.” The other’s eyes drill into his own. The mouth compresses until the lips are invisible: not a scowl but a speculative, pensive movement. There is tension in the way the other man grasps his reins. For the first time Cameron feels that he has made contact. “Kit Cameron, yes. Why?”

“Your wife,” Cameron says. “Her name Elizabeth?”

The tension increases. The other Cameron is cloaked in explosive silence. Something terrible is building within him. Then, unexpectedly, the tension snaps. The other man spits, scowls, slumps in his saddle. “My woman’s dead,” he mutters. “Say, who the hell are you? What do you want with me?”

“I’m—I’m—” Cameron falters. He is overwhelmed by fear and pity. A bad start, a lamentable start. He trembles. He had not thought it would be anything like this. With an effort he masters himself. Fiercely he says, “I’ve got to know. Was her name Elizabeth?” For an answer the horseman whacks his heels savagely against his mount’s ribs and gallops away, fleeing as though he has had an encounter with Satan.

5.

GO, THE OLD MAN SAID. You know the score. This is how it is: everything’s random, nothing’s fixed unless we want it to be, and even then the system isn’t as stable as we think it is. So go. Go. Go, he said, and, of course, hearing something like that, Cameron went. What else could he do, once he had his freedom, but abandon his native universe and try a different one? Notice that I didn’t say a better one, just a different one. Or two or three or five different ones. It was a gamble, certainly. He might lose everything that mattered to him, and gain nothing worth having. But what of it? Every day is full of gambles like that: you stake your life whenever you open a door. You never know what’s heading your way, not ever, and still you choose to play the game. How can a man be expected to become all he’s capable of becoming if he spends his whole life pacing up and down the same courtyard? Go. Make your voyages. Time forks, again and again and again. New universes split off at each instant of decision. Left turn, right turn, honk your horn, jump the traffic light, hit your gas, hit your brake, every action spawns whole galaxies of possibility. We move through a soup of infinities. If repressing a sneeze generates an alternative continuum, what, then, are the consequences of the truly major acts, the assassinations and inseminations, the conversions, the renunciations? Go. And as you travel, mull these thoughts constantly. Part of the game is discerning the precipitating factors that shaped the worlds you visit. What’s the story here? Dirt roads, donkey-carts, hand-sewn clothes. No Industrial Revolution, is that it? The steam-engine man—what was his name, Savery, Newcomen Watt?—smothered in his cradle? No mines, no factories, no assembly lines, no dark satanic mills. That must be it. The air is so pure here: you can tell by that, it’s a simpler era. Very good, Cameron. You see the patterns swiftly. But now try somewhere else. Your own self has rejected you here; besides, this place has no Elizabeth. Close your eyes. Summon the lightning.

6.

THE PARADE HAS REACHED A disturbing level of frenzy. Marchers and floats now occupy the side streets as well as the main boulevard, and there is no way to escape from their demonic enthusiasm. Streamers cascade from office windows, and gigantic photographs of Chairman DeGrasse have sprouted on every wall, suddenly, like dark infestations of lichen. A boy presses close against Cameron, extends a clenched fist, opens his fingers: on his palm rests a glittering jeweled case, egg-shaped, thumbnail-sized. “Spores from Patagonia,” he says. “Let me have ten exchanges and they’re yours.” Politely Cameron declines. A woman in a blue and orange frock tugs at his arm and says urgently, “All the rumors are true, you know. They’ve just been confirmed. What are you going to do about that? What are you going to do?” Cameron shrugs and smiles and disengages himself. A man with gleaming buttons asks, “Are you enjoying the festival? I’ve sold everything, and I’m going to move to the highway next Godsday.” Cameron nods and murmurs congratulations, hoping congratulations are in order. He turns a corner and confronts, once more, the bishop who looks like Elizabeth’s brother, who is, he concludes, indeed Elizabeth’s brother. “Forget your sins!” he is crying still. “Cancel your debts!” Cameron thrusts his head between two plump girls at the curb and attempts to call to him, but his voice fails, nothing coming forth but a hoarse wordless rasp, and the bishop moves on. Moving on is a good idea, Cameron tells himself. This place exhausts him. He has come to it too soon, and its manic tonality is more than he wants to handle. He finds a quiet alleyway, presses his cheek against a cool brick wall, and stands there breathing deeply until he is calm enough to depart. All right. Onward.

7.

EMPTY GRASSLANDS SPREAD TO THE horizon. This could be the Gobi steppe. Cameron sees neither cities nor towns nor even villages, just six or seven squat black tents pitched in a loose circle in the saddle between two low gray-green hummocks, a few hundred yards from where he stands. He looks beyond, across the gently folded land, and spies dark animal figures at the limits of his range of vision: about a dozen horses, close together, muzzle to muzzle, flank to flank, horses with riders. Or perhaps they are a congregation of centaurs. Anything is possible. He decides, though, that they are Indians, a war party of young braves, maybe, camping in these desolate plains. They see him. Quite likely they saw him some while before he noticed them. Casually they break out of their grouping, wheel, ride in his direction.

He awaits them. Why should he flee? Where could he hide? Their pace accelerates from trot to canter, from canter to wild gallop; now they plunge toward him with fluid ferocity and a terrifying eagerness. They wear open leather jackets and rough rawhide leggings; they carry lances, bows, battle-axes, long curved swords; they ride small, agile horses, hardly more than ponies, tireless packets of energy. They surround him, pulling up, the fierce little steeds rearing and whinnying; they peer at him, point, laugh, exchange harsh derisive comments in a mysterious language. Then, solemnly, they begin to ride slowly in a wide circle around him. They are flat-faced, small-nosed, bearded, with broad, prominent cheekbones; the crowns of their heads are shaven but long black hair streams down over their ears and the napes of their necks. Heavy folds in the upper lids give their eyes a slanted look. Their skins are copper-colored but with an underlying golden tinge, as though these are not Indians at all, but— what? Japanese? A samurai corps? No, probably not Japanese. But not Indians either.

They continue to circle him, gradually moving more swiftly. They chatter to one another and occasionally hurl what sound like questions at him. They seem fascinated by him, but also contemptuous. In a sudden demonstration of horsemanship one of them cuts from the circular formation and, goading his horse to an instant gallop, streaks past Cameron, leaning down to jab a finger into his forearm. Then another does it, and another, streaking back and forth across the circle, poking him, plucking at his hair, tweaking him, nearly running him down. They draw their swords and swish them through the air just above his head. They menace him, or pretend to, with their lances. Throughout it all they laugh. He stands perfectly still. This ordeal, he suspects, is a test of his courage. Which he passes, eventually. The lunatic galloping ceases; they rein in, and several of them dismount.

They are little men, chest-high to him but thicker through the chest and shoulders than he is. One unships a leather pouch and offers it to him with an unmistakable gesture: take, drink. Cameron sips cautiously. It is a thick grayish fluid, both sweet and sour. Fermented milk? He gags, winces, forces himself to sip again; they watch him closely. The second taste isn’t so bad. He takes a third more willingly and gravely returns the pouch. The warriors laugh, not derisively now but more in applause, and the man who had given him the pouch slaps Cameron’s shoulder admiringly. He tosses the pouch back to Cameron. Then he leaps to his saddle, and abruptly they all take off. Mongols, Cameron realizes. The sons of Genghis Khan, riding to the horizon. A worldwide empire? Yes, and this must be the Wild West for them, the frontier, where the young men enact their rites of passage. Back in Europe, after seven centuries of Mongol dominance, they have become citified, domesticated, sippers of wine, theatregoers, cultivators of gardens, but here they follow the ways of their all-conquering forefathers. Cameron shrugs. Nothing for him here. He takes a last sip of the milk and drops the pouch into the tall grass. Onward.

8.

NO GRASS HERE. HE SEES the stumps of buildings, the blackened trunks of dead trees, mounds of broken tile and brick. The smell of death is in the air. All the bridges are down. Fog rolls in off the bay, dense and greasy, and becomes a screen on which images come alive. These ruins are inhabited. Figures move about. They are the living dead. Looking into the thick mist he sees a vision of the shock wave, he recoils as alpha particles shower his skin. He beholds the survivors emerging from their shattered houses, straggling into the smoldering streets, naked, stunned, their bodies charred, their eyes glazed, some of them with their hair on fire. The walking dead. No one speaks. No one asks why this has happened. He is watching a silent movie. The apocalyptic fire has touched the ground here; the land itself is burning. Blue phosphorescent flames rise from the earth. The final judgment, the day of wrath.

Now he hears a dread music beginning, a death march, all cellos and basses, the dark notes coming at wide intervals: ooom ooom ooom ooom ooom. And then the tempo picks up, the music becomes a danse macabre, syncopated, lively, the timbre still dark, the rhythms funereal: ooom ooom ooom-de-ooom de-ooom de-ooom de-ooom-de-ooom, jerky, chaotic, wildly gay. The distorted melody of the Ode to Joy lurks somewhere in the ragged strands of sound. The dying victims stretch their fleshless hands toward him. He shakes his head. What service can I do for you? Guilt assails him. He is a tourist in the land of their grief. Their eyes reproach him. He would embrace them, but he fears they will crumble at his touch, and he lets the procession go past him without doing anything to cross the gulf between himself and them. “Elizabeth?” he murmurs. “Norman?” They have no faces, only eyes. “What can I do? I can’t do anything for you.” Not even tears will come. He looks away. Though I speak with the tongues of men and of angels, and have not charity, I am become as sounding brass or a tinkling cymbal. And though I have the gift of prophecy, and understand all mysteries and all knowledge; and though I have all faith, so that I could remove mountains, and have not charity, I am nothing. But this world is beyond the reach of love. He looks away. The sun appears. The fog burns off. The visions fade. He sees only the dead land, the ashes, the ruins. All right. Here we have no continuing city, but we seek one to come. Onward. Onward.

9.

AND NOW, AFTER THIS SERIES of brief, disconcerting intermediate stops, Cameron has come to a city that is San Francisco beyond doubt, not some other city on San Francisco’s site but a true San Francisco, a recognizable San Francisco. He pops into it atop Russian Hill, at the very crest, on a dazzling, brilliant, cloudless day. To his left, below, lies Fisherman’s Wharf; ahead of him rises the Coit Tower; yes, and he can see the Ferry Building and the Bay Bridge. Familiar landmarks—but how strange all the rest seems! Where is the eye-stabbing Transamerica pyramid? Where is the colossal somber stalk of the Bank of America? The strangeness, he realizes, derives not so much from substitutions as from absences. The big Embarcadero developments are not there, nor the Chinatown Holiday Inn, nor the miserable tentacles of the elevated freeways, nor, apparently, anything else that was constructed in the last twenty years. This is the old short-shanked San Francisco of his boyhood, a sparkling miniature city, un-Manhattanized, skyline-less. Surely he has returned to the place he knew in the sleepy 1950s, the tranquil Eisenhower years.

He heads downhill, searching for a newspaper box. He finds one at the corner of Hyde and North Point, a bright-yellow metal rectangle. San Francisco Chronicle, ten cents? Is that the right price for 1954? One Roosevelt dime goes into the slot. The paper, he finds, is dated Tuesday, August 19, 1975. In what Cameron still thinks of, with some irony now, as the real world, the world that has been receding rapidly from him all day in a series of discontinuous jumps, it is also Tuesday, the 19th of August, 1975. So he has not gone backward in time at all; he has come to a San Francisco where time had seemingly been standing still. Why? In vertigo he eyes the front page. A three-column headline declares: FUEHRER ARRIVES IN WASHINGTON

Under it, to the left, a photograph of three men, smiling broadly, positively beaming at one another. The caption identifies them as President Kennedy, Fuehrer Goering, and Ambassador Togarashi of Japan, meeting in the White House Rose Garden. Cameron closes his eyes. Using no data other than the headline and the caption, he attempts to concoct a plausible speculation. This is a world, he decides, in which the Axis must have won the war. The United States is a German fiefdom. There are no high rise buildings in San Francisco because the American economy, shattered by defeat, has not yet in thirty years of peace returned to a level where it can afford to erect them, or perhaps because American venture capital, prodded by the financial ministers of the Third Reich (Hjalmar Schacht? The name drifts out of the swampy recesses of memory) now tends to flow toward Europe. But how could it have happened? Cameron remembers the war years clearly, the tremendous surge of patriotism, the vast mobilization, the great national effort. Rosie the Riveter. Lucky Strike Green Goes to War. Let’s Remember Pearl Harbor, As We Did the Alamo. He doesn’t see any way the Germans might have brought America to her knees. Except one. The bomb, he thinks. The bomb. The Nazis get the bomb in 1940 and Wernher von Braun invents a transatlantic rocket, and New York and Washington are nuked one night and that’s it, we’ve been pushed beyond the resources of patriotism; we cave in and surrender within a week. And so—

He studies the photograph. President Kennedy, grinning, standing between Reichsfuehrer Goering and a suave youthful-looking Japanese. Kennedy? Ted? No, this is Jack, looking jowly, heavy bags under his eyes, deep creases in his face—he must be almost sixty years old, nearing the end of what is probably his second term of office. Jacqueline waiting none too patiently for him upstairs. Get done with your Japs and Nazis, love, and let’s have a few drinkies together before the concert. Yes. John-John and Caroline are somewhere on the premises too, the nation’s darlings, models for young people everywhere. Yes. And Goering? Indeed, the very same Goering. Well into his eighties, monstrously fat, chin upon chin, multitudes of chins, vast bemedaled bosom, little mischievous eyes glittering with a long lifetime’s cheery recollections of gratified lusts. How happy he looks! And how amiable! It was always impossible to hate Goering the way one loathed Goebbels, say, or Himmler or Streicher; Goering had charm, the outrageous charm of a monstre sacré, of a Nero, of a Caligula, and here he is alive in the 1970s, a mountain of immoral flesh, having survived Adolf to become—Cameron assumes—second Fuehrer and to be received in pomp at the White House, no less. Perhaps a state banquet tomorrow night, rollmops, sauerbraten, kassler rippchen, koenigsberger klopse, washed down with flagons of Bernkasteler Doktor ’69, Schloss Johannisberg ’71, or does the Fuehrer prefer beer? We have the finest lagers on tap, Löwenbrau, Würzburger Hofbrau—

But wait. Something rings false in Cameron’s historical construct. He is unable to find in John F. Kennedy those depths of opportunism that would allow him to serve as puppet President of a Nazi-ruled America, taking orders from some slick-haired hard-eyed gauleiter and hopping obediently when the Fuehrer comes to town. Bomb or no bomb, there would have been a diehard underground resistance movement, decades of guerrilla warfare, bitter hatred of the German oppressor and of all collaborators. No surrender, then. The Axis has won the war, but the United States has retained its autonomy. Cameron revises his speculations. Suppose, he tells himself, Hitler in this universe did not break his pact with Stalin and invade Russia in the summer of 1941, but led his forces across the Channel instead to wipe out Britain. And the Japanese left Pearl Harbor alone, so the United States never was drawn into the war, which was over in fairly short order—say, by September of 1942. The Germans now rule Europe from Cornwall to the Urals and the Japanese have the whole Pacific, west of Hawaii; the United States, lost in dreamy neutrality, is an isolated nation, a giant Portugal, economically stagnant, largely cut off from world trade. There are no skyscrapers in San Francisco because no one sees reason to build anything in this country. Yes? Is this how it is?

He seats himself on the stoop of a house and explores his newspaper. This world has a stock market, albeit a sluggish one: the Dow-Jones Industrials stand at 354.61. Some of the listings are familiar—IBM, AT&T, General Motors—but many are not. Litton, Syntex, and Polaroid all are missing; so is Xerox, but he finds its primordial predecessor, Haloid, in the quotations. There are two baseball leagues, each with eight clubs; the Boston Braves have moved to Milwaukee but otherwise the table of teams could have come straight out of the 1940s. Brooklyn is leading in the National League, Philadelphia in the American. In the news section he finds recognizable names: New York has a Senator Rockefeller, Massachusetts has a Senator Kennedy. (Robert, apparently. He is currently in Italy. Yesterday he toured the majestic Tomb of Mussolini near the Colosseum, today he has an audience with Pope Benedict.) An airline advertisement invites San Franciscans to go to New York via TWA’s glorious new Starliners, now only twelve hours with only a brief stop in Chicago. The accompanying sketch indicates that they have about reached the DC-4 level here, or is that a DC-6, with all those propellers?

The foreign news is tame and sketchy: not a word about Israel vs. the Arabs, the squabbling republics of Africa, the People’s Republic of China, or the war in South America. Cameron assumes that the only surviving Jews are those of New York and Los Angeles, that Africa is one immense German colonial tract with a few patches under Italian rule, that China is governed by the Japanese, not by the heirs of Chairman Mao, and that the South American nations are torpid and unaggressive. Yes? Reading this newspaper is the strangest experience this voyage has given him so far, for the pages look right, the tone of the writing feels right, there is the insistent texture of unarguable reality about the whole paper, and yet everything is subtly off, everything has undergone a slight shift along the spectrum of events. The newspaper has the quality of a dream, but he has never known a dream to have such overwhelming substantive density.

He folds the paper under his arm and strolls toward the bay. A block from the waterfront he finds a branch of the Bank of America—some things withstand all permutations—and goes inside to change some money. There are risks, but he is curious. The teller unhesitatingly takes his five-dollar bill and hands him four singles and a little stack of coins. The singles are unremarkable, and Lincoln, Jefferson, and Washington occupy their familiar places on the cent, nickel, and quarter; but the dime shows Ben Franklin and the fifty-cent piece bears the features of a hearty-looking man, youngish, full-faced, bushy-haired, whom Cameron is unable to identify at all.

On the next corner eastward he comes to a public library. Now he can confirm his guesses. An almanac! Yes, and how odd the list of Presidents looks. Roosevelt, he learns, retired in poor health in 1940, and that, so far as he can discover, is the point of divergence between this world and his. The rest follows predictably enough. Wendell Willkie, defeating John Nance Garner in the 1940 election, maintains a policy of strict neutrality while—yes, it was as he imagined—the Germans and Japanese quickly conquer most of the world. Willkie dies in office during the 1944 Presidential campaign—Aha! That’s Willkie on the half dollar!—and is briefly succeeded by Vice President McNary, who does not want the Presidency; a hastily-recalled Republican convention nominates Robert Taft. Two terms then for Taft, who beats James Byrnes, and two for Thomas Dewey, and then in 1960 the long Republican era is ended at last by Senator Lyndon Johnson of Texas. Johnson’s running mate—it is an amusing reversal, Cameron thinks—is Senator John F. Kennedy of Massachusetts. After the traditional two terms, Johnson steps down and Vice President Kennedy wins the 1968 Presidential election. He has been re-elected in 1972, naturally; in this placid world incumbents always win. There is, of course, no UN here, there has been no Korean War, no movement of colonial liberation, no exploration of space. The almanac tells Cameron that Hitler lived until 1960, Mussolini until 1958. The world seems to have adapted remarkably readily to Axis rule, although a German army of occupation is still stationed in England.

He is tempted to go on and on, comparing histories, learning the transmuted destinies of such figures as Hubert Humphrey, Dwight Eisenhower, Harry Truman, Nikita Khrushchev, Lee Harvey Oswald, Juan Peron. But suddenly a more intimate curiosity flowers in him. In a hallway alcove he consults the telephone book. There is one directory covering both Alameda and Contra Costa counties, and it is a much more slender volume than the directory which in his world covers Oakland alone. There are two dozen Cameron listings, but none at his address, and no Christophers or Elizabeths or any plausible permutations of those names. On a hunch he looks in the San Francisco book. Nothing promising there either; but then he checks Elizabeth under her maiden name, Dudley, and yes, there is an Elizabeth Dudley at the familiar old address on Laguna. The discovery causes him to tremble. He rummages in his pocket, finds his Ben Franklin dime, drops it in the slot. He listens. There’s the dial tone. He makes the call.

10.

THE APARTMENT, WHAT HE CAN see of it by peering past her shoulder, looks much as he remembers it: well-worn couches and chairs upholstered in burgundy and dark green, stark whitewashed walls, elaborate sculptures—her own—of gray driftwood, huge ferns in hanging containers. To behold these objects in these surroundings wrenches powerfully at his sense of time and place and afflicts him with an almost unbearable nostalgia. The last time he was here, if indeed he has ever been “here” in any sense, was in 1969; but the memories are vivid, and what he sees corresponds so closely to what he recalls that he feels transported to that earlier era. She stands in the doorway, studying him with cool curiosity tinged with unmistakable suspicion. She wears unexpectedly ordinary clothes, a loose-fitting embroidered white blouse and a short, pleated blue skirt, and her golden hair looks dull and carelessly combed, but surely she is the same woman from whom he parted this morning, the same woman with whom he has shared his life these past seven years, a beautiful woman, a tall woman, nearly as tall as he—on some occasions taller, it has seemed—with a serene smile and steady green eyes and smooth, taut skin. “Yes?” she says uncertainly. “Are you the man who phoned?”

“Yes. Chris Cameron.” He searches her face for some flicker of recognition. “You don’t know me? Not at all?”

“Not at all. Should I know you?”

“Perhaps. Probably not. It’s hard to say.”

“Have we once met? Is that it?”

“I’m not sure how I’m going to explain my relationship to you.”

“So you said when you called. Your relationship to me? How can strangers have had a relationship?”

“It’s complicated. May I come in?”

She laughs nervously, as though caught in some embarrassing faux pas. “Of course,” she says, not without giving him a quick appraisal, making a rapid estimate of risk. The apartment is in fact almost exactly as he knew it, except that there is no stereo phonograph, only a bulky archaic Victrola, and her record collection is surprisingly scanty, and there are rather fewer books than his Elizabeth would have had. They confront one another stiffly. He is as uneasy over this encounter as she is, and finally it is she who seeks some kind of social lubricant, suggesting that they have a little wine. She offers him red or white.

“Red, please,” he says.

She goes to a low sideboard and takes out two cheap, clumsy-looking tumblers. Then, effortlessly she lifts a gallon jug of wine from the floor and begins to unscrew its cap. “You were awfully mysterious on the phone,” she says, “and you’re still being mysterious now. What brings you here? Do we have mutual friends?”

“I think it wouldn’t be untruthful to say that we do. At least in a manner of speaking.”

“Your own manner of speaking is remarkably roundabout, Mr. Cameron.”

“I can’t help that right now. And call me Chris, please.” As she pours the wine he watches her closely, thinking of that other Elizabeth, his Elizabeth, thinking how well he knows her body, the supple play of muscles in her back, the sleek texture of her skin, the firmness of her flesh, and he flashes instantly to their strange, absurdly romantic meeting years ago, that June when he had gone off alone into the Sierra high country for a week of backpacking and, following heaps of stones that he had wrongly taken to be trail markers, had come to a place well off the path, a private place, a cool dark glacial lake rimmed by brilliant patches of late-lying snow, and had begun to make camp, and had become suddenly aware of someone else’s pack thirty yards away, and a pile of discarded clothing on the shore, and then had seen her, swimming just beyond a pine-tipped point, heading toward land, rising like Venus from the water, naked, noticing him, startled by his presence, apprehensive for a moment but then immediately making the best of it, relaxing, smiling, standing unashamed shin-deep in the chilly shallows and inviting him to join her for a swim.

These recollections of that first contact and all that ensued excite him terribly, for this person before him is at once the Elizabeth he loves, familiar, joined to him by the bond of shared experience, and also someone new, a complete stranger, from whom he can draw fresh inputs, that jolting gift of novelty which his Elizabeth can never again offer him. He stares at her shoulders and back with fierce, intense hunger; she turns toward him with the glasses of wine in her hands, and, before he can mask that wild gleam of desire, she receives it with full force. The impact is immediate. She recoils. She is not the Elizabeth of the Sierra Lake; she seems unable to handle such a level of unexpected erotic voltage. Jerkily she thrusts the wine at him, her hands shaking so that she spills a little on her sleeve. He takes the glass and backs away, a bit dazed by his own frenzied upwelling of emotion. With an effort, he calms himself. There is a long moment of awkward silence while they drink. The psychic atmosphere grows less torrid; a certain mood of remote, businesslike courtesy develops between them.

After the second glass of wine she says, “Now. How do you know me and what do you want from me?”

Briefly he closes his eyes. What can he tell her? How can he explain? He has rehearsed no strategies. Already he has managed to alarm her with a single unguarded glance; what effect would a confession of apparent madness have? But he has never used strategies with Elizabeth, has never resorted to any tactics except the tactic of utter candidness. And this is Elizabeth. Slowly he says, “In another existence you and I are married, Elizabeth. We live in the Oakland hills and we’re extraordinarily happy together.”

“Another existence?”

“In a world apart from this, a world where history took a different course a generation ago, where the Axis lost the war, where John Kennedy was President in 1963 and was killed by an assassin, where you and I met beside a lake in the Sierras and fell in love. There’s an infinity of worlds, Elizabeth, side by side, worlds in which all possible variations of every possible event take place. Worlds in which you and I are married happily, in which you and I have been married and divorced, in which you and I don’t exist, in which you exist and I don’t, in which we meet and loathe one another, in which—in which—do you see, Elizabeth, there’s a world for everything, and I’ve been traveling from world to world. I’ve seen nothing but wilderness where San Francisco ought to be, and I’ve met Mongol horsemen in the East Bay hills, and I’ve seen this whole area devastated by atomic warfare, and—does this sound insane to you, Elizabeth?”

“Just a little.” She smiles. The old Elizabeth, cool, judicious, performing one of her specialities, the conditional acceptance of the unbelievable for the sake of some amusing conversation. “But go on. You’ve been jumping from world to world. I won’t even bother to ask you how. What are you running away from?”

“I’ve never seen it that way. I’m running toward.”

“Toward what?”

“An infinity of worlds. An endless range of possible experience.”

“That’s a lot to swallow. Isn’t one world enough for you to explore?”

“Evidently not.”

“You had all infinity,” she says. “Yet you chose to come to me. Presumably I’m the one point of familiarity for you in this otherwise strange world. Why come here? What’s the point of your wanderings, if you seek the familiar? If all you wanted to do was find your way back to your Elizabeth, why did you leave her in the first place? Are you as happy with her as you claim to be?”

“I can be happy with her and still desire her in other guises.”

“You sound driven.”

“No,” he says. “No more driven than Faust. I believe in searching as a way of life. Not searching for, just searching. And it’s impossible to stop. To stop is to die, Elizabeth. Look at Faust, going on and on, going to Helen of Troy herself, experiencing everything the world has to offer, and always seeking more. When Faust finally cries out, This is it, this is what I’ve been looking for, this is where I choose to stop, Mephistopheles wins his bet.”

“But that was Faust’s moment of supreme happiness.”

“True. When he attains it, though, he loses his soul to the devil, remember?”

“So you go on, on, and on, world after world, seeking you know not what, just seeking, unable to stop. And yet you claim you’re not driven.”

He shakes his head. “Machines are driven. Animals are driven. I’m an autonomous human being operating out of free will. I don’t make this journey because I have to, but because I want to.”

“Or because you think you ought to want to.”

“I’m motivated by feelings, not by intellectual calculations and preconceptions.”

“That sounds very carefully thought out,” she tells him. He is stung by her words, and looks away, down into his empty glass. She indicates that he should help himself to the wine. “I’m sorry,” she says, her tone softening a little.

He says, “At any rate, I was in the library and there was a telephone directory and I found you. This is where you used to live in my world too, before we were married.” He hesitates. “Do you mind if I ask—”

“What?”

“You’re not married?”

“No. I live alone. And like it.”

“You always were independent-minded.”

“You talk as though you know me so well.”

“I’ve been married to you for seven years.”

“No. Not to me. Never to me. You don’t know me at all.”

He nods. “You’re right. I don’t really know you, Elizabeth, however much I think I do. But I want to. I feel drawn to you as strongly as I was to the other Elizabeth, that day in the mountains. It’s always best right at the beginning, when two strangers reach toward one another, when the spark leaps the gap—” Tenderly he says, “May I spend the night here?”

“No.”

Somehow the refusal comes as no surprise. He says, “You once gave me a different answer when I asked you that.”

“Not I. Someone else.”

“I’m sorry. It’s so hard for me to keep you and her distinct in my mind, Elizabeth. But please don’t turn me away. I’ve come so far to be with you.”

“You came uninvited. Besides, I’d feel so strange with you—knowing you were thinking of her, comparing me with her, measuring our differences, our points of similarities—”

“What makes you think I would?”

“You would.”

“I don’t think that’s sufficient reason for sending me away.”

“I’ll give you another,” she says. Her eyes sparkle mischievously. “I never let myself get involved with married men.”

She is teasing him now. He says, laughing, confident that she is beginning to yield. “That’s the damnedest far-fetched excuse I’ve ever heard, Elizabeth!”

“Is it? I feel a great kinship with her. She has all my sympathies. Why should I help you deceive her?”

“Deceive? What an old-fashioned word! Do you think she’d object? She never expected me to be chaste on this trip. She’d be flattered and delighted to know that I went looking for you here. She’d be eager to hear about everything that went on between us. How could she possibly be hurt by knowing that I had been with you, when you and she are—”

“Nevertheless, I’d like you to leave. Please.”

“You haven’t given me one convincing reason.”

“I don’t need to.”

“I love you. I want to spend the night with you.”

“You love someone else who resembles me,” she replies. “I keep telling you that. In any case, I don’t love you. I don’t find you attractive, I’m afraid.”

“Oh. She does, but you—don’t. I see. How do you find me then? Ugly? Overbearing? Repellent?”

“I find you disturbing,” she says. “A little frightening. Much too intense, much too controlled, perhaps dangerous. You aren’t my type. I’m probably not yours. Remember, I’m not the Elizabeth you met by that mountain lake. Perhaps I’d be happier if I were, but I’m not. I wish you had never come here. Now please go. Please.”

11.

ONWARD. THIS PLACE IS ALL gleaming towers and airy bridges, a glistening fantasy of a city. High overhead float glassy bubbles, silent airborne passenger vehicles, containing two or three people apiece who sprawl in postures of elegant relaxation. Bronzed young boys and girls lie naked beside soaring fountains spewing turquoise-and-scarlet foam. Giant orchids burst in tropical voluptuousness from the walls of colossal hotels. Small mechanical birds wheel and dart in the soft air like golden bullets, emitting sweet pinging sounds. From the tips of the tallest buildings comes a darker music, a ground bass of swelling hundred-cycle notes oscillating around an insistent central rumble. This is a world two centuries ahead of his, at the least. He could never infiltrate here. He could never even be a tourist. The only role available to him is that of visiting savage. Jemmy Button among the Londoners, and what, after all, was Jemmy Button’s fate? Not a happy one. Patagonia! Patagonia! Thees ticket eet ees no longer good here, sor. Colored rays dance in the sky, red, green, blue, exploding, showering the city with transcendental images. Cameron smiles. He will not let himself be overwhelmed, though this place is more confusing than the world of the halftrack automobiles. Jauntily he plants himself at the center of a small park between two lanes of flowing, noiseless traffic. It is a formal garden lush with toothy orange-fronded ferns and thorny skyrockets of looping cactus. Lovers stroll past him arm in arm, offering one another swigs from glossy sweat-beaded green flasks that look like tubes of polished jade. Delicately they dangle blue grapes before each other’s lips; playfully they smile, arch their necks, take the bait with eager pounces; then they laugh, embrace, tumble into the dense moist grass, which stirs and sways and emits gentle thrumming melodies. This place pleases him. He wanders through the garden, thinking of Elizabeth, thinking of springtime, and, coming ultimately to a sinuous brook in which the city’s tallest towers are reflected as inverted needles, he kneels to drink. The water is cool, sweet, tart, much like young wine. A moment after it touches his lips, a mechanism rises from the spongy earth, five slender brassy columns, three with eye-sensors sprouting on all sides, one marked with a pattern of dark gridwork, one bearing an arrangement of winking colored lights. Out of the gridwork come ominous words in an unfathomable language. This is some kind of police machine, demanding his credentials: that much is clear. “I’m sorry,” he says. “I can’t understand what you’re saying.” Other machines are extruding themselves from trees, from the bed of the stream, from the hearts of the sturdiest ferns. “It’s all right,” he says. “I don’t mean any harm. Just give me a chance to learn the language and I promise to become a useful citizen.” One of the machines sprays him with a fine azure mist. Another drives a tiny needle into his forearm and extracts a droplet of blood. A crowd is gathering. They point, snicker, wink. The music of the building tops has become higher in pitch, more sinister in texture, it shakes the balmy air and threatens him in a personal way. “Let me stay,” Cameron begs, but the music is shoving him, pushing him with a flat irresistible hand, inexorably squeezing him out of this world. He is too primitive for them. He is too coarse; he carries too many obsolete microbes. Very well. If that’s what they want, he’ll leave, not out of courtesy alone. In a flamboyant way he bids them farewell, bowing with a flourish worthy of Raleigh, blowing a kiss to the five-columned machine, smiling, even doing a little dance. Farewell. Farewell. The music rises to a wild crescendo. He hears celestial trumpets and distant thunder. Farewell. Onward.

12.

HERE SOME KIND OF ORIENTAL marketplace has sprung up, foul-smelling, cluttered, medieval. Swarthy old men, white-bearded, in thick gray robes, sit patiently behind open burlap sacks of spices and grains. Lepers and cripples roam everywhere, begging importunately. Slender long-legged men wearing only tight loincloths and jingling dangling earrings of bright copper stalk through the crowd on solitary orbits, buying nothing, saying nothing; their skins are dark red; their faces are gaunt; their solemn features are finely modeled. They carry themselves like Inca princes. Perhaps they are Inca princes. In the haggle and babble of the market Cameron hears no recognizable tongue spoken. He sees the flash of gold as transactions are completed. The women balance immense burdens on their heads and show brilliant teeth when they smile. They favor patchwork skirts that cover their ankles, but they leave their breasts bare. Several of them glance provocatively at Cameron but he dares not return their quick dazzling probes until he knows what is permissible here. On the far side of the squalid plaza he catches sight of a woman who might well be Elizabeth; her back is to him, but he would know those strong shoulders anywhere: that erect stance, that cascade of unbound golden hair. He starts toward her, sliding with difficulty between the close-packed marketgoers. When he is still halfway across the marketplace from her he notices a man at her side, tall, a man of his own height and build. He wears a loose black robe and a dark scarf covers the lower half of his face. His eyes are grim and sullen and a terrible cicatrice, wide and glaringly cross-hatched with stitch marks, runs along his left cheek up to his hairline. The man whispers something to the woman who might be Elizabeth; she nods and turns, so that Cameron now is able to see her face, and yes, the woman does seem to be Elizabeth, but she bears a matching scar, angry and hideous, up the right side of her face. Cameron gasps. The scar-faced man suddenly points and shouts. Cameron senses motion to one side, and swings around just in time to see a short thick-bodied man come rushing toward him wildly waving a scimitar. For an instant Cameron sees the scene as though in a photograph: he has time to make a leisurely examination of his attacker’s oily beard, his hooked hairy-nostriled nose, his yellowed teeth, the cheap, glassy-looking inlaid stones on the haft of the scimitar. Then the frightful blade descends, while the assassin screams abuse at Cameron in what might be Arabic. It is a sorry welcome. Cameron cannot prolong this investigation. An instant before the scimitar cuts him in two, he takes himself elsewhere, with regret.

13.

ONWARD. TO A PLACE WHERE there is no solidity, where the planet itself has vanished, so that he swims through space, falling peacefully, going from nowhere to nowhere. He is surrounded by a brilliant green light that emanates from every point at once, like a message from the fabric of the universe. In great tranquility he drops through this cheerful glow for days on end, or what seems like days on end, drifting, banking, checking his course with small motions of his elbows or knees. It makes no difference where he goes; everything here is like everything else here. The green glow supports and sustains and nourishes him, but it makes him restless. He plays with it. Out of its lambent substance he succeeds in shaping images, faces, abstract patterns; he conjures up Elizabeth for himself, he evokes his own sharp features, he fills the heavens with a legion of marching Chinese in tapered straw hats, he obliterates them with forceful diagonal lines, he causes a river of silver to stream across the firmament and discharge its glittering burden down a mountainside a thousand miles high. He spins. He floats. He glides. He releases all his fantasies. This is total freedom, here in this unworldly place. But it is not enough. He grows weary of emptiness. He grows weary of serenity. He has drained this place of all it has to offer, too soon, too soon. He is not sure whether the failure is in himself or in the place, but he feels he must leave. Therefore: onward.

14.

TERRIFIED PEASANTS RUN SHRIEKING AS he materializes in their midst. This is some sort of farming village along the eastern shore of the bay: neat green fields, a cluster of low wicker huts radiating from a central plaza, naked children toddling and crying, a busy sub-population of goats and geese and chickens. It is midday; Cameron sees the bright gleam of water in the irrigation ditches. These people work hard. They have scattered at his approach, but now they creep back warily, crouching, ready to take off again if he performs any more miracles. This is another of those bucolic worlds in which San Francisco has not happened, but he is unable to identify these settlers, nor can he isolate the chain of events that brought them here. They are not Indians, nor Chinese, nor Peruvians; they have a European look about them, somehow Slavic, but what would Slavs be doing in California? Russian farmers, maybe, colonizing by way of Siberia? There is some plausibility in that—their dark complexions, their heavy facial structure, their squat powerful bodies—but they seem oddly primitive, half-naked, in furry leggings or less, as though they are no subjects of the Tsar but rather Scythians or Cimmerians transplanted from the prehistoric marshes of the Vistula.

“Don’t be frightened,” he tells them, holding his upraised outspread arms toward them. They do seem less fearful of him now, timidly approaching, staring with big dark eyes. “I won’t harm you. I’d just like to visit with you.” They murmur. A woman boldly shoves a child forward, a girl of about five, bare, with black greasy ringlets, and Cameron scoops her up, caresses her, tickles her, lightly sets her down. Instantly the whole tribe is around him, no longer afraid; they touch his arm, they kneel, they stroke his shins. A boy brings him a wooden bowl of porridge. An old woman gives him a mug of sweet wine, a kind of mead. A slender girl drapes a stole of auburn fur over his shoulders. They dance; they chant; their fear has turned into love; he is their honored guest. He is more than that: he is a god. They take him to an unoccupied hut, the largest in the village. Piously they bring him offerings of incense and acorns. When it grows dark they build an immense bonfire in the plaza, so that he wonders in vague concern if they will feast on him when they are done honoring him, but they feast on slaughtered cattle instead, and yield to him the choicest pieces, and afterward they stand by his door, singing discordant, energetic hymns. That night three girls of the tribe, no doubt the fairest virgins available, are sent to him, and in the morning he finds his threshold heaped with newly plucked blossoms. Later two tribal artisans, one lame and the other blind, set to work with stone adzes and chisels, hewing an immense and remarkably accurate likeness of him out of a redwood stump that has been mounted at the plaza’s center.

So he has been deified. He has a quick Faustian vision of himself living among these diligent people, teaching them advanced methods of agriculture, leading them eventually into technology, into modern hygiene, into all the contemporary advantages without the contemporary abominations. Guiding them toward the light, molding them, creating them. This world, this village, would be a good place for him to stop his transit of the infinities, if stopping were desirable: god, prophet, king of a placid realm, teacher, inculcator of civilization, a purpose to his existence at last. But there is no place to stop. He knows that. Transforming happy primitive farmers into sophisticated twentieth-century agriculturalists is ultimately as useless a pastime as training fleas to jump through hoops. It is tempting to live as a god, but even divinity will pall, and it is dangerous to become attached to an unreal satisfaction, dangerous to become attached at all. The journey, not the arrival, matters. Always.

So Cameron does godhood for a little while. He finds it pleasant and fulfilling. He savors the rewards until he senses that the rewards are becoming too important to him. He makes his formal renunciation of his godhead. Then: onward.

15.

AND THIS PLACE HE RECOGNIZES. His street, his house, his garden, his green car in the carport, Elizabeth’s yellow one parked out front. Home again, so soon? He hadn’t expected that; but every leap he has made, he knows, must in some way have been a product of deliberate choice, and evidently whatever hidden mechanism within him that has directed these voyages has chosen to bring him home again. All right, touch base. Digest your travels, examine them, allow your experiences to work their alchemy on you: you need to stand still a moment for that. Afterward you can always leave again. He slides his key into the door.

Elizabeth has one of the Mozart quartets on the phonograph. She sits curled up in the living-room window seat, leafing through a magazine. It is late afternoon, and the San Francisco skyline, clearly visible across the bay through the big window, is haloed by the brilliant retreating sunlight. There are freshly-cut flowers in the little crystal bowl on the redwood-burl table; the fragrance of gardenias and jasmine dances past him. Unhurriedly she looks up, brings her eyes into line with his, dazzles him with the warmth of her smile, and says, “Well, hello!”

“Hello, Elizabeth.”

She comes to him. “I didn’t expect you back this quickly, Chris, I don’t know if I expected you to come back at all, as a matter of fact.”

“This quickly? How long have I been gone, for you?”

“Tuesday morning to Thursday afternoon. Two and a half days.” She eyes his coarse new beard, his ragged, sun-bleached shirt. “It’s been longer for you, hasn’t it?”

“Weeks and weeks. I’m not sure how long. I was in eight or nine different places, and I stayed in the last one quite some time. They were villagers, farmers, some primitive Slavonic tribe living down by the bay. I was their god, but I got bored with it.”

“You always did get bored so easily,” she says, and laughs, and takes his hands in hers and pulls him toward her. She brushes her lips lightly against him, a peck, a play-kiss, their usual first greeting, and then they kiss more passionately, bodies pressing close, tongue seeking tongue. He feels a pounding in his chest, the old inextinguishable throb. When they release each other he steps back, a little dizzied, and says, “I missed you, Elizabeth. I didn’t know how much I’d miss you until I was somewhere else and aware that I might never find you again.”

“Did you seriously worry about that?”

“Very much.”

“I never doubted we’d be together again, one way or another. Infinity’s such a big place, darling. You’d find your way back to me, or to someone very much like me. And someone very much like you would find his way to me, if you didn’t. How many Chris Camerons do you think there are, on the move between worlds right now? A thousand? A trillion trillion?” She turns toward the sideboard and says, without breaking the flow of her words, “Would you like some wine?” and begins to pour from a half-empty jug of red. “Tell me where you’ve been,” she says.

He comes up behind her and rests his hands on her shoulders, and draws them down the back of her silk blouse to her waist, holding her there, kissing the nape of her neck. He says, “To a world where there was an atomic war here, and to one where there still were Indian raiders out by Livermore, and one that was all fantastic robots and futuristic helicopters, and one where Johnson was President before Kennedy and Kennedy is alive and President now, and one where—oh, I’ll give you all the details later. I need a chance to unwind first.” He releases her and kisses the tip of her earlobe and takes one of the glasses from her, and they salute each other and drink, draining the wine quickly. “It’s so good to be home,” he says softly. “Good to have gone where I went, good to be back.” She fills his glass again. The familiar domestic ritual: red wine is their special drink, cheap red wine out of gallon jugs. A sacrament, more dear to him than the burnt offerings of his recent subjects. Halfway through the second glass he says, “Come. Let’s go inside.”

The bed has fresh linens on it, cool, inviting. There are three thick books on the night table: she’s set up for some heavy reading in his absence. Cut flowers in here, too, fragrance everywhere. Their clothes drop away. She touches his beard and chuckles at the roughness, and he kisses the smooth cool place along the inside of her thigh and draws his cheek lightly across it, sandpapering her lovingly, and then she pulls him to her and their bodies slide together and he enters her. Everything thereafter happens quickly, much too quickly; he has been long absent from her, if not she from him, and now her presence excites him, there is a strangeness about her body, her movements, and it hastens him to his ecstasy. He feels a mild pang of regret, but no more: he’ll make it up to her soon enough, they both know that. They drift into a sleepy embrace, neither of them speaking, and eventually uncoil into tender new passion, and this time all is as it should be. Afterward they doze. A spectacular sunset blazes over the city when he opens his eyes. They rise, they take a shower together, much giggling, much playfulness. “Let’s go across the bay for a fancy dinner tonight,” he suggests. “Trianon, Blue Fox, Ernie’s, anywhere. You name it. I feel like celebrating.”

“So do I, Chris.”

“It’s good to be home again.”

“It’s good to have you here,” she tells him. She looks for her purse. “How soon do you think you’ll be heading out again? Not that I mean to rush you, but—”

“You know I’m not going to be staying?”

“Of course I know.”

“Yes. You would.” She had never questioned his going. They both tried to be responsive to each other’s needs; they had always regarded one another as equal partners, free to do as they wished. “I can’t say how long I’ll stay. Probably not long. Coming home this soon was really an accident, you know. I just planned to go on and on and on, world after world, and I never programmed my next jump, at least not consciously. I simply leaped. And the last leap deposited me on my own doorstep, somehow, so I let myself into the house. And there you were to welcome me home.”

She presses his hand between hers. Almost sadly she says, “You aren’t home, Chris.”

“What?”

He hears the sound of the front door opening. Footsteps in the hallway.

“You aren’t home,” she says.

Confusion seizes him. He thinks of all that has passed between them this evening.

“Elizabeth?” calls a deep voice from the living room.

“In here, darling. I have company!”

“Oh? Who?” A man enters the bedroom, halts, grins. He is cleanshaven and dressed in the clothes Cameron had worn on Tuesday; otherwise they could be twins. “Hey, hello!” he says warmly, extending his hand.

Elizabeth says, “He comes from a place that must be very much like this one. He’s been here since five o’clock, and we were just going out for dinner. Have you been having an interesting time?”

“Very,” the other Cameron says. “I’ll tell you all about it later. Go on, don’t let me keep you.”

“You could join us for dinner,” Cameron suggests helplessly.

“That’s all right. I’ve just eaten. Breast of passenger pigeon—they aren’t extinct everywhere. I wish I could have brought some home for the freezer. So you two go and enjoy. I’ll see you later. Both of you, I hope. Will you be staying with us? We’ve got notes to compare, you and I.”

16.

HE RISES JUST BEFORE DAWN, in a marvelous foggy stillness. The Camerons have been wonderfully hospitable, but he must be moving along. He scrawls a thank-you note and slips it under their bedroom door. Let’s get together again someday. Somewhere. Somehow. They wanted him as a house guest for a week or two, but no, he feels like a bit of an intruder here, and anyway the universe is waiting for him. He has to go. The journey, not the arrival, matters, for what else is there but trips? Departing is unexpectedly painful, but he knows the mood will pass. He closes his eyes. He breaks his moorings. He gives himself up to his sublime restlessness. Onward. Onward. Goodbye, Elizabeth. Goodbye, Chris. I’ll see you both again. Onward.