Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

Header

Liquid Story Binder XE by Black Obelisk Software

Disable Copy Paste

Amazon Quick Linker

Showing posts with label Kurt Vonnegut. Show all posts
Showing posts with label Kurt Vonnegut. Show all posts

Wednesday, November 2, 2022

America is the Wealthiest Nation on Earth, but its People are Mainly Poor, from Slaughterhouse-Five, by Kurt Vonnegut

 America Quote from Slaughterhouse-Five

by Kurt Vonnegut

 

     America is the wealthiest nation on Earth, but its people are mainly poor, and poor Americans are urged to hate themselves. To quote the American humorist Kin Hubbard, 'It ain’t no disgrace to be poor, but it might as well be.' It is in fact a crime for an American to be poor, even though America is a nation of poor. Every other nation has folk traditions of men who were poor but extremely wise and virtuous, and therefore more estimable than anyone with power and gold. No such tales are told by the American poor. They mock themselves and glorify their betters. The meanest eating or drinking establishment, owned by a man who is himself poor, is very likely to have a sign on its wall asking this cruel question: 'if you’re so smart, why ain’t you rich?' There will also be an American flag no larger than a child’s hand – glued to a lollipop stick and flying from the cash register.

    Americans, like human beings everywhere, believe many things that are obviously untrue. Their most destructive untruth is that it is very easy for any American to make money. They will not acknowledge how in fact hard money is to come by, and, therefore, those who have no money blame and blame and blame themselves. This inward blame has been a treasure for the rich and powerful, who have had to do less for their poor, publicly and privately, than any other ruling class since, say Napoleonic times. Many novelties have come from America. The most startling of these, a thing without precedent, is a mass of undignified poor. They do not love one another because they do not love themselves.

Kurt Vonnegut, Slaughterhouse-Five
Tags: america, disgrace, inequality, love, poor

 Kurt Vonnegut Books at Amazon

 

 About the Author

Kurt Vonnegut
Vonnegut in February 1972
Kurt Vonnegut Jr. (November 11, 1922 – April 11, 2007) was an American writer known for his satirical and darkly humorous novels.[1] In a career spanning over 50 years, he published fourteen novels, three short-story collections, five plays, and five nonfiction works; further collections have been published after his death. Wikipedia

Kurt Vonnegut Books at Amazon

Friday, March 25, 2022

Slaughterhouse-Five by Kurt Vonnegut

Slaughterhouse-Five by Kurt Vonnegut

Slaughterhouse-Five 

 

by Kurt Vonnegut

 

 Slaughterhouse-Five, or, The Children's Crusade: A Duty-Dance with Death is a 1969 semi-autobiographic science fiction-infused anti-war novel by Kurt Vonnegut. It follows the life and experiences of Billy Pilgrim, from his early years, to his time as an American soldier and chaplain's assistant during World War II, to the post-war years, with Billy occasionally traveling through time. The text centers on Billy's capture by the German Army and his survival of the Allied firebombing of Dresden as a prisoner of war, an experience which Vonnegut himself lived through as an American serviceman. The work has been called an example of "unmatched moral clarity" and "one of the most enduring antiwar novels of all time". Wikipedia

 

About the Author

Kurt Vonnegut Jr. (November 11, 1922 – April 11, 2007) was an American writer. In a career spanning over 50 years, he published 14 novels, three short story collections, five plays, and five nonfiction works, with further collections being published after his death. Wikipedia

Buy Kurt Vonnegut Books at Amazon

The PDF might take a minute to load. Or, click to download PDF.

If your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

  Buy Kurt Vonnegut Books at Amazon 


Wednesday, January 20, 2016

The Big Trip Up Yonder by Kurt Vonnegut

THE BIG TRIP
UP YONDER

By KURT VONNEGUT, JR.

Illustrated by KOSSIN

If it was good enough for your grandfather, forget it ... it is much too good for anyone else!

Gramps Ford, his chin resting on his hands, his hands on the crook of his cane, was staring irascibly at the five-foot television screen that dominated the room. On the screen, a news commentator was summarizing the day's happenings. Every thirty seconds or so, Gramps would jab the floor with his cane-tip and shout, "Hell, we did that a hundred years ago!"

Emerald and Lou, coming in from the balcony, where they had been seeking that 2185 A.D. rarity—privacy—were obliged to take seats in the back row, behind Lou's father and mother, brother and sister-in-law, son and daughter-in-law, grandson and wife, granddaughter and husband, great-grandson and wife, nephew and wife, grandnephew and wife, great-grandniece and husband, great-grandnephew and wife—and, of course, Gramps, who was in front of everybody. All save Gramps, who was somewhat withered and bent, seemed, by pre-anti-gerasone standards, to be about the same age—somewhere in their late twenties or early thirties. Gramps looked older because he had already reached 70 when anti-gerasone was invented. He had not aged in the 102 years since.

"Meanwhile," the commentator was saying, "Council Bluffs, Iowa, was still threatened by stark tragedy. But 200 weary rescue workers have refused to give up hope, and continue to dig in an effort to save Elbert Haggedorn, 183, who has been wedged for two days in a ..."

"I wish he'd get something more cheerful," Emerald whispered to Lou.


"Silence!" cried Gramps. "Next one shoots off his big bazoo while the TV's on is gonna find hisself cut off without a dollar—" his voice suddenly softened and sweetened—"when they wave that checkered flag at the Indianapolis Speedway, and old Gramps gets ready for the Big Trip Up Yonder."

He sniffed sentimentally, while his heirs concentrated desperately on not making the slightest sound. For them, the poignancy of the prospective Big Trip had been dulled somewhat, through having been mentioned by Gramps about once a day for fifty years.

"Dr. Brainard Keyes Bullard," continued the commentator, "President of Wyandotte College, said in an address tonight that most of the world's ills can be traced to the fact that Man's knowledge of himself has not kept pace with his knowledge of the physical world."

"Hell!" snorted Gramps. "We said that a hundred years ago!"

"In Chicago tonight," the commentator went on, "a special celebration is taking place in the Chicago Lying-in Hospital. The guest of honor is Lowell W. Hitz, age zero. Hitz, born this morning, is the twenty-five-millionth child to be born in the hospital." The commentator faded, and was replaced on the screen by young Hitz, who squalled furiously.

"Hell!" whispered Lou to Emerald. "We said that a hundred years ago."

"I heard that!" shouted Gramps. He snapped off the television set and his petrified descendants stared silently at the screen. "You, there, boy—"

"I didn't mean anything by it, sir," said Lou, aged 103.

"Get me my will. You know where it is. You kids all know where it is. Fetch, boy!" Gramps snapped his gnarled fingers sharply.

Lou nodded dully and found himself going down the hall, picking his way over bedding to Gramps' room, the only private room in the Ford apartment. The other rooms were the bathroom, the living room and the wide windowless hallway, which was originally intended to serve as a dining area, and which had a kitchenette in one end. Six mattresses and four sleeping bags were dispersed in the hallway and living room, and the daybed, in the living room, accommodated the eleventh couple, the favorites of the moment.

On Gramps' bureau was his will, smeared, dog-eared, perforated and blotched with hundreds of additions, deletions, accusations, conditions, warnings, advice and homely philosophy. The document was, Lou reflected, a fifty-year diary, all jammed onto two sheets—a garbled, illegible log of day after day of strife. This day, Lou would be disinherited for the eleventh time, and it would take him perhaps six months of impeccable behavior to regain the promise of a share in the estate. To say nothing of the daybed in the living room for Em and himself.

"Boy!" called Gramps.

"Coming, sir." Lou hurried back into the living room and handed Gramps the will.

"Pen!" said Gramps.


He was instantly offered eleven pens, one from each couple.

"Not that leaky thing," he said, brushing Lou's pen aside. "Ah, there's a nice one. Good boy, Willy." He accepted Willy's pen. That was the tip they had all been waiting for. Willy, then—Lou's father—was the new favorite.

Willy, who looked almost as young as Lou, though he was 142, did a poor job of concealing his pleasure. He glanced shyly at the daybed, which would become his, and from which Lou and Emerald would have to move back into the hall, back to the worst spot of all by the bathroom door.

Gramps missed none of the high drama he had authored and he gave his own familiar role everything he had. Frowning and running his finger along each line, as though he were seeing the will for the first time, he read aloud in a deep portentous monotone, like a bass note on a cathedral organ.

"I, Harold D. Ford, residing in Building 257 of Alden Village, New York City, Connecticut, do hereby make, publish and declare this to be my last Will and Testament, revoking any and all former wills and codicils by me at any time heretofore made." He blew his nose importantly and went on, not missing a word, and repeating many for emphasis—repeating in particular his ever-more-elaborate specifications for a funeral.

At the end of these specifications, Gramps was so choked with emotion that Lou thought he might have forgotten why he'd brought out the will in the first place. But Gramps heroically brought his powerful emotions under control and, after erasing for a full minute, began to write and speak at the same time. Lou could have spoken his lines for him, he had heard them so often.

"I have had many heartbreaks ere leaving this vale of tears for a better land," Gramps said and wrote. "But the deepest hurt of all has been dealt me by—" He looked around the group, trying to remember who the malefactor was.

Everyone looked helpfully at Lou, who held up his hand resignedly.

Gramps nodded, remembering, and completed the sentence—"my great-grandson, Louis J. Ford."

"Grandson, sir," said Lou.

"Don't quibble. You're in deep enough now, young man," said Gramps, but he made the change. And, from there, he went without a misstep through the phrasing of the disinheritance, causes for which were disrespectfulness and quibbling.


In the paragraph following, the paragraph that had belonged to everyone in the room at one time or another, Lou's name was scratched out and Willy's substituted as heir to the apartment and, the biggest plum of all, the double bed in the private bedroom.

"So!" said Gramps, beaming. He erased the date at the foot of the will and substituted a new one, including the time of day. "Well—time to watch the McGarvey Family." The McGarvey Family was a television serial that Gramps had been following since he was 60, or for a total of 112 years. "I can't wait to see what's going to happen next," he said.

Lou detached himself from the group and lay down on his bed of pain by the bathroom door. Wishing Em would join him, he wondered where she was.

He dozed for a few moments, until he was disturbed by someone stepping over him to get into the bathroom. A moment later, he heard a faint gurgling sound, as though something were being poured down the washbasin drain. Suddenly, it entered his mind that Em had cracked up, that she was in there doing something drastic about Gramps.

"Em?" he whispered through the panel. There was no reply, and Lou pressed against the door. The worn lock, whose bolt barely engaged its socket, held for a second, then let the door swing inward.

"Morty!" gasped Lou.

Lou's great-grandnephew, Mortimer, who had just married and brought his wife home to the Ford menage, looked at Lou with consternation and surprise. Morty kicked the door shut, but not before Lou had glimpsed what was in his hand—Gramps' enormous economy-size bottle of anti-gerasone, which had apparently been half-emptied, and which Morty was refilling with tap water.

A moment later, Morty came out, glared defiantly at Lou and brushed past him wordlessly to rejoin his pretty bride.

Shocked, Lou didn't know what to do. He couldn't let Gramps take the mousetrapped anti-gerasone—but, if he warned Gramps about it, Gramps would certainly make life in the apartment, which was merely insufferable now, harrowing.

Lou glanced into the living room and saw that the Fords, Emerald among them, were momentarily at rest, relishing the botches that the McGarveys had made of their lives. Stealthily, he went into the bathroom, locked the door as well as he could and began to pour the contents of Gramps' bottle down the drain. He was going to refill it with full-strength anti-gerasone from the 22 smaller bottles on the shelf.

The bottle contained a half-gallon, and its neck was small, so it seemed to Lou that the emptying would take forever. And the almost imperceptible smell of anti-gerasone, like Worcestershire sauce, now seemed to Lou, in his nervousness, to be pouring out into the rest of the apartment, through the keyhole and under the door.


The bottle gurgled monotonously. Suddenly, up came the sound of music from the living room and there were murmurs and the scraping of chair-legs on the floor. "Thus ends," said the television announcer, "the 29,121st chapter in the life of your neighbors and mine, the McGarveys." Footsteps were coming down the hall. There was a knock on the bathroom door.

"Just a sec," Lou cheerily called out. Desperately, he shook the big bottle, trying to speed up the flow. His palms slipped on the wet glass, and the heavy bottle smashed on the tile floor.

The door was pushed open, and Gramps, dumbfounded, stared at the incriminating mess.

Lou felt a hideous prickling sensation on his scalp and the back of his neck. He grinned engagingly through his nausea and, for want of anything remotely resembling a thought, waited for Gramps to speak.

"Well, boy," said Gramps at last, "looks like you've got a little tidying up to do."

And that was all he said. He turned around, elbowed his way through the crowd and locked himself in his bedroom.

The Fords contemplated Lou in incredulous silence a moment longer, and then hurried back to the living room, as though some of his horrible guilt would taint them, too, if they looked too long. Morty stayed behind long enough to give Lou a quizzical, annoyed glance. Then he also went into the living room, leaving only Emerald standing in the doorway.

Tears streamed over her cheeks. "Oh, you poor lamb—please don't look so awful! It was my fault. I put you up to this with my nagging about Gramps."

"No," said Lou, finding his voice, "really you didn't. Honest, Em, I was just—"

"You don't have to explain anything to me, hon. I'm on your side, no matter what." She kissed him on one cheek and whispered in his ear, "It wouldn't have been murder, hon. It wouldn't have killed him. It wasn't such a terrible thing to do. It just would have fixed him up so he'd be able to go any time God decided He wanted him."

"What's going to happen next, Em?" said Lou hollowly. "What's he going to do?"


Lou and Emerald stayed fearfully awake almost all night, waiting to see what Gramps was going to do. But not a sound came from the sacred bedroom. Two hours before dawn, they finally dropped off to sleep.

At six o'clock, they arose again, for it was time for their generation to eat breakfast in the kitchenette. No one spoke to them. They had twenty minutes in which to eat, but their reflexes were so dulled by the bad night that they had hardly swallowed two mouthfuls of egg-type processed seaweed before it was time to surrender their places to their son's generation.

Then, as was the custom for whoever had been most recently disinherited, they began preparing Gramps' breakfast, which would presently be served to him in bed, on a tray. They tried to be cheerful about it. The toughest part of the job was having to handle the honest-to-God eggs and bacon and oleomargarine, on which Gramps spent so much of the income from his fortune.

"Well," said Emerald, "I'm not going to get all panicky until I'm sure there's something to be panicky about."

"Maybe he doesn't know what it was I busted," Lou said hopefully.

"Probably thinks it was your watch crystal," offered Eddie, their son, who was toying apathetically with his buckwheat-type processed sawdust cakes.

"Don't get sarcastic with your father," said Em, "and don't talk with your mouth full, either."

"I'd like to see anybody take a mouthful of this stuff and not say something," complained Eddie, who was 73. He glanced at the clock. "It's time to take Gramps his breakfast, you know."

"Yeah, it is, isn't it?" said Lou weakly. He shrugged. "Let's have the tray, Em."

"We'll both go."

Walking slowly, smiling bravely, they found a large semi-circle of long-faced Fords standing around the bedroom door.

Em knocked. "Gramps," she called brightly, "break-fast is rea-dy."

There was no reply and she knocked again, harder.

The door swung open before her fist. In the middle of the room, the soft, deep, wide, canopied bed, the symbol of the sweet by-and-by to every Ford, was empty.

A sense of death, as unfamiliar to the Fords as Zoroastrianism or the causes of the Sepoy Mutiny, stilled every voice, slowed every heart. Awed, the heirs began to search gingerly, under the furniture and behind the drapes, for all that was mortal of Gramps, father of the clan.


But Gramps had left not his Earthly husk but a note, which Lou finally found on the dresser, under a paperweight which was a treasured souvenir from the World's Fair of 2000. Unsteadily, Lou read it aloud:

"'Somebody who I have sheltered and protected and taught the best I know how all these years last night turned on me like a mad dog and diluted my anti-gerasone, or tried to. I am no longer a young man. I can no longer bear the crushing burden of life as I once could. So, after last night's bitter experience, I say good-by. The cares of this world will soon drop away like a cloak of thorns and I shall know peace. By the time you find this, I will be gone.'"

"Gosh," said Willy brokenly, "he didn't even get to see how the 5000-mile Speedway Race was going to come out."

"Or the Solar Series," Eddie said, with large mournful eyes.

"Or whether Mrs. McGarvey got her eyesight back," added Morty.

"There's more," said Lou, and he began reading aloud again: "'I, Harold D. Ford, etc., do hereby make, publish and declare this to be my last Will and Testament, revoking any and all former wills and codicils by me at any time heretofore made.'"

"No!" cried Willy. "Not another one!"

"'I do stipulate,'" read Lou, "'that all of my property, of whatsoever kind and nature, not be divided, but do devise and bequeath it to be held in common by my issue, without regard for generation, equally, share and share alike.'"

"Issue?" said Emerald.

Lou included the multitude in a sweep of his hand. "It means we all own the whole damn shootin' match."

Each eye turned instantly to the bed.

"Share and share alike?" asked Morty.

"Actually," said Willy, who was the oldest one present, "it's just like the old system, where the oldest people head up things with their headquarters in here and—"

"I like that!" exclaimed Em. "Lou owns as much of it as you do, and I say it ought to be for the oldest one who's still working. You can snooze around here all day, waiting for your pension check, while poor Lou stumbles in here after work, all tuckered out, and—"

"How about letting somebody who's never had any privacy get a little crack at it?" Eddie demanded hotly. "Hell, you old people had plenty of privacy back when you were kids. I was born and raised in the middle of that goddamn barracks in the hall! How about—"

"Yeah?" challenged Morty. "Sure, you've all had it pretty tough, and my heart bleeds for you. But try honeymooning in the hall for a real kick."

"Silence!" shouted Willy imperiously. "The next person who opens his mouth spends the next sixth months by the bathroom. Now clear out of my room. I want to think."

A vase shattered against the wall, inches above his head.


In the next moment, a free-for-all was under way, with each couple battling to eject every other couple from the room. Fighting coalitions formed and dissolved with the lightning changes of the tactical situation. Em and Lou were thrown into the hall, where they organized others in the same situation, and stormed back into the room.

After two hours of struggle, with nothing like a decision in sight, the cops broke in, followed by television cameramen from mobile units.

For the next half-hour, patrol wagons and ambulances hauled away Fords, and then the apartment was still and spacious.

An hour later, films of the last stages of the riot were being televised to 500,000,000 delighted viewers on the Eastern Seaboard.

In the stillness of the three-room Ford apartment on the 76th floor of Building 257, the television set had been left on. Once more the air was filled with the cries and grunts and crashes of the fray, coming harmlessly now from the loudspeaker.

The battle also appeared on the screen of the television set in the police station, where the Fords and their captors watched with professional interest.

Em and Lou, in adjacent four-by-eight cells, were stretched out peacefully on their cots.

"Em," called Lou through the partition, "you got a washbasin all your own, too?"

"Sure. Washbasin, bed, light—the works. And we thought Gramps' room was something. How long has this been going on?" She held out her hand. "For the first time in forty years, hon, I haven't got the shakes—look at me!"

"Cross your fingers," said Lou. "The lawyer's going to try to get us a year."

"Gee!" Em said dreamily. "I wonder what kind of wires you'd have to pull to get put away in solitary?"

"All right, pipe down," said the turnkey, "or I'll toss the whole kit and caboodle of you right out. And first one who lets on to anybody outside how good jail is ain't never getting back in!"

The prisoners instantly fell silent.


The living room of the apartment darkened for a moment as the riot scenes faded on the television screen, and then the face of the announcer appeared, like the Sun coming from behind a cloud. "And now, friends," he said, "I have a special message from the makers of anti-gerasone, a message for all you folks over 150. Are you hampered socially by wrinkles, by stiffness of joints and discoloration or loss of hair, all because these things came upon you before anti-gerasone was developed? Well, if you are, you need no longer suffer, need no longer feel different and out of things.

"After years of research, medical science has now developed Super-anti-gerasone! In weeks—yes, weeks—you can look, feel and act as young as your great-great-grandchildren! Wouldn't you pay $5,000 to be indistinguishable from everybody else? Well, you don't have to. Safe, tested Super-anti-gerasone costs you only a few dollars a day.

"Write now for your free trial carton. Just put your name and address on a dollar postcard, and mail it to 'Super,' Box 500,000, Schenectady, N. Y. Have you got that? I'll repeat it. 'Super,' Box 500,000 ..."

Underlining the announcer's words was the scratching of Gramps' pen, the one Willy had given him the night before. He had come in, a few minutes earlier, from the Idle Hour Tavern, which commanded a view of Building 257 from across the square of asphalt known as the Alden Village Green. He had called a cleaning woman to come straighten the place up, then had hired the best lawyer in town to get his descendants a conviction, a genius who had never gotten a client less than a year and a day. Gramps had then moved the daybed before the television screen, so that he could watch from a reclining position. It was something he'd dreamed of doing for years.

"Schen-ec-ta-dy," murmured Gramps. "Got it!" His face had changed remarkably. His facial muscles seemed to have relaxed, revealing kindness and equanimity under what had been taut lines of bad temper. It was almost as though his trial package of Super-anti-gerasone had already arrived. When something amused him on television, he smiled easily, rather than barely managing to lengthen the thin line of his mouth a millimeter.

Life was good. He could hardly wait to see what was going to happen next.

—KURT VONNEGUT, JR.

Transcriber's Note:

This etext was produced from Galaxy Science Fiction January 1954. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed. Minor spelling and typographical errors have been corrected without note.


It appears your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

2 B R 0 2 B by Kurt Vonnegut

Transcriber's note.
This etext was produced from Worlds of If, January 1962. Extensive research did not uncover any evidence that the copyright on this publication was renewed.

Got a problem? Just pick up the phone. It solved them all—and all the same way!

2
B
R
0
2
B

by KURT VONNEGUT, JR.


Everything was perfectly swell.

There were no prisons, no slums, no insane asylums, no cripples, no poverty, no wars.

All diseases were conquered. So was old age.

Death, barring accidents, was an adventure for volunteers.

The population of the United States was stabilized at forty-million souls.

One bright morning in the Chicago Lying-in Hospital, a man named Edward K. Wehling, Jr., waited for his wife to give birth. He was the only man waiting. Not many people were born a day any more.

Wehling was fifty-six, a mere stripling in a population whose average age was one hundred and twenty-nine.

X-rays had revealed that his wife was going to have triplets. The children would be his first.

Young Wehling was hunched in his chair, his head in his hand. He was so rumpled, so still and colorless as to be virtually invisible. His camouflage was perfect, since the waiting room had a disorderly and demoralized air, too. Chairs and ashtrays had been moved away from the walls. The floor was paved with spattered dropcloths.

The room was being redecorated. It was being redecorated as a memorial to a man who had volunteered to die.

A sardonic old man, about two hundred years old, sat on a stepladder, painting a mural he did not like. Back in the days when people aged visibly, his age would have been guessed at thirty-five or so. Aging had touched him that much before the cure for aging was found.

The mural he was working on depicted a very neat garden. Men and women in white, doctors and nurses, turned the soil, planted seedlings, sprayed bugs, spread fertilizer.

Men and women in purple uniforms pulled up weeds, cut down plants that were old and sickly, raked leaves, carried refuse to trash-burners.

Never, never, never—not even in medieval Holland nor old Japan—had a garden been more formal, been better tended. Every plant had all the loam, light, water, air and nourishment it could use.

A hospital orderly came down the corridor, singing under his breath a popular song:

If you don't like my kisses, honey,
Here's what I will do:
I'll go see a girl in purple,
Kiss this sad world toodle-oo.
If you don't want my lovin',
Why should I take up all this space?
I'll get off this old planet,
Let some sweet baby have my place.

The orderly looked in at the mural and the muralist. "Looks so real," he said, "I can practically imagine I'm standing in the middle of it."

"What makes you think you're not in it?" said the painter. He gave a satiric smile. "It's called 'The Happy Garden of Life,' you know."

"That's good of Dr. Hitz," said the orderly.


He was referring to one of the male figures in white, whose head was a portrait of Dr. Benjamin Hitz, the hospital's Chief Obstetrician. Hitz was a blindingly handsome man.

"Lot of faces still to fill in," said the orderly. He meant that the faces of many of the figures in the mural were still blank. All blanks were to be filled with portraits of important people on either the hospital staff or from the Chicago Office of the Federal Bureau of Termination.

"Must be nice to be able to make pictures that look like something," said the orderly.

The painter's face curdled with scorn. "You think I'm proud of this daub?" he said. "You think this is my idea of what life really looks like?"

"What's your idea of what life looks like?" said the orderly.

The painter gestured at a foul dropcloth. "There's a good picture of it," he said. "Frame that, and you'll have a picture a damn sight more honest than this one."

"You're a gloomy old duck, aren't you?" said the orderly.

"Is that a crime?" said the painter.

The orderly shrugged. "If you don't like it here, Grandpa—" he said, and he finished the thought with the trick telephone number that people who didn't want to live any more were supposed to call. The zero in the telephone number he pronounced "naught."

The number was: "2 B R 0 2 B."

It was the telephone number of an institution whose fanciful sobriquets included: "Automat," "Birdland," "Cannery," "Catbox," "De-louser," "Easy-go," "Good-by, Mother," "Happy Hooligan," "Kiss-me-quick," "Lucky Pierre," "Sheepdip," "Waring Blendor," "Weep-no-more" and "Why Worry?"

"To be or not to be" was the telephone number of the municipal gas chambers of the Federal Bureau of Termination.


The painter thumbed his nose at the orderly. "When I decide it's time to go," he said, "it won't be at the Sheepdip."

"A do-it-yourselfer, eh?" said the orderly. "Messy business, Grandpa. Why don't you have a little consideration for the people who have to clean up after you?"

The painter expressed with an obscenity his lack of concern for the tribulations of his survivors. "The world could do with a good deal more mess, if you ask me," he said.

The orderly laughed and moved on.

Wehling, the waiting father, mumbled something without raising his head. And then he fell silent again.

A coarse, formidable woman strode into the waiting room on spike heels. Her shoes, stockings, trench coat, bag and overseas cap were all purple, the purple the painter called "the color of grapes on Judgment Day."

The medallion on her purple musette bag was the seal of the Service Division of the Federal Bureau of Termination, an eagle perched on a turnstile.

The woman had a lot of facial hair—an unmistakable mustache, in fact. A curious thing about gas-chamber hostesses was that, no matter how lovely and feminine they were when recruited, they all sprouted mustaches within five years or so.

"Is this where I'm supposed to come?" she said to the painter.

"A lot would depend on what your business was," he said. "You aren't about to have a baby, are you?"

"They told me I was supposed to pose for some picture," she said. "My name's Leora Duncan." She waited.

"And you dunk people," he said.

"What?" she said.

"Skip it," he said.

"That sure is a beautiful picture," she said. "Looks just like heaven or something."

"Or something," said the painter. He took a list of names from his smock pocket. "Duncan, Duncan, Duncan," he said, scanning the list. "Yes—here you are. You're entitled to be immortalized. See any faceless body here you'd like me to stick your head on? We've got a few choice ones left."

She studied the mural bleakly. "Gee," she said, "they're all the same to me. I don't know anything about art."

"A body's a body, eh?" he said, "All righty. As a master of fine art, I recommend this body here." He indicated a faceless figure of a woman who was carrying dried stalks to a trash-burner.

"Well," said Leora Duncan, "that's more the disposal people, isn't it? I mean, I'm in service. I don't do any disposing."

The painter clapped his hands in mock delight. "You say you don't know anything about art, and then you prove in the next breath that you know more about it than I do! Of course the sheave-carrier is wrong for a hostess! A snipper, a pruner—that's more your line." He pointed to a figure in purple who was sawing a dead branch from an apple tree. "How about her?" he said. "You like her at all?"

"Gosh—" she said, and she blushed and became humble—"that—that puts me right next to Dr. Hitz."

"That upsets you?" he said.

"Good gravy, no!" she said. "It's—it's just such an honor."

"Ah, You admire him, eh?" he said.

"Who doesn't admire him?" she said, worshiping the portrait of Hitz. It was the portrait of a tanned, white-haired, omnipotent Zeus, two hundred and forty years old. "Who doesn't admire him?" she said again. "He was responsible for setting up the very first gas chamber in Chicago."

"Nothing would please me more," said the painter, "than to put you next to him for all time. Sawing off a limb—that strikes you as appropriate?"

"That is kind of like what I do," she said. She was demure about what she did. What she did was make people comfortable while she killed them.


And, while Leora Duncan was posing for her portrait, into the waitingroom bounded Dr. Hitz himself. He was seven feet tall, and he boomed with importance, accomplishments, and the joy of living.

"Well, Miss Duncan! Miss Duncan!" he said, and he made a joke. "What are you doing here?" he said. "This isn't where the people leave. This is where they come in!"

"We're going to be in the same picture together," she said shyly.

"Good!" said Dr. Hitz heartily. "And, say, isn't that some picture?"

"I sure am honored to be in it with you," she said.

"Let me tell you," he said, "I'm honored to be in it with you. Without women like you, this wonderful world we've got wouldn't be possible."

He saluted her and moved toward the door that led to the delivery rooms. "Guess what was just born," he said.

"I can't," she said.

"Triplets!" he said.

"Triplets!" she said. She was exclaiming over the legal implications of triplets.

The law said that no newborn child could survive unless the parents of the child could find someone who would volunteer to die. Triplets, if they were all to live, called for three volunteers.

"Do the parents have three volunteers?" said Leora Duncan.

"Last I heard," said Dr. Hitz, "they had one, and were trying to scrape another two up."

"I don't think they made it," she said. "Nobody made three appointments with us. Nothing but singles going through today, unless somebody called in after I left. What's the name?"

"Wehling," said the waiting father, sitting up, red-eyed and frowzy. "Edward K. Wehling, Jr., is the name of the happy father-to-be."

He raised his right hand, looked at a spot on the wall, gave a hoarsely wretched chuckle. "Present," he said.

"Oh, Mr. Wehling," said Dr. Hitz, "I didn't see you."

"The invisible man," said Wehling.

"They just phoned me that your triplets have been born," said Dr. Hitz. "They're all fine, and so is the mother. I'm on my way in to see them now."

"Hooray," said Wehling emptily.

"You don't sound very happy," said Dr. Hitz.

"What man in my shoes wouldn't be happy?" said Wehling. He gestured with his hands to symbolize care-free simplicity. "All I have to do is pick out which one of the triplets is going to live, then deliver my maternal grandfather to the Happy Hooligan, and come back here with a receipt."


Dr. Hitz became rather severe with Wehling, towered over him. "You don't believe in population control, Mr. Wehling?" he said.

"I think it's perfectly keen," said Wehling tautly.

"Would you like to go back to the good old days, when the population of the Earth was twenty billion—about to become forty billion, then eighty billion, then one hundred and sixty billion? Do you know what a drupelet is, Mr. Wehling?" said Hitz.

"Nope," said Wehling sulkily.

"A drupelet, Mr. Wehling, is one of the little knobs, one of the little pulpy grains of a blackberry," said Dr. Hitz. "Without population control, human beings would now be packed on this surface of this old planet like drupelets on a blackberry! Think of it!"

Wehling continued to stare at the same spot on the wall.

"In the year 2000," said Dr. Hitz, "before scientists stepped in and laid down the law, there wasn't even enough drinking water to go around, and nothing to eat but sea-weed—and still people insisted on their right to reproduce like jackrabbits. And their right, if possible, to live forever."

"I want those kids," said Wehling quietly. "I want all three of them."

"Of course you do," said Dr. Hitz. "That's only human."

"I don't want my grandfather to die, either," said Wehling.

"Nobody's really happy about taking a close relative to the Catbox," said Dr. Hitz gently, sympathetically.

"I wish people wouldn't call it that," said Leora Duncan.

"What?" said Dr. Hitz.

"I wish people wouldn't call it 'the Catbox,' and things like that," she said. "It gives people the wrong impression."

"You're absolutely right," said Dr. Hitz. "Forgive me." He corrected himself, gave the municipal gas chambers their official title, a title no one ever used in conversation. "I should have said, 'Ethical Suicide Studios,'" he said.

"That sounds so much better," said Leora Duncan.

"This child of yours—whichever one you decide to keep, Mr. Wehling," said Dr. Hitz. "He or she is going to live on a happy, roomy, clean, rich planet, thanks to population control. In a garden like that mural there." He shook his head. "Two centuries ago, when I was a young man, it was a hell that nobody thought could last another twenty years. Now centuries of peace and plenty stretch before us as far as the imagination cares to travel."

He smiled luminously.

The smile faded as he saw that Wehling had just drawn a revolver.

Wehling shot Dr. Hitz dead. "There's room for one—a great big one," he said.

And then he shot Leora Duncan. "It's only death," he said to her as she fell. "There! Room for two."

And then he shot himself, making room for all three of his children.

Nobody came running. Nobody, seemingly, heard the shots.

The painter sat on the top of his stepladder, looking down reflectively on the sorry scene.


The painter pondered the mournful puzzle of life demanding to be born and, once born, demanding to be fruitful ... to multiply and to live as long as possible—to do all that on a very small planet that would have to last forever.

All the answers that the painter could think of were grim. Even grimmer, surely, than a Catbox, a Happy Hooligan, an Easy Go. He thought of war. He thought of plague. He thought of starvation.

He knew that he would never paint again. He let his paintbrush fall to the drop-cloths below. And then he decided he had had about enough of life in the Happy Garden of Life, too, and he came slowly down from the ladder.

He took Wehling's pistol, really intending to shoot himself.

But he didn't have the nerve.

And then he saw the telephone booth in the corner of the room. He went to it, dialed the well-remembered number: "2 B R 0 2 B."

"Federal Bureau of Termination," said the very warm voice of a hostess.

"How soon could I get an appointment?" he asked, speaking very carefully.

"We could probably fit you in late this afternoon, sir," she said. "It might even be earlier, if we get a cancellation."

"All right," said the painter, "fit me in, if you please." And he gave her his name, spelling it out.

"Thank you, sir," said the hostess. "Your city thanks you; your country thanks you; your planet thanks you. But the deepest thanks of all is from future generations."


THE END


It appears your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.