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

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Thursday, March 16, 2023

Collected Stories of William Faulkner

Collected Stories of William Faulkner

 Collected Stories

 

of William Faulkner

  

Contents  


I. THE COUNTRY
Barn Burning Shingles for the Lord
The Tall Men
A Bear Hunt
Two Soldiers Shall Not Perish   

II. THE VILLAGE
A Rose for Emily
Hair
Centaur in Brass
Dry September
Death Drag
EUy
Uncle Willy Mule in the Yard
That Will Be Fine
That Evening Sun  

III. THE WILDERNESS
Red Leaves
A Justice A Courtship
Lo!  

IV. THE WASTELAND
Ad Astra
Victory
Crevasse
Turnabout
All the Dead Pilots  

V. THE MIDDLE GROUND
Wash
Honor
Dr. Martino
Fox Hunt
Pennsylvania Station
Artist at Home
The Brooch
My Grandmother Millard
Golden Land There Was a Queen
Mountain Victory 

VI. BEYOND
Beyond Black Music
The Leg
Mistral
Divorce in Naples
Carcassonne

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About the Author

William Faulkner

William Faulkner was a Nobel Prize winning novelist of the American South who wrote challenging prose and created the fictional Yoknapatawpha County. He is best known for such novels as 'The Sound and the Fury' and 'As I Lay Dying.' American writer William Faulkner was born in New Albany, Mississippi, in 1897. Much of his early work was poetry, but he became famous for his novels set in the American South, frequently in his fabricated Yoknapatawpha County, with works that included The Sound and the Fury, As I Lay Dying and Absalom, Absalom! His controversial 1931 novel Sanctuary was turned into two films, 1933's The Story of Temple Drake as well as a later 1961 project. Faulkner was awarded the 1949 Nobel Prize in Literature and ultimately won two Pulitzers and two National Book Awards as well. He died on July 6, 1962.

William Faulkner Books at Amazon



Wednesday, March 15, 2023

The Veldt by Ray Bradbury

The Veldt by Ray Bradbury

 

The Veldt

 

by Ray Bradbury

 

If there’s anyone who you can trust to deliver thought-provoking, terrifying science fiction on the regular, it’s Ray Bradbury. In “The Veldt,” George and Lydia Hadley have bought an automated house that comes with a “nursey,” or a virtual reality room. Worried about the nursery’s effect on the kids, George and Lydia think about turning off the nursey — but the problem is that their children are obsessed with it.

As an ominously prescient prediction of the downside of technology, “The Veldt” is a short and shining example of how Ray Bradbury was an author before his time.

 

Tuesday, March 14, 2023

A Rose for Emily by William Faulkner (Audio Book)

A Rose for Emily by William Faulkner

A Rose for Emily

 

by William Faulkner

 Read by Debra Winger

 

(PDF)

 

A Rose for Emily is a short story by William Faulkner that exemplifies the Southern gothic genre. 



 About the Author

William Faulkner

William Faulkner was a Nobel Prize winning novelist of the American South who wrote challenging prose and created the fictional Yoknapatawpha County. He is best known for such novels as 'The Sound and the Fury' and 'As I Lay Dying.' American writer William Faulkner was born in New Albany, Mississippi, in 1897. Much of his early work was poetry, but he became famous for his novels set in the American South, frequently in his fabricated Yoknapatawpha County, with works that included The Sound and the Fury, As I Lay Dying and Absalom, Absalom! His controversial 1931 novel Sanctuary was turned into two films, 1933's The Story of Temple Drake as well as a later 1961 project. Faulkner was awarded the 1949 Nobel Prize in Literature and ultimately won two Pulitzers and two National Book Awards as well. He died on July 6, 1962.

William Faulkner Books at Amazon


Monday, March 13, 2023

A Rose for Emily by William Faulkner

 
A Rose for Emily by William Faulkner

A Rose for Emily

 

by William Faulkner

 

 (Audio)

 

A Rose for Emily is a short story by William Faulkner that exemplifies the Southern gothic genre. 

 

Sunday, March 12, 2023

The Dreamers by Lu Kella

 

The Dreamers by Lu Kella
The Dreamers by Lu Kella

The Dreamers

By LU KELLA

[Transcriber's Note: This etext was produced from Thrilling Wonder Stories Winter 1954.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

 Lu Kella @ Amazon


Bathed in moonlight pouring between scudding black clouds is a toasty brown bun that is only twenty-five feet, six inches long, eight feet, three inches high and ten feet, four inches thick. Stretched invitingly in the bun is the pièce of resistance—the dog—and not the tasteless mongrel type, but the juicy Great Dane breed. There's also blue electric signs that say:

FRANKIE'S FRANKIE
Link One

A roadside diner that takes the eye, eh? Now come in and give the eye to the guy who dreamed it up. Light brown hair parted neatly on the side. Slightly unstraight nose. Round pink face usually having a grin that's geared to friendly brown eyes.

Okay, so you'd rather look at what's wearing the white sandals, yellow blouse and a green skirt that don't hide too much of tanned legs. Don't forget there's also sunny hair that sweeps up from small ears and turns to curls on which sets a sassy white thingamajig that reads: FRANKIE'S FRANKIE, Link One.

Also take a gander at them lake-cool blue eyes, the set of that nose and those red lips. No, buster, you aren't the only guy wonders just who's boss of who and what, especially when she takes that thingamajig off her head at the end of her shift and says, "Frankie, honey, did you latch the counter window?"

He knows the sweet-talk covers a bitter pill. "Sure," he says, shucking off his white jacket, which also has FRANKIE'S FRANKIE, Link One, on it, and reaches for his old Air Force jacket. "Well, Mary—"

"Well, you'd better make sure." She's looking into her compact and touching her hair here and there. "The other night you forgot and in walked some old crows."

"Owls." So Frankie looks at the counter window. And clears his throat to cover up the sound of turning a latch lever. "It's locked."

"It wasn't." She's applying lipstick just-so now.

"So I've lost my mind." He looks hopefully at who he's lost more than his mind to. "So how's about us taking in Vera Verina in "Love Me" at the Rivoli?"

She even lets him help her with her coat before telling him. "Jake's picking me up."

"That back-stabbing pop peddler again!"

"Jake doesn't talk that way about you."

"Oh, no."

"Jake's always telling me how he's afraid you won't get enough sleep every night to be on the job all day so you'll make good here."

"Ha, ha. I'm laughing."

"Oh, is that what that is?"

Frankie struggles manfully for the dignity befitting an employer and capitalist. But there's a swish of tires on gravel and headlights flash through the window. A customer, perchance?

Oh-lee, oh-lay, too-loo! A so-called musical horn tootles.

And by the interior brightness of Link One fanning into the night Frankie watches his employee skip into the long convertible and park herself beside the character at the wheel.

"Be seeing you with a load of pop, pappy!" And the District General Manager of National Carbonated Beverages, Inc., guns his buggy around, rear wheels spraying gravel at Frankie and Link One.

"Dames!" Frankie says. "Bah."

The night has no answer for that, so Frankie climbs into his roadster behind Link One. He steps on the starter. Things whimper under the hood and finally the motor churns like it's got asthma. Also now, different sections of the car begin sounding like somebody's shaking a string of tin cans. Yeah, the buggy's ready to go, but where's there to go now? Frankie shuts the thing off.


In the grateful silence of the night Frankie eases himself off the sharp spring that keeps poking him through the seat. He also turns a knob. There's a whining, a mess of sputtering, and from under the dashboard there's music and words. Maybe it sounds different where it begins at but the whole thing arrives here like it's being run through a loose drain pipe.

Well, when a guy's sunk every dollar he can beg, borrow and legally lay hands on into his business here, what can he expect—Vaughn Monroe in person? But at least the music's company. So Frankie sits with his head parked back on the seat. That Mary Mulvaney, he thinks. Well, there'll come a day, Miss Mulvaney!

This is only FRANKIE'S FRANKIE, Link One. Soon as this one gets going good there'll be Link Two. Then Link Three. Then Four and Five. FRANKIE'S FRANKIEs—linking the country from border to border and coast to coast. Harvey did it. Johnson did it. Stanalovski can do it.

And Stanalovski won't be living in no two-by-four hole in the behind of Link One, either. I'll build a house—say seven, eight, maybe couple dozen rooms—plenty space for flowers and kids to grow good. And I'll have buggies fancier than any Jake Winer ever seen. Airplanes and yachts too. And will I go fancy-panting? Hollywood. South America—that Brazil place. France. All them places. Hobnobbing with all the other Big Shots and Fancy Janes.

Ain't this America? Where a guy can start from the bottom and hit the top?

So what? So Mary Mulvaney can't see nothing but some curly-head pop peddler with a dinky fringe under his beak.

"Know just how you feel, Frankie." Some old guy's voice—coming out the radio? "I mean you, Frankie Stanalovski."

Frankie blinks.

The old guy's voice has a kind of smile to it. "Don't think this is on the square, eh?"

"Okay, wise guy—what's the gag?"

"No gag."

"Oh, no? Then who're you and where you at?"

"Name doesn't really matter. But I can tell you where I am."

"Okay, where?"

"On the moon."

"Now listen here, bud. Can't nobody live on no moon. I read all about it in a Sunday paper once. Ain't no air up there. Besides, the sun bangs down fit to fry a horse to a cinder."

"Climate doesn't bother me."

"Aw, we're both nuts."

"Just look at the right-hand eyebrow, Frankie, of what most people call the man in the moon."

"Now I ask you—how can nobody with a naked eye see nobody that far away?" But having nothing to lose, Frankie takes a squint.


And just like that, he's on top a mountain with some old guy who's got long white hair and whiskers and twinkly blue eyes. The guy's got an old chair with a cushion tied to the seat and back of it and just sits rocking away, comfortable as you please.

"Well, hey," Frankie says. "From the earth the moon always looks like a big fat cheese. But now that I'm up here on the thing, it really is all deserts and steep mountains of almost every color under the sun. Maybe there ain't no air. Maybe the sunlight's hot enough to fry a horse. Maybe. But I sure don't feel no bum effects, either—yet.

"And another thing. I always suspected a guy on this here moon'd be gaping down at the earth. But here I'm gandering up. It's looney, all right, but I can see everything there—oceans and continents, towns and rivers and roads—the whole shebang." And Frankie feels a puff of pride too. "Link One shows up pretty good from here too."

The old man rocks away, his chair creaking a little tune. "Can also see inside the Rainbow Gardens near your town there."

"Yeah?" Sighting on that fun place, Frankie can see inside, sure enough. Not many couples, just one that interests Frankie.

"Looks like Mary enjoys dancing with Jake," the old man says.

"Huh." Frankie watches them prancing around the juke box.

"Yep, Frankie," the old man says, "that's quite a specimen of girl."

"Unh," he grunts.

But now Mary and Jake sit at a table in one corner—and that pop peddler's shoving a diamond ring on Mary's finger!

"Dames." Frankie shuts his eyes and feels sort of sick. "Blah."

"Nice girls in Hollywood, Frankie," the old man says.

"Huh." But Frankie ganders out that way. "Hey—how come we can't see into these Hollywood joints when we could gander into Rainbow Gardens?"

"Have to be discreet about this, Frankie. Can't poke into anyplace unless it's fitting for us to."

"Yeah? Well, how's about seeing what Vera Verina's doing now?"

"Take a look into Ciro's, Frankie."

Frankie does and just like that, he's decked out in a dress suit and parked at a table in that fancy beanery. And who's with him? Only who's ballyhooed from border to border and ocean to sea as The Every American Girl.

Yeah, Vera Verina's voice is like her eyes—deep and warm. "I'm so glad you brought me here tonight, Frankie."

Frankie don't remember nothing about that part of it. But he's mannerly. "Oh, it ain't nothing."

Nothing? Vera's wearing her pale blonde hair long. Her face is everything the close-ups at the Rivoli say it is. And her figure in that dress she's wearing—Frankie knows if he sits here doing nothing but look another minute he'll bust a gasket.

So he says, "Maybe we should dance, hey?"

"Anything you want, Frankie."

So they dance. But Vera's perfume, the way she holds Frankie so close to her, the way she looks into his eyes—

"Oh, brother," Frankie whispers to himself.

"I," Vera whispers in his ear, "think we've danced enough, don't you?"

"Yeah," Frankie says and runs a finger between his collar and neck. What it's safest to do next he don't know.

But Vera tucks her hand under his arm like she owns him now. "Take me home, Frankie."

"Yeah." Ain't a guy supposed to take a dame home after having her out? "Sure," Frankie says and finds his way out of the place and into a hack that's waiting.

Vera's hand finds his and don't let go. "What are you thinking, Frankie?"

Thoughts are flapping through Frankie's mind like the colored lights zipping past the hack windows. What's he thinking?

"This is it, Mac," the hack driver's voice says like gravel rolling.

And Frankie don't have to tell what he's thinking—yet. But he ain't out of this deal by a long shot.


With a wink, the hackie swooshes away in the night and Frankie's left alone with Vera's fingers feeling like live electric wires on his arm and her saying soft at him, "A night to remember, Frankie."

"Yeah." Frankie's feet take him up to Vera's door. It's kind of shadowy there and perfumy.

Vera stands looking at him with a little smile. "Hello, Frankie."

"Hello?" Then somebody seems to give Frankie a darn good push.

Well, Vera's kissing him like at the Rivoli. Only it ain't like at the Rivoli. It's like a hot-foot starting at Frankie's toes and gaining speed as it goes up. Arriving at his poor brain, it just knocks the top of his head out.

"Well, Frankie," the old man's voice says, "how was that?"

Frankie opens his eyes. Yeah, he's back on the moon, no fancy dress suit, just old slacks and jacket again.

Frankie considers the old man's question. "Oh, I guess Vera's okay—for some guys."

"She's supposed to represent every American girl, Frankie."

"American dames." Frankie thinks of a certain one employed by him. "Huh."

"Hmmmm." The old man rocks a bit and squints over the earth. Part of Europe's coming around now. The old man nods in the direction of the Mediterranean. "There on the Riviera."

"So what?"

"So on the beach near Cannes. Mimi in the polka-dot suit."

"Well, now—" Just like that, he's parked there on the sand with the sun warm on his pale back.

Well Mimi has dark hair fluffing about tan shoulders on one end and little red-nailed toes on the other end, and all the scenery in between's the kind that's been in favor since Eve fixed Adam. Yeah, Vera Verina made Frankie's bashful heart turn somersaults, but Mimi is making it stand on its head and spin around on one ear.

Then Mimi jumps up and in a tickling voice says something which, with a roll of big blue eyes, ends in, "Frankee!"

It sure sounds interesting. So Frankie jumps up too. But with a laughing squeal that ends in that, "Frankee!" again, Mimi runs and dives head on into a big breaker.

"Oh, I can't eh?" Frankie says and splashes himself in the sea after her.

Mimi comes up. Frankie comes up for air. Mimi dives. Frankie hauls in air and dives. Mimi turns this way and that like a fish. But not for nothing was Frankie on the third-string swim team at Centervale High. Down through the cold green deep he goes and finally grabs one of them kicking ankles.

But he ain't particularly planned on what happens right after that. Mimi twists over, to try to escape—maybe. So Frankie grabs for a better hold. Maybe he don't get one but Mimi does. Her arms clamp around his neck, and when her lips also latch hold of his there in the deep—

Well, the guy just feels like a boiler with its safety valve jammed so that the pressure shoots up to where only one thing can happen. Bam! And Frankie's spinning away through blue-green steam and a shower of colored lights.

"Well?" the old man's asking.

Yeah, just like that, Frankie's back on the moon, in his old slacks and jacket, dry as you please beside the old man's chair.

"Oh, Mimi's some dame," Frankie admits. "Only...."

"Only what now?"

"Only who knows what she's really saying with that, 'Frankee!' business?"

"Hmmmm." The old man rocks to and fro and takes a squint down South America way. "Brazil, Frankie. Rio."

Always having had an eye for Carmen Miranda, Frankie looks too. "Yeah, pop?"

"The Copa Club. Señorita in the white dress."

Frankie whistles.

"Chi-Chi is her name." The old man smiles slightly. "And she knows English—among other things."

Frankie takes it from there.

Or rather Chi-Chi takes Frankie from there. "Aye-yi-yi! Frankie-Frankie! Let's samba!"

"Sure, why not?"


Now, the orchestra's hammering its drums and rattling its dried punkins. Its guitars and marimbas are hi-tailing along too. This South American music always did make Frankie's blood get up and go. Also, he's swinging out with this Chi-Chi. And this Chi-Chi dame's got everything Carmen Miranda has on top of everything good Vera Verina and Mimi has.

Now the samba as she is did down in Rio is, as Frankie's finding out, a combination of a speedboat ride through a tunnel of love, wrestling on a roller coaster and riding a runaway merry-go-round. Frankie's breathing hard but determined to stay the limit, though. He lopes around and spins Chi-Chi and she lopes around and whirls him. She kisses him as she flies in and she smooches him again as she yanks him back.

"Aye-yi-yi!" she says. "Frankie-Frankie! Forever with you I can samba like this!"

Forever, she says. Frankie-Frankie's feet are smoking. His ears are bonging like bells to the tune the whole place has picked up from Chi-Chi. "Aye-yi-yi! Frankie-Frankie! Aye-yi-yi!"

And still this samba of the sambas goes faster and faster and on and on and everybody else seems to become fresher and fresher as Frankie's legs become rubberier and rubberier and his breathing turns to something that sounds like air sizzing out of a tire going flat.

"Aye-yi-yi! Frankie-Frankie! Aye-yi-yi!"

Aye-yi-yi. Frankie just quietly finds the floor and lets the fog roll over him.

"Well, Frankie?"

Spread like a rug on the rock beside the old chair, Frankie just fans himself with the tail of the old man's robe. The old man sighs.

Frankie feels mighty low too. "Guess there just ain't no dame on earth for me, pop."

The old man rocks slowly to and fro. He sighs again and peers off in another direction, way off at a bright red star. "That garden over there, Frankie. Just a bit below Mars' north pole."

Frankie finds that looking to Mars ain't no harder than looking to earth. "Yeah, pop?"

"Sitting under that tree. Name's Nita."

Well, Nita's got sort of golden hair that she wears in a strange way. She's got a face like a princess and eyes like mysterious green pools. From the ears down she's wearing soft, blonde, feathery fur that she grows herself, looks like. Oh, she's also wearing a few pieces of fancy gear here and there.

And as Frankie parks beside her on the mossy slope her voice reminds him of a slowly strummed harp. "Have a loo-loo, Frankie," she urged.

She reaches up to a tree that makes Frankie think of an overgrowed yellow skeleton of an old umbrella strung with red and green Christmas-tree balls.

 
The Dreamers by Lu Kella

Nita plucks a green ball and gives it to him. "You'll love loo-loos, Frankie. Everybody around here eats nothing else for breakfast, lunch and supper."

The thing smells something like a cross between a cantaloupe and a peach. So Frankie takes a bite. What it really tastes like, Frankie don't know; he's never eat such a thing before. So naturally one bite don't give no score.

Meanwhile, Nita's breath is like perfume on his cheek as she pokes her fingers through his hair to see has he more than just the two eyes in the front of his face—she herself having a spare parked in the back of her fancy dome. As usual, though, Frankie's rigged out according to the style of the company he's with. Maybe Nita feels comfortable in that get-up of hers. But Frankie wishes he was wearing more than just a fancy skirt-like rig around the axles. After all, it's a bit chilly here on Mars and he ain't growed no fur suit on himself to keep the goosebumps from running around.

Nita rubs her cheek against his. "Frankie with only two eyes like Nita with three eyes?"

"Yeah." Frankie smothers a small burp. "Sure."

"Nita with three eyes like Frankie with only two eyes." She snuggles closer to him. "Very much, Nita with three eyes like Frankie with only two eyes."

"Yeah." Frankie with only two eyes feels sort of queer. "Yeah, that's all right." He also decides he better not eat the rest of this loo-loo thing.

"Frankie with only two eyes want to kiss Nita with three eyes? Hmmmmm?"

"Uh—urp." The guy's took a boat ride once and wasn't a very good sailor then. So he sort of knows now.

"Frankie with only two eyes—you are turning green as a loo-loo." Nita stares at his puss with all her eyes. "What on Mars is the matter with you?"

"I—urp." He stands up fast.

"Frankie with only two eyes! Come back to Nita with three eyes!"

Frankie with he don't care how many eyes nobody has only gallops on up the slope and over the hill.


In time Frankie finds himself back on the moon and laid out beside the old man's chair.

"Well, Frankie?"

"Nita ain't so bad, spare peeper and all—I guess." Frankie rests a hand gently where his stomach is. "But them loo-loos." Frankie closes his two eyes. "Pop—ain't nobody on earth built to handle them things."

The old man sighs.

Frankie tries to keep his voice from shaking. "Pop—there just ain't no other dame like Mary no place in Creation."

The chair squeaks softly as the old guy just rocks away.

Frankie puts his hands over his own puss. "She's gone and I just don't know what to do or nothing."

The old man says quiet like, "Got a pretty good thing in Link One. Can dig in and work it up into a string, Frankie."

Frankie, though, feels like a starved pup lost a million miles from home. "But the house with all the rooms and flowers and kids and ... aw, nuts." He ain't bawled since a kid. But he makes up for it now. His tears come squirting up through his fingers over his map like small spouters from a leaky garden hose and fall back down on him.

The old man pats him on the shoulder. "Oh, Frankie, Frankie."

But Frankie's tears are sopping himself from head to foot now.

And the old man's voice changes. "Frankie, can't you hear me?" Also Frankie's being shook fit to rattle his brain loose.

Frankie blinks, not only because that ain't the old man's voice and somebody's shining a light in his pan, but also because water's banging down on him by the wash-tub full. And when he does see who's yammering, "Frankie what's the matter with you!" at him, he mumbles dizzily, "It's you?"

"Yes it's me—you brainless infant!" Her raincape's streaming with water in the reflection of the flashlight she's waving around. "And what's the idea sleeping out here in your jalopy in the rain!"

"I was not sleeping in no rain."

"Oh shut up and come on!" And she yanks him out of the soggy seat.

Frankie feels like a bad kid being led home by his mamma. "Well, gee whiz—"

"Give me the keys!"

"Keys?"

"Never mind you went off and left them in the lock again!" So she opens the door, snaps on the light and hauls him into the dry inside of Link One. Tossing off her cape and coat, she turns on him with blue eyes snapping. "Now start taking those clothes off!"

"Yes, ma'am." Frankie peels off his jacket and stands watching her light the grill to warm the place up.

She looks up. "I said take off your clothes!"

"But—"

"Oh, sit down!"

Frankie sits and says with what dignity he has left, "Miss Mulvaney, this ain't no way for no employer and employee to act—"

She yanks off his squishy shoes and soggy sox and says, "Stand up!"

Frankie stands. "Especially when the employee of us is going to marry a pop peddler with a—"

"Take off those pants!"

"Miss Mulvan—"

"And put on my coat!" She hands it to him and turns her lovely back.

"But, Miss Mul—"


She whirls with blue eyes flashing sparks and wonderful mouth still going ninety miles a second. "I am not marrying any two-timing, double-crossing, three-faced jackass—and if you don't get those old wet pants off I'll take them off myself, and do you want to die of pneumonia or something?" She whirls and stands with her back to him again.

Frankie just blinks like he's been slapped in the map with a fresh fish. "Hey—you ain't marrying Jake?"

"Are you getting out of those wet clothes and into my coat or not!"

"Yes, ma'am."

"All right, then." Her voice is kind of trembly for just a second. "I had a dream last night or this night or something."

"Hah. You had a dream."

"Shut up and listen. I dreamed you fell asleep in your car out here and went to see an old man on the moon and the old man showed you Vera Verina and a French Mimi and a South American Chi-Chi and even a Nita on Mars and you went to see them and got kissed and fed up and couldn't stand any of them near as much as me and so you began crying all over the moon and you'd never try to be anything without me and that's when I jumped out of bed and took my sister Cissie's car and ran out here and dragged you in out of the rain and have you got my coat on yet?"

Her coat buttoned like a long skirt around himself, Frankie gapes at her back. "You mean you seen all that?"

"Oh, it was only a dream and dreams aren't real are they and you'd never in a million years have gumption enough to do anything like all that but—" and she turns, sees the look on him, and she's like she's going to explode into crying.

Well, that's when Frankie finally gets gumption enough to do what he's always wanted to do—wrap her in his arms and show her what he means.

But that mouth of her's going lickety-split again. "Oh Frankie you're not a hopeless dope after all and we'll build the FRANKIEs into a chain with Links everyplace and have a house with flowers and kids and every—uhp-mmmmm? Mmmmmmmm."

Now you explain it. The guy's had some kind of experience kissing and being necked by the most high-charged dames on earth and Mars. But this—no, this don't blow nobody's head out or scatter nobody all over the place. This is comfortable. Like resting in a garden with the sun warm and the air cool and the flowers sweet—and good dogs sizzling on the grill.

Lu Kella @ Amazon

Saturday, March 11, 2023

Daughter by Philip José Farmer

 

Daughter by Philip José Farmer

DAUGHTER

A Sequel to MOTHER

By PHILIP JOSÉ FARMER

[Transcriber's Note: This etext was produced from
Thrilling Wonder Stories Winter 1954.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]

 Philip José Farmer @ Amazon


CQ! CQ!

This is Mother Hardhead pulsing.

Keep quiet, all you virgins and Mothers, while I communicate. Listen, listen, all you who are hooked into this broadcast. Listen, and I will tell you how I left my Mother, how my two sisters and I grew our shells, how I dealt with the olfway, and why I have become the Mother with the most prestige, the strongest shell, the most powerful broadcaster and beamer, and the pulser of a new language.

First, before I tell my story, I will reveal to all you who do not know it that my father was a mobile.

Yes, do not be nervequivered. That is a so-story. It is not a not-so-story.

Father was a mobile.


Mother pulsed, "Get out!"

Then, to show she meant business, she opened her exit-iris.

That sobered us up and made us realize how serious she was. Before, when she snapped open her iris, she did it so we could practise pulsing at the other young crouched in the doorway to their Mother's wombs, or else send a respectful message to the Mothers themselves, or even a quick one to Grandmother, far away on a mountainside. Not that she received, I think, because we young were too weak to transmit that far. Anyway, Grandmother never acknowledged receipt.

At times, when Mother was annoyed because we would all broadcast at once instead of asking her permission to speak one at a time or because we would crawl up the sides of her womb and then drop off the ceiling onto the floor with a thud, she would pulse at us to get out and build our own shells. She meant it, she said.

Then, according to our mood, we would either settle down or else get more boisterous. Mother would reach out with her tentacles and hold us down and spank us. If that did no good, she would threaten us with the olfway. That did the trick. That is until she used him too many times. After a while, we got so we didn't believe there was an olfway. Mother, we thought, was creating a not-so-story. We should have known better, however, for Mother loathed not-so-stories.

Another thing that quivered her nerves was our conversation with Father in Orsemay. Although he had taught her his language, he refused to teach her Orsemay. When he wanted to send messages to us that he knew she wouldn't approve, he would pulse at us in our private language. That was another thing, I think, that finally made Mother so angry she cast us out despite Father's pleadings that we be allowed to remain four more seasons.

You must understand that we virgins had remained in the womb far longer than we should have. The cause for our overstay was Father.

He was the mobile.

Yes, I know what you're going to reply. All fathers, you will repeat, are mobiles.

But he was father. He was the pulsing mobile.

Yes, he could, too. He could pulse with the best of us. Or maybe he himself couldn't. Not directly. We pulse with organs in our body. But Father, if I understand him correctly, used a creature of some kind which was separate from his body. Or maybe it was an organ that wasn't attached to him.

Anyway, he had no internal organs or pulse-stalks growing from him to pulse with. He used this creature, this r-a-d-i-o, as he called it. And it worked just fine.

When he conversed with Mother, he did so in Motherpulse or in his own language, mobile-pulse. With us he used Orsemay. That's like mobile-pulse, only a little different. Mother never did figure out the difference.

When I finish my story, dearie, I'll teach you Orsemay. I've been beamed that you've enough prestige to join our Highest Hill sorority and thus learn our secret communication.

Mother declared Father had two means of pulsing. Besides his radio, which he used to communicate with us, he could pulse in another and totally different manner. He didn't use dotdeet-ditdashes, either. His pulses needed air to carry them, and he sent them with the same organ he ate with. Boils one's stomach to think of it, doesn't it?

Father was caught while passing by my Mother. She didn't know what mating-lust perfume to send downwind towards him so he would be lured within reach of her tentacles. She had never smelled a mobile like him before. But he did have an odor that was similar to that of another kind of mobile, so she wafted that towards him. It seemed to work, because he came close enough for her to seize him with her extra-uterine tentacles and pop him into her shell.


Later, after I was born, Father radioed me—in Orsemay, of course, so Mother wouldn't understand—that he had smelled the perfume and that it, among other things, had attracted him. But the odor had been that of a hairy tree-climbing mobile, and he had wondered what such creatures were doing on a bare hill-top. When he learned to converse with Mother, he was surprised that she had identified him with that mobile.

Ah, well, he pulsed, it is not the first time a female has made a monkey of a man.

He also informed me that he had thought Mother was just an enormous boulder on top of the hill. Not until a section of the supposed rock opened out was he aware of anything out of the ordinary or that the boulder was her shell and held her body within. Mother, he radioed, is something like a dinosaur-sized snail, or jellyfish, equipped with organs that generate radar and radio waves and with an egg-shaped chamber big as the living room of a bungalow, a womb in which she bears and raises her young.

I didn't understand more than half of these terms of course. Nor was Father able to explain them satisfactorily.

He did make me promise not to pulse Mother that he had thought she was just a big lump of mineral. Why, I don't know.

Father puzzled Mother. Though he fought her when she dragged him in, he had no claws or teeth sharp enough to tear her conception-spot. Mother tried to provoke him further, but he refused to react. When she realized that he was a pulse-sending mobile, and released him to study him, he wandered around the womb. After a while he caught on to the fact that Mother was beaming from her womb pulse-stalk. He learned how to talk with her by using his detachable organ, which he termed a panrad. Eventually, he taught her his language, mobile-pulse. When Mother learned that and informed other Mothers about that, her prestige became the highest in all the area. No Mother had ever thought of a new language. The idea stunned them.

Father said he was the only communicating mobile on this world. His s-p-a-c-e-s-h-i-p had crashed, and he would now remain forever with Mother.

Father learned the dinnerpulses when Mother summoned her young playing about her womb. He radioed the proper message. Mother's nerves were quivered by the idea that he was semantic, but she opened her stew-iris and let him eat. Then Father held up fruit or other objects and let Mother beam at him with her wombstalk what the proper dotdit-deetdashes were for each. Then he would repeat on his panrad the name of the object to verify it.

Mother's sense of smell helped her, of course. Sometimes, it is hard to tell the difference between an apple and a peach just by pulsing it. Odors aid you.

She caught on fast. Father told her she was very intelligent—for a female. That quivered her nerves. She wouldn't pulse with him for several mealperiods after that.


One thing that Mother especially liked about Father was that when conception-time came, she could direct him what to do. She didn't have to depend on luring a non-semantic mobile into her shell with perfumes and then hold it to her conception-spot while it scratched and bit the spot in its efforts to fight its way from the grip of her tentacles. Father had no claws, but he carried a detachable claw. He named it an s-c-a-l-p-e-l.

When I asked him why he had so many detachable organs, he replied that he was a man of parts.

Father was always talking nonsense.

But he had trouble understanding Mother, too.

Her reproductive processes amazed him.

"By G-o-d," he beamed, "who'd believe it? That a healing process in a wound would result in conception? Just the opposite of cancer."

When we were adolescents and about ready to be shoved out of Mother's shell, we received Mother asking Father to mangle her spot again. Father replied no. He wanted to wait another four seasons. He had said farewell to two broods of his young, and he wanted to keep us around longer so he could give us a real education and enjoy us instead of starting to raise another group of virgins.

This refusal quivered Mother's nerves and upset her stew-stomach so that our food was sour for several meals. But she didn't act against him. He gave her too much prestige. All the Mothers were dropping Motherpulse and learning mobile from Mother as fast as she could teach it.

I asked, "What's prestige?"

"When you send, the others have to receive. And they don't dare pulse back until you're through and you give your permission."

"Oh, I'd like prestige!"

Father interrupted, "Little Hardhead, if you want to get ahead, you tune in to me. I'll tell you a few things even your Mother can't. After all, I'm a mobile, and I've been around."

And he would outline what I had to expect once I left him and Mother and how, if I used my brain, I could survive and eventually get more prestige than even Grandmother had.

Why he called me Hardhead, I don't know. I was still a virgin and had not, of course, grown a shell. I was as soft-bodied as any of my sisters. But he told me he was f-o-n-d of me because I was so hard-headed. I accepted the statement without trying to grasp it.

Anyway, we got eight extra seasons in Mother because Father wanted it that way. We might have gotten some more, but when winter came again, Mother insisted Father mangle her spot. He replied he wasn't ready. He was just beginning to get acquainted with his children—he called us Sluggos—and, after we left, he'd have nobody but Mother to talk to until the next brood grew up.

Moreover, she was starting to repeat herself and he didn't think she appreciated him like she should. Her stew was too often soured or else so over-boiled that the meat was shredded into a neargoo.

That was enough for Mother.

"Get out!" she pulsed.

"Fine! And don't think you're throwing me out in the cold, either!" zztd back Father. "Yours is not the only shell in this world."

That made Mother's nerves quiver until her whole body shook. She put up her big outside stalk and beamed her sisters and aunts. The Mother across the valley confessed that, during one of the times Father had basked in the warmth of the s-u-n while lying just outside Mother's opened iris, she had asked him to come live with her.

Mother changed her mind. She realized that, with him gone, her prestige would die and that of the hussy across the valley would grow.

"Seems as if I'm here for the duration," radioed Father.

Then, "Whoever would think your Mother'd be j-e-a-l-o-u-s?"

Life with Father was full of those incomprehensible semantic groups. Too often he would not, or could not, explain.

For a long time Father brooded in one spot. He wouldn't answer us or Mother.

Finally, she became overquivered. We had grown so big and boisterous and sassy that she was one continual shudder. And she must have thought that as long as we were around to communicate with him, she had no chance to get him to rip up her spot.

So, out we went.

Before we passed forever from her shell, she warned, "Beware the olfway."


My sisters ignored her, but I was impressed. Father had described the beast and its terrible ways. Indeed, he used to dwell so much on it that we young, and Mother, had dropped the old term for it and used Father's. It began when he reprimanded her for threatening us too often with the beast when we misbehaved.

"Don't 'cry wolf.'"

He then beamed me the story of the origin of that puzzling phrase. He did it in Orsemay, of course, because Mother would lash him with her tentacles if she thought he was pulsing something that was not-so. The very idea of not-so strained her brain until she couldn't think straight.

I wasn't sure myself what not-so was, but I enjoyed his stories. And I, like the other virgins and Mother herself, began terming the killer "the olfway."

Anyway, after I'd beamed, "Good sending, Mother," I felt Father's strange stiff mobile-tentacles around me and something wet and warm falling from him onto me. He pulsed, "Good l-u-c-k, Hardhead. Send me a message via hook-up sometimes. And be sure to remember what I told you about dealing with the olfway."

I pulsed that I would. I left with the most indescribable feeling inside me. It was a nervequivering that was both good and bad, if you can imagine such a thing, dearie.

But I soon forgot it in the adventure of rolling down a hill, climbing slowly up the next one on my single foot, rolling down the other side, and so on. After about ten warm-periods, all my sisters but two had left me. They found hilltops on which to build their shells. But my two faithful sisters had listened to my ideas about how we should not be content with anything less than the highest hilltops.

"Once you've grown a shell, you stay where you are."

So they agreed to follow me.

But I led them a long, long ways, and they would complain that they were tired and sore and getting afraid of running into some meat-eating mobile. They even wanted to move into the empty shells of Mothers who had been eaten by the olfway or died when cancer, instead of young, developed in the conception-spots.

"Come on," I urged. "There's no prestige in moving into empties. Do you want to take bottom place in every community-pulsing just because you're too lazy to build your own covers?"

"But we'll resorb the empties and then grow our own later on."

"Yes? How many Mothers have declared that? And how many have done it? Come on, Sluggos."

We kept getting into higher country. Finally, I scanned the set-up I was searching for. It was a small, flat-topped mountain with many hills around it. I crept up it. When I was on top, I test-beamed. Its summit was higher than any of the eminences for as far as I could reach. And I guessed that when I became adult and had much more power, I would be able to cover a tremendous area. Meanwhile, other virgins would sooner or later be moving in and occupying the lesser hills.

As Father would have expressed it, I was on top of the world.


It happened that my little mountain was rich. The search-tendrils I grew and then sunk into the soil found many varieties of minerals. I could build from them a huge shell. The bigger the shell, the larger the Mother. The larger the Mother, the more powerful the pulse.

Moreover, I detected many large flying mobiles. Eagles, Father termed them. They would make good mates. They had sharp beaks and tearing talons.

Below, in a valley, was a stream. I grew a hollow-tendril under the soil and down the mountainside until it entered the water. Then I began pumping it up to fill my stomachs.

The valley soil was good. I did what no other of our kind had ever done, what Father had taught me. My far-groping tendrils picked up seeds dropped by trees or flowers or birds and planted them. I spread an underground net of tendrils around an apple tree. But I didn't plan on passing the tree's fallen fruit from tendril-frond to frond and so on up the slope and into my irises. I had a different destination in mind for them.

Meanwhile, my sisters had topped two hills much lower than mine. When I found out what they were doing, my nerves quivered. Both had built shells! One was glass; the other, cellulose!

"What do you think you're doing? Aren't you afraid of the olfway?"

"Pulse away, old grouch. Nothing's the matter with us. We're just ready for winter and mating-heat, that's all. We'll be Mothers, then, and you'll still be growing your big old shell. Where'll your prestige be? The others won't even pulse with you 'cause you'll still be a virgin and a half-shelled one at that!"

"Brittlehead! Woodenhead!"

"Yah! Yah! Hardhead!"

They were right—in a way. I was still soft and naked and helpless, an evergrowing mass of quivering flesh, a ready prey to any meat-eating mobile that found me. I was a fool and a gambler. Nevertheless, I took my leisure and sunk my tendrils and located ore and sucked up iron in suspension and built an inner shell larger, I think, than Grandmother's. Then I laid a thick sheath of copper over that, so the iron wouldn't rust. Over that I grew a layer of bone made out of calcium I'd extracted from the rocks thereabouts. Nor did I bother, as my sisters had done, to resorb my virgin's stalk and grow an adult one. That could come later.

Just as fall was going out, I finished my shells. Body-changing and growing began. I ate from my crops, and I had much meat, too, because I'd put up little cellulose latticework shells in the valley and raised many mobiles from the young that my far-groping tendrils had plucked from their nests.

I planned my structure with an end in mind. I grew my stomach much broader and deeper than usual. It was not that I was overly hungry. It was for a purpose, which I shall transmit to you later, dearie.

My stew-stomach was also much closer to the top of my shell than it is in most of us. In fact, I intentionally shifted my brain from the top to one side and raised the stomach in its place. Father had informed me I should take advantage of my ability to partially direct the location of my adult organs. It took me time, but I did it just before winter came.

Cold weather arrived.

And the olfway.


He came as he always does, his long nose with its retractible antennae sniffing out the minute encrustations of pure minerals that we virgins leave on our trails. The olfway follows his nose to wherever it will take him. This time it led him to my sister who had built her shell of glass. I had suspected she would be the first to be contacted by an olfway. In fact, that was one of the reasons I had chosen a hill-top further down the line. The olfway always takes the closest shell.

When sister Glasshead detected the terrible mobile, she sent out wild pulse after pulse.

"What will I do? Do? Do?"

"Sit tight, sister, and hope."

Such advice was like feeding on cold stew, but it was the best, and the only, that I could give. I did not remind her that she should have followed my example, built a triple shell, and not been so eager to have a good time by gossiping with others.

The olfway prowled about, tried to dig underneath her base, which was on solid rock, and failed. He did manage to knock off a chunk of glass as a sample. Ordinarily, he would then have swallowed the sample and gone off to pupate. That would have given my sister a season of rest before he returned to attack. In the meanwhile, she might have built another coating of some other material and frustrated the monster for another season.

It just so happened that that particular olfway had, unfortunately for sister, made his last meal on a Mother whose covering had also been of glass. He retained his special organs for dealing with such mixtures of silicates. One of them was a huge and hard ball of some material on the end of his very long tail. Another was an acid for weakening the glass. After he had dripped that over a certain area, he battered her shell with the ball. Not long before the first snowfall he broke through her shield and got to her flesh.

Her wildly alternating beams and broadcasts of panic and terror still bounce around in my nerves when I think of them. Yet, I must admit my reaction was tinged with contempt. I do not think she had even taken the trouble to put boron oxide instead of silicon in her glass. If she had, she might....

What's that? How dare you interrupt?... Oh, very well, I accept your humble apologies. Don't let it happen again, dearie. As for what you wanted to know, I'll describe later the substances that Father termed silicates and boron oxides and such. After my story is done.

To continue, the killer, after finishing Glasshead off, followed his nose along her trail back down the hill to the junction. There he had his choice of my other sister's or of mine. He decided on hers. Again he went through his pattern of trying to dig under her, crawling over her, biting off her pulse-stalks, and then chewing a sample of shell.

Snow fell hard. He crept off, sluggishly scooped a hole, and crawled in for the winter.

Sister Woodenhead grew another stalk. She exulted, "He found my shell too thick! He'll never get me!"

Ah, sister, if only you had received from Father and not spent so much time playing with the other Sluggos. Then you would have remembered what he taught. You would have known that an olfway, like us, is different from most creatures. The majority of beings have functions that depend upon their structures. But the olfway, that nasty creature, has a structure that depends upon his functions.

I did not quiver her nerves by telling her that, now that he had secreted a sample of her cellulose-shell in his body, he was pupating around it. Father had informed me that some arthropods follow a life-stage that goes from egg to larva to pupa to adult. When a caterpillar pupates in its cocoon, for instance, practically its whole body dissolves, its tissues disintegrate. Then something reforms the pulpy whole into a structurally new creature with new functions, the butterfly.

The butterfly, however, never repupates. The olfway does. He parts company with his fellow arthropods in this peculiar ability. Thus, when he tackles a Mother, he chews off a tiny bit of the shell and goes to sleep with it. During a whole season, crouched in his den, he dreams around the sample—or his body does. His tissues melt and then coalesce. Only his nervous system remains intact, thus preserving the memory of his identity and what he has to do when he emerges from his hole.

So it happened. The olfway came out of his hole, nested on top of sister Woodenhead's dome, and inserted a modified ovipositor into the hole left by again biting off her stalk. I could more or less follow his plan of attack, because the winds quite often blew my way, and I could sniff the chemicals he was dripping.

He pulped the cellulose with a solution of something or other, soaked it in some caustic stuff, and then poured on an evil-smelling fluid that boiled and bubbled. After that had ceased its violent action, he washed some more caustic on the enlarging depression and finished by blowing out the viscous solution through a tube. He repeated the process many times.

Though my sister, I suppose, desperately grew more cellulose, she was not fast enough. Relentlessly, the olfway widened the hole. When it was large enough, he slipped inside.

End of sister....


The whole affair of the olfway was lengthy. I was busy, and I gained time by something I had made even before I erected my dome. This was the false trail of encrustations that I had laid, one of the very things my sisters had mocked. They did not understand what I was doing when I then back-tracked, a process which took me several days, and concealed with dirt my real track. But if they had lived, they would have comprehended. For the olfway turned off the genuine trail to my summit and followed the false.

Naturally, it led him to the edge of a cliff. Before he could check his swift pace, he fell off.

Somehow, he escaped serious injury and scrambled back up to the spurious path. Reversing, he found and dug up the cover over the actual tracks.

That counterfeit path was a good trick, one my Father taught me. Too bad it hadn't worked, for the monster came straight up the mountain, heading for me, his antennae plowing up the loose dirt and branches which covered my encrustations.

However, I wasn't through. Long before he showed up I had collected a number of large rocks and cemented them into one large boulder. The boulder itself was poised on the edge of the summit. Around its middle I had deposited a ring of iron, grooved to fit a rail of the same mineral. This rail led from the boulder to a point halfway down the slope. Thus, when the mobile had reached that ridge of iron and was following it up the slope, I removed with my tentacles the little rocks that kept the boulder from toppling over the edge of the summit.


My weapon rolled down its track with terrific speed. I'm sure it would have crushed the olfway if he had not felt the rail vibrating with his nose. He sprawled aside. The boulder rushed by, just missing him.

Though disappointed, I did get another idea to deal with future olfways. If I deposited two rails halfway down the slope, one on each side of the main line, and sent three boulders down at the same time, the monster could leap aside from the center, either way, and still get it on the nose!

He must have been frightened, for I didn't pip him for five warm-periods after that. Then he came back up the rail, not, as I had expected, up the opposite if much steeper side of the mountain. He was stupid, all right.

I want to pause here and explain that the boulder was my idea, not Father's. Yet I must add that it was Father, not Mother, who started me thinking original thoughts. I know it quivers all your nerves to think that a mere mobile, good for nothing but food and mating, could not only be semantic but could have a higher degree of semanticism.

I don't insist he had a higher quality. I think it was different, and that I got some of that difference from him.

To continue, there was nothing I could do while the olfway prowled about and sampled my shell. Nothing except hope. And hope, as I found out, isn't enough. The mobile bit off a piece of my shell's outer bone covering. I thought he'd be satisfied, and that, when he returned after pupating, he'd find the second sheath of copper. That would delay him until another season. Then he'd find the iron and have to retire again. By then it would be winter, and he'd be forced to hibernate or else he would be so frustrated he'd give up and go searching for easier prey.

 

Daughter by Philip José Farmer

I didn't know that an olfway never gives up and is very thorough. He spent days digging around my base and uncovered a place where I'd been careless in sheathing. All three elements of the shell could be detected. I knew the weak spot existed, but I hadn't thought he'd go that deep.

Away went the killer to pupate. When summer came, he crawled out of his hole. Before attacking me, however, he ate up my crops, upset my cage-shells and devoured the mobiles therein, dug up my tendrils and ate them, and broke off my waterpipe.

But when he picked all the apples off my tree and consumed them, my nerves tingled. The summer before I had transported, via my network of underground tendrils, an amount of a certain poisonous mineral to the tree. In so doing I killed the tendrils that did the work, but I succeeded in feeding to the roots minute amounts of the stuff—selenium, Father termed it, I think. I grew more tendrils and carried more poison to the tree. Eventually, the plant was full of the potion, yet I had fed it so slowly that it had built up a kind of immunity. A kind of, I say, because it was actually a rather sickly tree.

I must admit I got the idea from one of Father's not-so stories, tapped out in Orsemay so Mother wouldn't be vexed. It was about a mobile—a female, Father claimed, though I find the concept of a female mobile too nervequivering to dwell on—a mobile who was put into a long sleep by a poisoned apple.

The olfway seemed not to have heard of the story. All he did was retch. After he had recovered, he crawled up and perched on top of my dome. He broke off my big pulse-stalk and inserted his ovipositor in the hole and began dripping acid.

I was frightened, true, for as you all know, there is nothing more panic-striking than being deprived of pulsing and not knowing at all what is going on in the world outside your shell. But, at the same time, his actions were what I had expected and planned on. So I tried to suppress my nervequiverings. After all, I knew the olfway would work on that spot. It was for that very reason that I had shifted my brain to one side and jacked up my oversize stomach closer to the top of my dome.

My sisters had scoffed because I'd taken so much trouble with my organs. They'd been satisfied with the normal procedure of growing into Mother-size. While I was still waiting for the water pumped up from the stream to fill my sac, my sisters had long before heated theirs and were eating nice warm stew. Meanwhile, I was consuming much fruit and uncooked meat, which sometimes made me sick. However, the rejected stuff was good for the crops, so I didn't altogether suffer a loss.

As you know, once the stomach is full of water and well walled up, our body heat warms the fluid. As there is no leakage of heat except when we iris meat and vegetables in or out, the water comes to the boiling point.

Well, to pulse on with the story, when the mobile had scaled away the bone and copper and iron with his acids and made a hole large enough for his body, he dropped in for dinner.

I suppose he anticipated the usual helpless Mother or virgin, nerves numbed and waiting to be eaten.

If he did, his own nerves must have quivered. There was an iris on the upper part of my stomach, and it had been grown with the dimensions of a certain carnivorous mobile in mind.

But there was a period when I thought I hadn't fashioned the opening large enough. I had him half through, but I couldn't get his hindquarters past the lips. He was wedged in tight and clawing my flesh away in great gobbets. I was in such pain I shook my body back and forth and, I believe, actually rocked my shell on its base. Yet, despite my jerking nerves, I strained and struggled and gulped hard, oh, so hard. And, finally, just when I was on the verge of vomiting him back up the hole through which he had come, which would have been the end of me, I gave a tremendous convulsive gulp and popped him in.

My iris closed. Nor, much as he bit and poured out searing acids, would I open it again. I was determined that I was going to keep this meat in my stew, the biggest piece any Mother had ever had.

Oh, he fought. But not for long. The boiling water pushed into his open mouth and drenched his breathing-sacs. He couldn't take a sample of that hot fluid and then crawl off to pupate around it.

He was through—and he was delicious.

Yes, I know that I am to be congratulated and that this information for dealing with the monster must be broadcast to every one of us everywhere. But don't forget to pulse that a mobile was partly responsible for the victory over our ancient enemy. It may quiver your nerves to admit it, but he was.

Where did I get the idea of putting my stew-sac just below the hole the olfway always makes in the top of our shells? Well, it was like so many I had. It came from one of Father's not-so stories, told in Orsemay. I'll pulse it sometime when I'm not so busy. After you, dearie, have learned our secret language.

I'll start your lessons now. First....

What's that? You're quivering with curiosity? Oh, very well, I'll give you some idea of the not-so story, then I'll continue my lessons with this neophyte.

It's about eethay olfway and eethay eethray ittlelay igspay.

Philip José Farmer @ Amazon

Friday, March 10, 2023

The Writer's/Artist Job is to Tell the Truth by Joseph Conrad

The Writer's/Artist Job is to Tell the Truth

by Joseph Conrad 

 

(PDF)

 

A work that aspires, however humbly, to the condition of art should carry its justification in every line. And art itself may be defined as a single-minded attempt to render the highest kind of justice to the visible universe, by bringing to light the truth, manifold and one, underlying its every aspect. It is an attempt to find in its forms, in its colours, in its light, in its shadows, in the aspects of matter and in the facts of life what of each is fundamental, what is enduring and essential—their one illuminating and convincing quality—the very truth of their existence. The artist, then, like the thinker or the scientist, seeks the truth and makes his appeal. Impressed by the aspect of the world the thinker plunges into ideas, the scientist into facts—whence, presently, emerging they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common-sense, to our intelligence, to our desire of peace or to our desire of unrest; not seldom to our prejudices, sometimes to our fears, often to our egoism—but always to our credulity. And their words are heard with reverence, for their concern is with weighty matters: with the cultivation of our minds and the proper care of our bodies, with the attainment of our ambitions, with the perfection of the means and the glorification of our precious aims.

It is otherwise with the artist.

Confronted by the same enigmatical spectacle the artist descends within himself, and in that lonely region of stress and strife, if he be deserving and fortunate, he finds the terms of his appeal. His appeal is made to our less obvious capacities: to that part of our nature which, because of the warlike conditions of existence, is necessarily kept out of sight within the more resisting and hard qualities—like the vulnerable body within a steel armour. His appeal is less loud, more profound, less distinct, more stirring—and sooner forgotten. Yet its effect endures forever. The changing wisdom of successive generations discards ideas, questions facts, demolishes theories. But the artist appeals to that part of our being which is not dependent on wisdom; to that in us which is a gift and not an acquisition—and, therefore, more permanently enduring. He speaks to our capacity for delight and wonder, to the sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation—and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts, to the solidarity in dreams, in joy, in sorrow, in aspirations, in illusions, in hope, in fear, which binds men to each other, which binds together all humanity—the dead to the living and the living to the unborn.

It is only some such train of thought, or rather of feeling, that can in a measure explain the aim of the attempt, made in the tale which follows, to present an unrestful episode in the obscure lives of a few individuals out of all the disregarded multitude of the bewildered, the simple and the voiceless. For, if any part of truth dwells in the belief confessed above, it becomes evident that there is not a place of splendour or a dark corner of the earth that does not deserve, if only a passing glance of wonder and pity. The motive then, may be held to justify the matter of the work; but this preface, which is simply an avowal of endeavour, cannot end here—for the avowal is not yet complete. Fiction—if it at all aspires to be art—appeals to temperament. And in truth it must be, like painting, like music, like all art, the appeal of one temperament to all the other innumerable temperaments whose subtle and resistless power endows passing events with their true meaning, and creates the moral, the emotional atmosphere of the place and time. Such an appeal to be effective must be an impression conveyed through the senses; and, in fact, it cannot be made in any other way, because temperament, whether individual or collective, is not amenable to persuasion. All art, therefore, appeals primarily to the senses, and the artistic aim when expressing itself in written words must also make its appeal through the senses, if its highest desire is to reach the secret spring of responsive emotions. It must strenuously aspire to the plasticity of sculpture, to the colour of painting, and to the magic suggestiveness of music—which is the art of arts. And it is only through complete, unswerving devotion to the perfect blending of form and substance; it is only through an unremitting never-discouraged care for the shape and ring of sentences that an approach can be made to plasticity, to colour, and that the light of magic suggestiveness may be brought to play for an evanescent instant over the commonplace surface of words: of the old, old words, worn thin, defaced by ages of careless usage.

The sincere endeavour to accomplish that creative task, to go as far on that road as his strength will carry him, to go undeterred by faltering, weariness or reproach, is the only valid justification for the worker in prose. And if his conscience is clear, his answer to those who in the fulness of a wisdom which looks for immediate profit, demand specifically to be edified, consoled, amused; who demand to be promptly improved, or encouraged, or frightened, or shocked, or charmed, must run thus:—My task which I am trying to achieve is, by the power of the written word to make you hear, to make you feel—it is, before all, to make you see. That—and no more, and it is everything. If I succeed, you shall find there according to your deserts: encouragement, consolation, fear, charm—all you demand—and, perhaps, also that glimpse of truth for which you have forgotten to ask. To snatch in a moment of courage, from the remorseless rush of time, a passing phase of life, is only the beginning of the task. The task approached in tenderness and faith is to hold up unquestioningly, without choice and without fear, the rescued fragment before all eyes in the light of a sincere mood. It is to show its vibration, its colour, its form; and through its movement, its form, and its colour, reveal the substance of its truth—disclose its inspiring secret: the stress and passion within the core of each convincing moment. In a single-minded attempt of that kind, if one be deserving and fortunate, one may perchance attain to such clearness of sincerity that at last the presented vision of regret or pity, of terror or mirth, shall awaken in the hearts of the beholders that feeling of unavoidable solidarity; of the solidarity in mysterious origin, in toil, in joy, in hope, in uncertain fate, which binds men to each other and all mankind to the visible world. It is evident that he who, rightly or wrongly, holds by the convictions expressed above cannot be faithful to any one of the temporary formulas of his craft. The enduring part of them—the truth which each only imperfectly veils—should abide with him as the most precious of his possessions, but they all: Realism, Romanticism, Naturalism, even the unofficial sentimentalism (which like the poor, is exceedingly difficult to get rid of,) all these gods must, after a short period of fellowship, abandon him—even on the very threshold of the temple—to the stammerings of his conscience and to the outspoken consciousness of the difficulties of his work. In that uneasy solitude the supreme cry of Art for Art itself, loses the exciting ring of its apparent immorality. It sounds far off. It has ceased to be a cry, and is heard only as a whisper, often incomprehensible, but at times and faintly encouraging.

Sometimes, stretched at ease in the shade of a roadside tree, we watch the motions of a labourer in a distant field, and after a time, begin to wonder languidly as to what the fellow may be at. We watch the movements of his body, the waving of his arms, we see him bend down, stand up, hesitate, begin again. It may add to the charm of an idle hour to be told the purpose of his exertions. If we know he is trying to lift a stone, to dig a ditch, to uproot a stump, we look with a more real interest at his efforts; we are disposed to condone the jar of his agitation upon the restfulness of the landscape; and even, if in a brotherly frame of mind, we may bring ourselves to forgive his failure. We understood his object, and, after all, the fellow has tried, and perhaps he had not the strength—and perhaps he had not the knowledge. We forgive, go on our way—and forget.

And so it is with the workman of art. Art is long and life is short, and success is very far off. And thus, doubtful of strength to travel so far, we talk a little about the aim—the aim of art, which, like life itself, is inspiring, difficult—obscured by mists; it is not in the clear logic of a triumphant conclusion; it is not in the unveiling of one of those heartless secrets which are called the Laws of Nature. It is not less great, but only more difficult.

To arrest, for the space of a breath, the hands busy about the work of the earth, and compel men entranced by the sight of distant goals to glance for a moment at the surrounding vision of form and colour, of sunshine and shadows; to make them pause for a look, for a sigh, for a smile—such is the aim, difficult and evanescent, and reserved only for a very few to achieve. But sometimes, by the deserving and the fortunate, even that task is accomplished. And when it is accomplished—behold!—all the truth of life is there: a moment of vision, a sigh, a smile—and the return to an eternal rest.

1897. J. C. 

 Excrepted from The Children of the Sea: A Tale of the Forecast by Joseph Conrad

 

About the Author

Joseph Conrad
Joseph Conrad (born Józef Teodor Konrad Korzeniowski, Polish: [ˈjuzɛf tɛˈɔdɔr ˈkɔnrat kɔʐɛˈɲɔfskʲi] (audio speaker iconlisten); 3 December 1857 – 3 August 1924) was a Polish-British writer regarded as one of the greatest novelists to write in the English language. Though he did not speak English fluently until his twenties, he came to be regarded a master prose stylist who brought a non-English sensibility into English literature. He wrote stories and novels, many with a nautical setting, that depict trials of the human spirit in the midst of what he saw as an impassive, inscrutable universe. Wikipedia